INTRODUCTION
Two years after releasing the classic Mos Def & Talib Kweli are Black Star album (which I reviewed here) with, um, Mos Def, Talib Kweli teamed up with my all-time favorite producer, Hi-Tek, to form the group Reflection Eternal and release Train of Thought, an album that I actually consider to better than Kweli's effort as a member of Black Star.
Train of Thought is extremely similar in sound to Mos Def & Talib Kweli are Black Star, and that is to be expected given that Hi-Tek did plenty of production on Black Star's project. However, I feel that, due to the fact that Talib had grown as a rapper during that two-year hiatus, the Reflection Eternal record is legitimately superior. I realize that may be seen as blasphemy in many circles, but what can I say? It's my opinion.
Train of Thought is easily one of the most deep and soulful hip-hop albums you will ever have the pleasure of hearing, containing unbelievably mellow production and incredible rapping from Talib Kweli and the numerous guest artists that make appearances on the record. It is also one of the first rap albums I had ever heard in its entirety, so maybe that's why I am a bit biased toward it.
The album spans 20 tracks, although only 15 of those are full-length songs. Still, even the the shorter cuts sound so good that they will manage to find a place in this review, as Train of Thought is so flawless that depriving it of any of its parts would be a travesty in the truest sense of the word.
With that said, here is the lovefest that is my review of Reflection Eternal's debut album.
TRACK-BY-TRACK
1. Experience Dedication
This is an album intro, but it runs for nearly two-and-a-half minutes and Hi-Tek's beat is so effective that I felt I just had to review it. Basically, "Experience Dedication" just consists of Talib Kweli prepping you for the album, and if the instrumental here is any indication, you should be ready for a classic.
2. Move Somethin'
The first actual song on Train of Thought was also the album's first single, and with good reason, because it is a banger, as Hi-Tek's production is extremely hard-hitting, and Talib sounds fantastic over it. I can guarantee you that you will be nodding your head to the beat the minute it hits.
3. Some Kind Of Wonderful
Hi-Tek's production on this cut is much more relaxed than on the previous one, and it works well. I won't say this is one of my favorite songs off of the album or anything, as I feel the beat kind of overpowers Kweli's vocals, but "Some Kind Of Wonderful" is still fairly effective, nonetheless.
4. The Blast
Train of Thought's second single, and it is nothing short of incredible. "The Blast" contains what is easily the album's most soulful production so far, as Hi-Tek's instrumental will undoubtedly make you stop and think. Hi-Tek also raps on this, too, and damn...he actually sounds pretty damn good. As a matter of fact, his verse was actually better than Talib Kweli's. Yeah; I went there. To top everything off, Vinia Mojica's vocals toward the end of the record really make it that much better. This is one of my favorite songs of all-time.
5. This Means You
Hi-Tek lays out another sick beat for Talib, and Mos Def stops by to aid his Black Star partner on the track. Both artists kill this, as the instrumental couldn't have been any more suitable for the two emcees. The best part of "This Means You," though, is how the instrumental changes during the hook.
6. Too Late
My goodness...Hi-Tek did it again. His production on "Too Late" is unreal, consisting of a constant vocal sample (one that actually has a middle-eastern flavor) and some ill drums on top of it. Talib Kweli's subject matter is pretty tried, as he questions whether or not it's too late to save hip-hop, but nevertheless, this record is just great. One of the best songs on Train of Thought.
7. Memories Live
And the ridiculously good tracks keep coming. "Memories Live" is a popular choice for best track off of the album (it isn't my personal favorite, but it's certainly up there), as Hi-Tek's thought-provoking instrumental makes the song's title seem that much more meaningful. Talib rips off three outstanding verses on this cut, as he sounds spectacularly inspired on the mic. What a record.
8. Africa Dream
"Africa Dream" is a weird track, as it begins with a drum-driven instrumental for the first one minute and forty seconds, and then the beat changes into something of a banger and Talib Kweli kills it for the next minute. Then, the remainder of the song, which covers a minute-and-a-half, consists of the same beat that Kweli spit over. All of that said, this sounded really good. I just wish Talib would have utilized Hi-Tek's production more and rapped more than just one quick verse.
9. Down For The Count
That brings us to the best track on the album. The effing best. Hi-Tek's beat is nails, and Talib Kweli and guest artists Rah Digga and Xzibit absolutely murder it. Of those three rappers, though, Xzibit drops the best verse. I mean, how raw is this line: "Hardcore, 'til somebody put me under the ground, with a dick in your ear, still couldn't fuck with my sound." On another note, it's impossible for me to listen to "Down For The Count" without thinking of Madden 2002, because I remember that the instrumental was on the game's soundtrack.
10. Name Of The Game
This record is under two minutes long, but it is an actual song. Hi-Tek's instrumental is magnificent in every sense of the word, and Talib's delivery over it is just terrific.
11. Ghetto Afterlife
"Ghetto Afterlife" is the first song on Train of Thought that I'm going to give a "meh" to. The beat just sounds sloppy, and not even a Kool G Rap feature can save it.
12. On My Way
This is just an instrumental with some vocals from Kendra Ross, Tiye Phoenix, and Vinia Mojica, and it clocks one minute and nine seconds. Why am I reviewing it then, you ask? Because Hi-Tek's production is so damn smooth that you will want to replay "On My Way" over and over.
13. Love Language
I love this. As per the title, Kweli raps about finding your significant other over an incredibly soulful beat by Hi-Tek, and the French female R&B duo Les Nubians aids Talib by crooning the hook (in French). There aren't many hip-hop songs you can seriously share and enjoy with your girl, but "Love Language" is one of the few. Talib Kweli's "some don't love themselves, so their perception is tainted" line really hits home, too.
14. Love Speakeasy
"Love Speakeasy" is just an instrumental. No raps, no adlibs; nothing but a jazzy, introspective beat by Hi-Tek that "Love Language" leads perfectly into.
15. Soul Rebels
De La Soul makes a feature on "Soul Rebels," a jazzy number that Talib and the aforementioned legendary group rip to shreds. Hi-Tek's instrumental sounds like a much better version of "Ghetto Afterlife." Songs like this make me wonder why Kweli and De La Soul haven't done more collaborations.
16. Eternalists
Yet another tremendous cut. What's most impressive about "Eternalists" is Talib Kweli's flawless flow, as he rides Hi-Tek's sick production without skipping a beat. I hate the fact that I'm running out of things to say as Train of Thought draws to a close, but because I pretty much love every song equally on here, what else is there to remark on?
17. Big Del From Da Natti
This cut is only a minute and fifteen seconds long and Talib isn't even on this (Big Del drops a very short verse, and that's it), but, much like "On My Way," Hi-Tek's beat will force you to enjoy it.
18. Touch You
The beat on this will put you in a zone, and Kweli obliges with a great performance. Piakhan and Supa Dave West make guest appearances on this, as Piakhan drops a verse and Supa Dave West sings the hook. That's really all I have to say.
19. Good Mourning
"Good Mourning" represents one of Talib Kweli's most impressive lyrical forays, and his subject matter is so deep that I'm not even going to try to explain it. If this doesn't make you stop and think, then I don't know what will. Hi-Tek's somber beat fits the mood perfectly.
20. Expansion Outro
Hi-Tek's instrumental on this is phenomenal, and Talib drops a few great verses about the pain and strife that women must go through, telling the stories of four different females (which is way Kweli references the track "Four Women" by Nina Simone at the beginning). The only negative about "Expansion Outro" is that it's eight minutes long, and I don't have the patience to put an eight-minute song on repeat.
FINAL THOUGHTS
In my mind, Train of Thought is, without a doubt, one of the best hip-hop albums of all-time. I love almost every track on the record, as Talib Kweli's incredible rapping backed by Hi-Tek's extraordinary producing ability makes the project a ridiculously consistent listen from start-to-finish.
What's best about Train of Thought is that there is no filler, as even the short songs (and I generally don't like short songs because I have always felt that they're sort of pointless) have their place. The choice of features was also great, as each guest artist (especially Xzibit on "Down For The Count") comes through with admirable performances on their respective tracks.
It is absolutely amazing that an album can be 20 cuts long and remain this steady throughout. The fact that there is nary a dull moment on Train of Thought is a testament to how outstanding of a producer Hi-Tek is and how engaging of a rapper Talib Kweli is. The two artists complement each other to a T.
The preceding paragraph is precisely the reason why I feel that Reflection Eternal's debut record is better than that of Black Star's. Mos Def & Talib Kweli are Black Star was only 13 tracks in length, and while nearly every one of those tracks were terrific, Train of Thought had seven more, and not one of its 20 records felt forced (except for maybe "Ghetto Afterlife").
Talib Kweli established himself as one of the game's most talented rappers on Train of Thought, and Hi-Tek did the same as a producer. This album will always be one of my favorites.
TOP FIVE TRACKS
1. Down For The Count
2. The Blast
3. Too Late
4. Memories Live
5. This Means You
SKIPPABLE TRACKS
Ghetto Afterlife
INTRODUCTION
If you had any inkling of rapping ability and you were close with Mobb Deep in the mid 90s, you had it made in the shade. Big Noyd possessed both of those qualities and, needless to say, garnered a decent amount of attention for his verses on some of Mobb Deep's tracks, particularly the one on "Give Up The Goods (Just Step)" off of The Infamous.
Due to his incredible verse on the aforementioned song, Big Noyd scored a contract and was then able to lay the groundwork for his debut album, which would be entitled Episodes of a Hustla. Unfortunately for Noyd, though, he was incarcerated around the time the album was being recorded, and, because of that, Episodes of a Hustla was never completed and, thus, was very short, spanning only 11 cuts, only eight of which were full-length records.
That said, Big Noyd's freshman effort was held in high-esteem by many due to his consistency as a rapper and Havoc's production (he produced all but one song on Episodes of a Hustla, and that song was the intro), as it was blessed with the same type of sound that The Infamous became so famous (no pun intended) for. It's also worth noting that Prodigy is present on seven of the eight actual songs on the album, so Noyd and Prodigy essentially pulled a Ghostface Killah/Raekwon here.
Well, I don't really have much more background information to give on Big Noyd's first record, so I'll just kick the review off.
TRACK-BY-TRACK
1. It's On You
If you've been following this blog at all, you'd know how much I hate reviewing album intros because I feel like they're a waste of time. However, I made one of the few exceptions I'll ever make in the case of "It's On You," as the beat by Charlemagne (this is the lone song on the album that wasn't laced by Havoc) is nuts. You have to wonder why Big Noyd decided to use this banger as the album intro. Perhaps he never got a chance to rap over it because he was imprisoned?
2. Recognize & Realize (Part 1)
Havoc has arrived. His beat here is sick, consisting of his typical dusty drums and an ominous piano hit at the end of each bar. Prodigy aids Noyd on this cut and sounds ridiculously good over the instrumental, and why shouldn't he? It is a Havoc beat, after all. One of my favorite tracks off of the album.
3. All Pro
I've gotta admit; this does not sound like a prototypical Havoc beat, as it sounds much more subdued than the good majority of his other work (his earlier work, anyway), but, nevertheless, "All Pro" still sounds pretty solid. It's not as good as "Recognize & Realize (Part 1)" or anything, but it's enjoyable in its own way. Ty Knitty and Twin of the group Infamous Mobb make appearances on this cut, as does Prodigy.
4. Infamous Mobb
I found it odd how this track was titled "Infamous Mobb," and yet, not one member of the actual group appears on the song. Anyway, this record is decent, as Big Noyd's flow over Havoc's solid instrumental is pretty damn good, and Prodigy does not disappoint with his verse. I will say, though, that these past two cuts haven't been anything worth writing home about.
5. Usual Suspect
This was a fine way to get Episodes of a Hustla back on track. "Usual Suspect" is easily one of the album's best records, as Havoc's beat kills (those drums...) and Noyd absolutely tears it to pieces. Prodigy is on this, too, but he only drops an extremely short verse (if you can even call it that) during the cut's waning moments. If you're looking for a song to bump in your ride throughout the summer, you really can't go wrong with "Usual Suspect."
6. Episodes of a Hustla
The first thing you'll notice (hopefully) about the album's title track is that Havoc's beat is unbelievably mesmerizing. I'm sure you can also tell by now that Episodes of a Hustla was recorded right in between The Infamous and Hell On Earth, as Havoc's instrumentals seem to combine elements from both albums, displaying that he was at a sort of crossroads (a good crossroads) in terms of which route to go. Oh, Big Noyd sounds pretty nice over this, by the way, and all Prodigy does here is drop the hook.
7. Recognize & Realize (Part 2)
I like "Part 1" better, but this is still alright. Havoc makes his first appearance as a rapper on Episodes of a Hustla, as both he and Prodigy join Noyd on this cut. His instrumental comes across as a bit lazy, though. I don't really have much else to say other than the fact that "Recognize & Realize (Part 2)" isn't the kind of track that I will be playing on repeat.
8. I Don't Wanna Love Again
It takes a while for Big Noyd to actually start rapping on "I Don't Wanna Love Again," but that's okay, because this song is really good. Havoc's beat is ill (that choppy piano hit at the end of every other bar really made this record), and female R&B artist Se'Kou comes through with a great guest spot, crooning an outstanding hook and laying down some nice vocals to boot. Noyd's part is worth the wait, too, as he sounds phenomenal on this.
9. Usual Suspect (Stretch Armstrong Remix)
The original was great, and the remix (which contains the same lyrics by Big Noyd but a different beat by Havoc) is nearly as good. The production is much more soulful than anything you'd ever imagine Havoc creating, as his instrumentals are usually always of a grimy nature.
FINAL THOUGHTS
You should have noticed that I used words like "solid" and "decent" a lot in reviewing Episodes of a Hustla, because that is exactly what this album is. It certainly is no The Infamous or Hell On Earth, even if it possesses the same type of feel, but honestly, how many albums can really measure up to either of those two Mobb Deep classics?
Big Noyd is certainly a capable rapper who sounds great over Havoc's production, and, after listening to his short debut album, you're left wondering what he could have done with this project had he not gotten thrown in the slammer. Perhaps Episodes of a Hustla would not have been any better if it were longer, but, on the other hand, maybe Havoc would have come up with a couple of bangers for Noyd to kill? Who knows.
I have to say that one thing I didn't like about Big Noyd's first album was the amount of Prodigy appearances, as it leads me to believe that Noyd was not confident enough in his abilities (and I don't know why that would be the case) to record a full-length LP on his own. Not just that, but why seven Prodigy features and only one by Havoc?
All in all, this was a nice effort by an upstart rapper who never really got a chance to live in the spotlight due to his imprisonment. As I said previously; who knows what would have happened had Big Noyd not gone to jail, because it is blatantly obvious that Episodes of a Hustla had the potential to be a near-classic had it actually been completed.
I'm not going to recommend that you go out of your way to listen to this album, as it is not anything extraordinary, but I will say that you will most likely not be disappointed if you do, because, my little criticisms aside, it really is a decent effort overall, as every song on here is, at the very least, listenable.
TOP FIVE TRACKS
1. I Don't Wanna Love Again
2. Recognize & Real (Part 1)
3. Usual Suspect
4. Usual Suspect (Stretch Armstrong Remix)
5. Episodes of a Hustla
SKIPPABLE TRACKS
None.
INTRODUCTION
I've always thought of Capone-N-Noreaga as a poor man's Mobb Deep. They're a duo, they rap about the same subject matter, and they utilize the same type of dark, grimy beats that the Mobb did (yes; I used past tense on purpose there). That's not to say they are as good as Mobb Deep, though, because, well, they aren't, but I won't take anything away from them: they are a fairly impressive group.
Capone-N-Noreaga (also known as "CNN") released their first album, The War Report, back in June of 1997. However, I use the term "their" loosely, as Capone is scarcely seen on the project due to the fact that he was in prison while much of it was being recorded (as a matter of fact, one might consider this an effort by Noreaga and Tragedy Khadafi [who makes eight guest appearances and also produces two cuts] rather than one by CNN). Noreaga (a.k.a. N.O.R.E.), though, used The War Report as a launching pad for his own solo career, as he became the clear-cut favorite member of the duo.
Featuring production from the aforementioned Khadafi and then assorted producer-extraordinaires like Buckwild, Lord Finesse, and Marley Marl, one would naturally have high expectations for The War Report going in. Of course, just because the liner notes display some good beatmakers does not necessarily mean that the album will automatically be anything spectacular, right?
The War Report is considered a 90s classic by some, while others essentially forget about it when discussing the more prominent east coast hip-hop albums of that decade, making it a rather intriguing record for the simple fact there doesn't seem to be any kind of middle ground when talking about its significance.
So, is it really a classic like the diehard Capone-N-Noreaga fans say? Let's find out.
TRACK-BY-TRACK
1. Bloody Money
The eerie, piano-driven beat by EZ Elpee sounds like a cheap Havoc (of Mobb Deep) knockoff, and while that may sound like a pretty big jab at "Bloody Money," it really isn't, because you can't expect many producers to match Havoc's grace on the boards. This isn't a bad way to open up the album, as Noreaga sounds nice over the instrumental (no, Capone is not on this) and, once again, the production is decent, but I think "Bloody Money" runs a bit too long for its own good, especially considering the last minute or so just consists of a bunch of adlibs.
2. Driver's Seat
The Hitmen, Puff Daddy's production team, laced this cut, and while it's a bit darker than anything you'd ever expect someone associated with Puffy would create, it still doesn't hit that hard. Iman T.H.U.G., who sounds somewhat like Keith Murray, drops a guest verse and does the hook, and although his performance was adequate, it doesn't save "Driver's Seat" from being anything more than mediocre.
3. Stick You
The first of many Tragedy Khadafi guest spots on The War Report. I've always felt Khadafi was pretty underrated, and he demonstrates that on "Stick You," as his verse is pretty damn good. Capone also makes his first appearance on the album here and, like Tragedy Khadafi, he impresses, as his coarse voice adds a nice element. The beat by Naughty Shorts (seriously? What the hell kind of stage name is that?) is by far the best thing I've heard on this project thus far. I really, really dig the way that piano loop fades in and out. All of that said, whose idea was it to wait until the 1:13 mark for the song to actually start?
4. Parole Violators
Havoc and Tragedy Khadafi are both featured on this, and the funny thing is the beat sounds almost exactly like something Havoc would produce (I mean, how many times have we heard that snare on Mobb Deep records before?), yet Khadafi was the man behind the boards here. I have to say that I was extremely disappointed that Havoc doesn't actually drop a verse, as he only raps the hook and sounds fantastic in doing so, as short as said hook may be. The War Report has certainly picked up some momentum during the last two tracks.
5. Iraq (See The World)
EZ Elpee's drums on this knock, and the bunch of no-namers (Castro, Musaliny, Mendosa, and Troy Outlaw) assisting N.O.R.E. on it were actually fairly solid. Overall, this was a decent song. I don't really have much else to add. Well, other than the fact that it may have run a bit too long at five minutes and thirty-three seconds.
6. Live On Live Long
Remember earlier when I told you that Capone was in prison while the majority of this album was recorded? Well, Noreaga pays homage to his partner over this GM704-produced cut, and it ends up sounding pretty good. It's nothing mind-blowing and you won't want to hit repeat when it concludes, but it works on some level.
7. Neva Die Alone
"Neva Die Alone" was produced by Buckwild, and if I didn't check the tracklisting before I listened to it, I never would have guessed that, as the beat here just isn't very good. It seems like Buckwild was trying too hard to make the instrumental sound dark, as he simply overdid it on the deep piano loop. Capone makes his second appearance on the album, though, so at least there's that. Tragedy Khadafi is on this, as well, and he drops what is easily the best verse on the song, in my opinion.
8. T.O.N.Y. (Top Of New York)
The Hitmen are here again, and while "T.O.N.Y. (Top Of New York)" sounds better than "Driver's Seat" (The Hitmen's other effort on The War Report), it isn't anything to write home about. It's worth noting, though, that for the first time on the album, Capone makes consecutive appearances, as he is present on this cut. However, I think it's pretty clear by now (it is to me, anyway) that Khadafi, who comes through with yet another guest verse here, is the best rapper on this project.
9. Channel 10
The Lord Finesse cut. Unfortunately, it was much ado about nothing, as it sounds like he was asleep when he produced this. This is just boring.
10. Capone Bone
Capone actually gets a solo effort here, his only one on The War Report. This is also the Marley Marl-produced record. However, the combination does not work, as "Capone Bone" sounds even worse than "Channel 10," and that's saying something.
11. Halfway Thugs
Okay; this is by effing far the best track on the album. Plain and simply, it bangs. Charlemagne pulled a page out of Havoc's book when he gave life to this incredible beat, and on a similar note, N.O.R.E. pulled a page out of Prodigy's book with the way he flows over the instrumental. "Halfway Thugs" saved this album, as I was just about ready to put it to bed after listening to the two preceding tracks. The only complaint I have is that I feel like this would have been a perfect cut to include Mobb Deep on, but hey...
12. L.A., L.A.
The east coast's response to Tha Dogg Pound's "New York, New York." You may recognize the beat as basically the same one that was used for The Notorious B.I.G.'s "Long Kiss Goodnight" (there were a couple of minor differences). Mobb Deep and Tragedy Khadafi aid CNN on the cut, which sounds rather solid.
13. Illegal Life
This is the second-best song on The War Report. Much like "Halfway Thugs," the instrumental (produced by Tragedy Khadafi) sounds like it certainly could have been on Mobb Deep's Hell On Earth; it's that good (the vocal sample is particularly great). Havoc is on the cut, but, like on "Parole Violators," he only raps the hook. What's up with that? Despite that quibble, "Illegal Life" is pretty damn fantastic.
14. Black Gangstas
The second Buckwild production on the project is far superior to the first. Unlike "Neva Die Alone," "Black Gangstas" freaking knocks. Tragedy Khadafi makes his final appearance on the album, but this time, he only does the hook.
15. Closer
DJ Clark Kent creates the instrumental here, and it is easily the most introspective beat on the album (not the best; just the most thought-provoking). The song works fairly well as a whole, as Noreaga rides the production well and does an admirable job as the lone rapper, although I wasn't too fond of female R&B artist Nneka's contribution on the chorus. Solid way to end The War Report, though. It could have been better, but it also could have been much worse.
FINAL THOUGHTS
While I disagree with the sentiment that The War Report is a classic, it's still a pretty solid album that was released at the right time. Both Capone (when he's actually there) and Noreaga prove to be very capable rappers, although I do think their choice of beats is suspect at times. On the other side of the coin, though, the beats that do hit really, really hit.
Interestingly enough (and this may sound a bit comical given that this was a Capone-N-Noreaga effort), the person I came away being most impressed with on this project was Tragedy Khadafi. It seemed like he outshined every other member every time he had a verse, and his presence bumped The War Report up a notch or two in terms of its quality. The dude is a very good emcee, and a very overlooked one at that.
As I stated earlier; Capone-N-Noreaga really is a poor man's Mobb Deep. They are not nearly as good and cannot put together the kind of consistent effort that Havoc and Prodigy did on The Infamous and Hell On Earth, but there are times (see "Parole Violators," "Halfway Thugs," and "Illegal Life") where the duo has an extremely Mobb Deep-esque feel, and it certainly draws your attention to them more.
I do not bump The War Report all that often. Actually, I never bump the album as a whole at all; I just did it to write this review. That said, there are a few songs off of the record that will always find their way into my rotation somehow, and when you can say that about an album, I think you basically have to say that it has its place in the annals of hip-hop lore, even if it wasn't exactly spectacular.
TOP FIVE TRACKS
1. Halfway Thugs
2. Illegal Life
3. Stick You
4. Parole Violators
5. Black Gangstas
SKIPPABLE TRACKS
Channel 10
Capone Bone
INTRODUCTION
I wrote about 50 Cent's first album, Power Of The Dollar, back in November and gave you the background information on the legendary rapper, so, for the sake of time, I am going to keep this introduction to a minimum.
However, I obviously feel the need to remind you (just in case you forgot and/or didn't read the first line of this write-up) that Get Rich or Die Tryin' was not 50's debut record. The aforementioned Power Of The Dollar was, but due to Fiddy's shooting, he was dropped from Columbia Records, and Power Of The Dollar was never officially released. Then, Eminem and Dr. Dre discovered and signed 50 Cent, and a career was born.
Of course, Get Rich or Die Tryin' was still 50's most successful project, selling 872,000 copies its first week (good for second among rap albums all-time) and being certified eight times platinum by the RIAA. It also spawned six singles, including 50's breakthrough hit, "In Da Club," a song I was never really too big of a fan of.
Get Rich or Die Tryin' features a variety of producers, ranging from Dr. Dre to Eminem to Rockwilder, and vivid tales of street life by Curtis Jackson (50 Cent), covering a wide spectrum of subject matter from his shooting to braggadocio to hustling and, of course, to making it happen with the ladies (okay; that sounded really lame).
Get Rich or Die Tryin' is considered by almost everyone to be 50's masterpiece, and many also consider it to be one of the more influential rap records of our time (most old-school fans will scoff at that, but there is truth to it).
So, let's get to it.
TRACK-BY-TRACK
1. What Up Gangsta
The album gets off to a great start, as Rob Tewlow (whom, as far as I know, we would never hear of again after this record, which is strange considering how good it was) laces a banging beat for 50 Cent to rip to bits. This is a very, very typical braggadocio track, but not many rappers have mastered that as well as 50 has. Also, how can you not love the hook on this?
2. Patiently Waiting
And the phenomenal start continues. "Patiently Waiting" is the best song on Get Rich or Die Tryin'; bar effing none. Eminem's beat is ridiculously dark, and both he (he drops a scintillating guest verse on this) and 50 go in, combining to form one of the best collaborations I have ever heard. Most will say that Eminem murdered Curtis on this, but I disagree, as I think Fiddy more than held his own. This is probably the best lyrical performance of 50 Cent's career.
3. Many Men (Wish Death)
A lot of people say this is 50's best song. I do not concur, as I feel "Patiently Waiting" (among a few others) have "Many Men (Wish Death)" beaten in that regard, but either way, this is still a very, very good record. This is without a doubt one of the most introspective raps 50 Cent has ever written, regardless of the fact that the content is pretty violent. The instrumental by Darrell Branch is an appropriate combination of darkness and somberness.
4. In Da Club
I have never understood what was so great about this song. I know you'll all probably think I've lost my mind after reading what I'm about to say, but I legitimately think that "In Da Club" is one of the worst cuts on the album. I have always felt that Dr. Dre's beat on this was very elementary, and I just never saw what was so catchy about the record as a whole.
5. High All The Time
Back on track. "High All The Time" isn't on the same level as the three-headed monster that opened up Get Rich or Die Tryin', but it's still pretty damn good. DJ Rad's production is outstanding, and what makes this cut even better is that it's not just a song about smoking. The hook here is incredible, and 50 Cent's flow is great.
6. Heat
This Dr. Dre-laced record is certainly a much better effort than "In Da Club," as the instrumental will make you want to punch the nearest object (so move away from the wall or any valuable items while listening to this). As I'm sure you can infer from the song's title, Curtis' subject matter is ridiculously violent here, but it fits in the context of the album.
7. If I Can't
The second-best track on the album. Dre's piano-driven beat is sick, and 50 engages in some more braggadocio rap, but even moreso than he did on "What Up Gangsta." "If I Can't" is easily one of the greatest pump-up songs you will ever have the pleasure of hearing.
8. Blood Hound
Young Buck, who would later become a member of G-Unit and then proceed to get kicked out of the group a few years later, made himself known to the world on "Blood Hound," and he does an adequate job. The song as a whole isn't fantastic, but it works, as Sean Blaze's production is solid and 50 Cent sounds pretty damn impressive over it. The hook is also pretty catchy.
9. Back Down
One of two Ja Rule disses on the album. This one was produced by Dr. Dre, but the beat, as menacing as it is, never really hit me that hard. That said, 50's bars certainly did, as hearing him say Ja Rule sounded like the Cookie Monster was just great. This signaled the beginning of the end of Ja Rule's career.
10. P.I.M.P.
This is a pretty polarizing song, as the beat, produced by Mr. Porter, is reggae-influenced, and 50 Cent basically talks about, um, being a pimp throughout the entire track. I've always been on the side that likes it. That's all I've really got.
11. Like My Style
Which brings us to the most underrated song on Get Rich or Die Tryin'. Seriously; no one ever talks about "Like My Style," and I really don't know why, because it effing knocks. The fast-paced instrumental by Rockwilder is ill, and 50 Cent's flow over it is crazy. Also, Tony Yayo makes a brief appearance in 50's first verse (albeit it was only one adlib) and then another one near the track's conclusion, and the funny part is I really, really dug his part in terms of the latter. I've always loved his "you're not, really really ready, ready, the drama will have ya ass in trauma, boy" line.
12. Poor Lil Rich
After eight years, I still haven't decided on whether or not I like this song. I do know that I've always loved the hook, but at the same time, Sha Money XL's beat just confuses the hell out of me.
13. 21 Questions
The song for the ladies. "21 Questions" is one of Curtis' most popular cuts, but, much like "In Da Club," I've never dug it that much. Nate Dogg (R.I.P.) makes an appearance and does the hook, but his effort just sounded lazy to me and was nowhere near what he was actually capable of. The production (by Dirty Swift of Midi Mafia) was nothing more than average.
14. Don't Push Me
The second (and final) Eminem production on the album. It is not even close to the level of "Patiently Waiting" and, quite frankly, I've always felt this song was pretty overrated. That said, I really liked Lloyd Banks' effort, even if it was incredibly amateurish compared to what Banks can do nowadays. As for Em's verse? Meh.
15. Gotta Make It To Heaven
"Gotta Make It To Heaven" is my least favorite song on Get Rich or Die Tryin'. As a matter of fact, it's the only track I always skip whenever I'm listening to the album. I just don't like it, as I think Megahertz's beat is awful.
16. Wanksta
The first of three bonus tracks (all of which were recorded before the time of Get Rich or Die Tryin', as I'm sure you can tell just from listening to the difference in 50 Cent's voice) on the album and 50's most famous Ja Rule diss. I used to like "Wanksta" a lot more than I do today, but it's still a decent cut. John "J-Praize" Freeman's instrumental is effective, and 50 once again gets at Ja Rule with no problem.
17. U Not Like Me
This record, which was originally on 50 Cent's 2002 compilation album, Guess Who's Back?, bangs. Red Spyda's beat possesses an extremely intimidating feel, and Curtis effortlessly tears it to shreds. Side note: "U Not Like Me" is best-enjoyed played in your whip. Believe me.
18. Life's On The Line
Like "U Not Like Me," this cut was also on Guess Who's Back? (not to mention Power of The Dollar), and this was actually the record that caught Eminem's attention. Terence Dudley's beat knocks, and 50 goes in like an animal and puts down some of his most violent raps ever (and that's saying something). The hook on this is simply terrific.
FINAL THOUGHTS
While I don't listen to Get Rich or Die Tryin' regularly anymore (frankly, I just got tired of it), it really was a great effort by 50 Cent and was certainly ahead of its time. The production remained relatively consistent throughout, and 50 never strays away from his tough-guy persona (I mean, you can even feel his swagger on "21 Questions"), making for a steady, enjoyable listen all the way through.
Many hip-hop "purists" will put this album down and say it cannot hold a candle to the classics out there, and while that may be true, I think it is very unfair to judge Get Rich or Die Tryin' in that regard. Instead, we should just focus on the individual product, and when you do that, you should be able to see that this was a pretty impressive record.
Curtis is obviously no wordsmith, but what he was able to do here was invoke a ridiculous amount of emotion (you can really just feel his hunger on "Patiently Waiting" and his pain on "Many Men [Wish Death]") into his songs, and sometimes that is more important than the actual lyrics themselves. Of course, due to his remarkable success, you don't see that with 50 Cent anymore, but he definitely displayed it on his sophomore effort.
Based on his three follow-up albums, I think it's a safe assumption to state that 50 will never come close to matching Get Rich or Die Tryin' again. I did really like Before I Self Destruct and think that's the closest thing since, but, in all seriousness, it really wasn't that close at all; it was just a lot closer than The Massacre and Curtis.
Get Rich or Die Tryin' flashed a hungry 50 Cent still trying to make it in the industry, and that is the main reason why it was such a successful album. Unfortunately, given that 50 can retire right now and be set for nine lifetimes, we will never see that Curtis Jackson again.
TOP FIVE TRACKS
1. Patiently Waiting
2. If I Can't
3. What Up Gangsta
4. Like My Style
5. Many Men (Wish Death)
SKIPPABLE TRACKS
Gotta Make It To Heaven
INTRODUCTION
I'm sure all of you readers (however many of you there actually are) have been waiting for this review. It was probably silly of me to review Raekwon's Only Built 4 Cuban Linx... (which can be found here) before Enter The Wu-Tang: 36 Chambers (which I will simply be referring to as "36 Chambers" from here on out), but hindsight is 20/20, and I'm about to review 36 Chambers now, so whatever.
Anyway, I'm sure the Wu-Tang Clan needs no introduction. It is a nine-rapper collective (now eight due to the death of Ol' Dirty Bastard [R.I.P.]) that consists of RZA, Ghostface Killah, Raekwon, GZA, Method Man, Inspectah Deck, Masta Killa, U-God, and ODB. Some (myself included) even consider Cappadonna to be a member, as, even if he isn't an "official" Wu-Tang member, he is omnipresent on basically every Wu project except for 36 Chambers, where he does not make a single appearance.
The Clan, along with rappers such as Nas and The Notorious B.I.G., helped revive the east coast rap scene in the mid 90s (how many times have I written that on this blog? Feels like 100) and is revered as the greatest group in hip-hop history. The Wu was founded by RZA, GZA, and Ol' Dirty Bastard (all three of whom are cousins), first forming the group "Force Of The Imperial Master" in the 1980s. However, the trio was unable to secure a record deal, and it wasn't until 1992 that the entire Wu-Tang Clan officially came together.
One year after assembling, the Clan released 36 Chambers, a remarkably organized (given the sheer number of rappers in the group) 12-track album produced entirely by RZA. RZA's beats on the project are well-known for their dusty, grimy nature and, of course, abundant amount of kung-fu samples. The funny thing is, RZA wasn't even intentionally trying to give his instrumentals a dusty sound; they just ended up sounding that way because he didn't have the greatest recording equipment in the world. Thank God for cheap recording equipment!
18 years and countless amounts of records later, the Wu-Tang Clan's influence is still alive-and-well in the rap game, and even though the group doesn't exactly pack the same kind of punch it once did (not even close, actually), any project that a Wu member drops is always highly anticipated, demonstrating the kind of respect that hip-hop fans have for the collective.
So, now that I've given you some background information that you probably already knew as it was, let's jump into that review.
TRACK-BY-TRACK
1. Bring Da Ruckus
What a phenomenal way to open up the album. "Bring Da Ruckus" features RZA (who lays out the banging beat and raps a hook that should pump you up like nothing else in the world), Ghostface, Raekwon, Inspectah Deck, and GZA, and each and every one of them absolutely holds their own. Also, GZA (who I've always felt is the best member of the Wu) displays here why he earned "Clan In Da Front" (which appears in two tracks) all to himself.
2. Shame On a Nigga
Ol' Dirty Bastard, Raekwon, and Method Man trade verses on this relatively short cut, and it is Method Man who steals the show, ripping his verse to pieces over the smooth, traditional instrumental by RZA. ODB gets two verses and the chorus, and while he's always been my least favorite member of the Clan (I was just never a fan of his voice), he sounds good on this. This isn't as good as "Bring Da Ruckus," but hey; how many songs are?
3. Clan In Da Front
The aforementioned GZA solo cut (well, RZA introduces the track over the course of the first minute-and-a-half or so, but he doesn't do any rapping over it, so, to me, this is a GZA solo). The Genius (GZA, for those of you who don't know) eats RZA's piano-driven beat for breakfast, brandishing a ridiculously smooth delivery to go along with his verbal darts. I mean, the dude is called "The Genius" for a reason.
4. Wu-Tang: 7th Chamber
As evidenced by the track's title, seven of the nine Wu members spit on this cut, those seven being Rae, Meth, Deck, Ghost, RZA, Ol' Dirty, and GZA. RZA's beat possesses a somewhat eerie quality, and all seven participants are able to go in on it without constraint. I will say, though, that "Wu-Tang: 7th Chamber" may have been a couple of verses too long, as the simple production does grow tiresome after a while. I know what you're thinking now: "Did he seriously just criticize 36 Chambers?" Yes; I effing did.
5. Can It Be All So Simple
Well, get ready for me to drop some more criticism, because I have never liked "Can It Be All So Simple." To me, it has always felt out of place on the album, as RZA's instrumental sounds nothing like the rest of the project (it's just flat out boring), and, plain and simply, it blows. The fact that Raekwon and Ghostface Killah trade verses on this song does not matter to me. I just don't like it.
6. Da Mystery Of Chessboxin'
Okay; now this I like. The beat on "Da Mystery Of Chessboxin'" is very, very similar to that of Raekwon's "Guillotine (Swordz)" off of Only Built 4 Cuban Linx..., and I'm sure this is where RZA got the idea from for the Raekwon cut (yes; an idea from something that was his own idea originally). The production is fast-paced, containing booming, dusty drums and an ominous piano riff. U-God and Masta Killa (who I've always felt is the most underrated member of the Clan) make their first appearances on 36 Chambers here, and both oblige RZA's great production with admirable performances. Inspectah Deck, The Chef, ODB, and Ghostface also drop verses.
7. Wu-Tang Clan Ain't Nothin' Ta Fuck Wit
One of the most well-known songs in the Wu-Tang catalog, "Wu-Tang Clan Ain't Nothin' Ta Fuck Wit" is easily one of the best tracks on the entire album. RZA, Deck, and Method Man rip the fantastic beat, and although the meaning of this cut has certainly diminished over the years (as the Wu has sadly disintegrated), it was a valid anthem back in the 90s.
8. C.R.E.A.M.
When people think of the Wu-Tang Clan, they generally think of this song. I have actually never loved "C.R.E.A.M." as much as most others do, although I still think it's a good record (obviously). This is one of the dustiest RZA productions ever, containing hard drums and a high-pitched piano that Raekwon, Meth, and Inspectah Deck put to bed. "C.R.E.A.M." is also home to a hook by Method Man that everyone and their mother knows, making it one of the most influential songs in rap history.
9. Method Man
Although GZA, Rae, and Ghostface all make appearances on this track, this is a Method Man solo, as he is the only one who actually raps. This is certainly one of my favorite songs on 36 Chambers, as RZA's instrumental is crazy and Meth tears it to bits. This cut personifies the definition of a head-nodder.
10. Protect Ya Neck
Another banger. RZA's eerie beat is tremendous, and every Clan member with the exception of Masta Killa raps over this. Perhaps most notable about "Protect Ya Neck" is that it is one of the few songs in which Ol' Dirty Bastard sounds like a normal rapper, and I actually very much enjoyed his verse. That said, no one even touched GZA on this cut, as he gets the last verse and makes sure everyone remembers it.
11. Tearz
RZA's production on "Tearz" exemplifies what an old-school sound should be, and he and Ghostface Killah bury it. This song actually contains a very good message, as RZA and Ghost talk about the tragedy of death, proving that the Wu can also be serious when appropriate. Good track.
12. Wu-Tang: 7th Chamber, Pt. 2
This track follows the same order as part one, as Raekwon, Meth, Deck, Ghostface, RZA, ODB, and GZA spit in that order. I really wasn't all that crazy about this cut, though, as RZA's production sounds way too messy and choppy. Whether or not it was intentional, I don't know, but it doesn't come across as too appealing.
FINAL THOUGHTS
As I'm sure you can tell, I am not as big of a fan of 36 Chambers as most people, but that isn't to say that I don't think this album is a sure-fire classic and one of the most important hip-hop records to ever be released. The Wu-Tang Clan's debut clearly set a precedent in the rap game and paved the way for countless amounts of artists that would soon make their presence known in the industry.
Most would probably say that 36 Chambers is the Wu's best effort (including solo albums), but I certainly enjoyed Liquid Swords, Only Built 4 Cuban Linx..., and Tical more, as I felt the production on each of those three albums was more advanced and versatile, but that's to be expected given that RZA was just getting started on 36 Chambers. What is amazing about this record, though, is the cohesiveness that the Clan displays.
While listening to the album, you tend to forget that the Wu-Tang Clan is made up of nine members, as they are able to maintain unbelievable balance throughout and demonstrate the ability to work together seamlessly. It is also clear from listening to 36 Chambers that just about every member of the collective (Ol' Dirty is probably the lone exception) is gifted with a great feel for the mic, particularly GZA, who routinely outshines his Wu comrades for the duration of the 12-track project.
There are a lot of people who will say that 36 Chambers is the greatest rap album of all-time. While I would certainly disagree with that, I would definitely place it among the best and state that it was undoubtedly one of the most influential records ever. There is a reason why the Wu-Tang Clan is considered to be the best rap group in history, and it all started on 36 Chambers.
TOP FIVE TRACKS
1. Method Man
2. Bring Da Ruckus
3. Wu-Tang Clan Ain't Nothin' Ta Fuck Wit
4. Protect Ya Neck
5. Da Mystery Of Chessboxin'
SKIPPABLE TRACKS
Even though I couldn't stand "Can It Be All So Simple," I'm going to go ahead and pay some respect and say none.
INTRODUCTION
