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Can this “North of the Border” emcee finally get some love from American audiences?

I’m trying to think of the last time I could salute BET for anything, and if I had to guess, it would probably be the brief period back in 2001 (or 2002), when they had the video for Kardinal Offishall’s “Ol’ Time Killin’”, in their rotation. It was just nice to see a Canadian hip-hop artist being recognized here in the states, hailing from the Great White North, myself. And surely Kardinal, one of Canada’s most prominent emcees, arguably had the best chance for crossover success. He’s certainly kept busy, and built a small fanbase in the states, having worked with the likes of Busta Rhymes, Method Man, Timbaland, The Neptunes, and The Clipse. A few setbacks aside, Kardinal hopes to finally break the American hip-hop scene with Not 4 Sale.

Signing with Akon’s label, Kon Live Records, is certainly a step in the right direction towards gaining more exposure stateside. The challenge, however, comes in preserving one’s style and musical identity while catering to mainstream audiences. From his current single “Dangerous”, to the album opener “Burnt”, I got the feeling Not 4 Sale might not have the same rustic, underground charm of Kardinal’s previous album Quest for Fire: Firestarter, Vol. 1. This isn’t necessarily a bag thing. “Set It Off” is a worthy offering for die-hard hip-hop fans and casual club-goers. The track has everything it needs to be a solid single, with its synth-driven, bass-pounding production and Kardinal’s signature flow, in addition to guest verses from The Clipse. The easy-going, 80s urban-pop groove of “Digital Motown”, featuring J. Davey, is a nice change of pace, complete with some clever wordplay from Kardinal as he makes reference to the Houston rap group UGK(The Underground King, yeah I do it the Bun way/I pimp so you can C how you can do one day). Simple and playful moments like this are certainly appreciated. Fellow Canadian Glenn Lewis offers the hook for “Family Tree (Still Eyerize)”, as Kardinal expresses the importance of the past and knowing that those before us grew up having to overcome more than we ever did.

As he often does, Kardinal gets in touch with his Caribbean roots, infusing several tracks on Not 4 Sale with healthy doses of dancehall and traditional reggae. “Bad Like We Bad”, one of three tracks produced by Kardinal, is also one of its best, even if it comes dangerously close to overusing the vocoder. “Nina”, meanwhile, serves as a balance, a slow and subtle reggae ballad that reminds me of basement parties as a teenager back in Montreal. “Numba 1” tries to have it both ways, playing up more of a pop sound, and features a less-than-stellar guest apparence by Rihanna. The remix of “Dangerous”, with Seal Paul, makes up for it, however.

Not 4 Sale does stumble periodically, with lethargic tracks like “Go Home With You” and “Gimme Some”, but overall, the album is still solid. Kardinal’s superior skills as an emcee, balanced with his musical talents in reggae make for an enjoyable listening experience. For an artist that’s been taking baby steps across the border for years, it’ll be interesting to see if he can finally reach a larger audience.

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