by Amy Hanson
Rebounding, in the charts anyway, from the relative downturn of 1991's Sons of the P LP, Digital Underground continued cultivating its own brand of P-Funk culture on The Body-Hat Syndrome two years later, stuffing what had been the group's first year of silence with a fresh batch of funk-infused rap. Digital Underground's last effort for longtime label Tommy Boy, The Body-Hat Syndrome lacked some of the bright spark and humor that informed the band's first two albums. With the edgy grind of the leading single, &The Return of the Crazy One,& and its accompanying X-rated video (reworked for public consumption) boosting the band back into the spotlight, the rest of the album unfurled to less than outstanding crossover commercial acclaim -- the album's second single, the slightly melancholy and anti-racism cultural awareness politico &Whassup Wit the Love,& barely cracked the R&B Top 100. But that's not to say that this set doesn't represent another brilliant feather in the group's cap -- it does. Smooth grooves, understated humor, and gentle remonstrations of peace, love, and manifesto continue to drive the Digital Underground style, here sampled across a chunky 20-track set. &Holly Wanstaho& is a fantastic jazz-tripped reinvention of Parliament's &Holly Wants to Go to California,& while the completely original big bass beat &Brand Nu Swetta& is the perfect dance groove. The three-part &Body-Hats& breaks up the action. Two bonus tracks, &The Humpty Dance Awards& and &Wheee!, are included on The Body-Hat Syndrome's CD issue. With a smart balance between old-school, new-school, and their own school sonics, Digital Underground has once again brought funk history to life, passing the torch to the next generation and, above all, having one hell of a good time doing it.