Hip-hop, for all its hard edges, dirty beats, and tough-guy posturing, seems to have an odd soft spot in it for rock. And no, we’re not talking about the Run D.M.C.-meets-Aerosmith/Public Enemy-meets-Anthrax kind of thing. We’re talking MOR, radio-ready, smooth adult rock. A certain former drummer of Genesis has been the longstanding godfather of this certain brand of cross-genre collaboration, but most of Phil’s, um, genius has been limited to sample use, particularly of the song “In the Air Tonight” (here, here, and here, for example) — though this touching tribute does feature a live duet with Lil’ Kim.

But the times are a-changin’, and as sample clearance gets more and more difficult and hip-hop gets more and more popular, rappers have been called upon to find the predecessor successor to Mr. Collins, one whose voice rings as clear in the studio as it does on record! And as the first decade of the new millennium stretches well past its salad days, the new king appears to be in the form of one Chris Martin, heartthrob to millions and father to Apple, who lends his falsetto to recent albums from Jay-Z, the Streets, Swizz Beats, and even Kanye West.

• Jay-Z - Beach Chair (sample)
• The Streets - Dry Your Eyes (sample)
• Swizz Beats - Part of the Flow (sample)
• Kanye West - Homecoming (sample)

The real question, though, is whether or not he can really fill such big shoes. Because while Collins’ melodies and cascading drum rolls have a severity about them that lends itself well to the often very dramatic (or at least kitschy) side of rap, Martin’s voice has neither the necessary resonance nor playfulness in it to really pull this off. He sounds serious, certainly, but it’s a whiny earnestness better suited to well, Coldplay, than an MPC. The songs he’s included on, unsurprisingly enough, all come near the end of the rappers’ albums, the requisite “reflective” cut with the (alleged) crossover appeal. Martin himself, of course, can’t be blamed for this. He’s stated in the past that he likes hip-hop, and his enthusiasm for working with the MCs seems to be sincere, but there’s something about his tracks that just reeks of falsity (added to the fact that they’re really not that good) and forgettableness.

Worse, however, are those who try to play off the Martin appeal without getting the man himself involved. I’m thinking in particular of DJ Shadow, who employs a soundalike, Chris James, on “You Made It,” from last year’s Outsider, and Lupe Fiasco, whose latest single, “Superstar,” from his forthcoming album The Cool, features a very lame, affected hook by Matthew Santos. I know I was just saying how much I disliked Martin doing rap, but at least it’s… him, not trying to be anyone other than himself. It may be fake, but it’s a “real” fake, while the Shadow and Lupe songs are knock-offs of an already shoddy original, the karaoke versions of a Pussycat Dolls song.

So perhaps the throne has not been relinquished yet. There’s still hope that another sweet-voiced rocker (please!?) will find his way into the hearts and minds of all the rappers out there. But until then, all I’m saying is — and I’ll put it out there like Fiddy — if Chris Martin or anyone who sounds remotely like him shows up on the new Wu-Tang album, I’m calling it quits.

(Though, honestly, at least that might be better than this, a song which, not so ironically, mentions “In the Air Tonight” by name.)