Tag Archives: Eve

DJ Clue? Presents: Backstage Mixtape: A Hard Knock Life (OST)

Various Artists
DJ Clue? Presents Backstage Mixtape: A Hard Knock Life (OST)
August 29, 2000
Roc-a-Fella RecordsDef Jam RecordingsUMG
050/100
DJ Clue Presets Backstage Mixtape
1. Intro [Skit] // 2. Best of Me (Part 2) (Mýa feat. Jay-Z) // 3. In The Club (Beanie Sigel) // 4. Keep It Thorough (Prodigy) // 5. My Mind Right (Memphis Bleek) // 6. Who Did You Expect (the LOX) // 7. Wanna Take Me Back (T-Boz) // 8. Just Leave Your Love (Christión) // 9. Darlin’ (Rell) // 10. Millionaire (Hot Boys & Big Tymers) // 11. Road Dawgs (Amil, Eve, Da Brat & Jay-Z) // 12. Funkanella (Outkast, Killer Mike & Slimm Calhoun) // 13. Come and Get It (Redman & Lady Luck) // 14. Hate Music (Cam’ron & Juelz Santana) // 15. Gotta Be a Thug (Fabolous) // 16. Don’t Want Beef (Capene-N-Noreaga) // 17. Crime Life (Memphis Bleek, Lil’ Cease & Ja Rule) // 18. Say What You Want (Da Ranjahs & Ja Rule) // 19. People’s Court (Jay-Z)

The word “mixtape” is shown prominently on this album’s cover. Mixed bag would be accurate. DJ Clue? doesn’t perform a set, and unlike on his debut album The Professional he produces but one song here, for the rest of this disc he is relegated to “Shouting his own name” duties. “Music inspired by the movie” follows the word mixtape. That’s a lie too.

Not unlike what was the case with Streets Is Watching there’s not much of a movie to speak of that would “inspire” music. In fact Backstage is a documentary on the Hard Knock Life concert tour, which was headlined by Jay-Z, DMX, Method Man, Redman, Beanie Sigel, Memphis Bleek, Amil and DJ Clue? The documentary consisted mostly of interviews of rappers.

The most logical way of tying an album to a tour is by simply releasing a recording of one of the shows, unfortunately all live hip-hop albums suck balls. (I would say nearly all live hip-hop albums, but I have yet to hear an exception.)

Perhaps the most enjoyable way to go about this novelty release, which would’ve been inessential anyway would be to compile previously released hit-singles performed by the previously mentioned line-up of artists on the tour, such as Jay-Z’s Hard Knock Life, DMX’s Slippin’, Redman’s I’ll Bee Dat! and Ja Rule’s Holla Holla. At least that way one could somewhat rightfully claim that Backstage: a Hard Knock Life was the music that inspired the movie and the disc would’ve been a nice Def Jam, class of ’99 yearbook.

In stead we are served what appears to be scraps and studio leftovers by artists who indiscriminately do or do not have anything to do with the tour, and may or may not have had supporting roles in the documentary (supporting interviews? What the hell?)

It’s not all bad though. In the Club has Beanie Sigel finally recording the Timbaland-helmed club banger that was so prominently absent from the Truth, and regardless of whether it was what you thought you wanted to hear from the guy, he does pull it off well. Keep It Thorough is Mobb Deep’s Prodigy’s finest solo song ever (although it can also be found on his solo debut H.N.I.C., sans Clue? shouting) Funkanella is a decent Dungeon Family posse cut and Millionaire has most of the contemporary Cash Money records roster (Juvenile, B.G., Birdman and Lil Wayne and others) doing their thing, for those who enjoy that sort of stuff.

Memphis Bleek and the LOX, Redman, Cam’ron, Fabolous, Ja Rule and a recently reunited Capone-N-Noreaga as well as a female rap-posse cosisting of Eve, Da Brat and Amil all put in work, with or without the aid of their subordinates, to various degrees of success, which makes sense I suppose, since they were all popular at the time. The Mýa song even has a decent excuse for appearing since it has a Jay-Z guest appearance, even if it and most of the rest of this music doesn’t need to be ever heard, let alone revisited.

What the likes of Rell, Christión da Ranjahs, T-Boz and Lil’ Cease are doing here is mystifying though. Even though the first three acts were on the Roc-a-Fella payroll at some point, they hadn’t been allowed into the studio for the recordings of any of the label’s recent memory projects (The TruthVol. 3). And Lil’ Cease, a dude who was an Notorious B.I.G. affiliate who never got to contribute to a Biggie album until the man was dead and powerless to stop him, and TLC’s T-Boz weren’t even signed to Def Jam anywhere in history.

Perhaps the Jiggaman gave Clue? the command to clean-out the Roc-a-Fella/ Def Jam vaults, as well as those of other record labels, just throw something together, slap the movie’s cover-photo on it and just release it already. Nowhere does this become more apparent than on one of the highlights, the album closer and Jigga solo-shot People’s Court where the man namedrops In My Lifetime, Vol. 2, which is most likely the album on which it was slated to appear. It was released some two years before this disc came out.

To sum it up: DJ Clue? Presents: Backstage: A Hard Knock Life Mixtape (Music Inspired by the Movie) is not a mixtape, doesn’t feature music inspired by the movie, doesn’t have so-called “DJ” Clue? doing anything DJ-like or useful otherwise, doesn’t feature the Jay-Z song Hard Knock Life, and doesn’t feature any music by Method Man, even though his face is featured on the cover.

Besides the shitloads of false-advertising there’s also the matter of what the listener actually gets on his plate; Most of the featured material is simply generic and doesn’t warrant any time, money or attention.

Best tracks
In the Club
Keep It Thorough
Funkanella
Don’t Want Beef
People’s Court

Recommendations
Look up the Beanie Sigel and solo Jay-Z songs and the CNN and OutKast songs, and let the rest be the rest. If you want to hear the Prodigy joint, which you should do, pick up the H.N.I.C.

Also on a somewhat unrelated note; pick up Sauce Money’s Middle Finger U.

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Beanie Sigel – The Truth

Beanie Sigel
The Truth
February 9, 2000
Roc-a-Fella RecordsDef Jam Recordings/UMG
070/100
Beanie Sigel - The Truth
1. The Truth // 2. Who Want What (feat. Memphis Bleek) // 3. Raw & Uncut (feat. Jay-Z) // 4. Mac Man // 5. Playa (feat. Amil & Jay-Z) // 6. Everybody Wanna Be a Star // 7. Remember Them Days (feat. Eve) // 8. Stop, Chill // 9. Mac & Brad (feat. Scarface) // 10. What a Thug About // 11. What Ya Life Like // 12. Ride 4 My //13. Die // 14. Anything (performed by Jay-Z)

Spit like August
I’m “the Truth” I’m not lying

I’m the reason why Jay feel comfortable retiring.

That line taken from Sigel’s guest verse on Jigga’s Pop 4 Roc is both a pretty straightforward announcement of this album hitting stores soon and quite the claim indeed. Considering Jay-Z was and is considered one of New York’s finest rappers, and Sigel, well… at that time nobody actually knew who he was. But let’s be honest; If Jay ever were to deliver on his threat to retire it wouldn’t be because motherfucking Mempis Bleek could hold down Roc-a-Fella records in his absence (Sorry Bleek!)

Sigel first made some noise appearing on Jay-Z’s Resevoir Dogs, as well as songs by Memphis Bleek, Puff Diddy and the Roots. Hailing from Philadelphia he was one of the first non-New York artists on Roc-a-Fella, and certainly the first one to get to release an album there paving the way for a certain Kanye West, who supplies his first Roc-a-Fella production contribution here, but was still years away from a rap career.

Jay’s Vol. 3… Life and Times of S. Carter had already seen the Roc moving away somewhat from the pop-rap sounds that had made Vol. 1Vol. 2 and to a lesser extent Memphis Bleek’s Coming of Age hit albums. But The Truth takes this movement to the next level and likes to pretend the R&B charts don’t exist. There’s zero R&B hooks and no expensive-ass Timbaland/ Swizz Beatz club tracks making this an album one for hip-hop heads only. In fact, one can easily imagine Jigga hearing the final product, panicking about who the hell would buy a rap-album without lame-ass pop concessions and included his own Oliver!-sampling  mediocre-ass Hard Knock Life-reprise Anything as a bonus-track, in a final attempt to seduce the ladies into buying The Truth.

The album features thirteen tracks (not counting Anything because Beans ain’t got shit to do with it) produced by a myriad of producers. In the hands of a less capable rapper this would lead to a sonic chaos. But Sigel pulls it together with his snarling, agressive style somewhat reminiscent of Ice Cube at his most angry. Unlike Coming of Age The Truth isn’t an amateur’s rendition of In My Lifetime, Vol. 1Kicking off with the early Kanye production/ title track Beans grabs the listener by the throat with his sheer intensity. He’s not a technichian the way Jay-Z is, his flows are relatively simple compared to those of his boss, rather it’s the way he makes one feel his words. Finding highlights is hard since Sigel couldn’t be bothered to cater to the radio, one should rather take the Truth as a whole. Nevertheless; Raw & Uncut may be the umpteenth song comparing hip-hop music to some narcotic but Beans seems invested enough in his performance, the blaxploitation-inspired beat is nice and groovy. It also has a nice back-and-forth going on between our host and the guy who signs his paychecks. (No such luck with the Memph Bleek-duet Who Want What, what with Roc-a-Fella production neophyte Just Blaze giving Sigel his impression of a Swizz Beat, or the Amil-feature Playa that comes thisclose to being a radio song, lacking only listenability. It truly seems that the only people with talent in on the Roc-a-Fella payroll at this time were Jay and Sigel) An even better match for Sigel to duet here is Houston rap-vetaran Scarface who gets down with our host on the simply titled Mac & Brad over an understated instrumental. The fact that Beans holds his own here is definitely proof the man is no joke. The only complaint I can come up with here is that they fade out the track while Face is still rapping, the fuck? But arguably Beans is best served solo. The title track, Stop, ChillWhat a Thug AboutWhat Your Life Like and Die are the must succesful showcases of Sigel’s gangsta raps served neat, with no ice. Especially the latter on which the man contemplates what violent, unpleasant way he’ll meet his maker given that death is certain and he lives the gangsta lifestyle, over an atypically mournful Prestige beat.

As good as these highlights are it’s not all good here. Remember them Days has a cotton candy of an instrumental and puts three perfectly seviceable Beans verses and a meh Eve hook to waste. Mac Man is a overly gimmicky shitstorm with it’s video game sample (guess which one!) and then there’s the previously mentioned Roc-a-Fella guest appearances on Who Want What and Playa.

But if you kept count you’ll have noticed that the good mostly outways the bad here, and Sigel more or less gives off the idea that although Jay’s crown would be a bit too heavy for him (Beans could never maintain a constant charts presence like Jigga man has been doing from ’96 ’til now.) But there’s no doubt he could keep the Roc relevant in the absence of Shawn Carter.

Unfortunately for our host things wouldn’t end up remotely like that, but that story is for another day.

Best tracks
The Truth
Raw & Uncut
Stop, Chill
Mac & Brad
What a Thug About
What Your Life Like
Die

Recommendations
Pick this one up.


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.