Chances are, if you’re unconcerned (to a certain extent) about whom ‘they’ say is hot in hip-hop, you will have enough sensibilities to automatically detect a true emcee from the ones that are glorified via the mass media push. Whether humble or brash, true talent, just like how it’s similarly possessed by the varying flashy or quiet-spoken personalities of the most accomplished sportsmen, circulates in the hip-hop world from city to city, state to state, and even country to country. A world of hip-hop talent, whether very sellable or not, definitely exists and overflows in Brooklyn, New York. And one of its most skilled, battle-proven emcees is named Wordsworth, who, a short while back, released his debut LP, here re-released as Mirror Music: The Deluxe Edition (also accompanied with a special Bonus CD of producer Oddisee’s 10 exclusive remixes, titled Oddisee Presents The Mirror Music Remixes).

     Wordsworth’s calm demeanor and the expert manner he puts together a rhyme is the last signal to suggest that he’s typically cocky. However, it is this very quality in his subtle flow – sometimes he rhymes slow, sometimes he rhymes quick – that ironically demonstrates a level of confidence that almost places him on such a high plateau, he seems not to fear any challenger. On a sort of autobiographical track such as “Gonna Be” produced by Oddisee, his concerns dig so deep into the painful dues he paid as an upcoming emcee on numerous open-mic sessions in his tumultuous climb, it’s enough detail to deflate the highest esteemed emcees who lack character from their feeble development, despite their ‘success’. Wordsworth’s honest scenarios throughout this long one-verse of trials and tribulations, is like an honor to which other emcees who’ve traveled similar paths will relate to with un-regrettable pride, as he raps:

   “On stage cracking jokes about how ‘packed’ it is/while downplayin’ in my mind like I’m practicing/Then I go to SOBs and see other rappers’ shows/the promoter I’d know so sometimes he’d let me flow/While I spit, I see y’all talking in da back/but mostly y’all clap to reinforce that I’m not wack.”

     By no means is he seeking self-pity, or comically trying to get sympathy for being a born loser. Instead, he’s honestly showing and baring his soul on his early development, a story seldom heard by many who try to convince us that from out their mother’s womb, they were born with unbeatable lyrical skills.

     As some of the finest beat-technicians gather to compliment Wordsworth artillery of wordplay, producer DJ Static drops in a violin-laden, chopped-up, undetectable muffled sample that rhythmically dances around Wordsworth’s perfectly timed rhymes on “What We Gon’ Do”. Wordsworth uses his words to paint such an entertaining and detailed description of ghetto strife that not even a music video would do justice. Each packed verse on other tracks such as “12 Months” produced by Da Beatminerz, or the lounge-like, soulful groove of “Run” produced by Dave ‘Superstar’ Dar, is enough fuel for a script to produce a movie-short as he shines forth his gift of gab with an imagination he easily converts to literary form.

    Always seemingly conscious, forever spitting and spreading righteousness throughout his messages even when admitting he’s human and is sometimes lured into the world of material temptation, on songs such as “EVOL” featuring Masta Ace produced by Ayatollah, or on “Be A Man” produced by DJ A.Vee & DJ 3D, without once using any curse words to slow his credible street savvy on this entire LP, Wordsworth couldn’t have chosen a better moniker to name himself.