Tag Archives: the LOX

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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


DJ Clue? – The Professional

DJ Clue?
The Professional
December 15, 1998
Desert Storm Records/ Roc-a-Fella Records/ Def Jam Recordings/ BMGSME
060/100
djclue

1. Intro (Diddy) // 2. Ruff Ryders Anthem [Remix] (DMX, Drag-On, Eve, Jadakiss & Styles P) // 3. It’s On (DMX) // 4. Fantastic 4 (Cam’ron, Big Pun, Noreaga & Canibus) // 5. Queensfinest (NaS) // 6. Exclusive New Shit (Nature) // 7. Gangsta Shit (Jay-Z feat. Ja Rule) // 8. Thugged Out Shit  (Memphis Bleek) // 9. It’s My Thang ’99 (EPMD, Keith Murray & Redman) // 10. Mariah Carey [Skit] (Mariah Carey) // 11. Whatever You Want (Flipmode Squad) // 12. That’s the Way (Fabolous, Foxy Brown & Ma$e) // 13. I Like Control (Missy Elliott, Mocha & Nicole Wray) // 14.  Bitch Be a Ho (Jermaine Dupri & R.O.C.) // 15. If They Want It (Fabolous) // 16. Pain In da Ass [Skit] // 17. The Professional (Big Noyd & Mobb Deep) // 18.  Brown Paper Bags (Raekwon) // 19. Cops & Robbers (DJ Muggs & Lord Tariq) // 20. Made Men (Made Men) // 21.  No Love (M.O.P.) // 22.  Come On  (Boot Camp Clik)

I apologise in advance for the interpunction but in my defense, this guy has a question mark in his artist name.

In a move that’s either really fucking stupid or really fucking brilliant (this album’s sales numbers indicate the latter) Jay-Z’s Roc-a-Fella records signed mixtape DJ, DJ Clue? to their roster. No disrespect to the man of the hour, Clue? is known in hip-hop for releasing high-quality mixtapes with exclusive songs not heard elsewhere before the era of internet bootlegs, and thus giving fans sneek previews at hot upcoming releases which is definitely service to the hip-hop community. But what such an individual has to do with a recording contract on a major label, where everything has to be cleared before release, from samples to songs, isn’t entirely clear to this reviewer.

Mixing and producing is one answer. Indeed seventeen out of the twenty-two tracks feature Clue? in a producer or co-producer capacity. But that leaves five tracks on which he has zero creative involvement, or at least doesn’t take credit for making beats, and not taking credit for doing for stuff you did actually do is not very hip-hop (unless you count Rick Ross’ CO stint). Also DURO produces or co-produces ten tracks here and his name isn’t on the front cover anywhere.

If Clue? had turned this one into an extended DJ set where every track is seamlessly mixed into the next then his name printed big-assedly on the front would be entirely justified, but alas, no such luck.

The man makes his presence mostly known by yelling his own name, the name of his record label, the name of one or more of the featured artists, the name of his album or random bullshit including but not limited to “killuminti”,  “new shit” and “exclusive” at random intervals, quite literally so you won’t forget who’s album you are currently listening to. This annoying habit has become a widely copied thing among hip-hop mixtape DJs, with people like DJ Skee and most famously DJ Khaled following suit.

So Clue?’s primary function is to “host” this project by yelling over otherwise perfectly functional tracks. Two things should be noted about this intriguing concept.

1. Nearly any jackass could do this particular hosting thing, so long as said jackass can raise his voice.

2. Everything would sound better if Clue? Had shown some restraint and just shut the fuck up or at least kept the yelling to a minimum.

That said the Professional is an okay reminder of who was hot in ’98 in hip-hop on the East coast. Listening to this album one can think of at least one thing Clue? had going for him, clout. Looking at the guestlist one has an easier time summing up who didn’t show up to contribute than it is who did.

Everyone from the Ruff Ryders to Puffy and Ma$e to the Wu-Tang to Mobb Deep to Jermaine Dupri to the Bootcamp Clik to M.O.P. are here. Even NaS, who probably had beef with Jigga already, gets down with Clue?, even if it means appearing on a Roc-a-Fella records release. The results are a late ’90s East Coast block party with a guest list that’ll have any fan of this particular era in rap salivating from just peeping the back cover.

Off course having many famous guests on your album doesn’t guarantee that your album will sound good, since it can lead to horrible chaotic mess, but since Clue? is behind the boards a lot he’s the one to give this album cohesiveness and direction. Quite the task indeed, especially since he’s a limited beatsmith, resorting mostly to the tried and true stale funk-loop-jacking of the time, coming off as a poor man’s Jermaine Dupri/ Puff Daddy/ Trackmaster. Not that he’s outright wack with the beats, It’s On  gives DMX a perfectly passable conventional East-Coast hip-hop beat, making this an especially welcome addition to his discography considering Swizzy wouldn’t leave him alone during the recordings of his second album of the year ’90 Flesh Of My Flesh, Blood Of My Blood.
The Jay-Z contribution Gangsta Shit, which features a pre-debut Ja Rule, who sounds like he wants to be an actual rapper rather than a Luther Vandross, is also pretty decent.
Fantastic 4 has 1998s golden boys Cam’ron, Big Pun, Noreaga and Canibus trade verses, and although it’s not an entirely natural collaboration at least everyone gets to show why they were a thing back then, especially Canibus who always sounds pretty good unless he’s on his own albums.

Nasir’s ode to his borough; Queensfinest certainly won’t cost him any fans and Busta Rhymes and his crew the Flipmode Squad do their thing on the posse cut Whatever You Want, which fortunately isn’t remotely similar to their song I Know What You Want featuring Mariah Carey.

Speaking of her, she’s featured on this album giggeling about with our host on an skit named after her, not singing a single note. This isn’t a complaint about the Professional‘s lack of R&B hooks (Clue? knows his audience it seems.), but I hope he didn’t have to pay her a lot of money for this vocal performance. Not that skits on hip-hop albums usually do sound good but here they seem especially useless with the Pain In da Ass [Skit] taking the cake. Oh well, at least they’re short and there’s only two of them.

Basically everyone here does exactly what you expect of him/her (well except Mariah…) with no-one fucking up badly, except for the tag-team of Ma$e and a then-unknown Fabolous, who decide to interpolate KC & the Sunshine Band’s That’s The Way (I Like It) with Foxy Brown on That’s the Way (I’m sure P. Daddy was jealous as fuck he didn’t think of that idea before, and wanted to kill Clue? like he says he once did on the intro…) But at least Fabby, who was once called a Ma$e redux, proves they don’t sound all that much alike when put on the same track, so that’s good for him.

A song that doesn’t necessarily sound awful, but is an excercise in futility nonetheless, is EPMD + Keith Murray & Redman’s (or the Def Squad + PMD’s) It’s My Thang ’99 because it’s the millionth hip-hop song re-using the beat to Jay-Z’s Ain’t No Nigga.

The remix of DMX’ Ruff Ryders Anthem, now featuring all the Ruff Ryders, isn’t bad but it might have been a more logical inclusion on the Ruff Ryders crew album Ryde or Die, vol. 1 because it is THE Ruff Ryders anthem and also because Clue? hasn’t got shit to do with it.

Overall what one should admire most about Clue? is his ability to surround himself with talented and popular rappers (Jay-Z, NaS, Mobb Deep, Raekwon,  M.O.P.) and to have the foresight to include up and comers (Ja Rule and Fabolous and Benzino) and his ability to create beats that are at least listenable, but none of these things per se make the Professional a must-own.

The Professional is a competently made but somewhat underwhelming vanity project.

Best tracks
It’s On, Fantastic 4, Queensfinest, Gangsta Shit, The Professional, Brown Paper Bags, No Love

Recommendations
For casual rap fans this isn’t a must-listen, but for fans of mid-to-late ’90s hip-hop the Professional is worth a try on spotify to see if it is worth a purchase.


Jay-Z – Vol. 2… Hard Knock Life

Jay-Z
Vol. 2… Hard Knock Life
September 29, 1998
Roc-a-Fella Records/ Def Jam Recordings/ BMGSME
070/100
Jay-Z - Vol. 2... Hard Knock Life

1. Intro (Hand It Down) (feat. Memphis Bleek) // 2. Hard Knock Life (Ghetto Anthem) // 3. If I Should Die (feat. Da Ranjahs) // 4. Ride or Die // 5. Nigga What, Nigga Who (Originators 99) (feat. Big Jaz & Amil) // 6. Money, Cash, Hoes (feat. DMX) // 7. A Week Ago (feat. Too $hort) // 8. Coming of Age (Da Sequel) (feat. Memphis Bleek) //9. Can I Get a…(feat. Amil & Ja Rule) // 10. Paper Chase (feat. Foxy Brown) // 11. Resevoir Dogs (feat. the LOX, Beanie Sigel & Sauce Money) // 12. It’s Like That (feat. Kid Kapri) // 13. It’s Alright (feat. Memphis Bleek)

The first person you actually get to hear rhyme on The Life and Times of Shawn Carter, volume 2, after the mandatory Scarface-themed Pain in da Ass intro is Memphis Bleek. Said intro is all about how Jay-Z is going to leave the rap game for good after releasing this album, and leave Bleek as his successor. Not unlike what happened on the intro to Vol. 1, except that back then it was clearly an empty threat or a hollow promise, depending on your point of view, because he named his album vol. 1, which all but promises a sequel.

Everyone knows none of this actually happened. It’s a good thing, both because Bleek usually can’t rap for shit and because even though vol. 2 is critically acclaimed and sold shitloads of copies it’s far from a flawless goodbye party.

Part of the problem is the appearance of guests such as said Bleek, Da Ranjahs, Amil, Ja Rule and Foxy Brown, most of whom don’t have much of a career left today for a good reason. Part of the problem is that Swizz Beatz gets to produce three tracks, which is never a good thing. There’s one beat on here that’s produced by DJ Premier, a guy who should’ve been all over this. It’s a pretty good beat but it has nobody but (wait for it…) Memphis Bleek rhyming over it, and although he doesn’t quite put it to waste as he’s prone to do, it isn’t remotely what anyone wanted to hear on what was at one time suposed to be Jay-Z’s very last album. Que de la fucque!?

When Jigga has some guests that can keep up with him on the posse cut Resevoir Dogs Eric Sermon of all people fucks shit up by producing a boring-ass instrumental. Listen Jigga, if you gon’ have sucky rappers on your album and sucky beats at least put them together so you can keep the good stuff for yourself and those in your posse with actual talent. What do you mean, you released this album fourteen years ago and can’t change shit about it? You’re rich, buy a time machine.

That said there’s still a wealth of good music to be found here. Everybody and their grandmother knows the Annie-sampling title track and there’s not much to be said about it but that it’s an all-time hip-hop classic. Nigga What, Nigga Who has Shawn Carter starting a succesful partnership with Timbaland and ending a succesful partnership with Big Jaz over a stuttering futuristic instrumental and Amil doesn’t have to do anything but the hook, which helps. A Week Ago is a pretty good narrative about friendship going sour and snitching, and although Too $hort could’ve been put to better use than to rap only on the hook it’s still a highlight. Can I Get a… works because of its light footed instrumental and in spite of its guests list, and Money, Cash, Hoes is just some fun singalong club-shit, although the Swizz Beat is barely passable and the DMX cameo seems phoned-in and sticked on last-minute.

Jay himself is in fine form throughout even though he doesn’t get past his usual I-am-richer-than-thou and I-rap-now-but-I-used-to-sell-drugs shtick. His excellent conversational flow ties all of this shit together.

He can’t work miracles though. This album is fucking mediocre by his admittedly high standards. I hope Vol. 3 has less guests and better beats.

Best tracks
Hard Knock Life (Ghetto Anthem)
Nigga What, Nigga Who (Originators 99)
Can I Get a…
A Week Ago
Money, Cash, Hoes

Recommendations
You can buy this, it’s not entirely worthless and even pretty good in parts. But do go listen to Reasonable Doubt first.


DMX – Flesh of My Flesh, Blood of My Blood

DMX
Flesh of My Flesh, Blood of My Blood
December 15, 1998
Ruff Ryders Entertainment/ Def Jam Recordings/ UMG
050/100
DMX - Flesh of My Flesh Torrent

1. My Niggas [Skit] // 2. Bring Your Whole Crew (feat. PK) // 3. Pac Man [Skit] // 4. Ain’t No Way // 5. We Don’t Give a Fuck (feat. Styles P & Jadakiss) // 6. Keep Your Shit the Hardest // 7. Coming From (feat. Mary J. Blige) // 8. It’s All Good // 9. The Omen (feat. Marilyn Manson) // 10. Slippin’ // 11. No Love 4 Me (feat. Swizz Beatz & Drag-On) // 12. Dogs For Life // 13. Blackout (feat. the LOX & Jay-Z) // 14. Flesh of My Flesh, Blood of My Blood // 15. Heat // 16. Ready to Meet Him

Considering that It’s Dark and Hell Is Hot… as an album was passable and promising rather than great, because it had some really high highlights with about an equal amount of a mixture of repetitive crap and misguided ideas it’s safe to assume that after Def Jam signed Earl “DMX” Simmons they rushed an album to the stores as soon as possible as not to let the hype die out. When about half a year later Flesh of My Flesh, Blood of My Blood appeared by all means it should’ve meant that in an effort to make more money off the at full speed running DMX train that Def Jam emptied out the vaults stringing together studio leftovers which would in theory mean that Flesh sucks balls.

This is however not the case. Or rather things aren’t that simple. It’s true that this album sounds like a lesser version of his debut. It sounds more like an incredibly tired attempt at a second run the same track than a collection of scenes from the cutting floor.

The first two lines of the first actual song on here “I’ve got blood on my hand and there’s no remorse, I’ve got blood on my dick ’cause I fucked the corpse” won’t thrill anyone who heard the first album, it will just disgust the casual listener and bore the fans.

DMX’s bark is still as vicious as his bite but when he uses it to create pro-constipation anthem Keep Your Shit the Hardest one has to wonder whether X and Swizz really ever gave this shit a second listen after recording it. It also would seem that this rapper-producer duo has forgotten that it was them who had wiped Puff Diddy’s shiny-rap sound off the charts because on It’s All Good Swizz has a crack at a disco beat while Earl tries to rhyme about sex and manages to sound both as giddy as a twelve year old and creepy as your friendly neighbourhood rapist just talking about consentual sex this time around.

When X reprises his Damien concept on The Omen and manages to include motherfucking Marilyn Manson you’ll know what’s up. When he includes cocaine carrier Drag-On, just to run laps around him on No Love 4 Me you’ll know what’s up too. The only guests who can both keep up with Earl’s intensity add somthing to the proceedings are the LOX and Jay-Z on the posse-cut Blackout. Unfortunately the boring-ass Swizz Beat still keeps the song from coming off the ground.

Not every song here fails to entertain. The title track has Swizzy actually coming up with something relatively funky and Earl not wasting the opportunity to sound fucking great, spitting violent nonsense. Coming From has X dueting fellow yonkers native Mary J. Blige over an ominous piano loop. Slippin’ is the best song off this album, hands down. X talks about optimism in dark times and the realisation that even though he’s doing good now (at the time of this album’s release in 1998) he might fall back into drug use and alcoholism over a moody DJ Shok beat. The only complaint about it is that no matter what version of this album you get, Slippin’ will be censored anyway because of sample clearance.

Overall Flesh of My Flesh, Blood of My Blood is a disappointment. It’s Dark and Hell Is Hot gave off the promise that X could release a classic hiphop LP if he got some proper editing and quality control. By rushing a follow-up to record-buyers shit went in the polar opposite direction.

It’s a bloody shame.

Best tracks
Coming From
Flesh of My Flesh, Blood of My Blood
Slippin’

Recommendations
Get the above tracks off iTunes/ Spotifi/ Amazon.


DMX – It’s Dark and Hell Is Hot

DMX
It’s Dark and Hell Is Hot
May 19, 1998
Ruff Ryders/ Def jam Recordings/ UMG

065/100

1. Intro // 2. Ruff Ryders Anthem // 3. Fuckin’ With D // 4. The Storm [Skit] // 5. Look Thru My Eyes // 6. Get At Me Dog (feat. Sheek Louch) // 7. Let Me Fly // 8. X-Is Coming // 9. Damien // 10. How’s It Goin’ Down // 11. Mickey [Skit] // 12. Crime Story // 13. Stop Being Greedy // 14. ATF // 15. For My Dogs (feat. Drag-On, Big Stan, Loose & Kasino)// 16. I Can Feel It (feat. Nardo) // 17. Prayer [Skit] // 18. The Convo // 19. Niggaz Done Started Something (feat. Ma$e & the LOX)

Following the death of 2Pac and as-a-matter-of-factly preceding the Notorious B.I.G.’s passing, hardcore gangsta left the mainstream where it had maintained a presence since N.W.A. came out in the late ‘80s . Sure, rappers still talked about all the illegal acts they allegedly committed on their songs. But under the influence of Puff Diddy the music backing these tales of crime was more aching to a plastic version of what your mother’s favorite R&B singer from the ‘80s used to sing over. Even former underground heroes such as NaS and Jay-Z decided to work with such producers as the previously mentioned P. Daddy and the Track Masters, ostensibly because they were out for dead presidents to represent them. It was around this time one of the subgenre’s founding fathers; Dr. Dre, labeled it dead and buried.

It was also around this time that Earl DMX Simmons was making a name for himself, heating up cuts by the likes of Ma$e, LL Cool J, Mic Geronimo and the LOX with his lyrics, filled with existential angst, gangsta-isms and religious imagery, as well as his delivery which he used his gruff voice rapping, singing, shouting and barking, oft tearing the underlying instrumentals to shreds and literally burning up the mic. Another thing the man is known for is his live shows where he occasionally went so hard that he passed out and needed an oxigen mask. This dude is a motherfucking rock star, with the substance abuse problems, mental illnesses and the criminal record to match this status. It is these same qualities that cost Earl many a record deal before he landed with Ruff Ryder/ Def Jam in 1998 and finally got to release a shiny compact disc of his own. Usually talking about an artist’s personal life isn’t relevant to the actual music (Ja Rule’s tax evasion issues don’t exactly make his music more ganxtah) but in DMX’s case it’s different. His 1998 debut: It’s Dark and Hell Is Hot sounds exactly like the product of a clinically insane prodigy. It is an intoxicating, high paced mixture of realism, surrealism and octane. It brought street rap back to the forefront of the genre and made a lot of rappers not know how quickly to hang up their shiny suits (It probably helped X’s career that by 1998 everyone was getting sick of hearing variations of Mo’ Money, Mo’ Problems on the radio.

Stop, drop, shut ’em down open up shop
Oh, no
That’s how Ruff Ryders roll

Only X could put Ruff Ryders Anthem on the radio and have the fire drill instruction-esque hook and the chaotic Swizz Beat stick. In and by themselves these elements would make for an incredibly disturbing listen. DMX’s energy and conviction prevents this from being so.

Get At Me Dog, featuring the LOX’ Sheek Louch in the call-and-respond hook manages to be both a rowdy party anthem and a buch of death threats set to wax in a credible manner (side note, Get at Me Dog exist in a pre-record deal, freestyle from somewhere ’96 where the apparent target of the disses is 2Pac). Other highlights in a similar vein are Stop Being Greedy, X Is Coming and the posse cut Niggaz Done Started Something.

How’s It Goin’ Down has X telling a tale of rugged romance and duetting an anonymous studio singer (and Faith Evans on the radio edit) over a Dame Grease instrumental that is simultaneously eerie and mellow.

I’m politicking with this trick and wondering if I’ma creep her .
Little hoodrat bitch from 25th named Tenika.
Coming through, like I do, you know
Getting my bark on.
Knew she was a thug because when I met her she had a scarf on .
5411, size 7 in girls.
Babyface, would look like she was 11 with curls .
Girlfriend, remember me, (what?), from way back, I’m the same cat.
With the wave cap- the motherfucker that tnt used to blaze at.
Still here so it’s all good.
Oh you know my niggas Rich and them doing they thing on 35th Ave?
It’s a small hood, and it’s all wood, so let me get that number
Hook it up, aight?
Hit you on da track later on, say wassup.
Talking to shorty made me wanna do something nice.
Looking at that ass made me wanna do something tonight.
And I know right when I see right, shorty looking like she tight.
She bite, better give a nigga the green light, we might..

The story ends with X cutting off the affair because she already has a man with whom she has children. Such contemplation on right and wrong can also be found on strong cuts such as Let Me Fly and I Can Feel It.

The contradiction between Earl’s hypervoilent tendencies and his apparently strong sense of morality is what keeps It’s Dark and Hell Is Hot fascinating throughout, even if the music can’t always keep up. Tracks like ATF and Crime Story are hampered by shitty beats, For My Dogs has DMX collaborating with some talentless labelmates and Damien has X duetting himself putting on a silly voice and on the Convo he’s dueting himself as god, which doesn’t click. Also the numerous skits seriously detract from the overall enjoyability of this album. It’s the inconsistency that made me rate this one under Venni Vetti Vecci, but make no mistake. The highlights reach much higher than those of Ja’s debut.

Another thing that makes this album lesser than the sum of its parts is that the sheer intensity and insanity of X is hard to bear for an album’s full length (It’s this exact same feature that makes him usually steal the show whenever he does a guest appearance). Also DMX is not for the easily offended. At one point he threatens to rape your daughter in front of you if she’s older than fifteen. Despite these shortcomings It’s Hard and Hell Is Hot contains some really good music that is oft imitated but never duplicated. Cop this one.

Best tracks:
Get At me Dog, Ruff Ryders Anthem, Stop Being Greedy, X-Is Coming, How’s It Going Down, Niggaz Done Started Something, Let Me Fly, I Can Feel It

Recommendations:
Buy this one. Preferrably from the discount section of your local record store, or a used copy.