1. Intro // 2. The Hit // 3. The Good Die Young // 4. Corner Bodega (Coke Spot) // 5. Your Life’s on the Line // 6. That Ain’t Gangsta // 7. As the World Turns (feat. Bun B) // 8. Ghetto Qu’ran (Forgive Me) // 9. Da Repercussions // 10. Money by Any Means (feat. Noreaga) // 11. Material Girl (feat. Dave Hollister) // 12. Thug Love (feat. Beyoncé) // 13. Slo Doe // 14. Gun Runner (feat. Black Child) // 15. You Ain’t No Gangsta // 16. Power of the Dollar // 17. I’m a Hustler // 18. How to Rob (feat. The Madd Rapper)
*This was the planned release date. The full version of Power of the Dollar was never officially released.
1. Thug Love (feat. Beyoncé) // 2. I’m A Hustler // 3. Da Heatwave (feat. Noreaga)// 4. Your Life’s on the Line // 5. How to Rob (feat. The Madd Rapper)
Whether you love him or hate him you have to have some admiration for Curtis Jackson III. If not for his raps then at least for his persistence and his business sense. The latter is something he developed over the years, the former has always been present. He is one of those people who just won’t give up. Time and again he had a promising career thrown to the sharks, sometimes because of shit he couldn’t stop from happening too. He was born to a fifteen year old cocaine dealing mother in South Jamaica in Queens New York. His mother accidentally gassed herself after consuming a spiked drink while having the gas running when Fifty was 8, or so Wikipedia would have you believe, after which he moved in with his grandparents. In his early teens he became a drugdealer and after getting caught with weapons of some kind and narcotics of some kind he was sent to correctional boot camp. When he came back he, by his own admission immediately started selling dope again, but was careful not to get caught because correctional bootcamp really sucked. At some point he deemed the rap game more profitable than the crack game.
When he was 21 he started rapping in a friend’s basement, but the magic really started happening when he learned the craft of actual songwriting when the legendary DJ/producer Jam Master Jay picked him up and taught him to count bars and write choruses (Which would make Jay indirectly one of the Just a Lil’ Bit culprits…) Curtis was also signed to Jay’s record label and recorded his debut album with Jay, but it got shelved. (Poor Fiddy.) Curtis then left Jay’s label to hook up with pop-rap/R&B-producers the Trackmasters. They saw a potential hiphop star in the young whippersnapper and recorded his second debut album Power of the Dollar.
Things were looking bright for him since his debut single How to Rob stirred up quite a bit of controversy as it consisted of hilariously graphic detailed descriptions of how 50 was going to rob a lot of rappers and R&B singers who were at the time more famous and succesful than he was (or industry niggas, as he calls them.) The song which was obviously about as tongue-in-cheek as hip-hop gets, actually garnered quite a few responses from the likes of Jay-Z and Ghostface killah. Mariah Carey allegedly threatened to leave Columbia records, the label that housed both her and Curtis at the time, if 50 wouldn’t change the lyrics about her in the song. The man proved then for the first time that he’s good at getting the sort of publicity money can’t buy, which to a much lesser extent still rings true today. Another song on Power of the Dollar titled Your Life’s on the Line dissed the shit out of, at the time, superstar throaty disco singer rapper Ja Rule, which would become a recurring theme in Fiddy’s art. The song however that would spawn the rest of his career however was titled Ghetto Qu’ran which described the dealings of drug kingpin and Ja Rule-assiciate Kenneth “Supreme” McGriff, who got so pissed off about it that he sent someone to plug 50 Cent his famous 9 holes.
Miraculously it didn’t kill him (which later inspired Curtis to name a video game he was in Bulletproof), but it did scare the shit out of the kind folks at Columbia Records. So much that they fired Fiddy and shelved the original version of Power of the Dollar (the latter of which they probably would’ve done anyway because it was one of the first albums to fall victim to pre-release internet bootlegging) , but they did release an EP with four of its songs and one that otherwise would’ve been left on the cutting room floor, at the end of the fiscal year as a tax write-off.
The story of how Fiddy rebounded and ended up with Em and Dre to record his third debut album will be told another day. This review is about Power of the Dollar. An album that manages to simultaneously be the best album Fif had in him (not counting the Jam Master Jay record, I never heard it because it never leaked to the general public.) and much less interesting than it’s back story.
Since our man hadn’t yet got shot in the jaw his diction is miles ahead from the Ma$e-like drawl hearn on In da Club. Since he hadn’t made any real rap dollars yet he sounds hungry and a lot more believable dropping gangsta’isms than he would on almost any future recordings. Also his assholish sense of humour doesn’t get a more positive showcase than How to Rob, nor does his introspective side ever come out better than on Ghetto Qu’ran.
The production sounds like what Puff Daddy would give one of his signees around 2000 if he wanted to incarnate his idea of a “street” album (see also Black Rob’s Life Story, G. Dep’s Child of the Ghetto and Shyne’s Shyne): Cinematic, dramatic at times soulful, with some stale, forced R&B collabo’s and disco-lite thrown in for good measure. This should come as no surprise to those who know a bit about the Trackmasters who were at a certain point in competition with Puff for the title of jiggiest shiny suit bearer alive. Both Puffy and Tone & Poke got a critical beating in the late ‘90s for their disco-rap beats and therefor reverted back to a more fundamentalist, hardcore hip-hop sound, except super-polished and with the charts in mind.
More often than not it works. Da Repercussions, Your Life’s on the Line, That Ain’t Gangsta, Ghetto Qu’ran, Da Repercussion and I’m a Hustler all walk the line between pop accessibility and street credibilty well enough. One could criticise the album for the songs sounding alike and running together somewhat. One could flip this and praise this album for consistency. This reviewer chooses the latter.
A couple of tracks don’t click. Such as The Hit and the Good Die Young,mostly due to bland and misplaced instrumentals. It’s not that things get really unpleasant however, until our host gets paired with an R&B artist for a misguided love song. Anyone who has heard Ciara’s Can’t Leave ‘Em Alone on which Curtis appears will know what I’m talking about. Not that hearing a young Fiddy dueting a young Beyoncé isn’t interesting from a historical point of view (although no-one nut them can be sure they ever shared a recording booth) but the song suck dick and swallows. The rappers that showed up generally fare better. UGK’s Bun B actually has 50 sound faux-southern on their collabo As the World Turns and Noreaga delivers the album’s best punchline “I like my hoes like summer, no class” on Money By any Means.
Taken as a whole Power of the Dollar is a pretty okay album. Not one that drops jaws and warrants many repeated listens and nothing awful either. Although it doesn’t have any potential smash hit singles on it like his later albums it also doesn’t have the abundance of filler. Those who can’t stand Fiddy Cent because of Candy Shop and the like would do good to check this out.
Your Life’s On the Line, That Ain’t Gangsta, Ghetto Qu’ran, Da Repercussions, How To Rob, *Rowdy Rowdy
*Not on any version of Power of the Dollar but a song recorded during the same sessions this album was. Appeared on the soundtrack of the 1999 film In Too Deep (yeah me neither) and was released as a single. And it’s a pretty good song.
You can’t buy Power of the Dollar legally, unless you go for the EP version, which is a pretty poor selection of what’s available on the internet bootleg version. We at the digging in the crates blog do not condone illegal music downloading, but sometimes you just have to do what you have to do.