Tag Archives: Brooklyn

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.

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Sauce Money – Middle Finger U

Sauce Money
Middle Finger U
May 23, 2000
Priority Records/ EMI
080/100
Sauce Money - Middle Finger U
1. Intro // 2. We Gonna Rock // 3. Love & War // 4. For My Hustlaz // 5. Middle Finger U // 6. Do You See (feat. Diddy & Pam) // 7. Face-Off 2000 (feat. Jay-Z) // 8. What’s That, Fuck That // 9. Chart Climbin’ // 10. Crime Skit // 11. Intruder Alert // 12. C My First (feat. Bam-Blue)// 13. Pre-Game (feat. Jay-Z)  // 14. Say Uncle // 15. Section 53, Row 78 (feat. Maverick) // 16. What’s My Name // 17. V1 [Skit] // 18. What We Do (feat. Memphis Bleek)

Sauce Money, a Jay-Z affiliate, and the guy who penned P. Daddy’s Notorious B.I.G. tribute “song” (and earnt a grammy for it years before he had his own album) by all means should’ve released his debut album on Roc-a-Fella Records (he was at some point signed to the label but never got more than a couple of singles released, all of ’em with Primo beats, all of ’em terrific.) If Memph Bleek’s album went gold solely because of Jigga’s marketing machine (and do not kid yourself, it did) then Sauce could’ve been a best-selling monster, especially because he actually has some talent behind the mic.

Sorry Bleek!

This in and by itself may have been the trouble between Sauce and Jigga, the guy had proven that he could at the very lease write a hit song, and unlike most Roc-a-Fella interns (said Bleek, Amil, da Ranjahs, Kanye West) Sauce actually rivaled the Jiggaman in terms of rapping skill, so he might become too powerful to control, if he were ever to fullfill his potential, something Shawn Carter never had to worry about before or since, even with his most talented subordinate so far; Beanie Sigel. (Well maybe Kanye, but he’s not so much a rapper as a pop star.) But perhaps Sauce may just not have wanted his friendly and artistic relationship with Jay to turn into a business one, since being on your friends’ payroll can be a bitch. I don’t expect Jigga to drop any clues about this particular subject and with Sauce’s face being on New York milkcartons I doubt we’ll ever hear the truth, the whole truth and nothing  but the truth on this subject. It must be said that I’ve never heard of Jay-Z and Sauce Money beefing. In stead of going out like that Sauce’s career sory goes: Did guest verses on each of Jay-Z’s first three albums, dropped Middle Finger U without even his mother picking up a copy, proceeded to disappear off the face of the earth.

Enough with the hip-hop conspiracy theories, Sauce got signed to Priority Records, which may not have been the up and coming Roc-a-Fella but also wasn’t the crumbling Bad Boy Records, and recorded and released his debut album, today still his only album in existence; Middle Finger U to an audience of tumbleweeds, in may 2000. Apparently, most Puff Diddy fans do not actually read liner notes, because Middle Finger U certainly didn’t do I’ll Be Missing You numbers (luckily it doesn’t sound anything like that mawkish piece of fuckery either) Jay-Z’s fans apparently didn’t run to the stores to pick it up either, and that‘s a bloody shame because it’s in fact a pretty good, well-rounded album that has something to offer to most demographics without sounding forcedly over the map, not unlike most Jay-Z albums.

Sauce raps conversationally, much like his much more famous fellow Marcy Projects inhabitant. Unlike billionaire icy playboy Jay-Z however Sauce is a funny guy, cracking jokes and throwing humourous threats and punchlines to the listener throughout Middle Finger U. The mood varies from celebratory on the Frank Stallone-sampling For My Hustaz, to mournful on Section 53 Row 78, an euology of his late mother, with everything sounding good enough and making sense.

It would seem that Sauce mostly had the streets in mind rather than the pop-charts, which isn’t to say that this album is inaccessible or hard core, but the R&B hooks and the poppy beats are kept to a minimum, and when they do pop up they’re accompanied by a guest, such as Do You See which is actually more of a Sean Combs joint featuring Sauce, immediately following it is Face off 2000 a poppy, light-footed duet with Jay-Z about bagging chicks, that is a sequel to Face Off off In My Lifetime, vol. 1.

The production is being handled by Jay-Z veterans such as DJ Premier, Super DJ Clark Kent, Big Jaz, Bad Boy hitmen Prestige and Puff Diddy, old school legend Marley Marl and relative unknowns Spencer Bellamy and Mr. Rapture who all knock out serviceable backing tracks for Sauce to flow over, and he doesn’t put ’em to waste. Off course Puff and Jay pop up to provide guest verses, so does Memphis Bleek. But this is undoubtably Sauce’s show, not only taking up almost all of the mic time but keeping up with Jigga and destroying P. Daddy and Memph Bleek on impact (no surprises there.)

Chart Climbin’ has a Big Jaz instrumental consisting of some rhythmic piano keys and some funky organs that are driven in on the chorus. Intruder Alert is Sauce’s take on the Notorious B.I.G. Warning, and although it’s not quite as good as that classic song it comes close. What’s My Name could actually go toe-to-toe with the better NaS/ DJ Premier, Jay-Z/ DJ Premier and B.I.G./ DJ Premier collabo’s. (Even if it is apparently produced by Mr. Rapture who doesn’t appear to have ever worked outside of this album, apparently Middle Finger U is the soundtrack to more than one career ending prematurely.)

On Section 53 Row 78 Mr. Rapture jacks the instrumental of 2pac’s Pain off the cassette version of the Death Row released soundtrack of Above the Rim for Sauce to talk about his late mother to great effect, creating what sounds like one of the the moody contemplative tracks Jay-Z used to close his albums with.

As much greatness is to be found here there are some songs that miss the mark.

What’s That, Fuck That sounds like a Resevoir Dogs-aping instrumental (the Jay-Z song off the In My Lifetime, vol. 3 on which Sauce, as well as the LOX and Beanie Sigel appeared, not the the Tarantino movie) courtesy of legendary producer Marley Marl, who weaves a Jay-Z vocal sample into the beat that’ll have you hanging on to your seat, but not in a good way since it is placed so that you’ll constantly believe Jigga is about to drop in for a verse (which never happens.) and it is so goddamn distracting it renders the whole song unlistenable. C My 1s has Sauce dueting female rapper Bam-Bue (yeay, me neither) over a terrible Spencer Bellamy beat in such an aggravating manner that it makes this reviewer wish the people at EMI would’ve saved this song for her imaginary debut album. The Prestige/ P. Diddy produced Do You See? which features the shiny suit man himself and Pam from Bad Boy records R&B group Total has a beat that is so bland, soulless and high-gloss that it’s a miracle that Sauce doesn’t slip off the beat, if not off the song entirely (not Puffy though, he’s kinda in his comfort zone here).

Middle Finger is the album we would’ve had if Jay followed In My Lifetime, vol. 1 with more of the same stuff we got to hear on his first two albums rather than hook up with Timbaland and Swizzy for the hit-or-miss experimental production of Vol. 2… Hard Knock Life. This is far from surprising since Sauce seems to have dusted off some of the producers that Jigga stopped working on on Vol. 2 and Vol. 3 such as Clark Kent, DJ Premier, Big Jaz and Puff Daddy (where the fuck is DJ Ski?). Middle Finger U is an overlooked classic that should be revisited by those who enjoy the mid-to-late ’90s hip-hop sound. This dated-at-the-time-of-its release-but-vintage-today sound also helps explain why, despite being of high quality it never became that popular; By 2000 hip-hop as a whole, not the least Jay-Z himself, had moved on to other, more electronic sounds and Middle Finger U may have sounded like the aural equivalent of dinosaur to contemporary pop and rap audiences. Also, only one single was released, which is pretty poor marketing and puts this album in the we-have-no-follow-up-plans-for-this-guy’s-carreer-so-let’s-release-this- record-as tax-write-off category.

Hence: If it were released one to three years sooner, and promoted better upon release, it would be quite likely for Sauce Money to become a household name with one or several platinum plaques under his belt.

Alas, he wasn’t ment to be a star, or even to have a lukewarm indie-label career (meaning putting out shitty releases every year gobbled up by a small but loyal cult following.) But that doesn’t change a damn thing about the fact that Sauce Money and his album Middle Finger U are uncut dope.

Best tracks
For My Hustlaz
Middle Finger
Face Off 2000
Chart Climbin’
Intruder Alert
Section 53 Row 78
What’s My Name

Recommendations
Buy this album.


Foxy Brown – Ill Na Na

Foxy Brown
Ill Na Na
November 19, 1996
Violator EntertainmentDef Jam Recordings/ BMGSME
050/100
Foxy Brown Ill Na Na
1. Intro… Chicken Coop // 2. (Holy Matrimony) Letter to the Firm // 3. Foxy’s Bells // 4. Get Me Home (feat. Blackstreet) // 5. The Promise (feat. Havoc) // 6. Interlude… The Set Up // 7. The Chase // 9.  Ill Na Na (feat. Method Man) // 10. No None’s //11. Fox Boogie (feat. Kid Kapri) // 12. I’ll Be (feat. Jay-Z) //13. Outro

Ill Na Na if not Foxy Brown’s entire career exists solely because of horny teenagers and because, allegedly, unfoundedly and unprovenly, she used to do the nasty with both NaS and Jigga, not unlike how Lil’ Kim fucked her way up the rap game via the Notorious B.I.G. Difference is that Kimberley is a gifted if limited rapper whereas Foxy couldn’t rap her way out of a paper bag. Her flow is abominable and her ghostwritten rhymes replace substance with references to her pussy and boobs. Nothing against pussy and boobs per se, but rather than hearing a full album of this shit I’d rather watch porn or something, has more substance and leaves one with a less hollow feeling.

Foxy’s Bells jacks an LL Cool J song (guess which one!) pretty straightforwardly and poorly, Get Me Home has either the whole of Teddy Riley’s R&B ensemble Blackstreet fucking our hostess, or just one of ’em while the rest cheers sings backing vocals. Fox Boogie has DJ Kid Kapri trying to make people say ughhh again, jacking an already sucky hook wholesale. Jay-Z ghostwrites most of this project and appears on Ill Be, cashing amost as many cheques as the Trackmasters while NaS off all people, who was about to get in a supergroup with Foxy, couldn’t be bothered to fart in the booth, let alone record a guest appearance. None of the other Firm-members; AZ, Nature or Cormega seemed to  have time to contribute either, inspiring the theory that the Firm only included Foxy because of commercial considerations inspired by her being conventionally attractive.

Unlucky victims whose record labels forced the chores of appearing on Fox’ songs upon them include Havoc of Mobb Deep and Method Man. Production is handled by the Trackmasters and wannabe Trackmasters. This shit sucks balls, avoid this album if you have any affinity with good music. It is disappointing, it is embarassing, it is a waste of plastic/ harddrive space.

Best tracks
The Promise
I’ll Be

Recommendations
Go to hell.


Jay-Z – Vol. 3… Life and Times of S. Carter

Jay-Z
Vol. 3… Life and Times of S. Carter
December 28, 1999
Roc-a-Fella RecordsDef Jam Recordings/UMG
073/100
Jay-Z - Vol. 3... Life and Times of S. Carter

1. Hova Song [Intro] // 2. So Ghetto // 3. Do It Again (Put Your Hands Up) (feat. Beanie Sigel & Amil) // 4. Dope Man // 5. Things That U Do  (feat. Mariah Carey) // 6. It’s Hot (Some Like It Hot) // 7. Snoopy Track (feat. Juvenile) // 8.  S. Carter (feat. Amil) // 9. Pop 4 Roc (feat. Beanie Sigel, Memphis Bleek & Amil) // 10. Watch Me (feat. Dr. Dre) // 11. Big Pimpin’ (feat. UGK) // 12. There’s Been a Murder // 13. Come and Get Me // 14. NYMP // 15. Hova Song [Outro]

Vol. 3 closes out Jay-Z’s In My Lifetime trilogy by repeating what made Vol. 2 such a monster hit. With icy playboy anthems such as Do It Again and Big Pimpin’ and, with some street tracks like So Ghetto, There’s Been a Murder and Watch Me thrown in for good measure (so that his Reasonable Doubt fanbase won’t walk away). And he does ’em as well as ever.

Some progress has been made, Swizz Beatz gets to produce only one song on the main version of this album in stead of Vol. 2‘s three while Timbaland does four as compared to Hard Knock Life‘s one. These figures are in and by themselves worth the higher grade. (I apologise to Swizz and his fans but respectively himself and their musical tastes aren’t very good.)

Jigga’s weed carriers do exactly as expected. Bleek and Amil can’t rap for shit and Sigel makes one look forward to listening to his album on Do It Again and Pop 4 Roc.

As for outside help, bringing in Juvenile to do the hook of Snoopy Track wasn’t such a good idea whereas calling over UGK for the Timbaland-produced club smash Big Pimpin’ most definitely was. Back in ’99 producing a club banger that sounds as though the backing track were recorded in the Middle East was actually innovative, and this song is oft imitated but never duplicated. Ignoring the quality of both tracks; the inclusion of either guest shows that Jay was aware of the up and coming dirty south rap-scene, which is one of the showcases of his business sense, which would lead him to Def Jam presidency, Vol. 3, like its two predecessors is built to sell to several hip-hop demographies.

Then there’s the Dr. Dre feature Watch Me, which has the man redoing Jay’s guest verse on the Notorious B.I.G.’s I Love the Dough in lieu of a hook. It’s not entirely clear why since the Doctor doesn’t produce anything here, in stead the Murder Inc.  head honcho Irv Gotti does the instrumental, which is some interesting trivia, because within a couple of years Dre and Irv would be the godfathers of two feuding rap dynasties. The inclusion of Dre is most likely packback for Jay ghostwriting Still D.R.E. The song itself is pretty decent by the way.

There’s Been a Murder has Shawn Corey Carter killing off his rapping alter-ego in order to go back to selling drugs in the streets, which is confusing because, as far as I know, his rap alter-ego is all about selling drugs in the streets, but whatever.

All in all Vol. 3… Life and Times of Shawn Carter is just another Jay-Z album, an expertly made expensive-ass shiny disc with some rough edges in the name of street cred.
It’s better than Vol. 2… Hard Knock Life even though it doesn’t have quite such a highlight as Hard Knock Life (although Big Pimpin‘ comes close) because the album flows better due to better non-singles, especially on the second half, but it’s still nowhere near Reasonable Doubt  quality or even  Vol. 1 quality for that matter.

It may appear that I am bored by this album, but that is not true. It’s better than most of the albums I wrote about lately. It’s just that since this sounds so much like Vol. 2 it’s not much fun to write about.

Let’s hope that with the end of this trilogy there’s some space for something new on Jay’s next album (Short answer; yes, his next album is the Blueprint, unless you count the Roc-a-Fella posse album the Dynasty as a proper Jigga solo-album, which I most certainly do not even if it was indeed marketed as such to boost sales.)

Best tracks
So Ghetto
Watch Me
Big Pimpin’
There’s Been a Murder
Come and Get Me
NYMP

Recommendations
Pick this one up.


Memphis Bleek – Coming of Age

Memphis Bleek
Coming of Age
August 3, 1999
Get Low Records/ Roc-a-Fella RecordsDef Jam Recordings/UMG
050/100
Memphis Bleek - Coming of Age

1. Pain In da Ass Intro // 2. Who’s Sleeping (feat. Reb) // 3.  Memphis Bleek is… // 4. What You Think of That (feat. Jay-Z) // 5. Murda 4 Life (feat. Ja Rule) // 6.  You’re All Welcome [Pain Interlude] // 7. Stay Alive in NYC // 8. You a Thug Nigga // 9. N.O.W. (feat. Da Ranjahs) // 10. Everybody // 11. I Won’t Stop (feat. Dark Half) // 12. My Hood to Your Hood (feat. Beanie Sigel) // 13. Why You Wanna Hate For (feat. Noreaga) // 14.  Regular Cat

Memp Bleek may be a lot of things, some of which are listed on the hook of this album’s Swizz Beatz produced monstrosity of a lead single Memphis Bleek Is…, but a good rapper is not one of them, and it wouldn’t surprise me if Jigga, who seems to not be in touch with him anymore these days, copped to only releasing this album so that the world would see just what it would be left with if he ever were to deliver on his threat to retire from rap music. This would certainly explain his lack of involvement with the project, except for his half-assed verse on What You Think of That he is nowhere to found. But perhaps he just had a lot of confidence in Bleek’s abilities.

Nah, that can’t be it. It would seem Jay-Z should know what good rap music sounds like.

Bleek’s problem is that his rapping style isn’t original or special in the least, which is nothing that good production cannot fix up to a certain point, but it’s still a handicap that prevents him from ever being able to release anything in the essential listening category, not unlike Ja Rule who makes an appearance. It is therefor unfortunate for Bleek that the production is mostly lacking. What’s up with that, Jigga? You couldn’t buy your boy some Timberland or DJ Premier tracks?

Still that doesn’t necessarily keep the man from creating radio fodder of varying quality given that the beats bang, knock or click and he can come up with catchy hooks or a gimmick.

Bleek’s hooks are what sink this ship, check the hook of the first single. Not that the Swizzy instrumental is something other rappers could turn into something good, but still this does sound like a really shitty version of NaS Is Like, and it is therefor not surprising he took offense. Also there’s What You Think Of That, which puts a perfectly functional beat to waste by repeating a stupid catchphrase dressed in nothing but generic gangsta’isms.

Where my niggaz at?
Where my bitches at?
I love these streets, what you think of that?
My whole team rock rocks, we don’t speak to cats
I’ma ball till I fall what you think of that?
What you think of that? What you think of that?
I’m a real ass nigga, what you think of that?
Where my niggaz at?
Where my bitches at?
I love these streets, what you think of that?
My whole team rock rocks, we don’t speak to cats
I’ma ball till I fall what you think of that?
What you think of that? What you think of that?
I’m a real ass nigga, what you think of that?

What think of this is best expressed in the immortal words of the Notorious B.I.G.

Disappear…vamoose…you’re wack to me,
Take them rhymes back to the factory.

Credit where credit is due however, Stay Alive in NYC is pretty decent for an amateur Jay-Z narrative, Is You a Thug Nigga has a pretty good beat and Murda 4 Life is as much a highlight here as it was on Ja Rule’s debut album on which it featured earlier, with its organ-infused Irv Gotti beat. Beanie Sigel and Noreaga also bring the heat with their respective guest appearances. Not that these above average sounding tracks salvage this album, this is still mostly stems and seeds.

For some reason however Coming of Age sold enough copies to warrant a stack of follow-ups, which means that in order to tell the Roc-a-Fella Records story I’ll have to hear another three of these albums. Groan.

Best tracks
Stay Alive in N.Y.C.
Murda 4 Life
Is You a Thug Nigga
My Hood to Your Hood
Why You Wanna Hate For

Recommendations
Don’t go near this one.


Jay-Z – Vol. 2… Hard Knock Life

Jay-Z
Vol. 2… Hard Knock Life
September 29, 1998
Roc-a-Fella Records/ Def Jam Recordings/ BMGSME
070/100
Jay-Z - Vol. 2... Hard Knock Life

1. Intro (Hand It Down) (feat. Memphis Bleek) // 2. Hard Knock Life (Ghetto Anthem) // 3. If I Should Die (feat. Da Ranjahs) // 4. Ride or Die // 5. Nigga What, Nigga Who (Originators 99) (feat. Big Jaz & Amil) // 6. Money, Cash, Hoes (feat. DMX) // 7. A Week Ago (feat. Too $hort) // 8. Coming of Age (Da Sequel) (feat. Memphis Bleek) //9. Can I Get a…(feat. Amil & Ja Rule) // 10. Paper Chase (feat. Foxy Brown) // 11. Resevoir Dogs (feat. the LOX, Beanie Sigel & Sauce Money) // 12. It’s Like That (feat. Kid Kapri) // 13. It’s Alright (feat. Memphis Bleek)

The first person you actually get to hear rhyme on The Life and Times of Shawn Carter, volume 2, after the mandatory Scarface-themed Pain in da Ass intro is Memphis Bleek. Said intro is all about how Jay-Z is going to leave the rap game for good after releasing this album, and leave Bleek as his successor. Not unlike what happened on the intro to Vol. 1, except that back then it was clearly an empty threat or a hollow promise, depending on your point of view, because he named his album vol. 1, which all but promises a sequel.

Everyone knows none of this actually happened. It’s a good thing, both because Bleek usually can’t rap for shit and because even though vol. 2 is critically acclaimed and sold shitloads of copies it’s far from a flawless goodbye party.

Part of the problem is the appearance of guests such as said Bleek, Da Ranjahs, Amil, Ja Rule and Foxy Brown, most of whom don’t have much of a career left today for a good reason. Part of the problem is that Swizz Beatz gets to produce three tracks, which is never a good thing. There’s one beat on here that’s produced by DJ Premier, a guy who should’ve been all over this. It’s a pretty good beat but it has nobody but (wait for it…) Memphis Bleek rhyming over it, and although he doesn’t quite put it to waste as he’s prone to do, it isn’t remotely what anyone wanted to hear on what was at one time suposed to be Jay-Z’s very last album. Que de la fucque!?

When Jigga has some guests that can keep up with him on the posse cut Resevoir Dogs Eric Sermon of all people fucks shit up by producing a boring-ass instrumental. Listen Jigga, if you gon’ have sucky rappers on your album and sucky beats at least put them together so you can keep the good stuff for yourself and those in your posse with actual talent. What do you mean, you released this album fourteen years ago and can’t change shit about it? You’re rich, buy a time machine.

That said there’s still a wealth of good music to be found here. Everybody and their grandmother knows the Annie-sampling title track and there’s not much to be said about it but that it’s an all-time hip-hop classic. Nigga What, Nigga Who has Shawn Carter starting a succesful partnership with Timbaland and ending a succesful partnership with Big Jaz over a stuttering futuristic instrumental and Amil doesn’t have to do anything but the hook, which helps. A Week Ago is a pretty good narrative about friendship going sour and snitching, and although Too $hort could’ve been put to better use than to rap only on the hook it’s still a highlight. Can I Get a… works because of its light footed instrumental and in spite of its guests list, and Money, Cash, Hoes is just some fun singalong club-shit, although the Swizz Beat is barely passable and the DMX cameo seems phoned-in and sticked on last-minute.

Jay himself is in fine form throughout even though he doesn’t get past his usual I-am-richer-than-thou and I-rap-now-but-I-used-to-sell-drugs shtick. His excellent conversational flow ties all of this shit together.

He can’t work miracles though. This album is fucking mediocre by his admittedly high standards. I hope Vol. 3 has less guests and better beats.

Best tracks
Hard Knock Life (Ghetto Anthem)
Nigga What, Nigga Who (Originators 99)
Can I Get a…
A Week Ago
Money, Cash, Hoes

Recommendations
You can buy this, it’s not entirely worthless and even pretty good in parts. But do go listen to Reasonable Doubt first.


Streets is Watching (OST)

Various artists
Streets is Watching (OST)
May 12, 1998
Roc-a-Fella Records/ Def Jam Recordings/ BMGSME
055/100
Various Artists - The Streets Is Watching (OST)

1. It’s Alright (Jay-Z & Memphis Bleek) // 2. Love For Free (Jay-Z & Rell) // 3. Only a Customer (Jay-Z) // 4. Pimp This Love (Christión) // 5. Murdergram (Jay-Z, DMX & Ja Rule) // 6. The Doe (Diamonds In da Rough) // 7. Crazy (Usual Suspects) // 8. In My Lifetime [Remix] // 9. Your Love (Christión & Jay-Z) // 10. Thugs R Us (DJ Clue? & Noreaga) // 11. My Nigga Hill Figga (M.O.P.) // 12. Celebration (Jay-Z, Memphis Bleek, Sauce Money & Wais)

This Jay-Z album/1998 Roc-a-Fella records label sampler/ soundtrack to a “movie” is often overlooked in the official Jay-Z canon. Now, officialy this may not be a Jigga solo-album, but he is the guy on the front cover (although the front cover doubles as the movie’s front cover, and Streets is Watching the film is supposed to be a compilation of old Jay-Z music videos) and he appears on seven out of this album’s twelve cuts, making this his show if anyone’s. Here’s why no-one ever brings this album up.

The opening track has him dueting subordinate Memphis Bleek over some weak, pseudo futuristic production reminiscent of his 1997 hit single (Always be My) SunshineLove For Free is a pretty generic R&B tune that happens to feature Jay. It’s only by the third song, the Irv Gotti-produced Rick James-sampling Only a Customer, that Streets is Watching starts picking up steam.

Murdergram is one of the tracks recorded by the would-be hip-hop supergroup Murder Inc., before all participants save for Jeffrey moved on, and Irv Gotti was forced to replace Jay-Z and DMX by fucking Black Child and Tah Murdah, not long after this album’s release. Unlike It’s Murda off Ja Rule’s debut album (are you starting to see a recurring theme here?) this track doesn’t imply an entire album by the combination of X, Jigga and Ja might’ve lead to something great. It sounds like a generic late ’90s mixtape-track, complete with sucking-ass beat.

In My Lifetime, allegedly a remix or a re-recording of a pre-Reasonable Doubt Jay-Z single, and it sounds pretty grand. As does the Roc-a-Fella posse-cut Celebration, with its approriately victorious beat and Hova, his today m.i.a. homey Sauce and some cat called Wais proclaim victory over the rap game. Oh and Memphis Bleek proclaims victory over the rap game too, how cute!.

That’s about it for the Shawn Corey Carter contributions. The rest of the album is filled-out with appearances by subordinates and affiliates. R&B duo Christión bring two seedy R&B tracks to the table and rap group Diamonds in Da Rough make it known to the listener exactly why they never became a thing, while Noreaga and M.O.P. put in their Roc-a-Fella auditions fucking early, and manage not to entirely suck.

Crazy has got to be this album’s most curious inclusion. This lame-ass acoustic guitar-driven Backstreet Boys-styled R&B pop-cut had me wondering whether a Spotify commercial for air-freshener had popped up, which was confusing as fuck since I played this album in iTunes. What the fuck is this supposed to do for you Jiggaman? The Streets is Watching remember? You named your goddamn album that…

Best tracks
Only a Customer, In My Lifetime [Remix], Celebration, *I Can’t Get With That

*Not featured on this soundtrack, but according to wikipedia it was featured in the film this was supposed to score. It’s an entertaining as fuck early independent Jay-Z single, which has him speed-rapping over a rather simplistic old school beat. And it’s good fun.

Recommendations
Jay-Z fans definitely should buy the above three tracks off iTunes or Amazon or Spotify. They’re prime Jay-Z cuts. Most of the other tracks however are a sheer waste of time. Ever heard of Rell, Christión, Diamonds in da Rough or the Usual Suspects and Memphis Bleek? No? Good, because anything they record slurps diarrhoea straight out of the colon, whether it features Jay-Z or not. Fans of M.O.P. and Noreaga needn’t really come near this either. You should therefor not pick this album up, unless you find it for under $3,-, shipping costs included.