Mike Dean :: 424

If the name of the artist behind “424” struck an instant chord, it’s probably because you were or still are a fan of Rap-A-Lot Records. Mike Dean was one of the house producers for the label in the 1990’s, and if you’ve been reading this site for long enough, you’ve seen his name on everything from 5th Ward Boyz’ “Ghetto Dope” to certified classics like “The Diary” by Scarface. I wouldn’t call it a stretch to say he’s a fixture of Southern rap production, or that he maintained that status for at least 20 years running. It’s not that he stopped producing in the 2010’s — far from it — but he diversified his portfolio to include mainstream artists like Beyoncé, Madonna, Justin Bieber, and so on. Still from Houston, still proud of his Texas roots and Southern swagger, but giving his signature soundscape to a whole new audience.

“Don’t Fast Forward Life” is a fine idea, but it does lead me to a moment of self-reflection on “424.” I would say I know Mike Dean, but I know the Mike Dean I grew up with in my teens and 20’s. 30 years later I’m not the man I was any more and neither is he. I feel like I actually fast-forwarded my life past the evolution of Mr. Dean to where he is now. “Where is that then?” I’m glad you asked. I would say this Mike Dean is closer to Giorgio Moroder than hip-hop. That’s not a knock. There are a lot of great rap songs that have sampled Moroder’s film scores, and his hand showed up in lot of pop songs that are a quintessential part of my youth. Berlin’s “Take My Breath Away” and Limahl’s “The NeverEnding Story” are two fine examples. The entire score of the movie Scarface is his.

It’s undeniably my own lack of imagination that I couldn’t see this transformation for Mike Dean. In what feels like a blink of an eye to me he went from crafting rap classics to songs like “Swimming Pools and Movie Stars.” If he was making an album of instrumentals sounding like his pop hits for mainstream acts, I’d still be surprised but not nearly as much so as I was by “424.” I can’t even say “this isn’t rap” and have that suffice as an explanation. “These aren’t songs” comes closer. Oh, they’re musical. In fact they’re even beautiful. You can’t dance to them though. You can’t bop your head to them. You might be able to have sex to them. I’d say “let me know how that works out” but really I’d prefer that you didn’t. Mike Dean has a track here called “I Like.” What does he like?

The simple answer is that he likes moods. He likes atmosphere. He likes ambient sounds that are both pleasing and ethereal, but that don’t really say anything. Another composer I’m fond of is Erik Satie, and what I sense from this evolution of Mike Dean is a form of spiritual kinship with the Frenchman. Neither one had what one could call a conventional career, and although lauded by their peers, they were also ruggedly determined to forge their own path. Dean continued to evolve while I let his life fast forward past me, and he’s now making “furniture music” for his own satisfaction. He’s undoubtedly made enough money in a 30+ year career that he can indulge his whims without a care, and since I can’t say the same I should congratulate him for doing better than me. I’d be lying to you if I said this isn’t the Mike Dean I wanted to hear, but if you like Hearts of Space style music, you’ll enjoy this one.