John Reuben
Despite the success of hip-hop flavored gospel groups,
there has yet to be a Christian rapper embraced by hard-core hip-hop fans. But that’s only because John Reuben had yet
to release an album.
On the Columbus, Ohio, native’s stellar debut album,
“Are We There Yet?,” he raps with superior skill about life’s many twists and
turns while an eclectic collection of stirring, head-nodding beats pulse around
him. Throughout the 14-cut album,
Reuben professes his devotion to his religion, but he does it in such a way
that even non-Christians can appreciate it.
“A lot of artists in the Christian music industry feel the need to stick
the name of ‘God’ or ‘Jesus’ anywhere possible to ‘Make it Christian,’” says
the 21-year-old Reuben. “The way I
operate, I don’t necessarily focus on trying to make my music Christian. I focus on making my life Christian. All I know and all I can even have to hold
on to at this point is knowing who I am and where I stand with God and finding
comfort in that. I focus on making my
life in tune with God, and then I write my music about my life, so it just
naturally comes out like that.”
Take “God Is Love,” for instance. Reuben and guest vocalist Toby Mac rap and
sing about the brotherhood and equality of all people on the cut, which is
carried by soothing acoustic guitar playing.
Positivity radiates from the song, which urges listeners to stay strong
during difficult times. “The song is
about how when all things come against you, in the midst of it all, having a
communication with God,” Reuben explains.
“You’ll be in sticky situations, get an eviction notice, having friends
turn their back on you, but you should still have love for everyone and
ultimately look to God as your source of love.”
Reuben makes a similar point in a very different way
on “X-Ray.” Because so many people work
to live up to the expectations and desires of others, they often lose sight of
their own goals and happiness. With
“X-Ray,” Reuben points out that without inner peace and a positive sense of
self, it is hard to live a satisfying life.
“It’s about people not really presenting what’s inside but putting up a
façade because that’s what you have to do to look good or present yourself to
look right in people’s eyes,” he says.
“But you’re not being really real with who you are. The song is about that coming to a head with
everything collapsing because you can’t escape what’s inside.” The harder-edged song features heavy
electric guitars, a sinister bassline and eerie sound effects, attesting to
Reuben’s ability to perform over a variety of sonic backings.
|
“It’s about people not really presenting
what’s inside but putting up a façade because that’s what you have to do to
look good or present yourself to look right in people’s eyes. But you’re not being really real with who
you are.” |
Reuben’s range also shines on “Do Not,” which will
certainly appeal to die-hard hip-hop fans.
He takes a more deliberate hip-hop approach to the song by rapping
confidently about his personal growth over a funky beat. “It’s rhythmic and it’s a good explanation
of the album and me in general,” he reveals.
“I used to be really involved in underground hip-hop culture and every
time I’d show up, there’d always be these rules and regulations and if you
stepped out of that, it wasn’t considered ‘real’. It was limiting me from being fully able to express the ability I
have. I was like, ‘Whatever’. I love the music and I love the art, but I
had to take things to the next level.
They don’t have to stay the same.”
Obviously things change, a main reason for “Jezebel,”
the album’s most bitter, caustic selection.
Initially struck by the stunning appearance of a mysterious female,
Reuben later discovers that the relationship was driven by confusion and
stupidity. “Jezebel comes from
experiences I’ve seen with friends and different people,” Reuben says. “It’s not an attack at women, but I’ve seen
some things my friends have gone through and some manipulation going on. My being a guy, I see how the content kind
of sneaks up on you. It’s a warning.”
Shifting gears yet again, Reuben highlights his
hip-hop sensibility on “Place To Be (Cipher Freestyle).” Featuring impromptu rhymes, beatboxing and a
carefree vibe, the song recalls hip-hop’s formative years. “The song came together at the last minute,”
Reuben says. “A couple of friends of
mine came along. We were playing with
beats and I was beatboxing. After working on some of the rock elements on the
album, it was refreshing to hear beatboxing and guys having fun with
freestyle.” Born and raised in
Columbus, Ohio, Reuben says he was an obnoxious kid who enjoyed being
sarcastic. But while many of his
friends were playing with their latest action figures, he was reading,
searching for knowledge. “When I was a
little kid, I never got into toys,” Reuben says. “I was always in the almanac, reading statistics, creating
football teams and building cities in my head.
I was just real creative and had a big imagination.”
His imagination was limited somewhat by his parents,
who did not allow him to listen to secular music. Still, Reuben would hear melodies in his head. He would write poems to release his
frustrations. In middle school, Reuben
discovered hip-hop through some of his classmates. He was drawn to such lighthearted groups as Leaders Of The New
School and The Pharcyde, but it was the pride and militancy contained in the
work of Boogie Down Productions that struck a cord with Reuben. The work of the KRS-One led group helped
drive Reuben into the hip-hop lifestyle.
A 16-year-old Reuben started attending open mic
performances at local record stores. He
was awestruck by the battling, freestyling rappers, from whom energy
oozed. Reuben discovered that rapping
was a good way to express his multiple interests and thoughts.
After recording an EP, he would sell it at local
performances. Reuben then relocated to
Los Angeles for a change of scenery and to hang out with his brother. While in Los Angeles, Reuben received a call
from the then-manager of Grits. The
manager liked his recordings and started helping Reuben put together a package
of his material. After sending the
material to a few record companies, Reuben was signed to Gotee Records, home of
Grits. Rather than adopt some fancy rap
name, John Reuben Zappin decided to simply use his first and middle names when
he rapped. “I’m not good at putting on
any type of character,” he says. “I am
who I am, and I think the best way to represent who I am is to use my real
name.” That type of direct, earnest
approach makes “Are We There Yet?” one of the most dynamic and pleasing hip-hop
albums in quite some time. “It grabs
listeners that normally wouldn’t want to just listen to drum machines and
loops,” Reuben says. “It’s an album
that everyone can relate to, from hip-hoppers to punk rockers, skaters, people
who sit around in coffee shops. If
people are willing to open up their mind and enjoy an album, they’ll be ready
for an album like this.”
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