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Mr. Cheeks
John P. Kelly
Click to Buy "John P. Kelly"
It is said that time heals all wounds, even the senseless murder of a childhood friend and partner-in-rhyme. But Mr. Cheeks, the raspy, cocksure voice of the Lost Boyz, has not recovered from the death of Raymond "Freaky Tah" Rogers, who was shot in March 1999 coming out of a party in Queens, New York, the borough all four Lost Boyz called home. Stressed and shaken, but hardly down for the count, Mr. Cheeks and Lost Boyz members Pretty Lou and Spigg Nice remained committed to finishing the recording of LB IV Life (1999), the group’s follow-up to their 1996 gold debut Legal Drug Money and their 1997 sophomore effort Love, Peace & Nappiness-- also certified gold. LB IV Life became a tribute to Freaky Tah, who appeared on several songs recorded before his death. The tragedy of Freaky Tah took place on Cheeks' birthday solidifying its permanence in his mind and spirit. "It's ill waking up every day knowing he's not around anymore," says Mr. Cheeks who was born Terrence Kelly and calls Miami home today. "It still bugs me out. We were little kids growin' up together since we were about eight. It's been hard, real hard." Named after both his late grandfather and his cousin who succumbed to stomach cancer early this year, John P. Kelly is Mr. Cheeks' tribute and his testimony. His message is one of a personal and musical revival, a return to the basics or "the essence of hip-hop" as he puts it. In spite of the pain and loss he’s experienced, Cheeks is able to smile on the past. He's had no option but to carry forth the party legacy that has become synonymous with the Lost Boyz on classic cuts like, Jeeps, Lex Coups, Bimaz & Benz, Get Up, Lifestyles Of The Rich And Shameless and Plug Me In. Lights, Camera, Action!, the lead single from Mr. Cheeks long-awaited solo debut John P. Kelly, is in the spirit of his previous hits. With an infectious hook, and hypnotic track spiced with a subtle bass groove and a prominent string line, Lights, Camera, Action! summons the listeners to the dance floor. "I was mad at the beat at first," Cheeks laughs recalling when producer Bink! first played the track containing a sample from Eddie Kendricks' Keep On Truckin'. "I was like, I’m not tryin’ to party right now. People were like, 'yo you got to hit them with a party joint. That's what you do. Bring that back to the table.'" The truth is that John P. Kelly has no standout cuts; it's a standout album--period. The beats are hot and timeless; the music is catchy and melodious; the choruses are well crafted, clever and down-to-earth. Cheeks' delivery is smooth, confident, clear and playfully cocky as he bounces and weaves through the variety offered on the 15 cuts. Big Gipp of Goodie Mob adds some southern spice on Bump Heads. Easy Mo Bee and Cheeks signal a warning on Here We Come produced by Easy Mo Bee. In addition to producing Bump Heads, Mr. Sexxx, long time producer with the Lost Boyz, heats it up on four other tracks including We Want It All, Major, Friday Night featuring R&B vocalist Horace Brown and Cheeks' younger brother Wild Walt of Queens Most Wanted and Worldwide Bouncin.’ Worldwide Bouncin’ was inspired by Mr. Cheeks’ experiences performing in Europe, Africa and Australia. In fact, the Lost Boyz were on the road when Mr. Cheeks hooked up with Stephen Marley, who collaborates with Cheeks on Mama Say, a riveting performance with sing-a-long, reggae-flavored harmonies accentuated by catchy piano riffs that dance atop a bounce-oriented bass and rhythm track. Marley and Mr.Cheeks first met when the Lost Boyz were out on the 1997 Lollapalooza tour. "That was a blessing," says Cheeks who grew up listening to Marley’s legendary father. "Stephen came to the table one day and wanted us on Guiltiness for the Chant Down Babylon album (1999)." The two have become fast friends and business partners; Marley, co-owns One Fam Music with Cheeks and the two are planning an all dread tour for 2001. "I'm caught up in many worlds, "Cheeks says explaining the blend of very musical and very melodic hip-hop that is his signature. "I want to do R&B and reggae and I want to rap, so I just do them all together on John P. Kelly." Cheeks' tendency to create from diverse music worlds is clear on Friday Night, which is laced with the familiarity of the Silver Convention's disco classic Fly Robin Fly. Finally, one of the most poignant tracks on the album, reminiscent of Renee, is the spine chilling, melodic groove called Til We Meet Again which honors Freaky Tah. Til We Meet Again is another collaboration with Marley, whose father’s memory lives in the windpipes of his offspring as is hauntingly displayed on this song. "People were asking me, when are you going to make something for Tah," Cheeks recollects. " I was like I don't know when it's goin' come. When that shit came, I was like this is the joint I'm goin' to do for him." The release of John P. Kelly is just the beginning. However, Mr. Cheeks gives assurances that this solo project does not spell the end of the Lost Boyz. "Everybody has different agendas, but we are still LB Fam," he explains. "They've got their groups and projects. We might put out another Lost Boyz album, but it's not going to feel the same way it did when we first started. Everything changed when Tahlik died. We still do shows like the Eagles or Earth, Wind & Fire. When it's time to go do it, we get together and go do it." Now, it's time for Mr. Cheeks to go do it. With an unbreakable spirit and a bangin' album in his hip pocket-Mr. Cheeks is platinum-bound.
