Yeah, they were never going to clear that CCR sample. Prince Paul writes:

This was a song was recorded in My studio in the early 2000′s .Doom I had know for quite some time and at this point I had recorded Barman ” It very stimulating ‘ EP . Barman wanted to collaborate with Doom on a song which was a great idea . All I remember in recording this was being amazed how these two guys styles complimented each other. Too bad we didnt record more songs that day. We never had a formal release of this demo song but did appear on Doom’s Leftovers . Please share Prince Paul’s Unreleased series ( Its free )

Paul B’s on some other shit, as usual. Taken from his new Thought Balloon Mushroom Cloud LP, “Back On A White Horse” will certainly blow your mind, perhaps even inspiring you to press rewind. In the above video, he spits a few stanzas of what seems like your average nerdy backpack rap. But then he takes it to a whole ‘nother level of geekery, sun. In the second video, he breaks down what he rapped in part one. Yeah, he’s the antithesis of Lil’ Scrappy, we got that. He’s also crazy brilliant, and that you have to respect. Watch both videos in order, in full. Seriously.

    Paul Barman’s constant clowning is centered around seventh-grade subject matter, namely anything that comes into or out of the human body (or both, again and again). Biz Markie’s “Pickin Boogers” has got nothing on “Burping and Farting”, where he comprehends the various ramifications of “ingestin’ gas in the intestine” all over a sped-up tango beat. The song is giddily devoid of any semblance of maturity, but that’s what makes it fun: he refuses to front. While braggart rappers are bragging about all their hoes in different area codes, Barman is having self-consciously ridiculous fantasies about fucking an assortment of celebrities. On the lead single, “Cock Mobster”, he rhymes their names with how he’d like to take them (example: “Winona Ryder / goin’ inside her!”), over a cartoonish yet bumping beat.

    While most rap is built on street smarts, MC Paul Barman uses a quirky brand of silly intellectualism. This fool makes references to algebra, Origami, and Nietzsche interspersed with boneheaded puns. His mischievous rhyme schemes round out his bizarre style very nicely, like when he claims that he “follows politics to ball all the chicks.” At one point, he gives the following shout outs: “Eve, Mika, RZA, Evil JD, / Nasir is Osiris and J-Live, AZ, / Rakim, Cormega, Cage, Mr. O.C.”. This may sound like an eclectic group of influences, nothing special, but it’s made up of  palindromes. That’s right, spell it all backwards and it’s the same thing, and it still rhymes.

    Even though his rhymes are genius, the Caucasoid (as he calls himself) does have an distinct lack of rhythm, even for a white guy. He gets so carried away in fitting all his ideas in that he doesn’t seem to care whether he falls on the beat at all. It sounds pretty awkward at first, but once the listener picks out all the punch lines it becomes rather amusing. His convoluted style actually works better on some songs than straightforward delivery would; like in “Anarchist Bookstore Pt. 1″ where he voices a stoned pornographer, a corporate hack, and an iron masked revolutionary, all with their own unique cadences.

Even though Barman’s new material is well worth the three-year wait since his debut, Paullelujah has a few defects which keep it from being a consistent piece. First of all,  the production isn’t nearly as innovative as when he was with the legendary Prince Paul (although they reunite on “Bleeding Brain”). Also, there are two tracks, “Time Travelling” and “A Somewhat New Medium,”  apparently trying to parody bad spoken word, complete with overdrawn pauses and corny background music. It’s cool to listen to once or twice, but it frankly could have been left out. That being said, this is the funniest album to come out since Chris Rock’s Bigger and Blacker (if that even counts), and is sophisticated enough to remain entertaining after repeated listening. Maybe Paul’s not going to be in the lyricist hall of fame, but he certainly deserves to sneak in and defiantly spraypaint “My dandy voice makes the most anti-choice granny’s panties moist” on the wall.

MC Paul Barman doesn’t seem to take himself too seriously which is good. He knows he’s a no-ass getting white boy that raps much like our exemplified friend in the first paragraph (except maybe with a 95′ Kwest The Madd Lad twist). Or at least, I’d like to think he does (he seems to admit it on all 6 tracks, including the intro). But somehow he ended up on some of Prince Paul’s tastiest beats in recent memory so much like the undesired mayonnaise mysteriously found on the frankfurter you just received. You might as well grin and bear it because the dog just looks too good to throw away. Nawmean?

“The Joy of Your World”, are both Paul’s are their finest, if that’s possible (I mean at least for Barman). The Prince supplies a frantically joyous track for the other one to introduce himself. Granted, he’s humorous, very much so I’d say, and actually has reasonably good breath control, yet he’s also terribly dorky. And that is what will simply divide listeners, straight down and up. If you have a flexible sense of humor than you might be able to appreciate this. Because that is what this record is, humor (over some live ass beats). Anticon this ain?t, so don’t purchase this with anything like that in mind. Barmy, as he is so affectionately referred to as (“Salvation Barmy”,), again is a no-ass getting white boy that raps much like our exemplified friend in the first paragraph.

So dig, Barman want’s to be “used as your yearbook quote” so remember that. Thumbs up to Prince and the other one for trying something new, but you better believe if you blow the fuck up and get on some whatever-whatever shit, Hip-Hop is coming to Chapel Hill with Freddie Foxxx, Lord Jamar, the BOOYAH Tribe, M.O.P., and a whole bunch of other really intimidating cats to put your ass in the diamond cutter. Don’t get caught out there like that man. Oh yeah, your shit ain’t that bad either.

Paul Barman: I went to school at Brown, but I spent half my time at RISD, the Rhode Island School of Design.

So did you meet Prince Paul at the school? How did this all come together?

He got his hands on my 7″.

I saw your 7″. I haven’t heard it though. What’s it like in comparison to the EP?

Uhh. Well, it’s made on my 4-track. Would say, in comparison, it doesn’t sound as good. There’s much much less sex, it’s not as consistent, but there’s gimmerings of the genius to come.

How long ago was it that you recorded that?

That was in ’98.

So he got a copy of the record and just contacted you from there?

Yeah. He wrote me a letter on Doo-Doo Man stationary. There was a little white turd with a smiley face and a cape.

So a correspondence began?

Yeah, I started calling him all the time and we a lot of incredible conversations actually and eventually he scheduled the recording session and hooked up the thing with Wordsound. And we made an EP, and he was like “go get ‘em kid!”.

How was the experience of recording?

Very intense, I learn something new every time I record something new. I just recorded two new songs for a Matador 12″. One song’s called “House Mate Troubles” and the other one I’m not sure what I want it to be called yet. But, I think I need slow drums. Yeah, and I’m listening to Ironman (Ghostface Killah) too and the drums are really slow throughout the whole record. With slow drums you can rap as slow or fast as you want. With fast drums it seems like, with a few exceptions, you have to rap fast.

So how does it feel to have this all this sudden attention on your from press and fans alike?

It’s so many juxtapositions at once. Like, I knew critics would go bananas for the record. I hoped that everyone would go bananas for the record. There’s the graciousness and hope that the press will help me lead the type of career that I want. But there’s also the fear that this is the beeline for flash-of-the-pan-osidity. I think that I’m a pompous bastard as it is, so having a lot of people kiss my ass or promise great things probably isn’t the best thing.

What do you think the criticism of the record has been? Has it been a positive thing?

It’s mostly positive. Yeah.

What about other Hip-Hop artists?

The artists that I’ve been able to sit down and talk with are incredibly in touch. If you’re asking about approval, they just don’t approve, they like it. People who get it get it. This whole ‘different thing’ is absurd. Didn’t KRS-One tell you to be original? Isn’t KRS-One constantly defining Hip-Hop? Isn’t originality part of it?! Isn’t not fronting part of it?! If I front less than have the other rappers that means that I’m more Hip-Hop than the other rappers. And anyway, who cares? I feel that where you getting at and I feel like I’ve been giving people wishy-washy answers for too long. One thing I can say is, I think one main difference is that a lot of emcees have a serious approach to their work and their lyrics are quote-un-quote serious and they sneak in jokes once in a while. I also have a serious approach, but it’s my nature to try and be funny most of the time but (try to) I sneak in the more solemn thought.  I think if I were to be solemn all the time it would betray my nature and it would also not be fun to listen to. If you want to make your mark while you have a chance it would be a waste of time not to discuss those thing. But at the same is it entertainment or not? It’s everything so you do everything you can.

Where do you see Hip-Hop’s place in everyday life?

Honestly, I don’t know. I’m not a Hip-Hop census taker. I can only touchingly say how its effected me. I know a lot people say how it effects how they walk and talk. And I think that is not as significant as how you think and act. My favorite line in one of my songs was “super-distinctive visualizations make me go sacre-blu”. I feel like that could apply to what Ralph Nadar would call, ‘Republi-Crats’. Or when people just try to define things. Like, Hip-Hop has plenty overlaps with other artforms. However, and I’m talking greater than four elements, once you start talking that way it gets a little bit tricky. Because if I compare rapping to say, drawing. And those are my two favorite modes of expression. Then that makes you sound like rapping is just a formal exercise for me. Which it absolutely is not. I forget what the question was.

But I think you answered it anyway. But you would definitely consider yourself a fan of Hip-Hop music right?

(laughing) A fan of Hip-Hop? Of course of I do!

I know it sounds like an absurd question. Does it sound like an absurd question?

Yes! Definitely.

I don’t think that its that absurd. For a lot of artists coming out right now, their Hip-Hop artists, but their not fans of Hip-Hop music, more so of fan of themselves.

How is that possible?

They’re fans of Hip-Hop music, but they’re more fans of themselves and their friends than they are of any other Hip-Hop artists.

Well that sounds valid. Why shouldn’t they like their friend’s music?

I’m not saying that they shouldn’t be fans of their own music or fans of their friends music. But I’m just saying that seems to be as far as their likeness of Hip-Hop music goes.  Does that make any sense?

I guess so.make sure in the interview you mention www.mcpaulbarman.com

What was the last Hip-Hop item you purchased?

MF Doom’s record. And I want the first Outkast record. There’s a million records I want.

Would you pay to go see a Hip-Hop show?

Of course! I practically have to pay to go to my own Hip-Hop shows. It’s not like I get dap at the door, dude.

How has been your experience with your live shows?

Good. People have been really positive, the backlash is 5 seconds away. I think get away with a lot.