I recall Dudley Perkins cropping up a few years ago, with only the slightest inkling in my mind that he was in some way connected to Declaime. Well, it’s the same guy, shockingly enough. Regardless, the Stones Throw affiliated emcee has returned with a new album. But this time in lieu of going throw Madlib’s label, Perkins and Georgia Anne Muldrow (another Stones Throw artist) have decided to launch their own label. The pair has also decided to release solo albums on the same date via their SomeOthaShip imprint. And even if one didn’t then figure that the George Clinton/Parliament/Funkadelic connection from the name of the duo’s label, a quick listen to any track – including the myriad interludes – eases that out there.

The influence that Clinton has found himself with in the rap game hasn’t really been fully exploited on his part. Of course, the singer has appeared in a number of videos and the like, but hasn’t put out a rap record of his own. But if he did, it might sound like Holy Smokes. In saying that, though, no one should figure that Perkins vocalizes in the same manner as Clinton – although during any spoken diatribe that the emcee gets into, there’s probably a good deal of similarity to be perceived. Perkins’ voice, though, is around a half octave deeper than his elder’s. What’s more important, though, is the fact that Perkins, just like Clinton, seeks to comment upon life and current goings ons in a playful manner. Nothing here is heavy handed – but judging by the cover, the high concept of art is as much in play as anything else.

With all of that as a back story, it shouldn’t be too surprising that much of the work represented here on Holy Smokes has a component of playful cleverness even as Dudley goes in over some future funk productions. He might be invested in anchoring his work in broad platitudes about haters and those that might have some sort of oppositional perspective to him, but nothing ends up discouraging listeners. “Understatement” goes so far as to explain who these works are tailor made for – and it might not be you. The overall perspective that Dudley maintains – alongside Muldrow, whose vocals crop up on the aforementioned track – might seem to become tiresome after an hour of music or so, but that’s just not the case. Holy Smoke doesn’t sound like a rap record. And even if Muldrow and Dudley are working with the trappings of the genre, they’ve been able to avoid any of the inherent short comings associated with this sorta emceeing and producing.

More likely than not, this disc won’t end up getting spread around too much. And even if the Stones Throw fan base is growing, some might want to attribute that to some of the funk and soul that the label has been releasing. Dudley might fall into that category, at times. But in the emcee’s attempt to be creative – and he succeeds – he’s probably disallowed himself from becoming more successful than he is at this very moment. Hopefully, he doesn’t get too discouraged. And ideally, he keeps making this kinda music while gaining a broader appeal.