The last time out, the Lil Rascals Brass Band proved its knowledge and dedication to tradition on its solid album We Shall Walk through the Streets of the City (Got Fire Music). The 1998 release contained classic cuts like “Paul Barbarin’s Second Line” and “Panama Rag.” For the Rascals to record an all-traditional album came as a real surprise to many folks. Some from the traditional camp didn’t know the Rascals had the know-how and the desire to produce a classic disc. Likewise, those Lil Rascals followers from the streets who knew the band to play “hot” wondered about this new image.
Three years later, the Lil Rascals completely turn the tables around with its new release, Buck It Like a Horse. Just checking out the titles of these two discs reveals how far apart they are in style and attitude. The new album opens with a telephone ringing and a “talkin’ that talk” conversation about what was going down in the ‘hood. “The Lil Rascals ’round there shuttin’ it down,” says the guy on the scene. “They’re buckin’ it like a horse and all that.” Jeffrey Hills’ tuba rallies the members of the band as they continue to laugh and talk at the opening of “For the Love of Money.” The drums get into it and then everyone snaps to attention with a blast from the heavy horn section.
The Rascals deliver a big band sound, produced by a full-strength, nine-man ensemble augmented by guest artists. On a disc of mostly hot-style original material, the Rascals return just once to the tradition on “I’ll Fly Away.” With the album’s co-producer Cyril Neville in on vocals, the band remembers the musicians it has lost to violence and drugs, chanting, “Roll for Mookie, roll for Money, roll for Eldridge, roll for Alto.” The production here may be lacking, but the heartfelt emotion is touching nonetheless. Some of the tunes included on the disc were written by these former members, including “Alto.” Penned by saxophonist Charles “Alto” Taylor, the tune’s strong melodic composition makes it a standout. Lil Rascals leader and trombonist Corey Henry’s contribution, “Rascals on Fire,” also shines with its memorable melody and is already an anthem on the street. Songs such as the reggae-flavored “Rasta Second Line” and the rap-with-a-message “Next Life (Keep the Spirit)” bring stylistic diversity to the disc.
The Rascals pick up on Glen David Andrews’ compelling “Knock with Me – Rock with Me” that encourages a group sing-a-long at second-line parades. Also street-wise is the kinda nasty title cut, “Buck It Like a Horse.” Better use of dynamics would have greatly improved the album. Even during a second line, the impact of full-on blowin’ becomes escalated when interspersed with moments of calm. The tried and true musical elements of tension and release are too often missing here. Perhaps the Lil Rascals Brass Band was a touch overeager to blow hard and hot on Buck It Like a Horse. But hey, eagerness is often the fuel that makes a second line roll.
