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Nelly – Da Derrty Versions: The Reinvention

Nelly
Da Derrty Versions: The Reinvention
November 25, 2003
Derrty EntertainmentUMG
058/100
Nelly - Da Derrty Versions the Reinvention
1. Intro // 2. Country Grammar [Jay E Remix] (feat. E-40) // 3. Iz U // 4. E.I. [David Banner remix] // 5. Ride With Me [Jay E Remix] (feat. City Spud) // 6. Batter Up [Jay E Remix] (feat. Murphy Lee, Chocolate Tai, King Jacob, Prentiss Church & Jung Tru) // 7. If // 8. Hot In Herre [Basement Beats Remix] // 9. Dilemma [Jermaine Dupri Remix] (feat. Ali & Kelly Rowland) // 10. King’s Highway // 11. Groovin’ Tonight (St. Lunatics feat. Brian McKnight) // 12. Air Force Ones [David Banner Remix] (feat. David Banner & 8ball) // 13. Work It [Scott Storch Remix] (feat. Justin Timberlake) // 14. #1 [Remix] (feat. Postaboy & Clipse) // 15. Pimp Juice [Jay E Remix] (feat. Ron Isley) // 16. Tip Drill [Remix] (E.I.) (St. Lunatics)

Back when people still bought cds remix-albums were an easy way for record labels of juicing any particular artist’s fanbase for some cash whenever that artist didn’t have a proper album to promote. Da Derrty Versions: The Reinvention is such an album, bridging the gap between Nelly’s 2002 blockbuster Nellyville and his 2004 double whammy Sweat and Suit. On this album you will find amended versions of hit songs from Nellyville and his debut Country Grammar of varying quality, all tied together by Nelly commenting on his ‘creative process’ in a sort of fake interview type of setting brought to us in skits. Did you know E-40 invented slang? Yeah, me neither…

On to the content: Everything labeled a ‘Jay E Remix’, which is is the absolute majority of the songs, can be automatically dismissed as a remix. Not because the beats suck, Jay E is a terrific producer and arguably half of the reason of Nelly’s success, but rather because the guy produced most of the original incarnations of these songs which were mostly not broke and therefore not in need of fixing.
Apparently he agreed with that assessment because the changes to his instrumentals are minimal to nonexistent. All that’s really added are newly recorded guest appearances which vary from entertaining enough such as the Ron Isley-featuring version of Pimp Juice and the Clipse on #1, to meh such as the blink-and-you’ll-miss-it E-40 verse on Country Grammar, to godawful such as the new version of Batter Up which replaces B-team weedcarriers with Z-team weedcarriers. But the fact that Jay doesn’t go rampant creatively with altering his own shit might actually be for the better because the one time Jay E does actually change something substantial about a song the result is a version of Ride With Me that poorly attempts to fit the original hook into the melody of John Mayer’s No Such Thing for no other reason than that Nelly likes John and wanted to pay ‘tribute’ to him, which is very questionable reasoning at best. Nelly could‘ve called the guy up for a collabo and Mayer would probably have said yes, and that might’ve made for an entertaining collabo if Nelly’s later collabo with Tim McGraw Over and Over is any indication. In stead we’re left with this stupid shit that also does a terrible job at incorporating City Spud’s not-that-great-to-begin-with verse off the original version.
The remix of Hot In Herre which is credited to ‘Basemenent Beats’, a production team consisting of Jay E, Koko and Wally Beaming (and City Spud who is m.i.a. here because of a ten year prison stint) is pretty fucking awesome with what sounds like a recreation of the Neptunes’ bleepy, bloopy original beat with live instrumentation. I guess he did have something to ad here because he didn’t have a hand in creating the original instrumental.

Mississippi rapper and producer David Banner remixes E.I. into something much more scandalously entertaining than the original, although there wasn’t much need to tack on a second version of this remix on the end of the album with his boys from the St. Lunatics featuring but substituting verses with catchphrases (This version does however work really well as a floor-filler at parties, so perhaps it is the Nelly-solo version that is the redundant track out of the two.) His rock version of Air Force Ones however a fairly lame deal, which is a shame because new guest verses by himself and southern legend 8ball are a lot better than what the ‘Tics had come up with for the original.

Jermaine Dupri’s new version of Dilemma exposes the song for having been very reliant for its effect on its sappy original production as this stripped down version sounds dry and superficial. Scott Storch transforms Work It into an altogether more slinky affair that probably would’ve sounded better if Nelly hadn’t decided to re-record his vocals after popping a shitload of ritalin. It is what it is and it is mystifying.

That leaves a three original songs. Iz U is a pretty cool trunk-rattler that wouldn’t have sounded out of place on Nellyville, that goes for Kings Highway and the Neptunes-produced If as well. Perhaps he was cleaning out the vaults or something. Anyway these songs are probably the only real reason for owners of Country Grammar and Nellyville to pick up The Reinvention.
In 2003 that might’ve cut it as an incentive for purchasing this album. In 2014 however you can just buy the individual songs off iTunes or Amazon and you’ll have all the added value of this album to Nelly’s catalogue for a lot less money than you would spend on the entire disc. That’s not to say Da Derrty Versions sounds bad. It’s a fairly decent Nelly-playlist, and with the exception of Air Force Ones and Ride With Me these remixes don’t actually sound any worse than they do in their original versions. Props for culling the only good song Groovin’ Tonight off that godawful St. Lunatics album, even if it was only to get incarcerated Lunatic City Spud some commisary (That would also explain why Spud is on that strange and shitty Ride With Me-John Mayer mashup). But if you’re a fan of Nelly’s you could probably make a much better Nelly-playlist yourself with the technology being available and manageable to everyone and their grandmother, making The Reinvention a dinosaur from a bygone era.

Best tracks
Iz U
If
Hot In Herre [Basement Beats Remix]
King’s Highway
Groovin’ Tonight
Pimp Juice [Jay E Remix]

Recommendations
Buy the above tracks off iTunes or Amazon, or pick this out of the used CD bin you find it for under six dollars.

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State Property – State Property

Various Artists
State Property (OST)
January 29, 2002
Roc-a-Fella RecordsDef Jam RecordingsUMG
075/100
State Property - State Property OST
1. Roc the Mic (Freeway & Beanie Sigel) // 2. Sun Don’t Shine (Young Chris, Oschino, Freeway & Neef) // 3. It’s Not Right (Freeway, Young Chris, Omilio Sparks & Beanie Sigel) // 4. Do You Want Me (Young Chris, Omilio Sparks & Oschino) // 5. Sing My Song (Omilio Sparks & Oschino) // 6. No Glory (Beanie Sigel) // 7. Bitch Niggas (Beanie Sigel & Omilio Sparks) // 8. Why Must I (Beanie Sigel & Omilio Sparks) // 9. International Hustler (Freeway) // 10. Hood I Know (Beanie Sigel, Freeway, Young Chris, Omilio Sparks & Oschino) // 11. Got Nowhere… (Beanie Sigel & Freeway) // 12. Trouble Man (Beanie Sigel, Omilio Sparks & Oschino) // 13. Don’t Realise (Beanie Sigel & Rell)

You know when a franchise is on a roll when it’s B-teamers get to ink their boys a deal and record an album with them. Off course calling Sigel a b-teamer wouldn’t be because of any sort percievable of lack of talent, mind you. Sigel is a B-teamer only because despite him doing alright for himself his albums never did Kanye West or Jay-Z numbers either because he wasn’t as likeable and hence markerable as either of those two superstar artists. Because he didn’t want to taint his gangsta rap albums with pop songs or probably both. The thing then that Beans brought to the table was raw street credibility. Just when Jay would lean a bit too far in the pop direction for hip-hop heads’ tastes Beans would bring out a cold hard gangsta rap album to keep Roc-a-fella Records’ street audiences happy.

It would be safe to say then that the records this guy did sell were sold to a small but dedicated fanbase who had no interest in compromising pop records, and that the same could be expected by an album coming from his protégés Freeway, Peedi Peedi, Young Chris, Neef, Omilio Sparks & Oschino. Catering to these expectations is exactly what State Property has done for their self-titled debut that also doubled as the soundtrack for Beanie Sigel & Co.’s movie debut, also called State Property (Had Beans learned nothing from Ma$e’s Harlem World, the group he named after his debut and how well that shit worked out?)
Now I personally haven’t seen this movie yet (and I have no immediate plans of doing so) but at least one person must have, because according to Wikipedia State Property (the movie) currently, twelve years following its release is still the reigning number one movie when it comes to utterences of the word ‘fuck’ per minute (bar a documentary on the word ‘fuck’ itself.) “Fuck is spoken 3.65 times per minute or 321 times in 88 minutes.” Wow. That should tell you exactly how much Beanie Mac cares about giving the media something they can play without giving their censors a burn out in in the process of preparing it for American mainsteam consumption.
This would also mean that the amout of ‘fucks’ uttered in the movie greatly exceeds that of the gangsta rap album that serves as its soundtrack. This is quite the achievement!
This in turn would mean that after shooting the movie the guys started to record the album but were *wait for it* literally out of fucks to give.

The opposite of this cornball-ass joke appears to have been the case. While every movie critic who saw it State Property (the movie) hated, hated, hated it, music critics actually took a liking to the album. And while not even Beanie Sigel’s mother could be convinced to buy a ticket for the film, State Property (the album) had a fairly healthy charts presence and could arguably be called succesful in its mission of launching the careers of Beans’ Philedelphia friends. Especially Freeway and the duo of Young Chris and Neef Buck who together record under the name Young Gunz. Both of these acts have had gold albums, which is good for them, but not necessarily good for Beans because when Beans left Roc-a-Fella Records to sign with Dame Dash’s new label and a beef between the Jiggaman and Mac ensued, most of State Property stuck with Jay-Z, apparently against his wishes.

Oh well, at least at the time when this album came out it was all good.. sorta. The fact that the album did so much better than the movie could be explained by the fact that State Property had been rapping for a while because they were rappers and this z-grade attempt at recording a b-movie was completely new to them.

The album kicks off with a club jam with Freeway handling the first and final verse, Sigel providing the creamy centre and both of them going back-and-forth on the hook. It’s a catchy song, but not your little sister’s birthday party kind of hip-hop song. Just Blaze’s beat is bouncy and a sparse kind of way and Sigel’s verse is all about the Notorious B.I.G. and firearms. It was the only single released of the album and sounds a lot more consise than that version with Murphy Lee and Nelly on it that appeared on Nellyville.
Following it is Sun Don’t Shine, a song about getting cornholed hardship in the hood with a crappy pseudo Neptunes instrumental backing up everyone but Sigel and Sparks. Speaking of Sparks: One would think that he’d have Pharrell’s phone number after helping to create the hook of I Just Wanna Love U (Give It 2 Me) so that he could arrange a real Neptunes beat. It is almost as though with these first two songs State Property tried to lure potential buyers into believing that this album was going to be a sequel of sorts to The Dynasty: ROC la Familia.

From there on however it is away with the pop and in with gloomy soul-sampling beats. It’s Not Right sounds a lot like a sequel to This Can’t Be Life, except with Jay and Scarface being replaced by Beans his boys. Matter of fact, Roc-a-Fella in-house R&B singer Rell notwithstanding, there are go guest appearances by non-State Property members, ROC or otherwise. Whether this was Jay giving Beans a vote of confidence that him and his boys could record a perfectly good album without his help and an apology for having the balls to include one of his own solo-songs on Beans’ solo-debut album the Truth for absolutely no reason at all or simply because Beyoncé’s bootylicious booty had just started keeping occupied to record music, and also because he was spending the lion’s share of State Property’s album budget with her in Mexico recording the ’03 Bonnie And Clyde video is not entirely clear to me. Apparently he did executive this album with his boys Dame Dash and Kareem Biggs. Which probably means that the triumvirate removed Memphis Bleek from the studio he was occupying to make room for the guys. But the result of this is that Sigel, Free and company get to run their own show and  that there’s no famous guest’s appearances to skip forward to, which means they have my full attention.

State Property keeps it grimy throughout. Even the come-on number for the ladies Do You Want Me, which has Chris, Sparks and Oschino on it, has the sort of creepy-ass beat, courtesy of Rick Rock, that suggests something else than hot romance. The fact that they guys all seem to be hollering at the same chick doesn’t really help. Moving on.
Sing My Song has Omilio singing his song poorly (but not poorly enough to grate on the ears) over a bluesy beat made by some cat called Zukhan, and dueting Oschino talking all sorts of ‘profound’ stuff about the ghetto life, and managing quite well to entertain.No Glory has the kind of beat that blends mafioso movie music with blaxploitation movie music and lets Sigel go rampant over it by his goddamn self spouting all kinds of violent nonsense but sounding as good and pissed off as ever. The beat even tricks you into believing it’ll switch up somewhere in the middle but it doesn’t. Tense.
Bitch Niggas is the anti-snitch that is mandatory on this type of album with Sparks and Sigel going for broke with it, not adding much to this particular sub-genre of gangsta rap, but sounding pretty awesome nevertheless, not in a small part thanks to it’s fine instrumental.
Why Must I jacks a George Clinton hook via Snoop’s What’s My Name and fails miserbly at doing anything good with it, mostly because this sort of thing has been done by every rapper ever since Jesus and his posse recorded the New Testament, and also because the first shitty beat since Sun Don’t Shine nearly derailed this entire listening experience.
International Hustler pairs Freeway with M.O.P.-producer DR Period for a rowdy excercise in gangsta non sequitors. It’s clear why after Beans Freeway would be the most succesful guy out of the crew.
Hood I Know, which has everyone in the crew except Neef on it, is a clunker again because of it’s car-commercial beat that is too glossy to be underground and too incomplete to succesfully be pop.
Got Nowhere… is Kanye’s only production contribution and it’s not bad a beat for Sigel and Freeway to duet over, although one would expect more from the billionaire, playboy, philantropist, artiste extraordinaire we know today. But then again back then he was only a ‘humble’ producer.
Trouble Man takes on a remorseful vibe and has Sparks, Sigel and Oschino wonder why they’ve so unfortunate in life early on. Yeah… Me neither, but it does sound good. And hey substance isn’t what this album is for.
The final track Don’t Realise pairs the albums biggest star Beanie Sigel with R&B singer Rell, a guy who to my knowledge had been signed to the Roc from the beginning but never was allowed near the studio when Jay was recording. It’s a nice upbeat way to end the evening.

Best tracks
Roc the Mic
It’s Not Right
No Glory
Bitch Niggas
International Hustler
Got Nowhere…
Don’t Realise

State Property is actually as good as Beanie Sigel’s then-latest album The Reason, which was good news for not only him, his fans, and these guys but also Jay-Z who went on to make a pretty penny off having these guys to his label. (And even though the movie allegedly sucked balls Beans got to create a State Property 2 as well, and got sent to prison so soon after that it can hardly be called a coincidence) But we’ll get to that when we will. For now to lovers of uncompromising but professionally made gangsta rap I recommend a purchase of this album.


Nelly – Nellyville

Nelly
Nellyville
June 25, 2002
Derrty EntertainmentUMG
068/100
Nelly - Nellyville
1. Nellyville // 2. Gettin’ It Started [Skit] (performed by Cedric the Entertainer & La La) // 3. Hot In Herre // 4. Dem Boyz (feat. St. Lunatics) // 5. Oh Nelly (feat. Murphy Lee) // 6. Pimp Juice // 7. Air Force Ones (feat. St. Lunatics) // 8. In the Store [Skit] (performed by Cedric the Entertainer & La La) // 9. On the Grind (feat. King Jacob) // 10. Dilemma (feat. Kelly Rowland) // 11. Splurge // 12. Work It (feat. Justin Timberlake) // 13. Roc the Mic [Remix] (State Property feat. Murphy Lee & Nelly) // 14. The Gank // 15. 5000 [Skit] // 16. #1 // 17. CG 2 (feat. St. Lunatics) // 18. Say Now // 19. Fuck It Then [Skit] (performed by Cedric the Entertainer & La La)
bonus track
20. Girlfriend [Neptunes Remix] (*NSYNC feat. Nelly)

Nelly -the man, the myth, the band-aid abuser- really was the early 2000s Lil Wayne, although longtime Weezy-fans know that Lil Wayne himself was also a thing in that day and age. But what I mean to say by that is that Nelly was as succesful in 2002 as Lil Tunechi was in say 2010. There was nary a radio station one could turn on without hearing the man’s heavily accented words and sing-songy voice. Most of these hits are concentrated on Nellyville.

Nellyville showcases everything that was right and everything that was wrong with hip-hop in the early naughties. The Neptunes sound, continuous celebration of excess, an expanding assortiment of regional flavours of hip-hop hitting the mainstream, having each and every one of your friends come over to the studio to drop a verse for your album, R&B/pop-rap collaborations, singing your own hooks when no R&B singer was around without the aid of vocal effects, silly skits and really long tracklists and running times, keeping it gangsta with nary a hipster in sight. It was the best of times, it was the worst of times.

This album sold a tonne of copies too. Some seven million in the U.S.A. alone on the strength of it’s smash hit singles like Hot In HerreDillema and Work It. I’m sure even the Lunatics ate better off their three apearances than they did off the Free City and the Heavy Starch albums combined. The pre-iTunes era had some perks for weed carriers. These days they would’ve been forced to find a day job to support their “rap career” because people would just buy all the songs they like off iTunes and back then you had to cop the whole cd. In 2002 people did cop the cd because of Cornell Haynes, jr.’s punchy flows and catchy hooks that were delivered in a oddly intoxicating blend of shouting and velvetty crooning about being a gangsta and a hustler and a player and what not but mostly about having too much fun, over Jason “JE” Epperson’s dirty but poppy beats, with a couple of instruments by others including Pharrell Williams and Chad Hugo thrown in for variety’s sake.

The album kicks off with the title track which describes a city that is Nelly’s utopia in which the weather is democratically decided upon, in which he is the mayor (or muhr as he pronounces it) and everything is gumdrops and ice cream. Only Nelly could make a song like this without sounding completely flaky. I’m sure everyone has heard Hot In Herre and Dilemma, two of the archetypical commercial rap songs of the era. The former is probably the most memorable Neptunes-produced club number ever with a feverish beat and Nelly’s blissfully ignorant raps and jokes that are so bad they’re good (“Stop pacin’, time wastin’, I got a friend with a pole in the basement” “What?” “I’m just Kidding like Jason!” “Oh.” “Unless you gon’ do it.”). The latter is something out of the Ja Rule playbook with our host and Destiny’s Child’s Kelly Rowland affectionately singing and sing-rapping come-ons at one another over a cheese fondue of an instrumental that blends philly soul with music box twinkling. You’d have to be a hardball cynic to hate these wide eyed optimistic and incredibly catchy jams.
Justin Timberlake, then of *NSYNC, gets to sing the hook of Work It which was good for him since appearing on this strip club anthem made him insteresting to slightly orlder teenagers than those who bought Celebrity, which was very necessary for the solo-album he was releasing later in 2002 to become succesful. The song still sounds really good today with it’s beat that’s simultaneously groovy and crunchy but it does give away how much Nelly relies on his superior flow and charisma to get his message across and not so much his lyrics which can be a bit off. (“She’s got me hypnotised, just like that Biggie guy.” and still P. Daddy invited him over to work on the second postumous Notorious B.I.G. album!?)
Air Force Ones is quite pleasant for a shoe commercial mostly pieced together by b-teamers due to it’s throbbing bounce-beat that harks back to Batter Up and Pimp Juice is the best shitty falsetto performed by a rapper ever, Jeffrey Atkins be damned.
#1 has our host proclaiming his dominance over the rap game and answering a KRS-One diss with gusto over a gloriously tangy instrumental.
Another highlight is Roc the Mic [Remix], an amended version of State Property’s debut single which has Sigel and Freeway copy the flow each other used on their respective verses the original version and Nelly and Murphy Lee managing to fit in pretty good with this significantly more gangsta, less frivolous duo. The edition of Nellyville I have finishes with the Neptunes remix to the *NSYNC-song girlfriend on which Nelly appeared, on here gets as clean as Justin gets dirty on Work It, so that’s a fair trade I guess. If you’re going to pick up Nellyville pick up this edition because it’s like an added bonus to what is essentially a nostalgia value pack. Besides the only other way of picking up this song is buying NSYNC’s Celebrity or stealing it off the internet off course.

The rest of the songs don’t really suck but don’t exactly warrant an honourable mention either. The biggest flaw about the album is that it’s twenty tracks (eighty miniutes) long, which leads me to believe that the man All Eyez on Me‘d this album, which means he recorded everything he could come up with in one go and without hearing it back for quality control purposes released everything he could fit onto a cd. If this were ten tracks long it woud be much better and much conciser. Still as it is Nellyville is more hit than miss and -dare I say it- a bit of a pop-rap classic that works as a time machine to the early Bush-era (your appreciation of this album may depend on your experience of those years.) and for that I salute it and Nelly himself.

Best tracks
Nellyville
Hot In Herre
Pimp Juice
Air Force Ones
Dilemma
Work It
Roc the Mic [Remix]
#1
Girlfriend [Remix]

Recommendations
Pick this one up. The good song are hella fun and Nellyville can’t be too expensive to come by.


Fabolous – Ghetto Fabolous

Fabolous
Ghetto Fabolous
September 11, 2001
Desert Storm Records/ Elektra Records/ WMG
050/100
Fabolous - Ghetto Fabolous
1. Click & Spark // 2. Keepin’ It Gangsta // 3. Young’n (Holla Back) // 4. Get Right // 5. Ride For This (feat. Ja Rule) // 6. One Day // 7. Trade It All (feat. Jagged Edge) // 8. Right Now & Later On // 9. Take You Home (feat. Lil’ Mo) // 10. Get Smart // 11. Can’t Deny It (feat. Nate Dogg) // 12. Ma’ Be Easy // 13. We Don’t Give a Fuck // 14. Bad Guy (feat. Pain in Da Ass) // 15. Gotta Be a Thug // 16. If They Want It

Another rap album that dropped on that uneventful date (september 11, 2001) was Roc-a-Fella Records’ house DJ, DJ Clue?’s protégé Fabolous’ Ghetto Fabolous, although the fact that this shit actually came out may have done more damage than the 9/11 attacks. Fabolous’ debut is anything but fab, although I’ll be the first to admit that the man himself is almost entirely blameless.

Fab had been making a name for himself ever since he first appeared on a major label realease (DJ Clue?’s own major label debut the Professional) with his lackadasical, monotone flow (which got him compared to blingy cuddly-gangsta turned preacher Ma$e) and his funny/corny punchlines (which got him compared, a lot more flatteringly, to the likes of Big L)
The album had two songs that were moderately succesful on the U.S. charts back in 2001 (Can’t Deny It and Young’n (Holla Back)) but there’s really only one single sort of, kind of related to this album that people occasionally still listen to, which is the glossy Puff Diddy-featuring remix of Trade It All released on the soundtrack to the Ice Cube movie Barbershop.

Still this album could be considered a commercial success since it had moved over a million units by 2003, which was the time Fabby started having some real charts success with singles off his sophomore album, on which he emulated Ja Rule (who makes an appearance on Ghetto Fabolous), romantically dueting female R&B singers Lil’ Mo and Tamia over bootylicious beats.
Except unlike Jeffrey Fab brought his punchlines with him to these radio songs and knew better than to sing the refrains on his own material and in stead let the hired help do that. This is probably what saved him from the sort of riducule Ja would endure as soon as the hit songs stopped coming.
But I digress, suffice to say that this album earned its platinum plaque probably not because of its own merits, but rather because his 2003 album Street Dreams hit the jackpot and people in record stores (yes people bought actual physical copies of music they liked in stores, as late as 2003) picked this one up since they were there and expected Ghetto Fabolous to be another album of Into Yous and Can’t Let You Gos. I’m sure the people who bought Ghetto Fabolous for this reason women were pissed when they actually listened to it. (Street Dreams itself was hardly all acoustic guitars and Commodores-interpolations either, but we’ll get to that soon enough.)

Clue? and his cohort DURO, his colleague mixtape jackass DJ Envy, as well as relative unknowns Rush da Spyda, Omen, Armando Colon produce most of Ghetto Fabolous, and they don’t do a particularly good job, serving up overly glossy store brand imitations of what East Coast hip-hop tended to sound like at the time, that are too clean to be hard and too incomplete to be poppy (somewhat sketchy beats are what marred the first two installments of Clue?’s the Professional series. And it’s no different here.)
Surprisingly the Neptunes contribution and second single Youngn (Holla Back) is boring as hell too. I’m quite confident Pharrell and Chad don’t remember having ever made it. Maybe Clue? stole it out of their reject-bin while the guys were having an argument.
Get RightMa’ Be Easy and Right Now and Later On‘s beats were made on sleep walking strolls too, except this time by Rockwilder, Just Blaze and Timbaland respectively.
Can’t Deny It has Rick Rock selling Fab the exact same boring-ass beat he reused several times on most of his Dynasty contributions (I bet he charged full price too) while the usually reliable Nate Dogg jacks an old 2pac hook over it to meh results.

The other guests don’t add much either, Ja Rule gives Ride For This a DMX-esque overly shouty hook.
Lil’ Mo does that early naughties thing where an R&B singer jacks an old hook of a soul song (In this case I Wonder If I Take You Home by Lisa Lisa & Cult Jam and Full Force) and goes out of his/her way to gangsta it’s lyrics up (In this case by unnaturally jamming the word “thug” into it). Yuck.
Speaking of uninspired, unneccesary gangstaness; Bad Guy has Roc-a-Fella skit-personality getting his bullshit Scarface on between Fab’s verses. It wasn’t funny on Reasonable Doubt and it still wasn’t on Ghetto Fabolous.

The only exception to this is Jagged Edge who give Fabby’s ode to a special lady a sunny hook over an uncharacteristically nice Clue?/DURO beat. It’s not quite as groovy as the Barbershop version, but it comes close and it compensates by not having that wack P. Daddy verse. Regardless it’s Ghetto Fabolous best song, hands down, it’s also the most pop (coincidence?)

As for Fab’s rapping, he is obviously a more than competent punchline rapper, one not devoid of pop appeal either, which is something Canibus or Big L can’t say about themselves. That’s not to say he doesn’t make any beginners mistakes. For instance he all but reuses the same outdated (it wasn’t even fresh in ’01 when Ghetto Fabolous dropped) New Jack City punchline on the album’s first two songs. Also the guy uses the same “swallow my babies” line on two of this album’s songs. This kind of fuckery makes Clue? come across as a sloppy executive producer and Fab as an uninspired rapper. Keeping in line with the corny movies-references; Leathal Weapon gets namedropped on Keeping It Gangsta as well. Not that referencing old movies is a major offence in and by itself (Although rappers, including Fab on this album, definitely overdid it with the Scarface-enacting. And the next rapper who goes and pulls that shit on his album needs to get his recording contract torn-up. One could quote the entire movie verbatim without having ever seen it if one has heard enough rap albums from the ’95-’05 timespan.), but as a running theme it makes it seem as though Fabby hadn’t entered a cinema in the decade prior to relesing his debut album, in which case movie-references may not be a good idea at all.
While he stays on beat and doesn’t fuckup majorly that often besides the minor offences dropping the occasional cheesy clunker of a punchline and tired gangsta’ism, but over these shitty beats he sounds like a complete tool, even if he simultaneously does show his ability to write actual songs as opposed to srings of bad jokes while keeping his style consistent, which isn’t exactly a given with rappers, especially punchline rappers.

Despite Fab having considerable talents there is absolutely no reason to revisit Ghetto Fabolous, an album that gives off a promise of a pretty decent sequel on the condition that the guy cops some proficient production, but has absoloutely nothing else going for it.

Best track
Trade It All

Recommendations
Don’t bother.


Jay-Z – The Blueprint

Jay-Z
The Blueprint
September 11, 2001
Roc-a-Fella RecordsDef Jam RecordingsUMG
085/100
Jay-Z - The Blueprint
1. The Ruler’s Back // 2. Takeover // 3. Izzo (H.O.V.A.) // 4. Girls, Girls, Girls (feat. Q-Tip, Slick Rick & Biz Markie) // 5. Jigga That Nigga // 6. U Don’t Know // 7. Hola’ Hovito (feat. Timbaland) // 8. Heart Of The City (Ain’t No Love) // 9. Never Change (feat. Kanye West) // 10. Song Cry // 11. All I Need // 12. Renegade (feat. Eminem) // 13a. Blueprint (Momma Loves Me) / 13b. Breathe Easy (Lyrical Exercise) / 13c. Girls, Girls, Girls [Part 2] (feat. Michael Jackson)

Released on the same date as the WTC attacks, september 11, 2001, Jay-Z’s fifth solo album of original material (sixth if you count The Dynasty: Roc la Familia as a Jay-Z solo album, which you definitely shouldn’t) sold tonnes of copies and recieved the kind of critical acclaim the Jiggaman  hadn’t seen since he dropped Reasonable Doubt. In the immortal words of the Notorious B.I.G., Jay “[blew] up like the world trade” simultaneously with the World Trade actually blowing up.

Where on Vol. 1, 23 the man had gained mass success by employing the electronic club banger-creators Timbaland and Swizz Beatz and got jiggy with glossmasters the Trackmasters, Irv Gotti and Puff Diddy, and The Dynasty had seen him do something similar with West-coast stalwart Rick Rock and up-and-comers the Neptunes.
On the Blueprint however he elected to primairily work with Roc-a-Fella in-house producers Bink, Just Blaze and Kanye West, all three of whom were test-driven on albums by Jigga’s interns Beanie Sigel and Memphis Bleek (both of whom aren’t anywhere to be found on this album).
These men brought to the studio a somewhat RZA/Pete Rock/DJ Premier-inspired soul-sampling sound that was a lot sunnier and more radio friendly than any track any of those three seminal producers tend to lay down, but still was a far cry from P. Daddy or Irv Gotti’s squeaky clean disco beats, which helped the medicine go down with hip-hop heads and critics, while veteran Jay-Z producers Timbaland and the Trackmasters got one track each, and Eminem, the only guest vocalist who gets to touch on anything beyond a hook, gets to produce the song on which he appears.

Content-wise Jay talks about his own majesty (The Ruler’s Back), how much more succesful he is both commercially and artistically than NaS and Prodigy of Mobb Deep (Takeover), his prowess in courting the ladies (Girls, Girls, Girls), general boasting (Jigga That NiggaIzzo (H.O.V.A.)Hova’ Hovito) and how despite all this success he is still deep down a street hustler (Never Change) and running the hip-hop game (U Don’t Know).
To balance out these rather emotionally vapid, yet entertaining-as-fuck gangsta’isms he throws in a song about how he regrets negatively impacting the lives of those he loves (Song Cry).
Jay-Z had the golden ratio of a commercially succesful gangsta rap album down to a tee pretty much when he dropped Vol. 1. Club bangers (for the ladies) plus just violence and drugs to appease the streets (men) equals platinum sales. And Vol. 2 and 3. as well as the Blueprint all abide to the #oldrules. But these new musical surroundings, as well as challenges to a battle for the throne by NaS and Mobb Deep, appear to have brought Shawn Cory Carter renewed lyrical vigor, as well as the need to mostly have the recording booth to himself while creating the Blueprint (sorry Bleek!).

The resulting album truly is the very best thing this guy has released since his classic debut, and depending on your tastes this one might even be better.
On Reasonable Doubt Jigga was so focused on his lyrical and flowing techniques and the mafioso image he was trying to convey that he came off as a bit statuesque, especially when paired with an playful Notorious B.I.G. who at that point was the undisputed king of New York and thus had little to prove. It never seemed that there was much self-expression on that album and Jigga came off as a cold-hearted technocrat/mafioso/rapping machine.
Over the course of his next string of albums Jay learnt to let loose and have fun a bit recording songs (something NaS has yet to learn after 20+ years in the game, and probably never will), but since none of them but the Blueprint could remotely fuck with Reasonable Doubt production-wise it was only here and now it truly showed.
Basically by 2001 Jay had already snatched up the crown that B.I.G. used to rock via his success (he had once literally attempted to do so on the 1997 Teddy Riley-produced song The City Is Mine, and I say attempted, because it had fallen flat on its face because of it’s cotton candy beat. But a year later Hard Knock Life pretty much actually accomplished Shawn’s coup d’état). And the Blueprint was the consolidation of Hova’s reign over New York, if not the whole of hip-hop.

Izzo (H.O.V.A) had the final bit of the summer of 2001 on smash when it dropped in late august of that year. And for good reason. The celebratory Kanye beat samples the Jackson 5’s I Want You Back in a reasonably creative manner while the Jiggaman celebrates having made the American dream his reality.
Takeover takes apart NaS and Prodigy so ruthlessly efficiently over Kanye’s Fame interpolation (the David Bowie song, not the musical film) that I’m confident that despite this rap war being over ten years ago and having long since resolved, it pisses both artists today still when it comes up on hip-hop radio .
Girls, Girls, Girls marries a confident playa attitude with affection rather than misogyny and goes for broke lyrically over what is the most soulful, and some would say best, beat of the entire album, courtesy of Just Blaze, with light support of three old school legends on the hook (speaking of old school legends, Girls, Girls, Girls [Part 2] which appears as a hidden bonus track on the tail end of the album has an uncredited backing vocal by the late Michael Jackson, returning the favour after Jay appeared on the Trackmasters Remix of You Rock My World)
U Don’t Know has Hova refuting the claim (made by a sped-up vocal sample) that he doesn’t have a master plan in this rap game (as if anyone ever doubted it) and it’s a hustler anthem for the ages.
Song Cry manages to humanise this rap god by having him openly discuss his regrets and insecurities, which helps make it easier for people to root for the guy.

Unsurprisingly the album’s low points are those produced by Timbaland, Trackmasters and Eminem, unsurprising because, as expected, they don’t fit the sped-up ’60s/’70s soul theme and because they rely on gimmicks (though arguably Kanye’s chipmunk soul was a bit of a gimmick too) Jigga That Nigga incorporates bolywood sounds and Hola’ Hovito as Timbaland Having the balls to jump on the latin bandwagon that was a thing around the turn of the millenium. And the freedom-of-speech plea Renegade was better off as the Em-Royce collabo it originally was since Bad Meets Evil unlike Jigga actually racked up controversy with their lyrical content.
But even these songs are pretty entertaining by their own right. It’s not as though they are sucky or anything, it is just that they have the musfortune of sharing an album with a bunch of undisputed classics.

the Blueprint is spotless, and with a lot of derivative albums coming out following its release (not least its very own sequels created by Jay himself) it does its name justice. It is also the argument that convinced this reviewer that Jay-Z, not NaS was the best rapper on the East-Coast in 2001.

Best tracks
Takeover
Izzo (H.O.V.A.)
Girls, Girls, Girls
U Don’t Know
Song Cry
Breathe Easy (Lyrical Exercise)
Girls, Girls, Girls [Part 2]

Recommendations
Pick this one up, a.s.a.p.


Maroon 5 – Call And Response: The Remix Album

Maroon 5
Call And Response: The Remix Album
December 9, 2008
A&M OctoneUMG
045/100
Maroon 5 - Call and Respond The Remix Album
1. If I Never See Your Fage Again [Swizz Beatz Remix] (feat. Cross) // 2. Wake Up Call [Mark Ronson Remix] (feat. Mary J. Blige)  // 3. Sunday Morning [Questlove Remix] // 4. Makes Me Wonder [Just Blaze Remix] // 5. This Love [C. “Tricky” Stewart Remix] // 6. She Will Be Loved [Pharrell Williams Remix] // 7. Shiver [DJ Quik Remix] // 8. Wake Up Call [David Banner Remix] (feat. David Banner) // 9. Harder To Beathe [The Cool Kids Remix] (feat. the Cool Kids) // 10. Little of Your Time [Bloodshy And Avant Remix] // 11. Little Of Your Time [Of Montreal Remix] // 12. Goodnight Goodnight [Deerhoof Remix] // 13. Not Falling Apart [Tiësto Remix] // 14. Better That We Break [Ali Shaheed Mohammed & Doc Remix] // 15. Secret [DJ Premier Remix] // 16. Woman [Sam Fararr Remix] // 17. This Love [Cut Copy Galactic Beach House Remix] // 18. If I Never See Your Face Again [Paul Oakenfold Remix] (feat. Rihanna)

Remix albums of conventional pop acts tend to age horribly and usually don’t sound very good to begin with.
Usually when greedy record executive commision one an artist’s back catalog is stripped of some or most of its instrumentals and thrown over beats that incorporates whatever EDM or hip-hop style is en vogue at the time of the album’s release. If the remixer of a particular track is a hip-hop producer usually a rapper gets called in to do one or two thowaway verses, and because there’s typically none of the artists that created the original songs around for quality controll and because appearing on the remix of the latest pop tart’s latest single, which you don’t necessarily fancy, an act with a fanbase that doesn’t necessarily fancy you, is an ungrateful chore usually said rappers can’t be blamed for not bringing their A-game to the table. And the same usually goes for the high priced EDM DJs that are called in to create club bangers.

As much as I want to like West-Coast hip-hop legend DJ Quik, East-Coast hip-hop legend DJ Premier, A Tribe Called Quest’s Ali Shaheed Mohammed, music legend in general Pharrell Williams, hipster rappers the Cool Kids and southern stalwart David Banner taking on M5 tracks (being that I’m both a huge M5 fan and a huge hip-hop head and given that these are usually each very reliable producers) all they go to show is that yes Maroon 5 is very much a band and taking Adam’s vocal tracks out of their original band-surroundings completely takes away the appeal.
It also doesn’t help that especially the Pharrell and Premier tracks sound like some studio tool was given the task to unimaginatively create instrumentals that sounds like the work of the people they’re credited to on the back of this album.
Oh well, at least the Swizzy contribution sucks as much as I thought it would, which doesn’t make up for anything, but is reassuring nontheless. Who the hell is this Cross guy anyway, and who did he have to fellate to appear on a major label release by a succesful pop act?

The Oakenfold and Tiësto contributions at the very least should serve their purpose of getting some girls people to dance at the club, but it’s debatable whether any non-diskjockey would need to own these tracks, and whether those who would aren’t better off picking them up on EDM compilations where they appear alongside similarly minded stomping concoctions.

Then there’s pop heavyweights Bloodshy & Avant and C. Tricky Stewart’s contributions, which simply take away the organic feeling of the originals, replace it with crappy midi-music and call it a night. I hope Adam and co. just had these remixes lying around from varying single-releases and decided to compile them rather then commission them specifically for this album, because that would be a waste of time and.. well not really resources, the best thing Bloodshy & Avant ever did was Britney Spears’ Toxic.
The alternative rock band Of Montréal’s remix of Little Of Your Time sounds like someone fucking around with sound effects, keyboards, distorted guitars and fruityloops in such a horrible manner that these people should be dragged onto the streets and egged by a mob of angry villagers.
The Deerhoof Remix of Goodnight Goodnight, while not very good in and by itself, sounds like the Rolling Stones and the Beatles collaborating with Michael Jackson-good in comparison.

Now for the good. Mark Ronson brings the very best track with his remix of Wake Up Call which pairs Levine’s vocals with those of Mary J. Blige to good results. (Unlike all the previous pairings, bar Tiësto and Paul, this pairing, actually makes sense on paper.)
Just Blaze reimagines Make Me Wonder as a Elton John meets Justin Timberlake-ish ballad, which while not topping the uptempo disco original version does show some good imagination, and doesn’t sound like shit, which is awesome in the context of this album.
And the Cut Copy Galactic Beach house version of This Love has a nice percolating New Order-ish groove you can dance to, even if Adam’s vocal contribution is so edited-down that M5 might as well could have been credited as providing the source material for this track’s creators to have sampled, but certainly not as featured, let alone this song’s main artists. That doesn’t take away from the fact that it’s about as good as this album gets, but should be mentioned anyway.

With eighteen different remix outfits creating these eighteen remixes this album doesn’t even suck consistently, each track gets to regurgitate semen in its very own unique way. Also, they should’ve included the Kanye West remix of This Love because that would be track that fans might actually want to own, and perhaps Levine’s duet with mr. West Heard ‘Em Say, because it is essentially an alternate version to IWSBL‘s Nothing Lasts Forever (even if it is the original version.)

In short, this album is mostly a mixed bag of several flavours of uninspired, misguidedly created bullshit, made mostly from perfectly good original tracks. Everything sucks, except the below five tracks. Although in all fairness you could probably live a good, fulfilling  life without having ever heard those either.

Avoid at al costs.

Best tracks
Wake Up Call [Mark Ronson Remix]
Makes Me Wonder [Just Blaze Remix]
Not Falling Apart [Tiësto Remix]
If I Never See Your Face Again [Paul Oakenfold Remix]
This Love [Cut Copy Galactic Beach House Remix]

Recommendations
What the fuck do you think?


Beanie Sigel – The Reason

Beanie Sigel
The Reason
June 26, 2001
Roc-a-Fella RecordsDef Jam RecordingsUMG
075/100
Beanie Sigel - The Reason
1. Nothing Like It // 2. Beanie Mack (Bitch) // 3. So What You Saying (feat. Memphis Bleek) // 4. Get Down // 5. I Don’t Do Much // 6. For My Niggas (feat. Daz Dillinger) // 7. Watch Your Bitches // 8. Think It’s a Game (feat. Freeway, Young Chris & Jay-Z) // 9. Man’s World // 10. Gangsta, Gangsta (feat. Kurupt) // 11. Tales of a Hustler (feat. Omilio Sparks) // 12. Mom Praying (feat. Scarface) // 13.Still Got Love For You (feat. Jay-Z & Rell) // 14. What Your Life Like 2

While there remains a strong case for the allegations that Shawn “Jay-Z” Carter was a horrible label boss when it’s gangsta rap that was concerned, with proof found in albums such as Memphis Bleek’s Coming of Age and The Understanding and Amil’s A.M.I.L. (All Money Is Legal), also taking into consideration how good the ROC’s output could‘ve been, e.g.: Sauce Money’s Middle Finger U, there was at one point at the very least one rapper, other than the Jiggaman himself, with both talent behind the microphone and a Roc-a-Fella Record deal.

That rapper, ladies and gentlemen, is Beanie Sigel whose debut album the Truth also went gold solely because of the Roc-a-Fella records logo and because the back-cover said it featured Jay-Z on several songs (one song titled Anything even featured jay-Z by himself, with not a trace of Beans to be found, in a desperate attempt to sell Beans to Jigga’s audience that may or may not have worked.) but in Sigel’s case I can live with that outcome, because unlike Bleek, Sigel is a talent that deserves to be heard.

His second album featured production by some of the relatively new Roc-a-Fella hot-shots Just Blaze and some cat who goes by the name of Kanye West, both of whom brought a new, smooth, classic soul-sampling sound to hip-hop making the Reason a prototype of sorts for Jay-Z’s career re-establishing album the Blueprint (somehow I think there’s a pun in there). Other people who contributed beats were Rick Rock, the miscast West-Coast veteran who worked on the Bleek-Sigel-Jigga triumvirate-album The Dynasty: ROC La Familia, and gets to collect a cheque for turning in his first few failed attempts at creating the not-very-good Change the Game-beat that Sigel had rocked over twice already anyway, on I Don’t Do Much and For My Niggas. Also future G-Unit label president Sha Money XL brings in an instrumental. Besides the previously mentioned Rick Rock-produced songs, and Man’s World and Still Got Love For You which suffer from over-familiar samples being used, all the beats sound fresh.

Guests include Kurupt and Daz on seperate tracks, both of whom had collaborated with the ROC not long before on Jay-Z’s Change the Game [Remix], usual Roc suspects Bleek and Jay-Z, Sigel’s State Property cronies Freeway, Young Chris and Omilio Sparks and Houston-rap veteran, and Sigel’s good friend Scarface. With the exception of Kurupt and Daz, whose verses I cannot recall existing, everyone justifies his presence, and with the guests and the beats being mostly pretty good, all this album needs is Sigel rising up to the challenge of bypassing the imfamous the sophomore slump. Spoiler alert: he more than does.

Having listened to the Reason it is safe to say that Beans had upped his game a bit since the Truth. While that album got by well enough because of the man’s rugged persona and his expert lyrics, it was a bit boring flow-wise. While on the Reason he still isn’t entering NaS or Jay-Z territory he does play around with his flow a little more without dropping the ball, while maintaining the qualities that had him make the Truth such an entertaining album. It’s marginal progress that makes all the difference, and coupled with the new sounds it makes the Reason a better, more interesting album.

Highlights include the vintage Kanye production of Nothing Like It which opens the album, the rowdy Just Blaze-produced-club banger and lead single Beanie Mack (Bitch), and the old-school/P funk-tinged Bleek-collabo So What You Saying, on which Bleek sounds a lot better than on any track of either of his first two solo-albums. The blaxploitation funk-infused pimp-anthem Watch Your Bitches picks up the steam after the lacklustre I Don’t Do Much. And on Think It’s a Game our host and his State Property-boys show why exactly they were signed to the ROC by displaying chemistry with Hov himself. On the knocking Kanye West-produced Gangsta, Gangsta Sigel is joined by fellow philedelphian rapper Kurupt who only appears on the hook, which given his post-Death Row track-record of mostly horrible verse may have been a pretty good idea.

Omilio Sparks, who fullfilled a similarly useless roll as Kurupt did on Gangsta, Gangsta, on Jay-Z’s I Just Wanna Love U (Give It To Me) proves that he’s good for more than meh half-hooks on his verse on Tales of a Hustler, which along with Think It’s a Game makes this reviewer enthousiastic about checking out State Property’s group-debut.

On all these tracks Sigel is the confident gangsta who will rob you at gunpoint, and for those of you who are into that sort of thing Sigel plays the roll well. But for those who want a little humanity with their sex and violence there’s the the emotional sequel to one of the better tracks off his debut in What Your Life Like 2, the Scarface-collabo Mom Crying and (if you’re not sick and tired of rappers rhyming over that exact same Isaac Hayes’ Ike’s Mood 1 loop everytime you play a hip-hop album released during the last twenty years) the sequel to (and the semi-apology for) Where Have You Been which was a middle finger to Sigel and Jay-Z’s absentee fathers, and arguably the best song on The Dynasty: ROC la Familia.

The Reason just barely falls short of being a textbook classic, but at the time it was a more entertaining album than any Jay-Z album since In My Lifetime, Vol. 1 had been, which may have made it one of the more important reasons (no pun intended) for Jay-Z stepping his game up on the Blueprint. And if you’re a fan of unapolagetic, no-frills, well-made gangster rap then forget about that slightly overrated album , which you’ve probably heard in abundance, for just a minute and pick up the massively underrated the Reason, for it will not disappoint you.

Best tracks
Nothing Like It
Beanie Mack (Bitch)
So What You Saying
Watch Your Bitches
Think It’s a Game
Tales of a Hustler
Mom Prayin
What Your Life Like 2

Recommendations
Buy this album.