Tag Archives: Rockwilder

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.

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DJ Clue? – The Professional 2

DJ Clue?
The Professional 2
Februari 27, 2001
Desert Storm RecordsRoc-a-Fella RecordsDef Jam RecordingsUMG
055/100
DJ Clue - The Professional 2
1. Intro (Diddy) // 2. Back to Life 2001 (Mary J. Blige & Jadakiss) // 3. Jay-Z Freestyle (Jay-Z) // 4. Who’s Next (DMX) // 5. Coming For You (Beanie Sigel & Freeway) // 6. Fantastic 4 [Part 2] (the LOX, Cam’ron, Nature & Fabolous) // 7. Getting It (Busta Rhymes & Rah Digga) // 8. C.R.E.A.M. 2001 (Raekwon & Ghostface Killah) // 9. What the Beat (Method Man, Eminem & Royce da 5’9′) // 10. Lil’ Mo Interlude (Lil’ Mo) // 11. Fuck a Bitch (Kurupt & Snoop Dogg) // 12. Change the Game [Remix] (Jay-Z feat. Tha Dogg Pound, Beanie Sigel, Memphis Bleek & Static Major) // 13. My Niggaz Dem (Trick Daddy & Trina) // 14. Live from the Bridge (NaS) // 15. So Hot (Foxy Brown) // 16. Chinatown (Junior M.A.F.I.A.) // 17. Bathgate Freestyle (Bathgate) // 18. M.A.R.C.Y. (Memphis Bleek & Geda K) // 19. I Don’t Care (Capone-N-Noreaga) // 20. The Best of Queens (It’s Us) (Mobb Deep) // 21. Red (Redman) // 22. Dangerous (Lady Luck & DJ Muggs) // 23. Phone Patch (Ty Shaun)

If nothing else this album delivers on the promise its title makes in the sense that this is an industry gathering of people the absolute majority of whom, at the time of this album’s release at least, were rapping for a living. This is professional rap music. For this major label appropriation of his mixtape concept DJ Clue? drummed up most of 2001’s urban music industry heavyweights. Including new york’s elite (NaS, Mobb Deep, DMX, Cam’ron, Busta Rhymes, Diddy, Mary J. Blige, Raekwon, Ghostface Killah, Method Man, Capone-N-Noreaga and his label boss Jay-Z) who in turn brought with them their subordinates (Memphis Bleek, Beanie Sigel, Geda K, the LOX, Rah Digga, Foxy Brown, Nature), some hotshots from outside of NYC (Snoop, tha Dogg Pound, Eminem, Royce da 9’5′, Redman, Trick Daddy and Trina), an up-and-comer (Fabolous) and people who were never heard from before or since (Bathgate, Ty Shaun) and a bunch of beatmakers who were popular at the time to complement Clue?’s own productions (Rockwilder, Rick Rock, Just Blaze) and despite the combined efforts of all these people, and then some, the Professional 2, like its prequel, is quite the solid but underwhelming listening experience.

That is not to say that there’s prevalent wackness to speak of, but the combined effort of these people should lead to some really good rap music where in fact it delivers mediocracy. In stead of shining and enjoying themselves everyone just coasts along forcedly, as though they’re hanging out at a family gathering out of obligation rather than free will, on a sunday, after drining their brains out the night before, but try to make the best of it anyway. If that doesn’t sound like the blockparty you (or DJ Clue?) might’ve hoped for with that guest list you would be absolutey right.

There’s nothing wrong in particular with songs such as Live From the Bridge by NaS, C.R.E.A.M. 2001 by Rae & Ghost, Who’s Next by DMX, Fuck a Bitch by Snoop & kurupt, Getting It by Busta Rhymes and Rah Digga, The Best of Queens (It’s Us) by Mobb Deep or I Don’t Care by Capone-N-Noreaga, but if they were featured on one of the albums by these respective artists they would be skippable filler tracks, whereas here they are the album actual highlights by proxy, since there’s also shitty tracks by Memphis Bleek, Foxy Brown, the Junior M.A.F.I.A. present here. There’s also a lazy cover of Soul II Soul’s Back to Life by Mary J. Blige and Jadakiss and a silly R&B interlude by Lil’ Mo that fill the roll of low points.

In order to simulate the mixtape experience a couple of “freestyles” over previously used beats are thrown in, but I don’t need to hear anyone rock over Notorious B.I.G.’s Who Shot Ya instrumental ever again, even if it is Jay-Z not doing a horrible job. This beat has been re-used so many times before and since I can hardly stand to hear even the far superior original, classic status be damned.

Speaking of the Jiggaman, his Change the Game off The Dynasty: Roc la Familia has been remixed to include Kurupt and Daz of tha Dogg Pound, which isn’t a bad decision since their West Coast-style connects with the Rick Rock beat much better than Memphis Bleek or Beanie Sigel’s, both of whom are still on the song. Problem is it wasn’t that good a song to begin with, and even this upgrade can’t really make it a must-listen.

The absolute highlight of the night is What the Beat that gets Method Man, Redman, Eminem and Royce da 9’5′ on one track  what with its simple but effective two-note piano based instrumental, and Meth and Em’s hilariously grimey verses. Fans of Em in particular should look it up since he rarey sparred with rappers of this caliber anywhere else in his career and hasn’t put out anything this much twisted fun on his last three albums, which is to say for the last nine years. The only possible drawback to the track is that these rappers weren’t necessarily in one studio at one time since nobody on here but Royce aknowledges the presence of the others on the song, which they almost certainly would have done if they were aware that the verses they were recording would end up on this posse cut, what with rapper’s tendency to shout out everybody from the song’s engineer to their aunt’s dentist (everyone does go out of their way to shout-out Clue?) but that doesn’t mean the resulting song isn’t really fucking good.

This places it in contrast with the album’s other random-ass posse cut Fantastic 4, part 2, which pairs the LOX with Cam’ron, Fabolous and Nature, which means that the amount of participans is six, not four. None of the six rappers seems particularly excited to be there, except Fabby who at the time could really use the exposure.

Overall the Professional 2 was intended by its creator to be for everyone, with artists recruited from every corner of thje USA, with little cohesion in style and thereby fails to be for anyone in particular, while still being hella boring, with the invited guests bring their B-game. These problems are only aggravated by Clue?’s incessant yelling and unimpressive production, which I’ve discussed in detail in my review of the Professional 1. While nothing on here will make you want to break the cd in two and slice your wrists with it, there’s no real need for anyone to pick this up either.

Meh.

Best track
What the Beat

Recommendations
Find What the Beat on iTunes, it’s a really good song. And if you fancy for instance the Wu, Snoop or Busta in particular then perhaps their singular contributions too. But don’t pick up the entire album. It isn’t very good, you see.


Jay-Z – The Dynasty: ROC la Familia

Jay-Z
ROC la Familia: The Dynasty
October 30, 2000
Roc-a-Fella RecordsDef Jam RecordingsUMG
060/100
Jay-Z - Roc la Familia The Dynasty

1. Intro // 2. Change the Game (feat. Beanie Sigel, Memphis Bleek & Static Major) // 3. I Just Wanna Love U (Give It 2 Me) (feat. Pharrell & Omillio Sparks) // 4. Streets Is Talking (feat. Beanie Sigel) // 5. This Can’t Be Life (feat. Beanie Sigel & Scarface) // 6. Get Your Mind Right Mami (feat. Memphis Bleek, Snoop Dogg & Rell) // 7. Stick 2 the Script (feat. Beanie Sigel & DJ Clue?) // 8. You, Me, Him, Her (feat. Memphis Bleek, Beanie Sigel & Amil) // 9. Guilty Until Proven Innocent (feat. R. Kelly) // 10. Parking Lot Pimpin’ (feat. Beanie Sigel, Memphis Bleek & Lil’ Mo) // 11. Holla (performed by Memphis Bleek) // 12. 1-900-Hustler (feat. Beanie Sigel, Memphis Bleek & Freeway) // 13. The R.O.C. (performed by Beanie Sigel & Memphis Bleek) // 14. Soon You’ll Understand // 15. Squeeze First // 16. Where Have You Been (feat. Beanie Sigel)

Because Bleek, Sigel and Jigga each had gold to platinum albums under their belts (one shouldn’t put Sigel and Bleek in the same league as Hova outside of this context) and because they were all signed to the same record label a group album made sense. That way Beans and Memph could ride Hova’s coattails towards a higher status of celebrity and hopefully even higher album sales, and Hova could play the record label executive he always fancied himself as being, while at the same time helping his boys out.

Amil’s album had gone halfway copper, and therefore she gets but a bunch of namechecks (but not paycheques) as though she were still around (it is entirely possible that she used to actually be on most of these songs but was removed last minute, though not the references to her existence, since that would require a whole lot of re-recording), as well as no more than one verse on this project by a group she was supposed to be an integral part of, which is less than the work she got to put in on the last two Jay-Z solo-albums. Oh well, it’s not like she had anything substantial to offer to the proceedings (although one could argue that neither did Bleek.) Question is: Why not replace her with a more talented rapper, such as for instance Sauce Money?

Anyway, that was the bit about how the actual musical content came into existence. Then someone at Def Jam thought it unlikely that people would give a fuck about a hip-hop supergroup (a group made-up of members who already had careers prior to the group’s existence) mostly because of how well The Firm: the Album did four years prior (I’m just guessing here…) and decided to release the album anyway, but with Jay-Z’s name stamped in an obscenely large font onto the album cover to lure people into believing that this was a Jigga solo-release so that Hova’s fans could find it, in record stores near them. Not only does this album almost exclusively consist of ROC posse cuts (Not counting the intro there are but three songs on here that don’t feature Bleek or Sigel) but two tracks don’t feature the Jiggaman at all, making this the worst case of false advertising since DJ Clue? Presents Backstage Mixtape: A Hard Knock Life. Especially since two out of the three singles released off this project didn’t feature Sigel or Bleek but just Jay-Z and some supporting R&B vocals.

Since this wasn’t actually a Jay-Z solo-album even though it was explicitly marketed as such, Jay decided to not call up Timbaland and Swizz Beatz to produce this album so he could save money on beats fuck around with some new sounds to push the hip-hop genre forward. Fortunately for Hov, Bleek and Mac (and Amil, but not really) the up-and-comers that were hired in stead were the Neptunes, Kanye West and Just Blaze, who would become the genre’s production superstars before long. San Francisco Bay based production veteran Rick Rock also got some play. Hova called in favors from the likes of R. Kelly, Snoop Dogg, Static Major, Lil’ Mo. Sigel snuck two of his State Property boys into the studio and the resulting album would be the worst Jay-Z solo album so-far, if it counted that is.

It’s not all bad though, as usual Jay is good for a couple of catchy singles, most notably the blingy Neptunes helmed come on-number Give It to Me (I Just Wanna Love Ya) featuring Pharrell in an amateur Curtis Mayfield capacity and State Property-member Omillio Sparks in the most useless cameo appearance in recent memory…
Um… But the beat is an okay example of the archetypical Neptunes sound and Jay sleepwalks over it in a pleasant-enough manner, which is all you can expect from radio fodder such as this.

Things get a little more substantial on Guilty Until Proven Innocent on which Hov talk about his (then) recent legal troubles (Hova had allegedly stabbed record executive Lance Rivera for leaking songs ment for Vol. 3)  over a boisterous Rockwilder beat. It is sort of amusing to hear Robert rant about being not guilty on the hook, with his upcoming legal troubles in mind.

Change the Game, the only released single that actually had the rest of the “Dynasty” on it, sucks balls what with its repetetive, bland Rick Rock beat, everybody rapping just coasting along and Static Major’s hook which makes it apparent that the man was bored out of his mind when he recorded it. The same goes for all of Rock’s contributions from the needlessly sparkly Snoop Dogg-assisted Get Your Mind Right to the Lil’ Mo-featuring Parking Lot Pimpin’ to the Hova solo-shot Squeeze 1st.

Just Blaze and Kanye West fare a lot better with their soul-sampling beats that layed the Blueprint for what rap was going to sound like for the years to come (pun intended). Especially Kanye’s sole contribution, the Scarface-featuring This Can’t Be Life is dope, easily the best track on here. Streets Is Talking the sequel of sorts to 1997’s Streets Is Watching isn’t quite as good as its prequel, but it comes close nevertheless. And the Shawn Carter-solo Soon You’ll Understand is a precursor to what greatness was to come on the Blueprint.

The Bink!-produced 1-900 Hustler has all of the Dynasty (well, except Amil off course) plus Freeway, answer called-in questions about gangsta life on a fictitious radio show of the titular name. In spite of, or maybe because of its corny concept and its hilariously graphic execution it works and it is one of the few moments on this album where Roc La Familia shines as a group, as opposed Bleek getting out-rapped by Sigel and Sigel getting out-rapped by Hov. Another point where this supergroup thing actually works is the album closer Where Have You Been on which Jigga and Mac diss the shit out of their absentee father both sounding legitimately emotional, never moreso than the moment where Sigel almost throws up.

Besides these instances of brilliance, as well as the previously mentioned This Can’t Be Life there isn’t much in the form of chemistry to be found amongst the group members. Which is not to say that the Memphis Bleek solo-song is actually good (It is telling that most of what does work doesn’t actually feature Bleek), but yeah this is a serious problem for the success rate which lies comfortably beneath 50%. It is a testamant to how good the good songs are that this got the rating it did get.

Best tracks
I Just Wanna Love U (Give It 2 Me)
Streets Is Talking
This Can’t Be Life
Guilty Until Proven Innocent
1-900-Hustler
Soon You’ll Understand
Where Have You Been

Recommendations
would tell you to pick up the above songs individually off iTunes, Amazon or Spotify if I weren’t convinced that this would cost you more money than to simply buy the album. And the above tracks are certainly worth owning. So I’m going to say: Buy it but just don’t spend over five bucks on it and don’t put it on top of your to do list.


Amil – A.M.I.L. (All Money Is Legal)

Amil
A.M.I.L. (All Money Is Legal)
September 19, 2000
Roc-a-Fella RecordsColumbia RecordsSME
055/100
Amil - All Money Is Legal

1. Smile 4 Me // 2. I Got That (feat. Beyoncé) // 3. Get Down // 4. Y’all Dead Wrong // 5. Heard It All (feat. Jay-Z) // 6. Quarrels (feat. Carl Thomas) // 7. Girlfriend // 8. All Money Is Legal (A.M.I.L.) // 9. That’s Right (feat. Jay-Z) // 10. Anyday // 11. Raw // 12. No 1 Can Compare // 13. 4 da Fam (feat. Jay-Z, Memphis Bleek & Beanie Sigel)

I don’t know what it is with rappers and their love for really, really fucking stupid acronyms. There was the Notorious B.I.G.’s crew Junior M.A.F.I.A. (Junior Masters At Finding Intelligent Attitudes), Drake’s motto Y.O.L.O., 2pac’s claim that N.I.G.G.A. stood for Never Ignorant in Getting Goals Accomplished (when everybody knows that in reality it is a misspelling of the word nigger) and when Noreaga was forced to change his rap name because the record label he had just left owned his nom de plume, he became N.O.R.E. (Niggaz on the Run Eatin’) and in september 2000 Roc-a-Fella rapper Amil followed suit by transforming her actual given name into something that was a) retarded and b) not likely to be what her mother ment when she gave her a name.

No, not all money is legal. You could state that you’re out for the loot, regardless of whether you acquire it legally or illegally, which is an attitude one can have towards money, I suppose. But this album title is a straight untruthful claim, and to make your album title a straight up lie such as what was the case with the last Roc-a-Fella release doesn’t promise much in the form of good music, to this reviewer at least. Also: the cover sorta kinda paraphrases the album cover of Lil’ Kim’s Hard Core which indicates all sorts of bandwagon-jumping.

Lastly, having heard several Amil guest appearances on other Roc-a-Fella projects, most of which were less than awe-inspiring, expectations for this album are low, which may end up in Amil’s advantage because it’ll be hard for her to disappoint.

To start with the positive: A.M.I.L. isn’t quite the shitstorm it could’ve been, the production courtesy of the likes of EZ Elpee, the Trackmasters, Rockwilder, Just Blaze, Ty Fyffe and less well-known producers is serviceable enough throughout the album, if a bit formulaic. Contemplative soul-sampling beat here, rock-tinged ass-shaker there, club banger this, R&B-hook that. Amil herself rides the beats professionally enough with her girlishly sultry voice. Yes, this is not the obknoxiousness that was Memphis Bleek’s Coming of Age.

But then neither is this actually entertaining like Beanie Sigel’s album, let alone Sauce Money’s overlooked masterpiece. This is the most middle of the road-album in reviewers recent memory, and it’s ll the more boring because of it. The second single, the Beyoncé featuring financially independent ladies anthem I Got That is a good metaphore for the entire disc. Technically sufficient but, whoever has found themselves yearning for some technically sufficient music? It is as though B. herself ony appears because All Money Is Legal is a joint venture between Roc-a-Fella Records and her label Columbia Records. (I wonder if this studio Session is where Jay and Bey met, not that there’s a trace of him on this song, mind you.)

All of these songs have been done before and since, better and worse, fom the All Saints-biting Get Down to the Neptunes-aping Rockwilder jams Y’All Dead Wrong and Girlfriend. On That’s Right Jigga and Amil do a back and forth over an early Just Blaze beat that seems to take all the wrong cues from Swizz Beatz. It makes one wonder just for what audience an album this bland is supposed to be and also why the real Swizzy and Pharrell decided to skip this one. Well Jay-Z, any help answering these questions? (What’s that Shawn? You don’t remember ever having an Amil signed to your label?)

Nevertheless there are a couple of good songs on here, although their sounding good mostly doesn’t have anything to do with the qualities of our star attraction.

The lead single, the Ty Fyffe produced Roc-a-Fella posse cut 4 Da Fam has a instrumental so majestic that it manages to make Memphis Bleek sound pretty good on his opening verse, moreso than Beanie Sigel even. Off course Shawn Carter drops by and erases all memory of any previous rappers. Our hostess doesn’t necessarily suck on here but she does sound like she doesn’t have any business appearing on record with these gentlemen. Nevertheless Jay-Z fans would do good checking it out.

Quarrels has Bad Boy Records R&B singer Carl Thomas provide some hauntingly soulful vocals over an ominous beat produced by EZ Elpee, one of P. Daddy’s Hitmen, leaving miss All Money Is Legal a particularly easy job holding the fort. Literally all she does or needs to do to make this work is exist.

Heard It All  has Jay-Z more or less dissing the shit out of Amil over a mellow acoustic guitar-laced Just Blaze co-production, until she herself gets to perform the cliché’d “female view on pimpin'” on the third verse, poorly. Which is quite amusing, mostly because reality would imitate the proceedingings of this song shortly after the release of this album.

Best tracks
Quarrels
4 da Fam

Recommendations
A.M.I.L. (All Money Is Legal) left me entirely blasé, and likely so will it you. Nevertheless the two above songs are okay enough to warrant a purchase off iTunes, Spotift or Amazon. Just don’t listen to the rest of this album.

 


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.


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.