Category Archives: The Dynasty

Jay-Z – Chapter One: the Greatest Hits

Jay-Z
Chapter One: the Greatest Hits
March 11, 2002
Northwestside RecordsBMGSME
080/100
Jay-Z - Chapter One. the Greatest Hits
1. Hard Knock Life (Ghetto Anthem) [Radio Edit] // 2. Wishing On a Star [D’Influence Mix Radio Edit] (feat. Gwen Dickey) // 3. Sunshine [Radio Edit] (feat. Babyface & Foxy Brown) // 4. The City Is Mine (feat. Blackstreet) // 5. Can’t Knock the Hustle [Radio Edit] (feat. Mary J. Blige) // 6. Ain’t No Nigga [Original Radio Edit] (feat. Foxy Brown) // 7. Imaginary Playa // 8. Money Ain’t a Thang (Jermaine Dupri feat. Jay-Z) // 9. Can I Get a… (feat. Amil & Ja Rule) // 10. Streets Is Watching // 11. Money, Cash, Hoes (feat. DMX) // 12. I Know What Girls Like [Fly Girly Dub] (feat. Lil’ Kim & Diddy) // 13. Feelin’ I(feat. Mecca) // 14. Dead Presidents II //
bonus tracks
15. Wishing On a Star [D’Influence Mix Full Version] (feat. Gwen Dickey) 16. Can’t Knock the Hustle [Fool’s Paradise Remix] (feat. Melissa Morgan) // 17. Ain’t No Nigga [Rae & Christian Mix] (feat. Foxy Brown) // 18. Brooklyn’s Finest (feat. the Notorious B.I.G.)

Jay-Z’s first greatest hits album came to be completely without his involvement and quite possibly completely without his knowledge of it happening. Chapter One: the Greatest Hits, released in early 2002 in order to ride the success of his album the Blueprint compiles all the hits from Jigga’s first three albums Reasonable DoubtIn My Lifetime vol. 1 and vol. 2 and it wasn’t even released on Roc-a-Fella records, the label all of these songs appeared on.
I’m sure Jay was dazed and confused when he found the cheque from Sony subsidiary Northwestside Records on his doormat, a label he probably had never even heard of in his lifetime. (On a side note: I wonder if Kanye at one point held this album in his hands when he was working on launching that ‘new person’ thing with Kim Kardashian last year.)
It turns out that Def Jam, Roc-a-Fella records’ parent label was distributed by Sony Music Entertainment from 1984 to 1998, and it is probably for this reason that Sony had the rights necessary for compiling and releasing a compilation such as this one. This also helps explain the otherwise curious omission of hit singles from Vol. 3, the last album released before the Blueprint. By 1999, the year Vol. 3 was released Def Jam, and Roc-a-Fella with it had already jumped ship to the Universal Music Group.

Chapter One: the Greatest Hits  is therefore nothing but a byproduct of music industry technicalities. But it nevertheless is a nice trip through Jay-Z’s early catalog from a purely commercial point of view. These are after all Jay’s most successful singles from the 1996-’98 period, although even disregarding the bonus-tracks some curious choices have been made (I Know What Girls Like and The City Is Mine made the cut but Nigga What, Nigga Who (Originators ’99) and It’s Alright were left off? Never mind quality control, the latter respective two were higher-charting songs than the former respective two, besides being better songs by anyone’s standards except P. Daddy’s.) Keeping in mind that this amount of hits is the yield of only two years is pretty impressive in and by itself.

It is also worth noting that a lot of songs, Sunshine and Can’t Knock the Hustle in particular, sound much  better in their shortened radio edits and surrounded by their fellow hit singles than they do in their full-length incarnations on the albums on which they originally appeared. This is most likely because their instrumentals are perfectly enjoyable in measured doses but will grate on the ears when allowed to run on far beyond the three minute mark. It also helps that Can’t Knock the Hustle appears to have gotten a make over for it’s single release that has seriously tightened up the vocal production.

Hard Knock Life (Ghetto Anthem), the song that opens the album, is probably today still Jay’s biggest singular stroke of genius. Having the streets- and the pop-audiences eating from the palm of his hand in one go. It is with this song that he truly took over Biggie’s crown, speaking of which.. 
The City Is Mine
is still too polished for a proclamation of dominance over the rap-game with its rubbery Teddy Riley instrumental and its vocodered BlackStreet hook, but in retrospect the man was absolutely right in crowning himself king of New York. Looking back today it is simply a matter of fact.
Ain’t No Nigga and Sunshine are fun, fluffy ‘males vs. females’ cuts, and even Foxy Brown’s inclusion sounds logical and tolerable in these abreviated edits (Although it still remains questionable whether they were worth her having a career with solo albums and shit.)
Can I Get a… finds Jay abandoning Fox for another conventionally good-looking but not-very-talented female rapper Amil (I guess that Jay made as much money as he did because he’s a business man as much as he is an artist, and keeps in mind what appeal music video will have to whom, when selecting the line-up for the songs on his albums that are poised to be singles) and has the first appearance on a charting single by a certain Ja Rule. That’s a whole lot of poorly recieved careers launched in one song. May it be a consolation price that it is a good song largely in thanks to Irv Gotti’s lightly treading instrumental.
Money Ain’t a Thang, originally taken from Jermaine Dupri’s solo debut Life in 1472, but for this occasion redistilled from Vol. 2 on which it appeared as a bonus-track, is hands down Jay’s most balltastic song from the shiny suit era. It is also a song that other rappers haven’t stopped quoting and paraphrasing since it was released, even if few will have realised that its hook quotes from Jigga’s own Can’t Knock the Hustle.
Money Cash Hoes work despite Jay-Z, invited guest DMX and producer Swizz Beatz each doing a horrible job with their respective contributions. Somehow they all cancel each other out and leave nothing but an entertaining singalong song for the clubs.
Streets Is Watching is quintessential early Jay-Z, but it was never a single nevermind a hit. So its inclusion is curious but not unwelcome. It makes one wonder what Chapter One could’ve been if it were a compilation of rareties, pre-Reasonable Doubt singles and guest appearances, and songs that appeared on compilations such as Streets Is Watching. One could make a fantastic compilation out of I Can’t Get With That, Dead Presidents (I)In My Lifetime and Hawaiian Sophie and such. But Chapter One is a not that album, so I better stop daydreaming and get back to the review…
Imaginary Playa may very well be the exact point where where Jay-Z invented swag. It’s beat that suggest a sort of cold disaffection combined with Jay having hella fun exposing unnamed competing rappers as busters makes an underrated classic. Again: not a single. Guess we can conclude that this Greatest Hits concept is out of the window by now. It makes one wonder whether someone at Northwestside records actually knew and liked Jigga’s catalog because this is positively starting so sound like a perfectly decent, if limited, ‘best of’. (Perhaps the person compiling Chapter One disliked Memphis Bleek as much as I do and this was why It’s Alright failed to make the cut, even if it’s a pretty decent song.)
Feelin’ It and Dead Presidents II weren’t exactly big hits but they are amongst Jay’s best songs, and they are an effective introduction to Reasonable Doubt for the uninitiated, so their inclusion is warranted. It is puzzling however that the original Dead Presidents isn’t on here since that actually was a hit single, with a gold certification even. Guess nobody at Northwestside records wanted to make the call to EMI, Jay himself or whoever owns the right to that song (not Sony or Def Jam though, because it didn’t appear on the Def Jam/ Sony re-release of Reasonable Doubt), lest they risk legal action preventing this compilation from even coming out.

My favourite inclusion is Wishing On a Star [D-Influence Mix] because a) It makes the original, rather boring Trackmasters produced version (which was a UK-only bonus on In My Lifetime, Vol. 1) completely obsolete, and b) because it grants the fantastic UK acid jazz band D-Influence (calling them underrated would be the understatement of the century, even though they have four albums under their belt I’d call them undiscovered) a paycheck that was probably the biggest they’ve ever gotten. (For this reason I’ll even condone Northwestside records including it two version that are only different in that one of them is two minutes longer than the other.) This song is almost worth the price of admission alone. (Or.. you know a trip to Amazon.com or iTunes if you already own everything else. Make sure to get the long version labeled as a bonus track.)

The album closes with four bonus-tracks, the first one of which is the previously mentioned long version of Wishing On a Star. The following two are a pretty cool Irv Gotti remix of Can’t Knock the Hustle and a completely unneccesary remix of Ain’t No Nigga that removes the most fun part of the original: the “No-one-can-fuck-you-bet-ter”-chorus. These tracks neither add nor subtrackt much to the equation, which is fine and all since bonus tracks are usually there only to fill up the remaining room on the compact disc. Although it would’ve been nice if these two cuts were so polite to make room for Originators ’99 and It’s Alright. But you can’t have everything I suppose. The last one however is Jigga’s awesome collabo with the Notorious B.I.G., rightfully called Brooklyn’s Finest off Reasonable Doubt. Why wasn’t this included in the proper track listing one must ask because it is definitely one of the best things on here. Oh well, at least it’s here right?

Chapter One: the Greatest Hits is about as good a job as one could do compiling a single Jay-Z disc using only his first three albums as a source to pick songs from, trying to please everyone. And if that doesn’t sound like an ideal purchase consider this: With a combination of radio edits of hit singles, fan favourites and and even a couple of rareties thrown in, it is in fact pretty representative of what the man was doing during those early career establishing years. That’s breaking down the creation of a rap album into a scientific equation (or a ‘blueprint’ if you will): Radio and club-songs plus street songs in equal measure equals platinum record sales and charts hits. Interestingly by the time Vol. 3 dropped he had perfected the art (word to Max from hhid) and he had gotten sick of it before creating The Blueprint. So this is very much a constructive phase of Jay’s mainstream career, not that you tell that from the individual songs which all sound professionally made and pretty good with Jay-Z’s conversative flow and icy playboy persona fully formed (except I Know What Girls Like off course, which sounds like shit no matter what you release it on). And it is interesting that this album’s creators have been able to capture that process that has on occasion led him to some pretty suspect collaborators such as Babyface, Teddy Riley, Foxy Brown, Lil’ Kim, P. Daddy and Ja Rule. It is telling that most of these people have little career left while Jay keeps the his coming to this day.
More importantly though: it makes for a mostly entertaining listen from start to finish, and if that’s not a good reason to pick this up I don’t know what is. Just watch out that you don’t get a whole lot of stuff you already have because it’s a rough economy, and considering the direction Jay’s career would go following these songs there is no need to make the man richer unless you absolutely have to.

Best tracks
Hard Knock Life (Ghetto Anthem)
Can’t Knock the Hustle [Radio Edit]
Imaginary Playa
Ain’t No Nigga [Original Radio Edit]
Money Ain’t a Thang
Can I Get a…
Streets Is Watching
Feelin’ It
Dead Presidents II
Wishing on a Star [D’Influence Mix Full Version]
Brooklyn’s Finest

Recommendations
If you’re unfamiliar with Jay-Z’s first three albums this is a pretty good place to start and you should pick this up.

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State Property – State Property

Various Artists
State Property (OST)
January 29, 2002
Roc-a-Fella RecordsDef Jam RecordingsUMG
075/100
State Property - State Property OST
1. Roc the Mic (Freeway & Beanie Sigel) // 2. Sun Don’t Shine (Young Chris, Oschino, Freeway & Neef) // 3. It’s Not Right (Freeway, Young Chris, Omilio Sparks & Beanie Sigel) // 4. Do You Want Me (Young Chris, Omilio Sparks & Oschino) // 5. Sing My Song (Omilio Sparks & Oschino) // 6. No Glory (Beanie Sigel) // 7. Bitch Niggas (Beanie Sigel & Omilio Sparks) // 8. Why Must I (Beanie Sigel & Omilio Sparks) // 9. International Hustler (Freeway) // 10. Hood I Know (Beanie Sigel, Freeway, Young Chris, Omilio Sparks & Oschino) // 11. Got Nowhere… (Beanie Sigel & Freeway) // 12. Trouble Man (Beanie Sigel, Omilio Sparks & Oschino) // 13. Don’t Realise (Beanie Sigel & Rell)

You know when a franchise is on a roll when it’s B-teamers get to ink their boys a deal and record an album with them. Off course calling Sigel a b-teamer wouldn’t be because of any sort percievable of lack of talent, mind you. Sigel is a B-teamer only because despite him doing alright for himself his albums never did Kanye West or Jay-Z numbers either because he wasn’t as likeable and hence markerable as either of those two superstar artists. Because he didn’t want to taint his gangsta rap albums with pop songs or probably both. The thing then that Beans brought to the table was raw street credibility. Just when Jay would lean a bit too far in the pop direction for hip-hop heads’ tastes Beans would bring out a cold hard gangsta rap album to keep Roc-a-fella Records’ street audiences happy.

It would be safe to say then that the records this guy did sell were sold to a small but dedicated fanbase who had no interest in compromising pop records, and that the same could be expected by an album coming from his protégés Freeway, Peedi Peedi, Young Chris, Neef, Omilio Sparks & Oschino. Catering to these expectations is exactly what State Property has done for their self-titled debut that also doubled as the soundtrack for Beanie Sigel & Co.’s movie debut, also called State Property (Had Beans learned nothing from Ma$e’s Harlem World, the group he named after his debut and how well that shit worked out?)
Now I personally haven’t seen this movie yet (and I have no immediate plans of doing so) but at least one person must have, because according to Wikipedia State Property (the movie) currently, twelve years following its release is still the reigning number one movie when it comes to utterences of the word ‘fuck’ per minute (bar a documentary on the word ‘fuck’ itself.) “Fuck is spoken 3.65 times per minute or 321 times in 88 minutes.” Wow. That should tell you exactly how much Beanie Mac cares about giving the media something they can play without giving their censors a burn out in in the process of preparing it for American mainsteam consumption.
This would also mean that the amout of ‘fucks’ uttered in the movie greatly exceeds that of the gangsta rap album that serves as its soundtrack. This is quite the achievement!
This in turn would mean that after shooting the movie the guys started to record the album but were *wait for it* literally out of fucks to give.

The opposite of this cornball-ass joke appears to have been the case. While every movie critic who saw it State Property (the movie) hated, hated, hated it, music critics actually took a liking to the album. And while not even Beanie Sigel’s mother could be convinced to buy a ticket for the film, State Property (the album) had a fairly healthy charts presence and could arguably be called succesful in its mission of launching the careers of Beans’ Philedelphia friends. Especially Freeway and the duo of Young Chris and Neef Buck who together record under the name Young Gunz. Both of these acts have had gold albums, which is good for them, but not necessarily good for Beans because when Beans left Roc-a-Fella Records to sign with Dame Dash’s new label and a beef between the Jiggaman and Mac ensued, most of State Property stuck with Jay-Z, apparently against his wishes.

Oh well, at least at the time when this album came out it was all good.. sorta. The fact that the album did so much better than the movie could be explained by the fact that State Property had been rapping for a while because they were rappers and this z-grade attempt at recording a b-movie was completely new to them.

The album kicks off with a club jam with Freeway handling the first and final verse, Sigel providing the creamy centre and both of them going back-and-forth on the hook. It’s a catchy song, but not your little sister’s birthday party kind of hip-hop song. Just Blaze’s beat is bouncy and a sparse kind of way and Sigel’s verse is all about the Notorious B.I.G. and firearms. It was the only single released of the album and sounds a lot more consise than that version with Murphy Lee and Nelly on it that appeared on Nellyville.
Following it is Sun Don’t Shine, a song about getting cornholed hardship in the hood with a crappy pseudo Neptunes instrumental backing up everyone but Sigel and Sparks. Speaking of Sparks: One would think that he’d have Pharrell’s phone number after helping to create the hook of I Just Wanna Love U (Give It 2 Me) so that he could arrange a real Neptunes beat. It is almost as though with these first two songs State Property tried to lure potential buyers into believing that this album was going to be a sequel of sorts to The Dynasty: ROC la Familia.

From there on however it is away with the pop and in with gloomy soul-sampling beats. It’s Not Right sounds a lot like a sequel to This Can’t Be Life, except with Jay and Scarface being replaced by Beans his boys. Matter of fact, Roc-a-Fella in-house R&B singer Rell notwithstanding, there are go guest appearances by non-State Property members, ROC or otherwise. Whether this was Jay giving Beans a vote of confidence that him and his boys could record a perfectly good album without his help and an apology for having the balls to include one of his own solo-songs on Beans’ solo-debut album the Truth for absolutely no reason at all or simply because Beyoncé’s bootylicious booty had just started keeping occupied to record music, and also because he was spending the lion’s share of State Property’s album budget with her in Mexico recording the ’03 Bonnie And Clyde video is not entirely clear to me. Apparently he did executive this album with his boys Dame Dash and Kareem Biggs. Which probably means that the triumvirate removed Memphis Bleek from the studio he was occupying to make room for the guys. But the result of this is that Sigel, Free and company get to run their own show and  that there’s no famous guest’s appearances to skip forward to, which means they have my full attention.

State Property keeps it grimy throughout. Even the come-on number for the ladies Do You Want Me, which has Chris, Sparks and Oschino on it, has the sort of creepy-ass beat, courtesy of Rick Rock, that suggests something else than hot romance. The fact that they guys all seem to be hollering at the same chick doesn’t really help. Moving on.
Sing My Song has Omilio singing his song poorly (but not poorly enough to grate on the ears) over a bluesy beat made by some cat called Zukhan, and dueting Oschino talking all sorts of ‘profound’ stuff about the ghetto life, and managing quite well to entertain.No Glory has the kind of beat that blends mafioso movie music with blaxploitation movie music and lets Sigel go rampant over it by his goddamn self spouting all kinds of violent nonsense but sounding as good and pissed off as ever. The beat even tricks you into believing it’ll switch up somewhere in the middle but it doesn’t. Tense.
Bitch Niggas is the anti-snitch that is mandatory on this type of album with Sparks and Sigel going for broke with it, not adding much to this particular sub-genre of gangsta rap, but sounding pretty awesome nevertheless, not in a small part thanks to it’s fine instrumental.
Why Must I jacks a George Clinton hook via Snoop’s What’s My Name and fails miserbly at doing anything good with it, mostly because this sort of thing has been done by every rapper ever since Jesus and his posse recorded the New Testament, and also because the first shitty beat since Sun Don’t Shine nearly derailed this entire listening experience.
International Hustler pairs Freeway with M.O.P.-producer DR Period for a rowdy excercise in gangsta non sequitors. It’s clear why after Beans Freeway would be the most succesful guy out of the crew.
Hood I Know, which has everyone in the crew except Neef on it, is a clunker again because of it’s car-commercial beat that is too glossy to be underground and too incomplete to succesfully be pop.
Got Nowhere… is Kanye’s only production contribution and it’s not bad a beat for Sigel and Freeway to duet over, although one would expect more from the billionaire, playboy, philantropist, artiste extraordinaire we know today. But then again back then he was only a ‘humble’ producer.
Trouble Man takes on a remorseful vibe and has Sparks, Sigel and Oschino wonder why they’ve so unfortunate in life early on. Yeah… Me neither, but it does sound good. And hey substance isn’t what this album is for.
The final track Don’t Realise pairs the albums biggest star Beanie Sigel with R&B singer Rell, a guy who to my knowledge had been signed to the Roc from the beginning but never was allowed near the studio when Jay was recording. It’s a nice upbeat way to end the evening.

Best tracks
Roc the Mic
It’s Not Right
No Glory
Bitch Niggas
International Hustler
Got Nowhere…
Don’t Realise

State Property is actually as good as Beanie Sigel’s then-latest album The Reason, which was good news for not only him, his fans, and these guys but also Jay-Z who went on to make a pretty penny off having these guys to his label. (And even though the movie allegedly sucked balls Beans got to create a State Property 2 as well, and got sent to prison so soon after that it can hardly be called a coincidence) But we’ll get to that when we will. For now to lovers of uncompromising but professionally made gangsta rap I recommend a purchase of this album.


Jay-Z – The Blueprint

Jay-Z
The Blueprint
September 11, 2001
Roc-a-Fella RecordsDef Jam RecordingsUMG
085/100
Jay-Z - The Blueprint
1. The Ruler’s Back // 2. Takeover // 3. Izzo (H.O.V.A.) // 4. Girls, Girls, Girls (feat. Q-Tip, Slick Rick & Biz Markie) // 5. Jigga That Nigga // 6. U Don’t Know // 7. Hola’ Hovito (feat. Timbaland) // 8. Heart Of The City (Ain’t No Love) // 9. Never Change (feat. Kanye West) // 10. Song Cry // 11. All I Need // 12. Renegade (feat. Eminem) // 13a. Blueprint (Momma Loves Me) / 13b. Breathe Easy (Lyrical Exercise) / 13c. Girls, Girls, Girls [Part 2] (feat. Michael Jackson)

Released on the same date as the WTC attacks, september 11, 2001, Jay-Z’s fifth solo album of original material (sixth if you count The Dynasty: Roc la Familia as a Jay-Z solo album, which you definitely shouldn’t) sold tonnes of copies and recieved the kind of critical acclaim the Jiggaman  hadn’t seen since he dropped Reasonable Doubt. In the immortal words of the Notorious B.I.G., Jay “[blew] up like the world trade” simultaneously with the World Trade actually blowing up.

Where on Vol. 1, 23 the man had gained mass success by employing the electronic club banger-creators Timbaland and Swizz Beatz and got jiggy with glossmasters the Trackmasters, Irv Gotti and Puff Diddy, and The Dynasty had seen him do something similar with West-coast stalwart Rick Rock and up-and-comers the Neptunes.
On the Blueprint however he elected to primairily work with Roc-a-Fella in-house producers Bink, Just Blaze and Kanye West, all three of whom were test-driven on albums by Jigga’s interns Beanie Sigel and Memphis Bleek (both of whom aren’t anywhere to be found on this album).
These men brought to the studio a somewhat RZA/Pete Rock/DJ Premier-inspired soul-sampling sound that was a lot sunnier and more radio friendly than any track any of those three seminal producers tend to lay down, but still was a far cry from P. Daddy or Irv Gotti’s squeaky clean disco beats, which helped the medicine go down with hip-hop heads and critics, while veteran Jay-Z producers Timbaland and the Trackmasters got one track each, and Eminem, the only guest vocalist who gets to touch on anything beyond a hook, gets to produce the song on which he appears.

Content-wise Jay talks about his own majesty (The Ruler’s Back), how much more succesful he is both commercially and artistically than NaS and Prodigy of Mobb Deep (Takeover), his prowess in courting the ladies (Girls, Girls, Girls), general boasting (Jigga That NiggaIzzo (H.O.V.A.)Hova’ Hovito) and how despite all this success he is still deep down a street hustler (Never Change) and running the hip-hop game (U Don’t Know).
To balance out these rather emotionally vapid, yet entertaining-as-fuck gangsta’isms he throws in a song about how he regrets negatively impacting the lives of those he loves (Song Cry).
Jay-Z had the golden ratio of a commercially succesful gangsta rap album down to a tee pretty much when he dropped Vol. 1. Club bangers (for the ladies) plus just violence and drugs to appease the streets (men) equals platinum sales. And Vol. 2 and 3. as well as the Blueprint all abide to the #oldrules. But these new musical surroundings, as well as challenges to a battle for the throne by NaS and Mobb Deep, appear to have brought Shawn Cory Carter renewed lyrical vigor, as well as the need to mostly have the recording booth to himself while creating the Blueprint (sorry Bleek!).

The resulting album truly is the very best thing this guy has released since his classic debut, and depending on your tastes this one might even be better.
On Reasonable Doubt Jigga was so focused on his lyrical and flowing techniques and the mafioso image he was trying to convey that he came off as a bit statuesque, especially when paired with an playful Notorious B.I.G. who at that point was the undisputed king of New York and thus had little to prove. It never seemed that there was much self-expression on that album and Jigga came off as a cold-hearted technocrat/mafioso/rapping machine.
Over the course of his next string of albums Jay learnt to let loose and have fun a bit recording songs (something NaS has yet to learn after 20+ years in the game, and probably never will), but since none of them but the Blueprint could remotely fuck with Reasonable Doubt production-wise it was only here and now it truly showed.
Basically by 2001 Jay had already snatched up the crown that B.I.G. used to rock via his success (he had once literally attempted to do so on the 1997 Teddy Riley-produced song The City Is Mine, and I say attempted, because it had fallen flat on its face because of it’s cotton candy beat. But a year later Hard Knock Life pretty much actually accomplished Shawn’s coup d’état). And the Blueprint was the consolidation of Hova’s reign over New York, if not the whole of hip-hop.

Izzo (H.O.V.A) had the final bit of the summer of 2001 on smash when it dropped in late august of that year. And for good reason. The celebratory Kanye beat samples the Jackson 5’s I Want You Back in a reasonably creative manner while the Jiggaman celebrates having made the American dream his reality.
Takeover takes apart NaS and Prodigy so ruthlessly efficiently over Kanye’s Fame interpolation (the David Bowie song, not the musical film) that I’m confident that despite this rap war being over ten years ago and having long since resolved, it pisses both artists today still when it comes up on hip-hop radio .
Girls, Girls, Girls marries a confident playa attitude with affection rather than misogyny and goes for broke lyrically over what is the most soulful, and some would say best, beat of the entire album, courtesy of Just Blaze, with light support of three old school legends on the hook (speaking of old school legends, Girls, Girls, Girls [Part 2] which appears as a hidden bonus track on the tail end of the album has an uncredited backing vocal by the late Michael Jackson, returning the favour after Jay appeared on the Trackmasters Remix of You Rock My World)
U Don’t Know has Hova refuting the claim (made by a sped-up vocal sample) that he doesn’t have a master plan in this rap game (as if anyone ever doubted it) and it’s a hustler anthem for the ages.
Song Cry manages to humanise this rap god by having him openly discuss his regrets and insecurities, which helps make it easier for people to root for the guy.

Unsurprisingly the album’s low points are those produced by Timbaland, Trackmasters and Eminem, unsurprising because, as expected, they don’t fit the sped-up ’60s/’70s soul theme and because they rely on gimmicks (though arguably Kanye’s chipmunk soul was a bit of a gimmick too) Jigga That Nigga incorporates bolywood sounds and Hola’ Hovito as Timbaland Having the balls to jump on the latin bandwagon that was a thing around the turn of the millenium. And the freedom-of-speech plea Renegade was better off as the Em-Royce collabo it originally was since Bad Meets Evil unlike Jigga actually racked up controversy with their lyrical content.
But even these songs are pretty entertaining by their own right. It’s not as though they are sucky or anything, it is just that they have the musfortune of sharing an album with a bunch of undisputed classics.

the Blueprint is spotless, and with a lot of derivative albums coming out following its release (not least its very own sequels created by Jay himself) it does its name justice. It is also the argument that convinced this reviewer that Jay-Z, not NaS was the best rapper on the East-Coast in 2001.

Best tracks
Takeover
Izzo (H.O.V.A.)
Girls, Girls, Girls
U Don’t Know
Song Cry
Breathe Easy (Lyrical Exercise)
Girls, Girls, Girls [Part 2]

Recommendations
Pick this one up, a.s.a.p.


Beanie Sigel – The Reason

Beanie Sigel
The Reason
June 26, 2001
Roc-a-Fella RecordsDef Jam RecordingsUMG
075/100
Beanie Sigel - The Reason
1. Nothing Like It // 2. Beanie Mack (Bitch) // 3. So What You Saying (feat. Memphis Bleek) // 4. Get Down // 5. I Don’t Do Much // 6. For My Niggas (feat. Daz Dillinger) // 7. Watch Your Bitches // 8. Think It’s a Game (feat. Freeway, Young Chris & Jay-Z) // 9. Man’s World // 10. Gangsta, Gangsta (feat. Kurupt) // 11. Tales of a Hustler (feat. Omilio Sparks) // 12. Mom Praying (feat. Scarface) // 13.Still Got Love For You (feat. Jay-Z & Rell) // 14. What Your Life Like 2

While there remains a strong case for the allegations that Shawn “Jay-Z” Carter was a horrible label boss when it’s gangsta rap that was concerned, with proof found in albums such as Memphis Bleek’s Coming of Age and The Understanding and Amil’s A.M.I.L. (All Money Is Legal), also taking into consideration how good the ROC’s output could‘ve been, e.g.: Sauce Money’s Middle Finger U, there was at one point at the very least one rapper, other than the Jiggaman himself, with both talent behind the microphone and a Roc-a-Fella Record deal.

That rapper, ladies and gentlemen, is Beanie Sigel whose debut album the Truth also went gold solely because of the Roc-a-Fella records logo and because the back-cover said it featured Jay-Z on several songs (one song titled Anything even featured jay-Z by himself, with not a trace of Beans to be found, in a desperate attempt to sell Beans to Jigga’s audience that may or may not have worked.) but in Sigel’s case I can live with that outcome, because unlike Bleek, Sigel is a talent that deserves to be heard.

His second album featured production by some of the relatively new Roc-a-Fella hot-shots Just Blaze and some cat who goes by the name of Kanye West, both of whom brought a new, smooth, classic soul-sampling sound to hip-hop making the Reason a prototype of sorts for Jay-Z’s career re-establishing album the Blueprint (somehow I think there’s a pun in there). Other people who contributed beats were Rick Rock, the miscast West-Coast veteran who worked on the Bleek-Sigel-Jigga triumvirate-album The Dynasty: ROC La Familia, and gets to collect a cheque for turning in his first few failed attempts at creating the not-very-good Change the Game-beat that Sigel had rocked over twice already anyway, on I Don’t Do Much and For My Niggas. Also future G-Unit label president Sha Money XL brings in an instrumental. Besides the previously mentioned Rick Rock-produced songs, and Man’s World and Still Got Love For You which suffer from over-familiar samples being used, all the beats sound fresh.

Guests include Kurupt and Daz on seperate tracks, both of whom had collaborated with the ROC not long before on Jay-Z’s Change the Game [Remix], usual Roc suspects Bleek and Jay-Z, Sigel’s State Property cronies Freeway, Young Chris and Omilio Sparks and Houston-rap veteran, and Sigel’s good friend Scarface. With the exception of Kurupt and Daz, whose verses I cannot recall existing, everyone justifies his presence, and with the guests and the beats being mostly pretty good, all this album needs is Sigel rising up to the challenge of bypassing the imfamous the sophomore slump. Spoiler alert: he more than does.

Having listened to the Reason it is safe to say that Beans had upped his game a bit since the Truth. While that album got by well enough because of the man’s rugged persona and his expert lyrics, it was a bit boring flow-wise. While on the Reason he still isn’t entering NaS or Jay-Z territory he does play around with his flow a little more without dropping the ball, while maintaining the qualities that had him make the Truth such an entertaining album. It’s marginal progress that makes all the difference, and coupled with the new sounds it makes the Reason a better, more interesting album.

Highlights include the vintage Kanye production of Nothing Like It which opens the album, the rowdy Just Blaze-produced-club banger and lead single Beanie Mack (Bitch), and the old-school/P funk-tinged Bleek-collabo So What You Saying, on which Bleek sounds a lot better than on any track of either of his first two solo-albums. The blaxploitation funk-infused pimp-anthem Watch Your Bitches picks up the steam after the lacklustre I Don’t Do Much. And on Think It’s a Game our host and his State Property-boys show why exactly they were signed to the ROC by displaying chemistry with Hov himself. On the knocking Kanye West-produced Gangsta, Gangsta Sigel is joined by fellow philedelphian rapper Kurupt who only appears on the hook, which given his post-Death Row track-record of mostly horrible verse may have been a pretty good idea.

Omilio Sparks, who fullfilled a similarly useless roll as Kurupt did on Gangsta, Gangsta, on Jay-Z’s I Just Wanna Love U (Give It To Me) proves that he’s good for more than meh half-hooks on his verse on Tales of a Hustler, which along with Think It’s a Game makes this reviewer enthousiastic about checking out State Property’s group-debut.

On all these tracks Sigel is the confident gangsta who will rob you at gunpoint, and for those of you who are into that sort of thing Sigel plays the roll well. But for those who want a little humanity with their sex and violence there’s the the emotional sequel to one of the better tracks off his debut in What Your Life Like 2, the Scarface-collabo Mom Crying and (if you’re not sick and tired of rappers rhyming over that exact same Isaac Hayes’ Ike’s Mood 1 loop everytime you play a hip-hop album released during the last twenty years) the sequel to (and the semi-apology for) Where Have You Been which was a middle finger to Sigel and Jay-Z’s absentee fathers, and arguably the best song on The Dynasty: ROC la Familia.

The Reason just barely falls short of being a textbook classic, but at the time it was a more entertaining album than any Jay-Z album since In My Lifetime, Vol. 1 had been, which may have made it one of the more important reasons (no pun intended) for Jay-Z stepping his game up on the Blueprint. And if you’re a fan of unapolagetic, no-frills, well-made gangster rap then forget about that slightly overrated album , which you’ve probably heard in abundance, for just a minute and pick up the massively underrated the Reason, for it will not disappoint you.

Best tracks
Nothing Like It
Beanie Mack (Bitch)
So What You Saying
Watch Your Bitches
Think It’s a Game
Tales of a Hustler
Mom Prayin
What Your Life Like 2

Recommendations
Buy this album.


DJ Clue? – The Professional 2

DJ Clue?
The Professional 2
Februari 27, 2001
Desert Storm RecordsRoc-a-Fella RecordsDef Jam RecordingsUMG
055/100
DJ Clue - The Professional 2
1. Intro (Diddy) // 2. Back to Life 2001 (Mary J. Blige & Jadakiss) // 3. Jay-Z Freestyle (Jay-Z) // 4. Who’s Next (DMX) // 5. Coming For You (Beanie Sigel & Freeway) // 6. Fantastic 4 [Part 2] (the LOX, Cam’ron, Nature & Fabolous) // 7. Getting It (Busta Rhymes & Rah Digga) // 8. C.R.E.A.M. 2001 (Raekwon & Ghostface Killah) // 9. What the Beat (Method Man, Eminem & Royce da 5’9′) // 10. Lil’ Mo Interlude (Lil’ Mo) // 11. Fuck a Bitch (Kurupt & Snoop Dogg) // 12. Change the Game [Remix] (Jay-Z feat. Tha Dogg Pound, Beanie Sigel, Memphis Bleek & Static Major) // 13. My Niggaz Dem (Trick Daddy & Trina) // 14. Live from the Bridge (NaS) // 15. So Hot (Foxy Brown) // 16. Chinatown (Junior M.A.F.I.A.) // 17. Bathgate Freestyle (Bathgate) // 18. M.A.R.C.Y. (Memphis Bleek & Geda K) // 19. I Don’t Care (Capone-N-Noreaga) // 20. The Best of Queens (It’s Us) (Mobb Deep) // 21. Red (Redman) // 22. Dangerous (Lady Luck & DJ Muggs) // 23. Phone Patch (Ty Shaun)

If nothing else this album delivers on the promise its title makes in the sense that this is an industry gathering of people the absolute majority of whom, at the time of this album’s release at least, were rapping for a living. This is professional rap music. For this major label appropriation of his mixtape concept DJ Clue? drummed up most of 2001’s urban music industry heavyweights. Including new york’s elite (NaS, Mobb Deep, DMX, Cam’ron, Busta Rhymes, Diddy, Mary J. Blige, Raekwon, Ghostface Killah, Method Man, Capone-N-Noreaga and his label boss Jay-Z) who in turn brought with them their subordinates (Memphis Bleek, Beanie Sigel, Geda K, the LOX, Rah Digga, Foxy Brown, Nature), some hotshots from outside of NYC (Snoop, tha Dogg Pound, Eminem, Royce da 9’5′, Redman, Trick Daddy and Trina), an up-and-comer (Fabolous) and people who were never heard from before or since (Bathgate, Ty Shaun) and a bunch of beatmakers who were popular at the time to complement Clue?’s own productions (Rockwilder, Rick Rock, Just Blaze) and despite the combined efforts of all these people, and then some, the Professional 2, like its prequel, is quite the solid but underwhelming listening experience.

That is not to say that there’s prevalent wackness to speak of, but the combined effort of these people should lead to some really good rap music where in fact it delivers mediocracy. In stead of shining and enjoying themselves everyone just coasts along forcedly, as though they’re hanging out at a family gathering out of obligation rather than free will, on a sunday, after drining their brains out the night before, but try to make the best of it anyway. If that doesn’t sound like the blockparty you (or DJ Clue?) might’ve hoped for with that guest list you would be absolutey right.

There’s nothing wrong in particular with songs such as Live From the Bridge by NaS, C.R.E.A.M. 2001 by Rae & Ghost, Who’s Next by DMX, Fuck a Bitch by Snoop & kurupt, Getting It by Busta Rhymes and Rah Digga, The Best of Queens (It’s Us) by Mobb Deep or I Don’t Care by Capone-N-Noreaga, but if they were featured on one of the albums by these respective artists they would be skippable filler tracks, whereas here they are the album actual highlights by proxy, since there’s also shitty tracks by Memphis Bleek, Foxy Brown, the Junior M.A.F.I.A. present here. There’s also a lazy cover of Soul II Soul’s Back to Life by Mary J. Blige and Jadakiss and a silly R&B interlude by Lil’ Mo that fill the roll of low points.

In order to simulate the mixtape experience a couple of “freestyles” over previously used beats are thrown in, but I don’t need to hear anyone rock over Notorious B.I.G.’s Who Shot Ya instrumental ever again, even if it is Jay-Z not doing a horrible job. This beat has been re-used so many times before and since I can hardly stand to hear even the far superior original, classic status be damned.

Speaking of the Jiggaman, his Change the Game off The Dynasty: Roc la Familia has been remixed to include Kurupt and Daz of tha Dogg Pound, which isn’t a bad decision since their West Coast-style connects with the Rick Rock beat much better than Memphis Bleek or Beanie Sigel’s, both of whom are still on the song. Problem is it wasn’t that good a song to begin with, and even this upgrade can’t really make it a must-listen.

The absolute highlight of the night is What the Beat that gets Method Man, Redman, Eminem and Royce da 9’5′ on one track  what with its simple but effective two-note piano based instrumental, and Meth and Em’s hilariously grimey verses. Fans of Em in particular should look it up since he rarey sparred with rappers of this caliber anywhere else in his career and hasn’t put out anything this much twisted fun on his last three albums, which is to say for the last nine years. The only possible drawback to the track is that these rappers weren’t necessarily in one studio at one time since nobody on here but Royce aknowledges the presence of the others on the song, which they almost certainly would have done if they were aware that the verses they were recording would end up on this posse cut, what with rapper’s tendency to shout out everybody from the song’s engineer to their aunt’s dentist (everyone does go out of their way to shout-out Clue?) but that doesn’t mean the resulting song isn’t really fucking good.

This places it in contrast with the album’s other random-ass posse cut Fantastic 4, part 2, which pairs the LOX with Cam’ron, Fabolous and Nature, which means that the amount of participans is six, not four. None of the six rappers seems particularly excited to be there, except Fabby who at the time could really use the exposure.

Overall the Professional 2 was intended by its creator to be for everyone, with artists recruited from every corner of thje USA, with little cohesion in style and thereby fails to be for anyone in particular, while still being hella boring, with the invited guests bring their B-game. These problems are only aggravated by Clue?’s incessant yelling and unimpressive production, which I’ve discussed in detail in my review of the Professional 1. While nothing on here will make you want to break the cd in two and slice your wrists with it, there’s no real need for anyone to pick this up either.

Meh.

Best track
What the Beat

Recommendations
Find What the Beat on iTunes, it’s a really good song. And if you fancy for instance the Wu, Snoop or Busta in particular then perhaps their singular contributions too. But don’t pick up the entire album. It isn’t very good, you see.


Memphis Bleek – The Understanding

Memphis Bleek
The Understanding
December 5, 2000
Get Low Records/ Roc-a-Fella RecordsDef Jam Recordings/UMG
050/100
Memphis Bleek - The Understanding
1. Intro – U Know Bleek // 2. Do My… (feat. Jay-Z) // 3. I Get High // 4. We Get Low // 5. Change Up (feat. Jay-Z & Beanie Sigel) // 6. My Mind Right [Remix] (feat. Jay-Z, H. Money Bags & Beanie Sigel) // 7. Hustler (feat. Beanie Sigel) // 8. All Types of Shit // 9. PYT (feat. Jay-Z & Amil) // 10. Bounce Bitch // 11. They’ll Never Play Me  // 12. Everyday (feat. Carl Thomas) // 13. Is That Your Chick [Remix] (Jay-Z feat. Twista, Missy Elliott & Memphis Bleek) // 14. In My Life

Niggas said I can’t do it
Funny I done it
The album is here, now who the fuck want it?

And so commences the second album by Brooklyn rapper Memphis Bleek, a guy best known at the time for his shitty hit song Memph Bleek Is… of his equally shitty debut album Coming of Age named after the first Jay-Z song our host of the night ever made sound less appealing back in ’96.

But in all fairness, when we first got to hear Bleek in ’96 on Reasonable Doubt‘s Coming of Age, he was sixteen years old (an industry story goes that the person who was actually supposed to appear on that song was Wu-Tang clan affiliated at-the-time child-rapper Shyheim, who declined allowing Bleek to step in, for whatever ridiculous reason he must regret the shit out of today, considering what standing both Reasonable Doubt and Jay-Z have in today’s hip-hop game) and so there was a lot of room for growth for young Bleek as far as far as rapping skills were concerned from when we first heard him rap on.

Now Coming of Age didn’t show much signs of growth, and neither did the collaboration album The Dynasty: ROC la Familia with Jay-Z and Beanie Sigel but… but… *groan* let’s hope for the best shall we?

Basically Bleek has upped his game a bit. This album has actual highlights. Intro – U Know Bleek has a pretty decent celebratory Just Blaze instrumental and our host’s agressive, urgent flow works well enough. And clocking under two minutes neither overstays its welcome, even if Bleek asks the listener who the fuck wants his album, one people told him specifically he couldn’t make and condones his music inspiring school shootings.

I Get High is so fucking stupid (It’s a song about the merits of smoking pot while driving down the interstate, without a destination even being so much as considered) it makes a U-turn to hilarious, what with its straightfaced rap by Bleek and it’s tailor-made-to-get-baked-to instrumental. Try to take the train or the bus in stead of the car whenever so much as approaching the East-Coast of the United States though. Bleek never showed the ability to understand irony, so he probably literally likes to do this shit in real life.

And then there’s Is That Your Chick, an all-star posse song with Jay-Z, Twista and Missy Elliott on a banging-ass Timbaland beat. Good song but Bleek is a complete nonfactor. His two verses on the song (as opposed to his bos Jay-Zs’s three verses on the song) are the most skippable parts. For those caring, a slightly more explicit, Memphis Bleek-free version of the song titled Is That Your Bitch was released on the European version of Jay-Z’s Vol. 3 album that sounded both better and more concise than this. It was left off the USA version due to bootlegging, so Bleek got Timbo, Missy and Twista on his album due to a technicality. That doesn’t take away from that it is hands-down the best thing on here.

As for the rest of this album. Meh.

Do My and Bounce Bitch are generic, rude, unsexy club bangers. We Get Low sounds like Just Blaze miscarriaging Swizz Beatz musical child, while Bleek still fails to understand how to write a hook. And on Change UpPYT, My Mind Right and Hustlers he gets outclassed in turns by Beanie Sigel and/or Jay-Z with overall the results never really ending up on the right side of acceptable.

Also the closing track My Life samples I Wanna Know What Love Is by Foreigner, which bypasses the P. Daddy and heads straight for Pittbull levels of wrongful sampling.

Better luck next time, Bleek!

Best tracks
Intro – U Know Bleek
I Get High
Is That Your Chick?

Recommendations
Stay away from this shit. Get the Bleek-free version of Is That Your Chick off iTunes and, if you smoke pot and like to laugh, I Get High too.


Jay-Z – The Dynasty: ROC la Familia

Jay-Z
ROC la Familia: The Dynasty
October 30, 2000
Roc-a-Fella RecordsDef Jam RecordingsUMG
060/100
Jay-Z - Roc la Familia The Dynasty

1. Intro // 2. Change the Game (feat. Beanie Sigel, Memphis Bleek & Static Major) // 3. I Just Wanna Love U (Give It 2 Me) (feat. Pharrell & Omillio Sparks) // 4. Streets Is Talking (feat. Beanie Sigel) // 5. This Can’t Be Life (feat. Beanie Sigel & Scarface) // 6. Get Your Mind Right Mami (feat. Memphis Bleek, Snoop Dogg & Rell) // 7. Stick 2 the Script (feat. Beanie Sigel & DJ Clue?) // 8. You, Me, Him, Her (feat. Memphis Bleek, Beanie Sigel & Amil) // 9. Guilty Until Proven Innocent (feat. R. Kelly) // 10. Parking Lot Pimpin’ (feat. Beanie Sigel, Memphis Bleek & Lil’ Mo) // 11. Holla (performed by Memphis Bleek) // 12. 1-900-Hustler (feat. Beanie Sigel, Memphis Bleek & Freeway) // 13. The R.O.C. (performed by Beanie Sigel & Memphis Bleek) // 14. Soon You’ll Understand // 15. Squeeze First // 16. Where Have You Been (feat. Beanie Sigel)

Because Bleek, Sigel and Jigga each had gold to platinum albums under their belts (one shouldn’t put Sigel and Bleek in the same league as Hova outside of this context) and because they were all signed to the same record label a group album made sense. That way Beans and Memph could ride Hova’s coattails towards a higher status of celebrity and hopefully even higher album sales, and Hova could play the record label executive he always fancied himself as being, while at the same time helping his boys out.

Amil’s album had gone halfway copper, and therefore she gets but a bunch of namechecks (but not paycheques) as though she were still around (it is entirely possible that she used to actually be on most of these songs but was removed last minute, though not the references to her existence, since that would require a whole lot of re-recording), as well as no more than one verse on this project by a group she was supposed to be an integral part of, which is less than the work she got to put in on the last two Jay-Z solo-albums. Oh well, it’s not like she had anything substantial to offer to the proceedings (although one could argue that neither did Bleek.) Question is: Why not replace her with a more talented rapper, such as for instance Sauce Money?

Anyway, that was the bit about how the actual musical content came into existence. Then someone at Def Jam thought it unlikely that people would give a fuck about a hip-hop supergroup (a group made-up of members who already had careers prior to the group’s existence) mostly because of how well The Firm: the Album did four years prior (I’m just guessing here…) and decided to release the album anyway, but with Jay-Z’s name stamped in an obscenely large font onto the album cover to lure people into believing that this was a Jigga solo-release so that Hova’s fans could find it, in record stores near them. Not only does this album almost exclusively consist of ROC posse cuts (Not counting the intro there are but three songs on here that don’t feature Bleek or Sigel) but two tracks don’t feature the Jiggaman at all, making this the worst case of false advertising since DJ Clue? Presents Backstage Mixtape: A Hard Knock Life. Especially since two out of the three singles released off this project didn’t feature Sigel or Bleek but just Jay-Z and some supporting R&B vocals.

Since this wasn’t actually a Jay-Z solo-album even though it was explicitly marketed as such, Jay decided to not call up Timbaland and Swizz Beatz to produce this album so he could save money on beats fuck around with some new sounds to push the hip-hop genre forward. Fortunately for Hov, Bleek and Mac (and Amil, but not really) the up-and-comers that were hired in stead were the Neptunes, Kanye West and Just Blaze, who would become the genre’s production superstars before long. San Francisco Bay based production veteran Rick Rock also got some play. Hova called in favors from the likes of R. Kelly, Snoop Dogg, Static Major, Lil’ Mo. Sigel snuck two of his State Property boys into the studio and the resulting album would be the worst Jay-Z solo album so-far, if it counted that is.

It’s not all bad though, as usual Jay is good for a couple of catchy singles, most notably the blingy Neptunes helmed come on-number Give It to Me (I Just Wanna Love Ya) featuring Pharrell in an amateur Curtis Mayfield capacity and State Property-member Omillio Sparks in the most useless cameo appearance in recent memory…
Um… But the beat is an okay example of the archetypical Neptunes sound and Jay sleepwalks over it in a pleasant-enough manner, which is all you can expect from radio fodder such as this.

Things get a little more substantial on Guilty Until Proven Innocent on which Hov talk about his (then) recent legal troubles (Hova had allegedly stabbed record executive Lance Rivera for leaking songs ment for Vol. 3)  over a boisterous Rockwilder beat. It is sort of amusing to hear Robert rant about being not guilty on the hook, with his upcoming legal troubles in mind.

Change the Game, the only released single that actually had the rest of the “Dynasty” on it, sucks balls what with its repetetive, bland Rick Rock beat, everybody rapping just coasting along and Static Major’s hook which makes it apparent that the man was bored out of his mind when he recorded it. The same goes for all of Rock’s contributions from the needlessly sparkly Snoop Dogg-assisted Get Your Mind Right to the Lil’ Mo-featuring Parking Lot Pimpin’ to the Hova solo-shot Squeeze 1st.

Just Blaze and Kanye West fare a lot better with their soul-sampling beats that layed the Blueprint for what rap was going to sound like for the years to come (pun intended). Especially Kanye’s sole contribution, the Scarface-featuring This Can’t Be Life is dope, easily the best track on here. Streets Is Talking the sequel of sorts to 1997’s Streets Is Watching isn’t quite as good as its prequel, but it comes close nevertheless. And the Shawn Carter-solo Soon You’ll Understand is a precursor to what greatness was to come on the Blueprint.

The Bink!-produced 1-900 Hustler has all of the Dynasty (well, except Amil off course) plus Freeway, answer called-in questions about gangsta life on a fictitious radio show of the titular name. In spite of, or maybe because of its corny concept and its hilariously graphic execution it works and it is one of the few moments on this album where Roc La Familia shines as a group, as opposed Bleek getting out-rapped by Sigel and Sigel getting out-rapped by Hov. Another point where this supergroup thing actually works is the album closer Where Have You Been on which Jigga and Mac diss the shit out of their absentee father both sounding legitimately emotional, never moreso than the moment where Sigel almost throws up.

Besides these instances of brilliance, as well as the previously mentioned This Can’t Be Life there isn’t much in the form of chemistry to be found amongst the group members. Which is not to say that the Memphis Bleek solo-song is actually good (It is telling that most of what does work doesn’t actually feature Bleek), but yeah this is a serious problem for the success rate which lies comfortably beneath 50%. It is a testamant to how good the good songs are that this got the rating it did get.

Best tracks
I Just Wanna Love U (Give It 2 Me)
Streets Is Talking
This Can’t Be Life
Guilty Until Proven Innocent
1-900-Hustler
Soon You’ll Understand
Where Have You Been

Recommendations
would tell you to pick up the above songs individually off iTunes, Amazon or Spotify if I weren’t convinced that this would cost you more money than to simply buy the album. And the above tracks are certainly worth owning. So I’m going to say: Buy it but just don’t spend over five bucks on it and don’t put it on top of your to do list.