Tag Archives: DMX

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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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.


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 – 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.


DMX – Flesh of My Flesh, Blood of My Blood

DMX
Flesh of My Flesh, Blood of My Blood
December 15, 1998
Ruff Ryders Entertainment/ Def Jam Recordings/ UMG
050/100
DMX - Flesh of My Flesh Torrent

1. My Niggas [Skit] // 2. Bring Your Whole Crew (feat. PK) // 3. Pac Man [Skit] // 4. Ain’t No Way // 5. We Don’t Give a Fuck (feat. Styles P & Jadakiss) // 6. Keep Your Shit the Hardest // 7. Coming From (feat. Mary J. Blige) // 8. It’s All Good // 9. The Omen (feat. Marilyn Manson) // 10. Slippin’ // 11. No Love 4 Me (feat. Swizz Beatz & Drag-On) // 12. Dogs For Life // 13. Blackout (feat. the LOX & Jay-Z) // 14. Flesh of My Flesh, Blood of My Blood // 15. Heat // 16. Ready to Meet Him

Considering that It’s Dark and Hell Is Hot… as an album was passable and promising rather than great, because it had some really high highlights with about an equal amount of a mixture of repetitive crap and misguided ideas it’s safe to assume that after Def Jam signed Earl “DMX” Simmons they rushed an album to the stores as soon as possible as not to let the hype die out. When about half a year later Flesh of My Flesh, Blood of My Blood appeared by all means it should’ve meant that in an effort to make more money off the at full speed running DMX train that Def Jam emptied out the vaults stringing together studio leftovers which would in theory mean that Flesh sucks balls.

This is however not the case. Or rather things aren’t that simple. It’s true that this album sounds like a lesser version of his debut. It sounds more like an incredibly tired attempt at a second run the same track than a collection of scenes from the cutting floor.

The first two lines of the first actual song on here “I’ve got blood on my hand and there’s no remorse, I’ve got blood on my dick ’cause I fucked the corpse” won’t thrill anyone who heard the first album, it will just disgust the casual listener and bore the fans.

DMX’s bark is still as vicious as his bite but when he uses it to create pro-constipation anthem Keep Your Shit the Hardest one has to wonder whether X and Swizz really ever gave this shit a second listen after recording it. It also would seem that this rapper-producer duo has forgotten that it was them who had wiped Puff Diddy’s shiny-rap sound off the charts because on It’s All Good Swizz has a crack at a disco beat while Earl tries to rhyme about sex and manages to sound both as giddy as a twelve year old and creepy as your friendly neighbourhood rapist just talking about consentual sex this time around.

When X reprises his Damien concept on The Omen and manages to include motherfucking Marilyn Manson you’ll know what’s up. When he includes cocaine carrier Drag-On, just to run laps around him on No Love 4 Me you’ll know what’s up too. The only guests who can both keep up with Earl’s intensity add somthing to the proceedings are the LOX and Jay-Z on the posse-cut Blackout. Unfortunately the boring-ass Swizz Beat still keeps the song from coming off the ground.

Not every song here fails to entertain. The title track has Swizzy actually coming up with something relatively funky and Earl not wasting the opportunity to sound fucking great, spitting violent nonsense. Coming From has X dueting fellow yonkers native Mary J. Blige over an ominous piano loop. Slippin’ is the best song off this album, hands down. X talks about optimism in dark times and the realisation that even though he’s doing good now (at the time of this album’s release in 1998) he might fall back into drug use and alcoholism over a moody DJ Shok beat. The only complaint about it is that no matter what version of this album you get, Slippin’ will be censored anyway because of sample clearance.

Overall Flesh of My Flesh, Blood of My Blood is a disappointment. It’s Dark and Hell Is Hot gave off the promise that X could release a classic hiphop LP if he got some proper editing and quality control. By rushing a follow-up to record-buyers shit went in the polar opposite direction.

It’s a bloody shame.

Best tracks
Coming From
Flesh of My Flesh, Blood of My Blood
Slippin’

Recommendations
Get the above tracks off iTunes/ Spotifi/ Amazon.


The Fast and the Furious (OST)

Various Artists
The Fast and the Furious (OST)
June 5, 2001
Murder Inc. Records/ Def Jam Recordings/ UMG
050/100

1. Good Life [Remix] (Faith Evans feat. Ja Rule, Vita & Caddilac Tah) // 2. Pov City Anthem (Caddilac Tah) // 3. When a Man Does Wrong (Ashanti) // 4. Race Against Time II (Tank feat. Ja Rule) // 5. Furious (Ja Rule feat. Vita & 0-1) // 6. Take My Time Tonight (R. Kelly) // 7. Suicide (Scarface feat. Irv Gotti) // 8. The Prayer (Black Child) // 9. Tudunn Tudunn Tudunn (Funkmaster Flex feat. Noreaga) // 10. Hustlin’ (Fat Joe & Armageddon) // 11. Freestyle (Boo & Gotti) // 12. Rollin’ (Urban Assault Vehicle) (Limp Bizkit feat. DMX, Method man & Redman) // 13. Life Ain’t a Game (Ja Rule) // 14. Cali Diseaz (Shade Sheist feat. Nate Dogg) // 15. Didn’t I (Petey Pablo) 16. Put It On Me [Remix] (Ja Rule feat. Vita & Lil’ Mo) // 17. Justify My Love (Vita feat. Ashanti)

It’s a testament of Murder Inc. records’ popularity around the turn of the millenium that they were given the responsibility to create the soundtrack to the first volume in the series of underwhelming high budget Hollywood blockbuster films that seems to never stop spawning sequels that is the Fast and The Furious.

Since Irv Gotti was instrumental in bringing Jay-Z, DMX and Ja Rule to the general public one has to wonder what the hell happened to his tastes in rap music between those days and the moment Def Jam granted him his own label Murder Inc. Records. That was more or less the point I tried to make in my Irv Gotti Presents… the Murderers review. And it rings tue here too. Vita, Caddilac Tah and Black Child ruin an otherwise perfectly functional opening track: Faith Evans’ Good Life [Remix]. When they get to suck on their own the results are even worse. Pov City Anthem, The Prayer and Justify My Love are two instances of instantly skippable loudmouth wanksta rap and a ridiculous cover of a ridiculous Madonna song. Ja Rule himself doesn’t come off too well  either. Fuck You, lifted from his horrible sophomore album Rule 3:36, justifies DMX’s complaints about Ja taking his style and pissing all over it. Life Ain’t a Game has him sing-howling his way through a pseudo futuristic DaMizza beat. The one Rule joint here that warrant repeated listens is the radio edit of his hit single Put It On Me, which now includes Lil’ Mo. Since Ja’s 2000 solo album 3:36 includes an inferior Lil’ Mo-less version of the song there’s quite literally no reason to buy that. If anything that might give this album a raison d’être. And even that track is more of a “Haha, can you believe we used to listen to that shit ten years ago?” kind of guilty pleasure-y thing rather than an actual good song.

Luckily there’s more to it than Ja and Irv Gotti’s merry band of soon-to-be-stars this time around. Tank’s rendition of Ja Rule’s Race Against Time sounds pretty good. R. Kelly does his R. Kelly thing on Take My Time Tonight which will neither gain nor cost the man fans. Suicide has southern hip-hop veteran Scarface flip a line from Snoop Dogg’s Serial Killa to decent effectand for fansof Shade Sheist, Petey Pablo, Boo & Gotti, Terror Squad, Noreaga (you’re forgiven if you’ve never heard of any of these artists, none of them are relevant any more) and fucking Limp Bizkit there’s something to be found here.

Production varies from decent (Suicide, Race Against Time) to horrible (Rollin’ (Urban Assault Vehicle), Life Ain’t A Game). And so does everything else. This makes for incredibly inessential listening. Still, for the Murder inc. Record label this was a step up after Irv Gotti presents… The Murderers and Rule 3:36. In part this has to do with the hired talent but also with their latest signee Ashanti and their new producer 7Aurelius. Perhaps Pain Is Love will be the first Murder Inc. Release since Venni Vetti Vecci that will not be a chore to listen to, huh?

Best tracks
Race Against Time II, Suicide, Put It On Me [Remix], *Good Life [Remix]

*Technically not on any edition of this soundtrack, but most likely found on a DJ Clue mixtape. Replaces the Ain’t No Nigga beat with a less distractingly familiar one. It also replaces bullshit Caddilac Tah and Vita verses with lukewarm but inoffensive Ja Rule.

Recommendations
Buy the above tracks off Amazon.