Tag Archives: State Property

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.

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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.


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.