Tag Archives: UGK

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

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

Pick this one up.

50 Cent – Guess Who’s Back?

50 Cent
Guess Who’s Back?
April 26, 2002
Full Clip
Guess Who's Back (front)

1. Killa Tape [Intro] // 2. Rotten Apple // 3. Drop [Skit] // 4. That’s What’s Up (feat. G-Unit) // 5. U Not Like Me // 6. 50 Bars // 7. Life’s On the Line // 8. Get Out the Club // 9. Be a Gentleman // 10. Fuck You // 11. Too Hot (feat. NaS & Nature) // 12. Who U Rep With (feat. NaS & Nature) // 13. Corner Bodega // 14. Ghetto Qu’ran (Forgive Me) // 15. As the World Turns (feat. Bun B) // 16. Woo Kid Freestyle (feat. G-Unit) // 17. Stretch Armstrong Freestyle // 18. Doo Wop Freestyle

All things considered logically 50 Cent’s should’ve died when he got shot-up by what Fiddy claims to be henchmen for Kenneth “Supreme”  McGriff for recording Ghetto Qu’ran. 50 Would’ve become a hood legend, Big L style and Columbia Records would’ve released Power of the Dollar even though they originally wanted to shelve it, because martyrdom sells. 2pac’s estate built a whole stack of gold to multi-platinum releases off it. When that didn’t happen, and he got dropped by Columbia, because although he hadn’t died yet there was no question the people who shot him would have another crack at wacking him. And who could predict where and when they would do it or where the stray bullets might end up? (Interscope followed that same logic dropping a freshly gunned-down and locked up 2pac in 1994) by all means logically should’ve been blackballed by the industry, never to find a record deal again. This is because record label executives are scared shitless when it comes to dealing with someone who seems to have a bull’s-eye glued to their back. If they aren’t fearful for their lives then at the very least they may believe they won’t be able to recoup their investment and their employee’s record advance.

Initially this did happen, so mr. Cent being unable to find a label for which to record and a studio that would have him left for Canada, where he wasn’t blacklisted, to record and decided to enter the industry via the backdoor recording mixtapes with and without his crew G-Unit. With Curtis Jackson actually making money off these tapes and his live shows he reestablished his name in the New York rap scene. At one point he decided to collect some of these mixtape tracks, as well as songs off Power of the Dollar which didn’t make the final cut of the EP, and release the collection in the form of Guess Who’s Back? to record stores, I imagine New York wide, via the indie label Full Clip records. Then a bidding war erupted to sign Fiddy Thent. Somehow Guess Who’s Back? had found its way into Eminem’s stack of demo’s and Marshall Mathers liked what he heard so much that he decided to have a crack at signing him, in spite of the surrounding controversy. 50 jumped on the Shady/ Aftermath/ Interscope train and the rest is history as they say.

Guess Who’s Back? sounds like a mixtape/album hybrid, which isn’t surprising since a part of the tracks came from his unofficial output and a part of the tracks was supposed to be released on Power of the Dollar, a major label album. The few guest appearances are either natural (his G-Unit crew, with Yayo, sans Buck) or mystifying (the Bravehearts and Nature, both one time NaS’  weedcarriers. ) It’s especially hilarious to hear 50 bragging about “repping with QB, nigga” since the Bravehears both suck on the mic and never really became famous, whereas Fiddy was arguably the biggest hip-hop star from the mid-naughties. Off course NaS, who at the time of this song’s recording was much more famous than 50, is on here, too so it doesn’t lack complete sense. But it’s still funny to imagine Curtis having to put in an effort to get on this posse cut suckfest, hoping to achieve some mainstream exposure, only to have it disappear in the Columbia records vaults. It is hard to be believe that 50 would’ve dug it up it if it weren’t for the NaS namebrand recognition because the song isn’t very good. Too Hot is much better with a beat that sounds DJ Premier, NaS having one of those “kill everyone else on the track in one verse” days, Nature delivering his best verse ever and 50 coming up with a catchy hook. Since Guess Who’s Back? being a semi-official release, doesn’t come with liner notes it’s impossible to tell for sure who produced what. (Except for the tracks that were supposed to end up on Power of the Dollar and tracks that would later be used as bonus tracks for 50 Cent’s third debut album Get Rich or Die Tryin’.)

The ghetto self-help anthem Fuck You also has that Primo-sound, what with its dusty piano and drums and its refrain consisting exclusively from scratched-in vocal samples. Considering how eager Fiddy was to emphasize “[he is] reppin’ QB” on Who U Rep With, that DJ Premier actually is a big name in hiphop and doesn’t get name-checked even once it’s unlikely that he actually produced on here.  Whether he did or not, on here Curtis actually makes a case for that he would actually sound good over a real DJ Premier beat, talking about the events of his shooting and his ambitions regarding the rap game with a commendable passion and a killer wit.

More often than not though the tracks off Guess Who’s Back? are flawed. Rotten Apple has a rather ominous string loop backing it and was apparently this project’s only single, which is surprising because this kind of project typically doesn’t have singles, and also because both lyrically and beatwise it’s one of the album’s least engaging moments. Be a Gentleman is a not-so-subtle Jay-Z diss, which seems to be included only to stir up controversy and thereby interest for Curtis’ fledgling mainstream career. (This as opposed to Life’s on the Line on which Fiddy obviously means business with Ja Rule.) On Get out the Club Curtis goes after women who go after certain men because of their wealth and utters “bitch” more often than Too $hort would on an entire album. U Not Like Me and features some pretty hot verses, and again probably goes after Jeffrey Atkins but suffers from a boring-ass beat and an especially uninspired chorus.

That’s about as far as the new recordings that weren’t reviewed in the Power of the Dollar post go. That leaves a bunch of freestyles: That’s What’s Up50 Bars and the three tracks on the tail end of the disc. These work just fine as lyrical showcases for 50 and/or his crew but aren’t really good for anything else, mostly because of low sound quality and shitty instrumentals, as well as DJ Shout-outs disrupting the flow.

Overall Guess Who’s Back? makes for a decent semi-official pre-album mixtape. It is however nothing more than that. It’s too scattershot to function as a proper album. It is however easy to see how Eminem got the idea that signing Curtis would be a good idea, while listening to this. Although not everything on here works, not in small part due to the shoestring budget it was created on, Guess Who’s Back? is a decent showcase for 50’s skills. In the post Candy Shop-world it’s also pretty damn refreshing to hear the man spit with hunger. And especially in hip-hop there’s something to say for grit and style over polish and shine. Style this album serves in large amounts.

Best tracks
Killa Tape [Intro], Life’s on the Line, Fuck You, Too Hot, Ghetto Qu’ran (Forgive Me)

Guess Who’s Back is for die hard Curtis Jackson fans only. Specifically those who hate the direction his music took after *spoiler alert* the man completely fucking ran out of good ideas somewhere halfway during the recording of the Massacre. If that includes you and you find Guess Who’s Back? for a reasonable fee, by all means pick it up. General hiphop fans should just download the above tracks and be done with it.

50 Cent – Power of the Dollar

50 Cent
Power of the Dollar (LP)
Januari 25, 2000
Trackmasters Entertainment/ Columbia Records/ SME


1. Intro // 2. The Hit // 3. The Good Die Young // 4. Corner Bodega (Coke Spot) // 5. Your Life’s on the Line // 6. That Ain’t Gangsta // 7. As the World Turns (feat. Bun B) // 8. Ghetto Qu’ran (Forgive Me) // 9. Da Repercussions // 10. Money by Any Means (feat. Noreaga) // 11. Material Girl (feat. Dave Hollister) // 12. Thug Love (feat. Beyoncé) // 13. Slo Doe // 14. Gun Runner (feat. Black Child) // 15. You Ain’t No Gangsta // 16. Power of the Dollar // 17. I’m a Hustler // 18. How to Rob (feat. The Madd Rapper)
*This was the planned release date. The full version of Power of the Dollar was never officially released.

50 Cent
Power of the Dollar (EP)
September 12, 2000
Trackmasters Entertainment/ Columbia Records/ SME

1. Thug Love (feat. Beyoncé) // 2. I’m A Hustler // 3. Da Heatwave (feat. Noreaga)// 4. Your Life’s on the Line // 5. How to Rob (feat. The Madd Rapper)

Whether you love him or hate him you have to have some admiration for Curtis Jackson III. If not for his raps then at least for his persistence and his business sense. The latter is something he developed over the years, the former has always been present. He is one of those people who just won’t give up. Time and again he had a promising career thrown to the sharks, sometimes because of shit he couldn’t stop from happening too. He was born to a fifteen year old cocaine dealing mother in South Jamaica in Queens New York. His mother accidentally gassed herself after consuming a spiked drink while having the gas running when Fifty was 8, or so Wikipedia would have you believe, after which he moved in with his grandparents. In his early teens he became a drugdealer and after getting caught with weapons of some kind and narcotics of some kind he was sent to correctional boot camp. When he came back he, by his own admission immediately started selling dope again, but was careful not to get caught because correctional bootcamp really sucked. At some point he deemed the rap game more profitable than the crack game.

When he was 21 he started rapping in a friend’s basement, but the magic really started happening when he learned the craft of actual songwriting when the legendary DJ/producer Jam Master Jay picked him up and taught him to count bars and write choruses (Which would make Jay indirectly one of the Just a Lil’ Bit culprits…) Curtis was also signed to Jay’s record label and recorded his debut album with Jay, but it got shelved. (Poor Fiddy.) Curtis then left Jay’s label to hook up with pop-rap/R&B-producers the Trackmasters. They saw a potential hiphop star in the young whippersnapper and recorded his second debut album Power of the Dollar.

Things were looking bright for him since his debut single How to Rob stirred up quite a bit of controversy as it consisted of hilariously graphic detailed descriptions of how 50 was going to rob a lot of rappers and R&B singers who were at the time more famous and succesful than he was (or industry niggas, as he calls them.) The song which was obviously about as tongue-in-cheek as hip-hop gets, actually garnered quite a few responses from the likes of Jay-Z and Ghostface killah. Mariah Carey allegedly threatened to leave Columbia records, the label that housed both her and Curtis at the time, if 50 wouldn’t change the lyrics about her in the song. The man proved then for the first time that he’s good at getting the sort of publicity money can’t buy, which to a much lesser extent still rings true today. Another song on Power of the Dollar titled Your Life’s on the Line dissed the shit out of, at the time, superstar throaty disco singer rapper Ja Rule, which would become a recurring theme in Fiddy’s art. The song however that would spawn the rest of his career however was titled Ghetto Qu’ran which described the dealings of drug kingpin and Ja Rule-assiciate Kenneth “Supreme” McGriff, who got so pissed off about it that he sent someone to plug 50 Cent his famous 9 holes.

Miraculously it didn’t kill him (which later inspired Curtis to name a video game he was in Bulletproof), but it did scare the shit out of the kind folks at Columbia Records. So much that they fired Fiddy and shelved the original version of Power of the Dollar (the latter of which they probably would’ve done anyway because it was one of the first albums to fall victim to pre-release internet bootlegging) , but they did release an EP with four of its songs and one that otherwise would’ve been left on the cutting room floor, at the end of the fiscal year as a tax write-off.

The story of how Fiddy rebounded and ended up with Em and Dre to record his third debut album will be told another day. This review is about Power of the Dollar. An album that manages to simultaneously be the best album Fif had in him (not counting the Jam Master Jay record, I never heard it because it never leaked to the general public.) and much less interesting than it’s back story.

Since our man hadn’t yet got shot in the jaw his diction is miles ahead from the Ma$e-like drawl hearn on In da Club. Since he hadn’t made any real rap dollars yet he sounds hungry and a lot more believable dropping gangsta’isms  than he would on almost any future recordings. Also his assholish sense of humour doesn’t get a more positive showcase than How to Rob, nor does his introspective side ever come out better than on Ghetto Qu’ran.

The production sounds like what Puff Daddy would give one of his signees around 2000 if he wanted to incarnate his idea of a “street” album (see also Black Rob’s Life Story, G. Dep’s Child of the Ghetto  and Shyne’s Shyne): Cinematic, dramatic at times soulful, with some stale, forced R&B collabo’s and disco-lite thrown in for good measure. This should come as no surprise to those who know a bit about the Trackmasters who were at a certain point in competition with Puff for the title of jiggiest shiny suit bearer alive. Both Puffy and Tone & Poke got a critical beating in the late ‘90s for their disco-rap beats and therefor reverted back to a more fundamentalist, hardcore hip-hop sound, except super-polished and with the charts in mind.

More often than not it works. Da Repercussions, Your Life’s on the Line, That Ain’t Gangsta, Ghetto Qu’ran, Da Repercussion and I’m a Hustler all walk the line between pop accessibility and street credibilty well enough. One could criticise the album for the songs sounding alike and running together somewhat. One could flip this and praise this album for consistency. This reviewer chooses the latter.

A couple of tracks don’t click. Such as The Hit and the Good Die Young,mostly due to bland and misplaced instrumentals. It’s not that things get really unpleasant however, until our host gets paired with an R&B artist for a misguided love song. Anyone who has heard Ciara’s Can’t Leave ‘Em Alone on which Curtis appears will know what I’m talking about. Not that hearing a young Fiddy dueting a young Beyoncé isn’t interesting from a historical point of view (although no-one nut them can be sure they ever shared a recording booth) but the song suck dick and swallows. The rappers that showed up generally fare better. UGK’s Bun B actually has 50 sound faux-southern on their collabo As the World Turns and Noreaga delivers the album’s best punchline “I like my hoes like summer, no class” on Money By any Means.

Taken as a whole Power of the Dollar is a pretty okay album. Not one that drops jaws and warrants many repeated listens and nothing awful either. Although it doesn’t have any potential smash hit singles on it like his later albums it also doesn’t have the abundance of filler. Those who can’t stand Fiddy Cent because of Candy Shop and the like would do good to check this out.

Best tracks
Your Life’s On the Line, That Ain’t Gangsta, Ghetto Qu’ran, Da Repercussions, How To Rob, *Rowdy Rowdy

*Not on any version of Power of the Dollar but a song recorded during the same sessions this album was. Appeared on the soundtrack of the 1999 film In Too Deep (yeah me neither) and was released as a single. And it’s a pretty good song.

You can’t buy Power of the Dollar legally, unless you go for the EP version, which is a pretty poor selection of what’s available on the internet bootleg version. We at the digging in the crates blog do not condone illegal music downloading, but sometimes you just have to do what you have to do.