Tag Archives: Diddy

Murphy Lee – Da Skoolboy Presents Murphy’s Law

Murphy Lee
Da Skool Boy Presents Murphy’s Law
September 23, 2003
Derrty EntertainmentUMG
065/100
Murphy Lee - Murphy's Law
1. Be Myself [Intro] // 2. Don’t Blow It (feat. City Spud) // 3. Hold Up (feat. Nelly) // 4. Grandpa Gametight // 5. Luv Me Baby (feat. Jazzy Pha & Sleepy Brown) // 6. Murphy’s Law [Interlude] (performed by Darius Bradford & St. Louis Slim) // 7. Cool With It (feat. St. Lunatics) // 8. This Goes Out (feat. Nelly, Roscoe, Cardan, Lil Jon & Lil Wayne) // 9. What Da Hook Gon’ Be (feat. Jermaine Dupri) // 10. So X-Treme (feat. King Jacob & Jung Tru) // 11. How Many Kids You Got [Interlude] (performed by Darius Bradford & St. Louis Slim) // 12. I Better Go (feat. Avery Storm) // 13. Red Hot Riplets (feat. St. Lunatics) // 14. Regular Guy (feat. Seven) // 15. Gods Don’t Chill (feat. King Jacob & Jung Tru) // 16. Murphy Lee (feat. Zee) // 17. Head From a Midget [Interlude] (performed by Darius Bradford & St. Louis Slim) // 18. Shake Ya Tailfeather (Nelly, Diddy & Murphy Lee) // 19. Same Ol’ Dirty (feat. Toya)

Taking about the common rapper’s habit of landing all their homies from the hood a record deal as soon as they’ve sold a couple of records: it certainly has lead to a lot of mediocre to shitty albums being recorded and released. It’s almost as though for every entertaining Jay-Z record being released to the public a waste of time, money and plastic and aluminum hard drive space by Memphis Bleek gets to see the light of day.
Some times however a weed carrier has some actual skill behind the microphone and gets to become a cool supporting character in story of his more famous friend’s career. Such is the case with Nelly’s homeboy Murphy Lee(a.k.a. Da Skoolboy because he was the youngest out of the St. Lunatics posse), the second out of Nelly’s St. Lunatics posse with a solo career (third if you count Nelly himself) whose debut Murphy’s Law hit shelves in late 2003.

Although I can’t recall him so much as appearing on Country Grammar or Free City his guest verses on Ali’s moderate hit Boughetto and the remix of State Property’s Roc the Mic that appeared on Nellyville were pretty cool. However it wasn’t until the song Shake Ya Tailfeather off the Bad Boys II soundtrack dropped in the summer of ’03 that anyone in the public actually started wonderng who he was. The song was mostly Nelly’s, but also had a verse by P. Daddy (Because the soundtrack was released on Bad Boy Records and because that way Nelly wouldn’t have to pay for the video.) The final verse was Murphy’s though and arguably he stole the show, referencing Dragonball Z , Marvin Gaye and Voltron while talking about weed and pussy. That turned out a fantastic career move because Shake Ya Tailfeather hit worldwide charts like a brick and won a grammy for ‘best rap song by a duo or a group’ in 2004. It is this sort of success that gets the label heads to ‘see the potential’ and spend a little extra on beats and guest appearances when an album release is imminent, which was good for him since guest verses and hooks by Sleepy Brown and a littler Lil Wayne (amended by as a myriad of lesser-knowns), as well as assists by Jazze Pha, Jermaine Dupri, Mannie Fresh and Lil Jon are a definite asset when recording a party rap record like Murphy’s Law (That title was a given, wasn’t it?)

The album did go platinum, but that’s quite likely only because it had Shake Ya Tailfeather on it. I don’t recall ever hearing anything else of this being played on any radio or music video channels. Oh well, I’m sure Murphy Lee isn’t complaining.

His on-record persona is that of a nouveau riche street rascal that is just as likeable as his similar but more famous homie Nelly. Besides their boughetto similarities there are differences too, Murphy Lee is a much mellower dude. Nelly is the type of dude to slap the listener around the dancefloor with his success. Murphy seems to preoccupied with entertaining himself behind the mic for such posturing. Off course he brags himself through this album the way any commercial sub-gangsta rapper would in ’03, but he doesn’t land a sweaty, poon fest of a club banger like Hot In Herre or Work It or a thug utopia like Nellyville anwhere (except on Shake Ya Tailfeather which is the former, but it’s more of a Nelly song anyway). In stead he offers up a milder variety of midwestern party rap. Murphy’s Law is heavy on the poppy R&B cuts, midtempo Southern/ Midwestern party rap and it even has a smooth elevator jazz number in Cool With It.
Highlights include the album opener Don’t Blow It featuring incarcarated ‘tics member City Spud, the rowdy, Nelly assisted Mannie Fresh-produced banger Hold Up, Jazze Pha’s feverish come on-number Luv Me Baby, the uncharactaristically smooth St. Lunatics posse cut Cool With It, the reminiscent I Better Go featuring Avery Storm, the requisite ‘the money hasn’t changed me’ song Same Ol’ Dirty and off course the classic hit single Shake Ya Tailfeather.

Unfortunately the album has it’s fair share of clunkers too. The smooth seduction number Grandpa Gametight never gets to seductive because of its inexplicable, silly concept. As does What the Hook Gon’ BeThis Goes Out might as well be called Nationwide Weedcarriers ’03 what with (Kurupt’s little brother) Roscoe, Cardan (formerly of Ma$e’s group Harlem World) and a pre-stardom Lil Wayne appearing alongside Murphy Lee, Nelly and Lil  Jonathan. Murphy Lee is a silly sex rap with a female singer yelling out our hosts name to the tune of Marvin Gaye’s Mercy Mercy Me (The Ecology) and you can imagine how hard that shit falls flat on its face.

The remainder of the songs lands somewhere in between of good and bad right in the middle of meh. Nelly and Murphy Lee would’ve done well to leave a fair share of these songs on the cutting room floor as they weigh down Murphy’s Law significantly. But this has been the case with every St. Lunatics release so far so that was to be expected. As it is this is still a rather entertaining but flawed album by a very likeable rapper who knows his limitations, doesn’t try too hard and appears to only be out to entertain both himself and the listener. Kind of like how Country Grammar and Nellyville were. And if you enjoyed those albums Murphy’s Law is definitely for you.

Best tracks
Don’t Blow It
Hold Up
Luv Me Baby
Cool With It
I Better Go
Shake Ya Tailfeather
Same Ol’ Dirty

Recommendations
Pick up a used copy. Or a new one even as long as you’re not hideously overcharged for it.

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R. Kelly – R.

R. Kelly
R.
November 10, 1998
Jive Records/ SME
075/100
cover
DISC I: the Show
1. Home Alone (feat. Keith Murray & Kelly Price) // 2. Spendin’ Money // 3. If I’m With You // 4. Half on a Baby // 5. When a Woman’s Fed Up // 6. Get Up On a Room // 7. One Man // 8. We Ride (feat. Cam’ron, Noreaga, Vegas Cats, Jay-Z & Tone) // 9. The Opera // 10. The Interview (feat. Suzanne Lemignot) // 11. Only the Loot Can Make Me Happy // 12. Don’t Put Me Out // 13. Suicide // 14. Etcetera // 15. If I Could Turn Back the Hands of Time // 16. What I Feel/ Issues // 17. I Believe I Can Fly
DISC II: the After Party/The Hotel
1. The Chase // 2. V.I.P. // 3. Did You Ever Think (feat. Tone) // 4. Dollar Bill (feat. Foxy Brown & Tone) // 5. Reality // 6. Second Kelly // 7. Ghetto Queen (feat. Crucial Conflict) // 8. Down Low Double Life // 9. Looking For Love // 10. Dancing With a Rich Man // 11. I’m Your Angel (feat. Céline Dion) // 12. Money Makes the World Go ‘Round (feat. NaS) // 13. Gotham City

There was a period in the late ’90s when every urban recording artist recorded a magnum opus in the form of a double album. 2pac had set off the trend with his All Eyez on Me in 1996, B.I.G. and the Wu-Tang Clan had followed suit with Life After Death and Wu-Tang Forever respectively in 1997, and R. Kelly served up his contribution under the name of his single consonant front initial in ’98. Brief as that title is, the album is thirty tracks long, a running time that makes it a celebration of excess by definition.  Too much time for a single artist to fill up arguably.

He certainly has his methods of somewhat succesfully attempting to make the album’s two hours and ten minutes bearable. One of them is being purposefully all over the map musically. Not only are there the usual hip-hop/disco/funk infused party jams (Home AloneSpendin’ MoneyIf I’m With YouWe RideOnly the Loot Can Make Me HappyV.I.P.Did You Ever Think, Dollar BillGhetto QueenDancing With a Rich ManMoney Makes the World Go Round) and soul infused slow songs that are either for baby making (Half on a BabyGet Up on a RoomEtcetera2nd Kelly) or relationship contemplation (When a Woman’s Fed UpOne ManDon’t Put Me OutSuicideIf I Could Turn Back the Hands of TimeWhat I Feel/ IssuesReality and Down Low Double Life), which is what one would expect from the man, but there are also huge, sugary, gospel-infused M.O.R. easy listening ballads such as I Believe I Can FlyGotham City and I’m Your Angel (the first two culled from soundtracks) and actual gospel Looking For Love, as well as weird nods to opera and *gulp* yodeling.

Off course all of this genre-hopping is done is mostly traditional. After all most contemporary soul album from the ascend of the genre onward have contained dance numbers and ballads, and taking into account that the literal opera bit of R. is a silly skit, not an earnest attempt at going for Pavaroti’s spot, it makes Robert’s most original idea this time around that he figured that you could in fact if you are so inclined, put Céline Dion and Jay-Z on the same album, and make multi-platinum sales, not in spite of it but because of it. As simple as this innovation seems, its implications are still felt in today’s pop music landscape.
R. is a musical blockboster by design. Robert effortlessly juggles several styles of contemporary R&B, doing most of the dirty work himself, both in the booth and behind the boards, but brings hotshot rappers (Keith Murray, Cam’ron, Noreaga, Foxy Brown, Jay-Z and Nas), singers (Kelly Price and Céline Dion) and producers (Puff Diddy, Trackmasters and G-One)  into the studio to augment and complement the listening experience. It really should be noted that Robert takes this cross-demographic appeal thing to an entirely new level here. With R. he milks Jigga’s homeboys, Luther’s ladies and Céline’s schlock-lovers in one go, without so much as breaking a sweat. And by almost literally succesfully working with everybody he cemented his at-the-time status as pop’s most succesful allrounder.R. bears its influences on its sleeve. On Home Alone he blends Off the Wall era Michael Jackson with West-Coast hip-hop.When a Woman’s Fed Up has Donny Hathaway breathing vicariously through it.If I Could Turn Back the Hands of Time is a expertly dragging doo-wop ballad in the vein of the Platters. And over the project as a whole looms the mighty shadow of Marvin Gaye. Robert’s pop sensibilities are what separate him from the pack (well except Jacko off course.) Much like Michael’s his soul is watered down and sweetened enough (as well as possibly sold to the devil) to fit onto monst nonspecific radio formats.

As far as the smooth radio soul goes this album has it’s fair share of contemporary classics. Not discussing I Believe I Can Fly and I’m Your Angel, which are too slick to even pretend to be soul songs (gospel-pop would be rather accurate), When a Woman’s Fed Up and If I Could Turn Back the Hands of Time are good as requiems of relationships get.
Suicide is a tense and dramatic song that could’ve come out the Isaac Hayes playbook.
Did You Ever Think expresses Robert’s bewilderment at his own success while Trackmaster Tone continually asks him whether he ever thought he’d a successful as an artist before he suddenly was, and a Spanish guitar blurrs the line between poppy and sinister in the background.
Half on a Baby and Get Up On a Room probably have been responsible for several conceptions since it’s release, they’re some of those frankly sexy songs that can do that (Rumor has it that the former was originally written for Bobby Brown’s Forever album, but didn’t make the cut since Bob decided to spend his album advance on coke, rather than outside songwriting and production negociate full creative controll and produce the album himself, to commercially and critically abysmal results. I have a hard time imagining Bob perform it, since I have a hard time seeing it work as anything other a silky smooth honey-tongued R. Kelly song.)

The hip-hop influenced tracks bang as well. Home Alone has Def Squad alumnus Keith Murray and hip-hop soulstress Kelly Price, as well as DJ Quik’s frequent co-producer G-One delivering a funky, heavy club banger, and We Ride is a cool New York Rap posse cut, with a breezy midnight-ride-through-the-desert beat (on which Noreaga delivers the golden line: Ayo, it’s so deep, I told my shorty just last week. A-huh, it’s like you remind me of my jeep.)

Another thing that ties him to the King of pop, this time in his Dangerous incarnation, is a rampant sense of paranoia. Robert preposterously rants about playa haters who want his cash, the media that only wants to sell news whether truthful or not, racist cops who want him in jail while knowing he’s innocent, as well as people who simply don’t like his music, all together conspiring his downfall as though they’re having a go at his crucifiction, with him being a messiah of sorts. On the opening skit of disc two: The Chase there’s even a secret player hater police/ army that is in hot pursuit of him, attempting to stop his music from being heard and attempting to assasinate his talent (I wish I could make this up). Unlike Michael’s however most of these assertions are, whether intentional or not, humourous and absurd enough to not be quite as fucking annoying.

Kells again blends the sacred in the profane in his music as he did on R. Kelly, seemingly making him some sort of preacher-pimp head of a church-club of sexy business, generously sprinkling around bodily fluids and doing unholy shit with his followers Kind of like some Roman catholic clerics. To him there is no experience more spiritual than a good lay, it really cleans the soul. Simultaneously his songs are charged with guilt, whether it is about christian sin or wronging a lady. It is this dual tension that sets him apart from similarly mindedly laviscious R&B artists like Next, and it is this is what his detractors often fail to see him do. It adds richness, colour and depth (or at the very least the illusion of depth) to songs that would be rendered completely juvenile without it. After all; what is more fascinating? A righteous brother struggling with his negative tendencies and trying to do right, while at the same time aknowledging how much pleasure and fulfillment giving in to these tendencies bring him or a mindless mysogynic poon hound? It also puts the man in a line of soul singers that goes from Ray Charles, through the previously mentioned Marvin Gaye to Prince.

The wacky songwriting is still present too. And I’m not talking about I Believe I Can Fly‘s lyrics that are so pompous that they beg, beg, beg parody. I’m talking songs like 2nd Kelly, which helps carbon date this to the time when the internet was just starting to become a thing where he tries to seduce the ladies from the point of view of a computerised R. Kelly, a computer virus, a webcamming service or all three and are so intrinsically weird that they are one hundred percent spoof-proof.

A direct result from the album being as long as it is is that there’s going to be songs it would be better without. Down Low Double Life is a song he had done twice over already before R. hit shelves. There’s no real need to have both Only the Loot Can Make Me Happy and Money Makes the World Go Round. In fact, if I were Barry Hankerson I’d had cut them off both because Did You Ever Think is also about the moulah and is a far better song than either of those two with the least wack Trackmasters instrumental.
Ghetto Queen only features rap group Crucial Conflict because they happened to live in Chicago which is Robert’s hometown, not because of any sort of perceptible talent.
Spendin’ Money and Dollar Bill are only here because in 1998 respectively Puff Diddy and Foxy Brown were a thing, and it was a legal requirement to include one of his disco-recycling beats and one of here clunky-ass oversexualised verses (I realise that something beong oversexualised is a weird and hypocritical complaint on an R. Kelly album, but I can’t really rephrase it while still having it make sense, so there you have it) on an urban music album if it were to be released. Not because they’re good songs.

This album’s issues aren’t too much for the good stuff to overcome. And the good stuff is definitely in the majority.
But one must keep in mind that this album is two hours and ten minutes long, which means that it would probably still be too long to listen to in one go even if the lesser material were taken out of the equation. This is the main argument against double albums of original material, a dinosaur-form of releasing music, killed by the Pirate Bay, iTunes and Spotify which allowed us to buy single songs and put them in playlists in whichever order we liked. When this came out for consumers more music really was better because you couldn’t buy any other form of music other than compact discs. That R. is actually as good as it is despite its flaws may mean that besides Wu-Tang Forever (which had the constant creative input of over nine people) this may very well be the best urban double disc out there. And despite being flawed it really is too good not to recommend to lovers of good pop, even if Robert arguably would’ve done better slimming it down to one single CD. If he had done that, and done that properly he would’ve made his best album ever. As it stands it may not be his best album, but is probably is his definitive one.

Best tracks
Home Alone
Half on a Baby
When a Woman’s Fed Up
We Ride
Suicide
If I Could Turn Back the Hands of Time
I Believe I Can Fly
Did You Ever Think
Second Kelly
I’m Your Angel

Recommendations
Pick this up.


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.


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.


DJ Clue? – The Professional

DJ Clue?
The Professional
December 15, 1998
Desert Storm Records/ Roc-a-Fella Records/ Def Jam Recordings/ BMGSME
060/100
djclue

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.

Best tracks
It’s On, Fantastic 4, Queensfinest, Gangsta Shit, The Professional, Brown Paper Bags, No Love

Recommendations
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.


Jay-Z – In My Lifetime, vol. 1

Jay-Z
In My Lifetime, vol. 1
Roc-a-Fella Records/ Def Jam Recordings/ BMGSME
November 4, 1997

080/100

1. A Million and One Questions/ Rhyme No More [Intro] // 2. The City Is Mine (feat. Blackstreet)// 3. I Know What Girls Like (feat. Lil’ Kim & Diddy) // 4. Imaginary Player // 5. Streets is Watching // 6. Friend or Foe ’98 // 7. Lucky Me // 8. (Always Be My) Sunshine (feat. Foxy Brown & Babyface) // 9. Who You With II // 10. Face Off (feat. Sauce Money) // 11. Real Niggaz (feat. Too $hort) // 12. Rap Game/ Crack Game // 13. Where I’m From // 14. You Must Love Me (feat. Kelly Price)

After Reasonable Doubt made Shawn Corey Carter b.k.a. Jay-Z a hood star, he wanted to be a pop star too. If not to be on the radio, then in order to pay the rent. Priority Records, the parent label to Jay-Z’s Roc-a-Fella records had dropped him and his boys because Reasonable Doubt didn’t sell that well initially. (After several of Shawn’s follow-up albums had gone platinum people finally became interested in his debut and in 2002, six years after it was originally released, Reasonable Doubt was certified platinum.) The most effective way to sell millions of records is to strike a deal with the devil. In ’97 the devil was Puff Diddy, who oversaw the creation of In My Lifetime, vol. 1 from his ‘executive producer’ chair. He hired, among others, R&B cats Teddy Riley and Babyface who didn’t know jack shit about gangster rap, to produce this fucker and jacks a bunch of ‘80s songs for their hooks and beats, along the way in making jigga his bitch, like had Ma$e.

The results are notorious (no pun intended). The City is Mine finds Jiggaman proclaiming his dominance over the New York rap scene, which isn’t all that strange a claim considering his debut album is hailed as one of the crowning achievements of the hiphop genre as a whole. But it sounds all sorts of ridiculous with Teddy Riley’s R&B outfit interpreting Glenn Frey on the hook alongside him, even if Jay himself comes more than correct lyrically. I Know What Girls Like is almost magnificent in showing what was wrong with mainstream hiphop in ’97. Suffice to say it has P. Daddy ‘interpolating’ (meaning poorly re-singing) the hook to the Waitresses´ I Know What Boys Like to an obviously flattered Lil’ Kimberly who then proceeds to sing it back to him, with Jay sounding like awkward, bored and slightly annoyed, not unlike a single person hanging around an overly gropy  couple. (Always Be My) Sunshine is the glittered-up sequel to Reasonable Doubt’s Foxy Brown duet Ain’t No Nigga. The beat isn’t good like the one that’s on the previously mentioned song, and Foxy Brown isn’t tacked on to the rear end of the song like the last time, but actually trading verses with Jay, so there’s no easy way around her via the skip button.

Considering that these songs were the most visible representation of this album at the time of its release In My Lifetime’s poor reputation as the point where Jay-Z sold out, is understandable, but incorrect. In fact, having listened to it, most of the rest of these tracks are nearly Reasonable Doubt-good. A Million and One Questions/ Rhyme No More rolls up two hot DJ Premier instrumentals in one track, with Jay-hova rhyming over it in his typical manner. Streets Is Watching has Ski sampling Labi Siffre’s  I Got the for an exceptionally hot three verses about paranoia. (Unfortunately Siffre wouldn’t sign off on the sample clearance unless the track was censored. The exact same thing happened to Eminem’s 1999 major label debut single My Name Is, which samples the same source material) Face Off and Real Niggaz find the Jiggaman do some lyrical sparring with respectively Sauce Money and Too $hort, two rappers who can actually keep up with Shawn both in terms of charisma and rhyme skillz, so that’s nice.

Imaginary Player is a perfect example of the art of braggadocio and the lyrical highlight of the album.

I got bail money, XXL money
You got flash now, one time we’ll reveal money
I spit the hottest shit, you need it I got it shit
That down South Master P, Bout It Bout It shit
I got blood money, straight up thug money
That brown paper bag under your mattress drug money
You got show dough, little to no dough
Sell a bunch of records and you still owe dough
I got 900 and 96 plus 4 more dough
You crazy, you full gazy, and loco with dough papo

There’s even more highlights, the NaS sampling Rap Game/ Crack Game that started that long-ass beef, which is the only song I know of that makes some good use of the ‘Rap is really just like selling dope’ metaphor. The ‘I come from a low income neighbourhood where life is not very comfortable’ tale of Where I’m From and the contemplative somber numbers Lucky Me and You Must Love Me are also stellar.

In the end one must conclude that if one subtracts the three worst tracks one is left with an album that is in fact almost as good as Reasonable Doubt and hella better than the average rap disc from this era. Jay-Z never fell off or made a commercial album (well he did at a certain point, but In My Lifetime, vol. 1 is not that album). He just added a couple of club bangers to an otherwise pretty hardcore set. And although there’s nothing against club bangers per se, all of those three included here happen to suck big floppy donky dick. But let that not discourage you from giving this a spin. As a whole it is quite good actually.

Best tracks:
Imaginary Player, Streets Is Watching, Lucky Me, Rap Game/ Crack Game, Where I’m From, You Must Love Me

Recommendations:
Buy this album.