December 15, 1998
Desert Storm Records/ Roc-a-Fella Records/ Def Jam Recordings/ BMG/ SME
1. Intro (Diddy) // 2. Ruff Ryders Anthem [Remix] (DMX, Drag-On, Eve, Jadakiss & Styles P) // 3. It’s On (DMX) // 4. Fantastic 4 (Cam’ron, Big Pun, Noreaga & Canibus) // 5. Queensfinest (NaS) // 6. Exclusive New Shit (Nature) // 7. Gangsta Shit (Jay-Z feat. Ja Rule) // 8. Thugged Out Shit (Memphis Bleek) // 9. It’s My Thang ’99 (EPMD, Keith Murray & Redman) // 10. Mariah Carey [Skit] (Mariah Carey) // 11. Whatever You Want (Flipmode Squad) // 12. That’s the Way (Fabolous, Foxy Brown & Ma$e) // 13. I Like Control (Missy Elliott, Mocha & Nicole Wray) // 14. Bitch Be a Ho (Jermaine Dupri & R.O.C.) // 15. If They Want It (Fabolous) // 16. Pain In da Ass [Skit] // 17. The Professional (Big Noyd & Mobb Deep) // 18. Brown Paper Bags (Raekwon) // 19. Cops & Robbers (DJ Muggs & Lord Tariq) // 20. Made Men (Made Men) // 21. No Love (M.O.P.) // 22. Come On (Boot Camp Clik)
I apologise in advance for the interpunction but in my defense, this guy has a question mark in his artist name.
In a move that’s either really fucking stupid or really fucking brilliant (this album’s sales numbers indicate the latter) Jay-Z’s Roc-a-Fella records signed mixtape DJ, DJ Clue? to their roster. No disrespect to the man of the hour, Clue? is known in hip-hop for releasing high-quality mixtapes with exclusive songs not heard elsewhere before the era of internet bootlegs, and thus giving fans sneek previews at hot upcoming releases which is definitely service to the hip-hop community. But what such an individual has to do with a recording contract on a major label, where everything has to be cleared before release, from samples to songs, isn’t entirely clear to this reviewer.
Mixing and producing is one answer. Indeed seventeen out of the twenty-two tracks feature Clue? in a producer or co-producer capacity. But that leaves five tracks on which he has zero creative involvement, or at least doesn’t take credit for making beats, and not taking credit for doing for stuff you did actually do is not very hip-hop (unless you count Rick Ross’ CO stint). Also DURO produces or co-produces ten tracks here and his name isn’t on the front cover anywhere.
If Clue? had turned this one into an extended DJ set where every track is seamlessly mixed into the next then his name printed big-assedly on the front would be entirely justified, but alas, no such luck.
The man makes his presence mostly known by yelling his own name, the name of his record label, the name of one or more of the featured artists, the name of his album or random bullshit including but not limited to “killuminti”, “new shit” and “exclusive” at random intervals, quite literally so you won’t forget who’s album you are currently listening to. This annoying habit has become a widely copied thing among hip-hop mixtape DJs, with people like DJ Skee and most famously DJ Khaled following suit.
So Clue?’s primary function is to “host” this project by yelling over otherwise perfectly functional tracks. Two things should be noted about this intriguing concept.
1. Nearly any jackass could do this particular hosting thing, so long as said jackass can raise his voice.
2. Everything would sound better if Clue? Had shown some restraint and just shut the fuck up or at least kept the yelling to a minimum.
That said the Professional is an okay reminder of who was hot in ’98 in hip-hop on the East coast. Listening to this album one can think of at least one thing Clue? had going for him, clout. Looking at the guestlist one has an easier time summing up who didn’t show up to contribute than it is who did.
Everyone from the Ruff Ryders to Puffy and Ma$e to the Wu-Tang to Mobb Deep to Jermaine Dupri to the Bootcamp Clik to M.O.P. are here. Even NaS, who probably had beef with Jigga already, gets down with Clue?, even if it means appearing on a Roc-a-Fella records release. The results are a late ’90s East Coast block party with a guest list that’ll have any fan of this particular era in rap salivating from just peeping the back cover.
Off course having many famous guests on your album doesn’t guarantee that your album will sound good, since it can lead to horrible chaotic mess, but since Clue? is behind the boards a lot he’s the one to give this album cohesiveness and direction. Quite the task indeed, especially since he’s a limited beatsmith, resorting mostly to the tried and true stale funk-loop-jacking of the time, coming off as a poor man’s Jermaine Dupri/ Puff Daddy/ Trackmaster. Not that he’s outright wack with the beats, It’s On gives DMX a perfectly passable conventional East-Coast hip-hop beat, making this an especially welcome addition to his discography considering Swizzy wouldn’t leave him alone during the recordings of his second album of the year ’90 Flesh Of My Flesh, Blood Of My Blood.
The Jay-Z contribution Gangsta Shit, which features a pre-debut Ja Rule, who sounds like he wants to be an actual rapper rather than a Luther Vandross, is also pretty decent.
Fantastic 4 has 1998s golden boys Cam’ron, Big Pun, Noreaga and Canibus trade verses, and although it’s not an entirely natural collaboration at least everyone gets to show why they were a thing back then, especially Canibus who always sounds pretty good unless he’s on his own albums.
Nasir’s ode to his borough; Queensfinest certainly won’t cost him any fans and Busta Rhymes and his crew the Flipmode Squad do their thing on the posse cut Whatever You Want, which fortunately isn’t remotely similar to their song I Know What You Want featuring Mariah Carey.
Speaking of her, she’s featured on this album giggeling about with our host on an skit named after her, not singing a single note. This isn’t a complaint about the Professional‘s lack of R&B hooks (Clue? knows his audience it seems.), but I hope he didn’t have to pay her a lot of money for this vocal performance. Not that skits on hip-hop albums usually do sound good but here they seem especially useless with the Pain In da Ass [Skit] taking the cake. Oh well, at least they’re short and there’s only two of them.
Basically everyone here does exactly what you expect of him/her (well except Mariah…) with no-one fucking up badly, except for the tag-team of Ma$e and a then-unknown Fabolous, who decide to interpolate KC & the Sunshine Band’s That’s The Way (I Like It) with Foxy Brown on That’s the Way (I’m sure P. Daddy was jealous as fuck he didn’t think of that idea before, and wanted to kill Clue? like he says he once did on the intro…) But at least Fabby, who was once called a Ma$e redux, proves they don’t sound all that much alike when put on the same track, so that’s good for him.
A song that doesn’t necessarily sound awful, but is an excercise in futility nonetheless, is EPMD + Keith Murray & Redman’s (or the Def Squad + PMD’s) It’s My Thang ’99 because it’s the millionth hip-hop song re-using the beat to Jay-Z’s Ain’t No Nigga.
The remix of DMX’ Ruff Ryders Anthem, now featuring all the Ruff Ryders, isn’t bad but it might have been a more logical inclusion on the Ruff Ryders crew album Ryde or Die, vol. 1 because it is THE Ruff Ryders anthem and also because Clue? hasn’t got shit to do with it.
Overall what one should admire most about Clue? is his ability to surround himself with talented and popular rappers (Jay-Z, NaS, Mobb Deep, Raekwon, M.O.P.) and to have the foresight to include up and comers (Ja Rule and Fabolous
and Benzino) and his ability to create beats that are at least listenable, but none of these things per se make the Professional a must-own.
The Professional is a competently made but somewhat underwhelming vanity project.
It’s On, Fantastic 4, Queensfinest, Gangsta Shit, The Professional, Brown Paper Bags, No Love
For casual rap fans this isn’t a must-listen, but for fans of mid-to-late ’90s hip-hop the Professional is worth a try on spotify to see if it is worth a purchase.