Album Review: Apollo Bebop’s Debut “Still Learnin’”
From Santa Ana, CA come Hip Hop Legends in the Making
Some hip hop artists spit over samples. Others work with producers or create their own beats.
Then there’s Apollo Bebop, who create sample-worthy tracks every time they take the stage.
You haven’t heard of them yet, but Apollo Bebop is a five-piece hip hop/jazz band based in Santa Ana, California — an ever-overlooked pocket of art and culture in Orange County, CA. Combining the formidable chops and of Chris Trimmer (guitar/bass), DeAndre Grover (tenor sax/keys), and brothers Dominick (guitar/bass) and Donovan (drums) Cruz — all masters of their respective instruments — with Brian to Earth’s crisp, attitude-packed flows, these cats have been cooking up and serving the spiciest of tracks since 2015.
Due to their incredible work ethic, consistent commitment to the local music scene, and incredible talent, the Apollo Bebop is on a path to great things — and they have the support of their home county behind them. Recently, the group completed a two-week tour of the West Coast to promote the release of their first full-length album, Still Learnin’. If you’re around Santa Ana, you can catch the group for free every week as a part of their residency at The Coollab Project.
I’ll say it again, and again, and again — these cats can play. Still Learnin’ is a musical gumbo of silky smooth guitar riffs, fat, stank-face inducing bass lines, elbow-deep-in-the-pocket drum beats, sultry saxophone licks, and Brian to Earth’s (dare I say it?) swag-drenched “protein BARS”; you’d be hard-pressed to find more talent on a single stage in this genre. There’s something here for the musicians among you, the jazzers, the hip hop heads, and all the rest. The entire album overflows with fun — you can clap your hands, two step, and nod your head the whole way through. And that’s only a fraction of the energy you’ll find at one of Apollo Bebop’s live shows.
Still Learnin’ is at times playful and introspective, and at others aggressive and standoffish. Brian to Earth ponders his own intentions as an artist (Note to Self, Where Am I Going With This?, Same Ol Thang), counts his blessings (Count Your Blessings), writes off the haters (Leave Me Alone), and celebrates every step of the slow but steady journey toward whatever Apollo Bebop’s future may hold (Cruz’n, Das Lyfe). The musical stylings of the album range as well, and some tracks feature certain instruments more prominently than others. I’ll make a note of that, as well as some of my favorite lyrics, in the track breakdown below:
Note to Self (guitar, sax)
“In the event that I forget
What my goal is or what I define as success,
I wrote this to remind myself
Nothing in life fulfills my soul quite like music.”
The first track on the album is a love letter to music, and a reminder of why Apollo Bebop do this in the first place. The vinyl static-tinged sax melody, accompanied by guitar, immediately set the tone for the entire album. Nostalgic, jazzy, and beautiful — then quickly, unapologetically, and undeniably hip hop. Brian to Earth also makes his own intentions clear — he’s set distractions (drugs, alcohol, college) aside to live for the music.
Das Lyfe (bass, drums)
“I’m tryin to stay focused on the mission
So I opened up my eyes so I can keep sight of the vision
See the light that keeps me going and won’t stop until I’m finished with my life.”
After the sweet closing notes of Note to Self, Das Lyfe offers a swift kick to the chest, delivered by the Cruz brothers on drums and bass. Make sure you’re seated when the bass line is established at 0:12 seconds, because you’ll still be struggling to stand by the time Brian to Earth starts spitting. Don’t worry though, you’ll get a chance to catch your breath during the solo section as Chris and Grover give you a taste of what’s to come.
Same Ol Thang (guitar, sax)
“I keep a light mood,
I ain’t trying to fight fools with low IQ
Still not sure what I’m doing with my life,
Who am I supposed to be — am I making the right moves?”
Don’t be afraid to two step with this one. Featuring guitar and tenor sax, Same Ol Thang is a musing on behavior patterns that we just can’t seem to break away from. Is what’s comfortable best for us? What should we do in the face of an uncertain future? You might not find the answers in this song, but you’ll definitely find a raucous sax solo.
Come Over (bass, sax)
“Long story short, man, I got denied
Probably came on too strong,
What the fuck was I thinking?”
Come Over is a seductive track that recounts Brian to Earth’s failed attempts at picking up a cute girl he spotted at a coffee shop called the Gypsy Den (fun fact — Apollo Bebop has a weekly residence at this coffee shop in Santa Ana every Sunday morning). Throughout the verses, Brian to Earth gets more chances to flirt with his muse — but he comes on too strong again and again. Ultimately, he decides to hang back, flirt, and get to know her a bit first . . . then the tables turn.
Where Am I Going With This? (bass, sax)
“You should sit back and let the professionals handle this
Shit’s about to get hotter than wicks in the candle stick
And even hotter than the lava that these volcanoes spit
You were warned, I’m not liable for the damages.”
Where Am I Going With This? feels slightly neurotic and anxious — spaced out guitar float over a bumbling bass line (one of my favorites from the album) as Brian to Earth rambles on about his band’s skills and aspirations. The hook serves as a sort pre-chorus, setting Grover up to deliver some sanity with his beautiful sax melody.
949 (bass, sax)
“I found your record where the possum lives
Which is next to where the garbage is
You’re about as funny as ostriches,
And about as loved as foster kids.”
949 is a shout out to Brian to Earth’s hometown of Rancho Santa Margarita — a town most people who live in Orange County haven’t ever visited. Brian to Earth doesn’t often run into people from the 949 — just like he doesn’t often run into people who “really, really rap” anymore. Yeah, that’s mean. Not as mean as the bass line or sax solo on this track, though.
Cruz’n (bass)
“I would say eat my dust,
but trust me, homie I ain’t driving fast enough.”
Cruz’n serves as a metaphor for Apollo Bebop’s road trip to success. They aren’t rushing it, looking for shortcuts, or overly concerned with the destination — they drive slowly so they can enjoy the ride, homie.
Leave Me Alone (guitar, bass)
“I am unable to see any faces,
And all that I’m hearing are words that are hatred
God damn, they are so cruel to a brother out here paying dues.”
Leave Me Alone is the saddest and angriest song on the album — sometimes the hurtful things people say online, anonymously, can get to Brian to Earth’s head. The thought of quitting has run through his mind before, but he won’t let the haters win. This track features beautiful guitar and bass work — the jazz guitar solo in the middle of the track offers a brief respite from the crushing sadness of the overall instrumentation.
Count Your Blessings (sax)
“Constantly bring her up in conversation or in verses
Beautiful in pictures, even more in person
Pardon me for getting lovey-dovey
I’m just happy and a lucky ducky.”
We all experience dark thoughts, depression, and self-doubt — but Apollo Bebop remind us to focus on gratitude as a way to overcome. On Count Your Blessings, Brian to Earth gives thanks for his girl, friends, family, and music — even in spite of the hard times.
Still Learnin’ (keys, classical guitar, bass)
“I’m still young and still learning
I won’t stop until my wheels stop turning.”
Still Learnin’ starts off with a beautiful piano melody played by Grover, accompanied by Chris on classical guitar. After the drums and bass get involved, the track quickly flips into one of the slickest beats on the album. Still Learnin’ (the album) began with a reminder as to why Apollo Bebop plays music and puts the work in — and the closing track is their promise to keep growing musically for the rest of their lives.
