Tag Archives: Irv Gotti

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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Ja Rule – 7 Series Sampler: Pain Is Love

Ja Rule
7 Series Sampler: Pain Is Love
May 20, 2003
Murder Inc. RecordsDef Jam RecordingsUMG
065/100
Ja Rule - 7 Series Sampler
1. Always On Time (feat. Ashanti) // 2.  Down Ass Bitch (feat. Charlie Baltimore) // 3. Never Again // 4. Lost Little Girl // 5. Pain Is Love // 6.  I’m Real [Murder Remix] (feat. Jennifer Lopez) // 7.  Livin’ It Up (feat. Case)

Back in 2003 internet music bootlegging was just starting to become a thing (anyone remember Napster or Limewire?) and so, in an effort to seduce people who would otherwise steal music from the web, Def Jam Recordings came with a radical solution: the EP.

A little more thought was put into it than that, by re-releasing an album without all the filler they could sell it for cheaper and because  it contained mostly the hits no skipping was required by the listener (The first generation of iPods had just come out, so not everyone knew how to make a playlist yet.)

Ja Rule was still a popular artist by then, so he was an obvious candidate, and because Def Jam didn’t want the EP to eat away the sales of Jeffrey’s latest album The Last Temptation they decided to go for the album he had released before that one; Pain Is Love, which had sold millions of copies and had completely fulfilled its chart-potential by then anyway, it was a no pain, no gain thing.

So they trimmed Ja Rule’s Pain Is Love from most of it’s non-singles until only seven tracks were left in such a way they didn’t have to cut Caddilac Tah, Black Child, Boo & Gotti, Jodie Mack, Missy Elliott and 2pac any aditional cheques, added nothing, rearranged them and put the resulting disc in record stores worldwide.

This would seem like some typical record company bullshit, which off course it was. But it just so happens that Pain Is Love had about six tracks on it that could either be considered a good song or a hit single (with about two of them being both). So with that in mind one has to give Def Jam kudo’s for including not only the the radio hits (although the person in charge of compiling this disc would have had to have been pretty fucking stupid to fail to do that right.) but also the best non-single, the existentialist mental breakdown that is Never Again.

It has to be said though that may have been a fortunate accident in selection, because this EP also contains the two very worst songs of the original album.

Nobody ever wanted to hear Jeffrey do social commentary, even those that did buy his self-absorbed sensitive thug persona (and all of his albums) back in the early naughties, so what the hell is Lost Little Girl doing here?
Pain Is Love‘s faux-philosophical pity me, martyr-lyrics and a typically unfortunately brassy hook and glossy beat go a long way in showing why these days Ja Rule is mostly a punchline.

As for the hits; Always on Time is still classic pop-thug/ R&B genius, Livin’ It Up is still jiggy, wide-eyed dancefloor fun, I’m Real [Remix] still has Jenny from da Block coming off as real a Barbie doll and it still has Jeffrey coming across as a jackass hollering at sluts with a bottle of K-Y, but I’m pretty sure that said sluts still like this song, so that’s a thing. And Down Ass Bitch still has some singing on it so bad it makes you wish they used autotune as freely back then, as they do now.

Also it would’ve been very sympathetic if Def Jam would’ve included the hit version of Ja’s Put It On Me featuring Lil’ Mo off the soundtrack to the Fast and the Furious, considering there is no Ja album, studio or compilation, that has the version that anyone gives a shit about on it.

Still this is probably the most Jeffrey any casual listener will ever need, so if you absolutely must have a legal hard copy of Always On Time this is the way to go.

Best tracks
Always on Time
Livin’ It Up
Never Again

Recommendations
Since you can probably pick this up for the price of a second hand single, because this probably has the least shitty songs of any of his abums, bar his debut Venni Vetti Vecci, and because this has arguably the two best songs of his career you can pick this up. Just don’t expect miracles from a Ja Rule album.


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.


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

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

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

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

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

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

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

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

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

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

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

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

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

Recommendations
Pick this one up.


Memphis Bleek – Coming of Age

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

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

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

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

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

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

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

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

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

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

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

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

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

Recommendations
Don’t go near this one.


Irv Gotti Presents: The Remixes

Various Artists
Irv Gotti Presents: the Remixes
November 5, 2002
Murder Inc. Records/ Def Jam Recordings/ UMG
050/100
Irv Gotti Presents the Remixes

1. The Remixes [Skit] // 2. Unfoolish (Ashanti feat. the Notorious B.I.G.) // 3. I’m So Happy (Ashanti feat. Charlie Baltimore, D.O. Cannons & Young Merc) // 4. The Pledge [Remix] (Ashanti, Ja Rule, NaS & 2pac) // 5. O.G. [Remix] (Black Child & Caddilac Tah) // 6. Boss [Skit] // 7. Me & My Boyfriend (Toni Braxton feat. 2pac) // 8. Come-N-Go (Ashanti, Ja Rule, Caddilac Tah & 7Aurelius) // 9. Poverlous (Caddilac Tah)  // 10. Spanish Dancing [Skit] // 11. Rainy Dayz [Remix] (Mary J. Blige feat. Ja Rule) // 12. Moreno [Skit] // 13. Baby [Remix] (Ashanti feat. Scarface) // 14. Hard Livin’ (D.O. Cannons & Young Merc) // 15. No One Does It Better (Black Child, Caddilac Tah & Ja Rule) // 16. Remo’s Back [Skit] // 17. We Dem Boyz (Let’s Ride) (Chink Santana, D.O. Cannons & Young Merc) // 18. Baby [Remix] (Ashanti feat. Crooked I)

Remixes of tried and true hits and some added bonuses in the form of new tracks by Caddilac Tah and Black Child and some new cats (groan). 2pac involentarily pops up on two tracks, one of which, a Toni Braxton song, at least techically actually could have happened back in the ’90s because both Toni and Pac were around, and which started a beef between Braxton and Jay-Z who sampled the same pac song for his ’03 Bonnie & Clyde.

Scarface his vocals, featured first on a song called Mary Jane are reused for a remix of Ashanti’s Baby because the original already had stolen its beat already anyway. Then at the tail end of this dated novelty project a horribly miscast Crooked I re-does the re-mix in order to appear in full Ja Rule-capacity in its video, complete with mink coat. (I’m sure he doesn’t like it Joe, Joell and Royce bring that shit up.)

But hey some of the Ashanti tracks aren’t horrible, except for Unfoolish, which although it doesn’t sound bad, we had heard already on her own album, and which graverobs Biggie and morbidly puts him on the same album as 2pac, they’re all welcome additions to het catalogue. I’m So Happy more or less swipes the beat from the Gap Band’s Outstanding, which the original titled Happy did in a much more subtle manner, and The Pledge [Remix] replaces Caddilac Tah with NaS (no complaints there besides the 2pac thing.)

Besides Irv ruining Jeffrey’s Mary J. Blige duet Rainiy Dayz nobody does anything else worth mentioning so I’mma call it a day.

Best tracks
I’m So Happy, The Pledge [Remix], Baby [Remix] (Crooked I version)

Recommendations
What do you think?


Ja Rule – The Last Temptation

Ja Rule
The Last Temptation
November 19, 2002
Murder Inc. Records/ Def Jam Recordings/ UMG
050/100
Ja Rule - The Last Temptation

1. Intro // 2. Thug Lovin’ (feat. Bobby Brown) // 3. Mesmerize (feat. Ashanti) // 4. Pop Niggas (feat. Pharrell) // 5. The Pledge [Remix] (feat. NaS, Ashanti & 2pac) // 6. Murder Reigns // 7. Murder Me (feat. Caddilac Tah & Alexi) // 8. The Warning // 9. Connected (feat. Eastwood, Crooked I & Chink Santana) // 10. Emerica (feat. Young Life & Chink Santana) // 11. Rock Star // 12. Destiny [Outro]

Ja Rule hadn’t really had any major backlashes in his career up until the gruff-voiced reincarnation of Luther Vandross released The Last Temptation. Sure, that Fiddy guy didn’t like him too much and his old homeboy DMX had said some less than complementary things about him on record, but his first three albums had all been multi platinum sellers and booty bumping with J-Lo on I’m Real [Remix] and Ain’t It Funny [Remix] sure had been fun. It also seemed that because of How to Rob nobody in the hiphop community liked mr. Cent, and his debut album had been shelved, and he himself had been dropped from his record label, making him not a force to be reckoned with in the rap game.

Then Curtis Jackson got signed again, arguably to the biggest powerhouse label in hip-hop: Eminem’s Shady Records. He was talking shit again, about how Jeffrey was a sellout R&B artist and a 2pac imitating wanksta, and this time the world listened and nodded. So The Last Temptation desperately needed to re-establish Ja’s credibility.

At the same time Ja’s previous album had him and Irv Gotti finding a winning formula: Ja posturing grimily over hella slick beats with Ashanti singing a hook. This had sold Ja boatloads of albums and a stack of hit singles. He also had an audience to satisfy. And audience that wanted him to reprise Always on Time a couple of times.

These two contradictory ideas that stand at the foundation of The Last Temptation, a fascinatingly schizofrenic listen with a lot of truly mystifying choices being made.

After a rant of an intro things start off well enough with Thug lovin’which pick Whitney Houston’s then-hubby Bobby Brown out of the crack rocks moth balls to aid Jeffrey in a smoothed-out song of rugged romance. Mesmerize is a decent sequel to Always on Time that samples, ironically enough, the same source material as Ghetto Qu’ran, the song that allegedly got F. Cent shot nine times. No surprises there, musically or lyrically.

Then Ja remembers the streets all of a sudden and invites Pharrell over for a DMX/Fiddy Cent disfest. Not much worth mentioning here except for that it raises the question whether or not Skateboard P willingly helped create a 50/X dis, or was simply asked for a beat and e-mailed his most generic, never even remembering the fact and being hella surprised when the Murder Inc. paycheck came in the mail.

Murder Reigns samples Toto’s Africa of all things and has Ja going all 2pac/martyr on the listener. Speaking of the man, his disembodied voice can be heard on the outro of The Pledge [Remix], which also samples his own So Many Tears, for the beat. That’s fucking blasphemous, and I’m not even really that much of a Pac fan. The fuck NaS!? Were you threatened with grievous bodily harm into participating with this ridiculous horseshit? It would seem that there’s even a subliminal Snoop Dogg-diss in Ja’s verse, this was most likely instigated by Suge who gets a shout-out.

The title track had Irv Gotti breaking out a Rappers Delight-esque faux disco beat, and features the Notorious B.I.G.’s one-time dip on the side Charlie Baltimore dueting Jeffrey, who reverts back to his old constipated Barry White with laryngitis tricks on the hook, making the song unlistenable even though Baltimore actually sounds pretty good.

Murder Me draws inspiration from Anniversary by Tony! Toni! Toné!, and has Ja breaking out some of the worst sex lyrics The Last Temptation‘s side of Pretty Ricky’s Your BodyThe Last Temptation is by far hip-hop’s largest, most decadent waste of a sampling budget since Puff Diddy reigned over the charts. But apparently they saved the money on guest appearances, because except for Pharrell’s blink-and-you’ll-miss-it appearance on Pop Niggaz and Nasir’s verse, there’s no one on here who wouldn’t work for food. One has to wonder whether Gotti ever truly considered releasing albums by the likes of Caddilac Tah and Young Life.

Because Suge cleared the 2pac raping-and-pillageing that was Pain on Pain is Love and The Pledge [Remix] on here, two Death Row records get to spit alongside Jeffrey on Connected. It’s a highlight, what with Chink Santana’s Nate Dogg-esque vocals on the hook and his Dat Nigga Daz aping beat and Crooked I and Eastwood providing the best verses on this project, bar NaS. Emerica is another ecstasy anthem and Ja’s worst one yet.

Rock Star goes for the tried-and-true throw-some-rock-guitars-on-a-hip-hop-song-and-hope-for-crossover-appeal gimmick. Fans of both genres should hang their heads in shame.

The outro is a pretty decent machine gun funk beat, and Jeffrey certainly does his best with it, but ultimately it’s too little, too late.

Ja Rule actually held the advantage in the 50 Cent thing, up to this point, having sold milions of records and with nobody knowing who Curtis was. With this album however he more or less killed his own career before 50’s practice round was even over and his first real blow, in the form of Get Rich or Die Trying was even delt by at the same time trying to please everyone and being so self important that he creates music that borders on self-parody.

Best tracks
Thug Lovin’
Mesmerize
Connected
Destiny [Outro]

Recommedations
The above songs are some fanstastic naughties nostalgia, but the rest of this album is a total waste of time and money, and needs not be touched with a ten foot pole.