On April 11, 1997, Entertainment Weekly writer David Brown gave Notorious B.I.G.'s two-disc Life After Death a C+ rating. Arguments and outrage have since followed. Now, while I do disagree with Brown's logic and basis for his review and I completely realize this may lose me some type of cred when it comes to this blog, I am not completely on-board when it comes to this Biggie album.
Don't get me wrong. I dig the album and, while I may not be a connoisseur of all thing hip-hop, I believe I am much more familiar with the genre and its' trappings, at least more so than Mr. David Brown. The problems is, while I listened to this album numerous times on my way to and from work and felt myself enjoying most of the tracks included, I had some reservations. The main concern being that I included the word "most" in the previous statement. Again, most of the songs are good tracks with some great tracks peppered in with them. Except, for every good song, there are plenty of unneeded moments. The main one that comes to mind would be the track, "Playa Hater," where Biggie felt the need to attempt to serenade us. Now, I am aware that the late rapper could have not been completely serious when he laid the track down but, regardless, it puts a definite strain on most eardrums. The end is entirely unlistenable (which I know is a word I just made up but it is the only fitting one I can find for the song) and I ended up having to turn it before the song even ended. Quite possibly ranked in my top 10 "Most Ridiculous Tracks Ever" list. Also, I could have done without "The Mad Rapper" skit. Other than these instances, I generally believe some of the songs could have been shorter without hurting them if some of Biggie's multiple choruses at the end of songs were to be removed. Also, Puff can sometimes hold a song together with his rambling, but in some cases it gets a bit tiring. "Take that, take that, take that."
The thing is that I like the album for the most part, but perhaps Mr. Brown had a point when he wrote that Biggie, or more likely Puff and any other producer on the album, could have "easily made a more effective single disc." Most of the tracks were good and great moments come in the form of "Hypnotize," "#!*@ You Tonight," "Mo Money, Mo Problems," "Notorious Thugs," "Going Back to Cali," "Nasty Boy," "Sky's the Limit," and the cleverly-titled "You're Nobody (Til Somebody Kills You)." Toss in "Miss U," "I Love the Dough," and "The World is Filled..." for good measure and you've got a spectacular album.
For those that would like to argue, take a look at Puff Daddy's contribution after this album was released No Way Out. Both albums are chock full of guest appearances and songs very much like those that appear on Biggie's album. The difference is that nearly every song is instantly recognizable to anyone given the album is being played. No Way Out also cleaned up at awards shows (despite another appearance from the irritating "Mad Rapper") from what I remember, which doesn't always mean something. Listen, I am in no way, shape, or form lauding Puffy as a greater rapper than the B.I.G. one, nor am I even implying that Diddy is even a "good" rapper, but no one can dispute the influence he had on the rap and hip-hop genre. Regardless of what side of the fence you are on, Puff Daddy did more to change (for better or worse) the rap industry into the mega-genre it is today than Biggie or Pac. Again, I'm not saying it was a good change, but a revolution, nonetheless. All of a sudden, white kids from the suburbs found rap accessible....ugh.
Life After Death has recognizable and memorable moments, but they can be easily lost amidst what I would apprehensively call "filler."
As much as I have to say about this album, I do not agree with David Brown's assessment in 1997 (besides the single disc comment) and I find particular fault in his statement that "gangsta rap has become numbingly ineffectual." How can anyone write something so ridiculous especially considering that the genre concerning the gangsta rap war between East Coast and West Coast rappers that culminated in the deaths of 2Pac and Biggie is "ineffectual?" Granted, David Brown's review was written right after Biggie's death and the album's release, but I would hope he would retract that statement when confronted with the legacy both rappers left to their respective music genre. I do not, absolutely do not, agree with a C+ rating, but I do give it a B+ rating.
But should I acknowledge a B+ as worthy of greatest albums list? In this case, I say "Yes." Despite my earlier arguments, I still can't stop listening to the album. Except for "Playa Hater." I wish I could scratch that garbage right off this album. Ugh.
P.S. Biggie sounds like his tongue doesn't even fit in his mouth in "I Got a Story to Tell" or he's eating and rapping....whichever.
Here it is....Biggie cover.
-d.
I’ve always had a love for early 90’s hip hop. But I fell more for the backpackers and freestylists, FuSchnickens, A Tribe Called Quest, Leaders of the New School, and De La Soul. I tended to find most of the more commercially successful rappers pretty weak. Unfortunately, I judged Biggie by his association with Puff Daddy, a genius in promotion but possibly the least musically talented man to ever hit the top ten. A real shame because this album deserves every bit of the acclaim that has been dropped on it.
The hits, of which there were several, are unsurprisingly the weak links here. Boring samples and nonstop chatter by the future Diddy completely wreck great verses by the big man. The real highlights come from the filler tracks, where most artists put their throwaway songs. "Kick In the Door" rides a completely unexpected horn sample through all sorts of braggadocio. Somehow the grain of the vinyl in the background makes the song all the more menacing, allowing it to overcome the clichéd rap sketch intro. The Lox make a hot appearance on "Last Day." Say what you will, but the Lox stepped up when guesting on bigger artists albums. The bass gets a bit repetitive, not helped by the choppy bit of synth strings, but the vocal tracks keep the music from dragging things down.
"I Love the Dough" is as smooth as expected, considering it features the two best MC’s to come out of New York in Biggie and Jay-Z. This time the sample is a great launch pad. Sweet bass, nice string hits. The only issue I have hear is the incessant wailing of the background vocalist. Why women vocalizing wordlessly became a staple of rap for a few years in the mid 90’s is beyond me. It’s a complete distraction and not even well done enough to redeem it. Thank goodness the two stars managed to live up to the collective hype.
Biggie made an unfortunately prophetic statement with "What’s Beef." Calling rap feuds played out, it makes you wonder why he let his own issues with Tupac blow up to such levels. Obviously the money they both made by keeping the excitement of “whats he going to say next” simmering was the main draw. But it’s sad that he was able to speak on the pointlessness of those battles before succumbing to them. Oh and once again Sean Combs tries his best to ruin a good thing. Seriously, what’s with the high pitched laughing? Is that somehow supposed to be intimidating? Not to mention, how many times can you grunt and repeat “I don’t want no beef”? What kind of God would grant him continued existence instead of the genius in the room?
So there’s one hit I do love. "Notorious Thugs." Every time I listen to it I hear ‘itsboneandbiggiebiggie’ nonstop for at least a week. Great lyrics and perfect vocals all the way through. Biggie actually changes his flow to fit the Bone Thugs guys, spitting out words faster than it seems like his mouth should have been able to move. Again, the guests step up and don’t let the big name run away with the track. On a side note, I sold at least five prepaid cell phones to Bizzy before I realized who he was. Why he needed so many cell phones, we can only make assumptions….
The majority of the second cd doesn’t live up to the first, though. LL Cool J had the better "Going Back to Cali." "Nasty Boys" is just flat and boring. But there are some standouts. Too Short is a great addition to "The World is Filled…" and "Ten Crack Commandments" is a pretty hilarious classic. Despite denials by Diddy, "Long Kiss Goodnigh"t seems to be a pretty obvious post-mortem response to Tupac calling him out by name (its easy to forget how rare that was back then). Its hard to imagine the last verses weren’t aimed at him:
I'm flaming gats, aimin at, these fuckin maniacs, put my name in raps, what part the game is that? Like they hustle backwards I smoke Backwoods and Dutchies, ya can't touch me Try to rush me, slugs go, touchy-touchy You're bleeding lovely, with your, spirit above me or beneath me, your whole life you live sneaky Now you rest eternally, sleepy, you burn when you creep me Rest where the worms and the weak be Slugs hit your chest tap your spine, flat line Heard through the grapevine, you got fucked four times Damn that three to nine, fucked you up for real doe Sling steal slow, as for remorse, we feel no
Things finally come to an end with "You’re Nobody (Til Somebody Kills You)." I really can’t say much about this songs inclusion. Part of me says its a flagrant example of capitalizing on a tragic death to market a cd. The other part says I really doubt Biggie would have wanted it any other way. In the long run, this albums place as the greatest hip hop record of all time is still secure. Although several of attained huge sales and universal respect (notably Jay-Z) not one artist has matched the overall influence of these songs. Probably deserving of a much higher place on this list, Life After Death is everything it’s been hyped to be, which may be the most impressive thing about it.
Oh and here’s a blues version of Suicidal Thoughts.
No comments:
Post a Comment