Almost a quarter century ago, a youthful Wesley Williams (better known as Maestro Fresh Wes) got the nation moving to the dance floor–friendly beat of “Let Your Backbone Slide.” The single went gold and paved the way for the Toronto-born Williams to become one of Canada’s most successful rappers. His debut album, Symphony in Effect, remains the country’s best-selling hip hop album ever.
But in recent years the “Godfather of Canadian Hip Hop” has been rather quiet musically, apparently more focused on his acting career, taking on parts such as a recurring role on the CBC comedy Mr. D. So it was with delight that fans greeted the release last year of his EP Black Tuxedo, his first new material since 2005.
But the Juno-nominated EP was just a taster for Orchestrated Noise, Williams’ first full-length album in 13 years, which is set to drop on June 25.
When your fans have been waiting more than a decade, it’s fair to say the pressure is on to deliver something special. So where does an iconic hip hop artist look for inspiration for his long-awaited comeback album? The opera house, of course.
Orchestrated Noise, which Williams says is his most ambitious work yet, is a collaboration album featuring a host of major names, including Chuck D from Public Enemy, T.O. hip hopper k-os and Sam Roberts. But also on the list is a track with Measha Brueggergosman, a Juno Award–winning soprano from New Brunswick who is usually seen performing with the Toronto Symphony Orchestra or singing at places like the Vancouver games. Not, you’d think, the most obvious choice to provide vocals on a hip hop track. And for Williams, that’s the appeal. Although he emphasizes there are tracks on the album that will be more “accommodating” to his old-school fans, the 45-year-old rap star is unashamedly mixing it up on his new album.
“I’ve set the bar at a certain level, but at the same time, too, there was a level of comfort,” he says, “Meaning it’s OK for me to experiment and do certain things based on what I’ve already accomplished. The competitive edge in me is still saying, ‘Let me show the hip hop world I’ve still got it,’ and the more brave and fearless side of me is like, ‘Listen, man, just do stuff that’s not been done before. You don’t gotta conform.’ ”
Fusing hip hop and opera might seem like trying to mix oil and water, but it is one of the tracks on the album of which Williams is most proud. “That track with Measha, an opera star, that’s never been done in hip hop,” says Williams. “That type of fusion between two genres, I’m very excited about that.”
Born and bred in Toronto — he was brought up in Scarborough and now lives near Yonge and Sheppard — Williams is unashamedly proud of his Hogtown roots. Although his music and acting careers have taken him to Vancouver, L.A., New York and, perhaps less glamorously, Halifax (it’s where Mr. D is filmed), Toronto is where he is most comfortable.
Like a one-man reflection of the city’s famous multiculturalism, Williams happily flits between upscale parts, like the Distillery District (where he’s planning to launch his album), neighbourhood eateries on the Danforth (Embrujo Flamenco tapas joint is a favourite) and everyman bars in his neck of the woods (where he sometimes likes to watch the boxing on TV). That’s when he gets a spare evening, which he readily admits is not often.
Williams’ own career certainly continues to last, and he has the Juno and Gemini awards to show for his 25 years singing and acting. Once the album drops he has a mini-tour planned and then he’ll be working on some projects, but he won’t divulge the details, saying he never announces in advance what he’s up to. For now, though, he’s just concentrating on launching Orchestrated Noise.
“This music project, it’s been in the making for a couple of years, and I think it’s poetic justice how on June 25 — and its black music month, by the way — I will be celebrating my 25th anniversary in the business. I think it’s fitting. I try to align things properly.”