Swollen Members – Dagger Mouth

DAGGER

This can’t help but feel like an apology for their previous, atrocious album. For an album that’s so apologetic it also sounds like a roaring comeback that threatens to be their defining work. It’s an odd contrast that doesn’t really make sense and makes you wonder what Armed to the Teeth was all about anyway if they’re doing the complete opposite here.

Swollen Members are about classic Boom Bap only with more charisma. Instead of mumbling about New York and other such cliches, they flirt with horrorcore while never becoming as obnoxious as Necro. This versatility let them either slide completely into the genre, take it into more personal places (“Bad Dreams”) or to just expand beyond the typical boundaries of Hip-Hop. That’s why Black Magic is so good and why it received such a lukewarm reception. Before Kanye West’s new found fame, the only way to make an acclaimed album was to imitate crappy New York rappers I won’t bother to name.

So when they dropped Armed to the Teeth, it made no sense except that the people at Subnoize used it as a device to spread their misogyny. While the addition of guitars were cool, tracks like “Porn Star” were not. It’s exactly what I feared and what we got. For some reason they think that if they hate women, then every artist on Subnoize must sing about hating women. Even beyond the occasional misogyny the album lacked spirit. The only time it did, it’s because it had song titles like “Reclaim the Throne”. Clearly, they weren’t over the whole D&D thing.

From the beginning there is a suicidal fatal darkness to this album that never lets go. The opening track goes off about emotions and fear. “The Shining” talks about a spinning world that makes you feel lost. Just look at the song titles from that track on – “Devil”, “The Predator”, “Chemical Imbalance”. Swollen aim for a balance between the murder raps of Necro and the depressive introspection of Sadistik – self-harm as a sign of strength.

The result is absolutely badass and fun. It’s over-the-top, yes, but its darkness doesn’t mean a lack of fun. Swollen just trade in being warriors to being creepy dudes. “Night Vision” and “Chemical Imbalance” are the pumping heart of the album, where Mad Child swings from self-hating to bragging, often in the same line. You can hear his passion, too. He repeats the same rhymes a few times, but its his fury, his anger, how it’s directed at everyone (including himself) and no one at the same that makes the verse of “Night Vision” one of the best verses in Hip-Hop ever. Some rappers may have written more clever rhymes, but such passion is rare, especially in Boom Bap.

You can also look at this album as not just Swollen taking their style to the extreme, but also pushing the Boom Bap genre to actual darkness. Rob the Viking also shines here, knowing that the lyrics would be nothing without creepy sounds. While they don’t really go the danceable route – “Fire”, “Sound of the Drum” and “Devil” are the only times they raise the tempo and let the drums kick hard – he creates great soundscapes. Odd, unclear sounds surround these songs. A generator-like hum makes “Night Vision” way creepier. Rob knows that if the drums don’t take a central place, something else must. His atmospheric is actually atmospheric and enveloping. Calling it ‘camp’ is just silly. There was no other way of achieving this besides piling the odd noises.

Mad Child is the star here, which can sometimes be sad. All of the struggles he talked about in Armed to the Teeth are here out in the open. It might as well be an exorcism of his demons. Some songs are solo, like “Chemical Imbalance”. That leaves Prevail a bit in the dust, since his lyrics don’t have that personal nature but just cool imagery of satanic rituals, killing people, the undead and general darkness. He can never capture Mad Child’s fury who raps like a man possessed. It’s most apparent in “Night Vision” where his verse is almost useless. That said, he’s still an integral part. Without him this would become an incoherent and self-centered work. Prevail’s slightly more lighthearted approach is necessary.

The best thing about this album is how it manages to be unique, a whole piece without straying too far. Traditional Hip-Hop is an extremely minimalist genre so you get a lot of rappers saying nothing over white noise. It’s almost frightening how similar most of the canon is. Swollen Members don’t pull any tricks here, it’s just they got a more interesting concept and more passion. In the end Hip-Hop is sound art, and no matter how clever your lyrics are you need passion and to rap with conviction. Dagger Mouth is a strong contender for the best Boom Bap rap album ever. It actually takes advantage of the genre’s style and limits. It uses the minimalist beats to let the rappers go crazy, so the rappers actually go crazy. At the same time the beats remain important, providing odd sounds that change the tone of the songs – whether it’s the aggressive “Night Vision”, the moody “Chemical Imbalance” or the self-congratulating “Mr. Impossible”. I want to blame Subnoize for this album’s lack of success, but then again if they didn’t shat out Armed to the Teeth they wouldn’t feel the need to apologize and make a glorious comeback.

4 daggers out of 5

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Brother Ali – All The Beauty in This Whole Life

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Some time ago, Brother Ali had vitality and passion. It was a time everyone hated Hip-Hop made for partying, so some did bland, unmusical Boom Bap and others decided Hip-Hop could be about things other than killing and fucking. Nowadays it’s not mind-blowing anymore and that’s okay, since that era gave us Atmosphere whose followers – like Grieves and Sadistik – are the future. Brother Ali had his sure of fantastic tracks.

When I say ‘vitality’, I don’t mean that Brother Ali gone soft or any of that crap. The best song here is “Out of Here”, and his best song overall is “Faheem”, a heartbreaking song for his son that’s arresting from the first note and the moment Ali opens his mouth. There is vulnerability in his voice, one of an everyman who struggles with everyman issues that despite being common they’re still so huge we need music to deal with them. For a long time, it was one of the first songs I offered any time someone went off on ‘Hip-Hop is not music’ rants.

This album continues with the more introspective, less political nature. Nothing here goes hard like “Whatcha Got”, and that’s okay. The problem is, Ali doesn’t sound like he’s really into making music. Many of these songs ramble and don’t go anywhere. When they do, these are messages we’re familiar with and their delivary isn’t interesting or adds something new.

I’m not even sure if Ali is capable anymore. Like any rapper in this style, he had a tendency to make songs that are too dense to be interesting, but “Out of Here” should’ve been more powerful, darker. It should’ve brought the same vulnerability that made “Faheem” so arresting, yet it just coasts along. If it never sends a comforting message like how life goes on, it also doesn’t provide much insight into the topic. Losing someone to suicide is confusing. It shifts paradigms. We don’t just realize someone is gone, but it was death by choice. Someone actively decided that this whole project called life isn’t worthwhile.

According to the story, Ali took a break from music and went on a trip around the world to learn a bit about the beauty and love and life. Just look at the title. This kind of optimism leads to two things. Either there is a madness, an untamed desire to live and experience and contain everything which often leads to gender-bending music or you get dull, non-confrontational Zen bullshit. As if being complacent, or passive or placid, or whatever bastardization of Buddhism we invent is somehow profound.

Ali’s new found optimism isn’t mad and engrossing. All it does is make him less confrontational, with less desire to jump fully into his ideas. “Before They Called You White” reeks of tokenism, not of anger or of intelligence. Ali wants to take on the invention of whiteness. That’s an interesting topic that people don’t say interesting thing about. I can’t even get angry at Ali missing the cases and histories of racism not done by whites. Nothing is more West-centric than pretending whiteness is the great evil, but at least the idiots who spew that are passionate about it. At his most passionate in his song Ali says ‘Post-Traumatic Slavemaster Syndrom”, which is kind of cool. As for the final hook, it’s ironic. If the eye can’t see itself and needs critique, can I do it to all cultures?

Don’t get the impression that this album provides insight into the racial struggles. Nothing here is like Macklemore’s “White Privilege”, an abomination that was at least interesting. The second time Ali talks about race with focus is on “Dear Black Son”, but since race is everywhere in contemporary discourse the song is not interesting. I don’t mind songs about the Black experience, but don’t expect a “The Blacker the Berry”, something that shows the pain of being marginalized, of being always afraid a random cop will shoot you or that everyone still gives you funny looks despite claiming constantly they’re not racist. There is genuine pain to explore here, but this song is nothing but ‘you’re beautiful and don’t let anybody tell you otherwise’. Considering Ali experienced losing someone to suicide, I think if anyone needs this message, they are people who don’t an identity to give their life meaning.

I digress. This review should talk about how dull Ali’s rapping is on this album. Whatever interesting thing he has to say on “Never Learn”, the best thing about is the bluesy beat. Mostly, it makes me wish I was listening to Grieves who is so talented even when the songs are about nothing he imbues them with emotion. “Never Learn” is just cookie cutter serious Hip-Hop, pleasant on the ear and nothing else. Most of the songs are like this. I don’t get it. Ali is a talented rapper and the first single, “Own Light”, has some life in it. In fact, it does hint that the album might be necessary, taking introspective Hip-Hop to a more optimistic direction and creating the antithesis of Sadistik.

Sadly, the end result is introspective Hip-Hop without much going for it, either in subject matter, atmosphere, tone, wit or anything. The impression is that Ali found peace, and now he doesn’t have much he needs to let out in music besides some joy in “Own Light” and sorrow in “Out of Here”. In the title-track which closes the song, he praises God and overall existence. Forget, for a moment, Ligotti’s pessimism and how existence is always bad. Is that how the passion and love for life should sound like? Isn’t happiness and love wild, untamed emotions which we just can’t contain? Aren’t the best smiles those we can’t control? I’m happy for Ali that he’s at peace, really, but if his heart isn’t in music then he doesn’t have to make music.

Anyone remember “Fresh Air”? Now that’s a song that could cure depression.

2 out of 5 here

Aesop Rock – The Impossible Kid

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Are Hip-Hop fans just failed literary critics?

I know I make fun of them a lot in my reviews, but the mind truly boggles. We’re talking about music. Music is an auditory experience. You can talk about the words all you want, but the question is whether it translates into good music. I can read the whole of American Tragedy over a dull Drone beat. The content would remain brilliant, but the outcome would be a dull and pointless experience.

Aesop Rock doesn’t do this completely, but he veers so close it’s frustrating. He’s clearly capable of being coherent, of providing lyrics that can be followed to a conclusion. “Lotta Years” is amazing. Aesop drops all pretensions, and tells in a straight forward fashion about feeling old and seeing how different the youth is. The imagery is both clear and poetic: “The future is amazing, I feel so fucking cold/I bet you clone your pets and ride a hoverboard to work”. It’s obvious and isn’t difficult to understand, but since when difficulty makes a piece of art impressive? What’s beautiful about poetry is how it sums up experiences and ideas in lines.

Not every song has to be this straight-forward. “Dorks” and “Rings” are less clear, but have lines that leap at you. “I think we’re all a pile of imperfections and flaws” is beautiful wherever it is, and it makes you want to explore what’s surrounding it. Even if it’s all gibberish, it’s gibberish that sounds cool.

You can only rap gibberish for so long before it becomes boring. Aesop’s lyrics are mostly gibberish. Analysis in Genius are interesting, but they’re analysis of lyrics, not music. None of these songs make me wonder what he’s talking about, make me want to dig in. I’ll gladly listen to an analysis of the lyrics, but at this point I’m not listening to Aesop’s lyrics but what people find in his lyrics.

For all his verbal and musical creativity, the mood remains the same. Aesop always sounds like he’s informing you how cool he is. That’s way “Molecules” is the second best track here, because for once it seems (It always seems, you can never be sure) that Aesop raps about how much of a badass he is. “Mystery Fish” does something similar. If Aesop goes about how out the box he is in the chorus, I don’t mind the nonsense in the verses. Every other song, soundwise, sounds like variations on these two. “Kirby” is supposed to be about his cat, but tonally it’s just softer than the other songs. “Blood Sandwich” – a song which is otherwise excellent – doesn’t feel like it’s about nostalgic stories about brothers.

It’s not a matter of mood. Sadistik mostly sticks to depressive and moody raps, but he can vary it. He goes from introspective to aggressive, self-loathing to contemplative. Aesop doesn’t have these tonal changes. The only difference is that some songs are less aggressive than others.

More frustration come from how Aesop hints at musical creativity but never pursues it. He can make a catchy song – “Rings” has a fantastic song that even if the lyrics were utter nonsense, the song would still be good. “Get Out of the Car” and “Blood Sandwich” remove all drums, and that helps take a more prominent role. There is also beauty in those ethereal beats. Other tracks are straight-up bangers – “Dorks”, “Mystery Fish” and “Molecules” are songs to blast in full volume.

Why then, doesn’t he take more advantage of it? Why make “Rabies” and “Kirby”, whose beats might as well not exist? If every track here had a hook as good as “Rings”, the album would’ve been pretty great. Aesop is charismatic enough to make the songs pleasant, but he refuses to take advantage of the auditory medium. He doesn’t realize the potential he has in mere vocals, instead he prefers to just rely his lyrics. Why not write a book, instead? I’m sure it’ll be interesting to read his lyrics on paper in my own pace. Listening to him isn’t fun. The ear is not interested.

Someday, maybe, Aesop will put out a great album where he cares less for conventions of Hip-Hop. He will realize he’s a talented producer, that hooks are great and that your lyrics are more interesting when the listener can breathe them in. It’s another self-indulgent effort, a glimpse into a great mind that doesn’t know how to communicate his ideas. I hope someday he’ll realize his potential, because I don’t need every song to be as good as “Lotta Years”. Just make them interesting as “Blood Sandwich” and you got a dedicated listener.

2.5 get out of the 5 cars

Ugly Duckling – Journey to Anywhere

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In later records, Ugly Duckling would often admit to feeling insecure and being nobodies. The sequel to this album opens with “Opening Act”, where they constantly talk about how anonymous they are and they kind of hope but don’t expect to be big. It’s the opposite of the typical subject matter. Instead of boasting how big they are, they’re cowering and begging for a little affection.

The irony is, “Opening Act” is a milestone in Hip-Hop. So rare are songs like it. Every line hits hard. It’s easy to follow, and you don’t need complex rhymes when you have such powerful lines. For all the expressions of lacking confidence, it destroys most Rap music. Before they made that song, though, they made Journey to Anywhere. It’s not offensively bland like most of its ilk, but we already have enough bland records like this.

At their best, Ugly Duckling make fun, loose Hip-Hop. The genre desperately needs such records. Too many rappers take their bragging seriously no matter how many Jazz horns they stick in the back. Wu-Tang Clan often sounds desperate for your approval, for critics to agree with how cool and badass they are. When the Duckling use horns, they’re cartoonish. “Smack” is the ideal song to put in a Powerpuff Girls episode. On Journey to Anywhere, they’re just kicking rhymes.

Now, if that was their purpose then fine. Dilated Peoples made a lot of good records using their formula, but they were focused. Their beats had good drums, funky basslines and DJ scratching all over their place. They aimed for a little aggression, too. Duckling don’t sound like they have any aim, so they fall back on dropping random words over beats that are just as indecisive. Sure, they sound nice and pleasant but I can get a similar vibe by listening to anything by Dilated Peoples or Jurassic 5. Why should I listen to this?

Some songs do have some concept. That’s before they found their wit and “A Little Samba” is the only thing that can stand next to “Turn It Up” or “Smack”. The hook is the primary reason, too. Laughing at tough guy bragging is fun, but they band doesn’t sound like they have fun. In their best songs, they emphasize the right lines. Here, they rap more smoothly and more hushed. They seek to blend in with the beat rather jump off from it. If the production was good enough to carry it, then fine. All it does is create pleasant sound. Just like the rappers, it’s too afraid to capture the attention.

What’s the point of songs like “Rock on Top” or “I Did It Like This”? They’re about nothing. Maybe if you listen hard enough you can find a catchy line, but the hook for “Rock on Top” is so lazy and desperate. I know Hip-Hop critics have a weird obsession with smooth rapping over Jazz beats, but that sound’s tired. Unless you have a personality, it’s worth nothing.

As fodder for a Hip-Hop party, it’s good. No track is going to wake the party. No track is going to help people get into the vibe. It’ll just continue it. There are a few keepers – the title-track has a beautiful beat, “A Little Samba” is cute and so is “Pick Up Lines”. Mostly, it’s a record without spirit. Old artists should make tired records like this. It would make more sense for the Duckling to release this later in their career when they exhausted all of their ideas. Thankfully they moved on to the brilliant Taste the Secret.

2 little sambas out of 5

Big L – Lifestylez ov da Poor & Dangerous

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The appeal of Boom Bap still mystifies me. I’m sure it gives the people who listen to it a comfortable feeling. They feel tough in how their beats are hard, but not too hard. The lyrics are about being a tough guy, but it’s never too vulgar. Boom Bap also makes you smart. It’s the Hip-Hop equivalent of boring Post-Punk. The main appeal of it is that it’s not accessible.

I know, I know. Talking about the fanbase takes us nowhere. Diving through the ‘wordplay’ and ‘metaphores’ of GZA or Ghostface never appealed to me because they never gave me a hook to latch on to. In fact, nearly every rapper that tries to sound hard over those type of beats comes off as pathetic. Smooth flows and jazz horns don’t sound tough, just restrained.

I was ready to dislike Big L. A Boom Bap album full of punchlines has nothing to offer me. Then I hear Big L talking about how if he has AIDS, then every other girl has it. The same songs include various threats of rape and murder and about how your family will be dressed in all black.

This is everything I wanted in street rap that’s about being tough. All those rap songs tell you how rough it is in the streets, yet they sound calm. Big L is angry. The punchlines aren’t just good on paper. I don’t want to hear anyone else say them but Big L. His performance is so energetic. It’s impossible to imagine him not rapping any clever lines. ‘Sounding hungry’ is dropped often in rap reviews, but there’s no better way to describe Big L. He’s immersed in the battle rap bullshit, sounding like he genuinely believes everything he says. Check his verse on “Da Graveyard” and how he loses rhythm because of how literally hungry he sounds. You can imagine him biting the microphone. Everyone else sounds utterly pathetic after him.

I always found ‘complex’ flows to be overrated. A lot of multi-syllabic and interior rhymes aren’t helpful if it’s just a string of rhythmless words. Expression is far more important. No one in Wu-Tang Clan can muster the same anger Big L does when he says he can’t afford the “O-R” in ‘poor’. Big L emphasizes catchy lines that stick in your head. His flow is clear and his to follow, rather than pile rhyme upon rhyme upon rhyme. After all, what’s the point of dissing sucka MC’s if the line doesn’t make sense?

Surprisingly, the beats keep up with Big L. It’s hard to imagine a Boom Bap beat fitting him (“Flamboyant” sounds better with Popeska’s bass growls) but they do. Although they never become true bangers, they at least don’t do the boring smooth crap. They’re skeletal, driven only by drums and basslines. There’s a roughness, often exeggerated to them. I can’t imagine Wu-Tang rapping over “Da Graveyard”. The drums are too loud. Even at their more atmospheric moments, they beat RZA at his own game.

Beats like “All Black” sounds detached from musical conventions. It’s deliberate. Like Big L’s demeanor and lines, it’s an expression of the personality. Besides punchlines, Big L has the street nihilist personality to give his raps context. Beats like “All Black” sounds like the producers couldn’t care about whether the beat is appealing or not. They lack the pretentiousness of RZA’s beats since they never try to be artistic using conventions. There are no sounds posturing as ‘weird’. The producers sound like they simply don’t give a fuck just like Big L.

The album as apparently ignored until Big L’s death. That’s weird, since the album doesn’t need a death connected to it. Sure, you can connect L’s nihilistic attitude but he doesn’t explore it like Biggie does. He simply does the Boom Bap thing much better than others. He has more passion, funnier and catchier lines, better beats and doesn’t obscure the songs behind ‘complexity’. It’s everything you wanted in a battle rap album. 36 Chambers is slightly better than this, but Big L almost tops it and he’s just one person. He’s that good.

3.5 families dressed in all black out of 5

Eric B. & Rakim – Paid in Full

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For an album considered to be so influential – Rakim is often said to ‘revolutionize MC’ing’ – it’s amazing how little sounds like it. A lot borrowed Rakim’s ‘smooth’ flow, but that’s one thing. This album’s approach and the rest of his followers are completely different. To be great is to be misunderstood, indeed.

Paid in Full has little in common with the boom bap era that followed. Nas, Wu-Tang Clan, Black Moon, early Roots cared little how the music sounded. Or, if they did, it was so minimalistic it lost any kind of artistic merit. These were artists who relied on lyrics dense and complex enough to keep you coming. They turned down the musical elements so the lyrics would remain in focus, in a move very reminiscent of Leonard Cohen.

Some of them were successful at that – “N.Y. State of Mind” first grabs you with the quick flow, and then you notice the amount of details and catchy lines that bring its story to life. Some were just okay. Wu-Tang Clan had a macho bullshit charm but a lack of drums. Some were awful, like how the tracks of Things Fall Apart blur together or how Liquid Swords barely has any drums. This approach failed mainly when rappers wanted to convince you how great you are. Despite the rapper telling you over and over that his rhymes are dope and that he’s badass, the music that accompanied him was subdued, smooth and nearly non-existant. The instrumentals of Things Fall Apart and Liquid Swords don’t sound tough or confident but scared to catch your attention.

In Paid in Full, the music echoes Rakim’s sentiment. He’s as good as you heard he is. He’s less dense than GZA, but he’s far more quotable. Density is often a barrier to hide behind, anyway. Rakim sometimes doesn’t need to rhyme. A line like ‘Remember me? The one you got your ideas from?” stings, especially when you realize you know plenty of these lines already. Rakim’s strength is that there is a clear rhythm to his words, a rhythm that invites you more to try to rap along than to marvel at how complex it is.

The music behind helps to make Rakim’s boasts believable. There’s a reason why there are 3 instrumentals here. The beats’ purpose is not to provide background music but to express the same thing Rakim does. The drums are in the front. In “I Ain’t No Joke”, they’re stomping. “Paid in Full” has such a beautiful bassline and break – if someone told me it’s the best Hip-Hop beat he ever heard, I would understand.

When the title-track rolled around, it was clear the true followers of this album weren’t Wu-Tang, Nas or even Chuck D. This where the Big Beat movement started. The danceable break that sounds like it could go on forever in the title-track is what inspired that Properllerheads track from the Matrix and Chemical Brothers’ brilliant debut. It’s no coincidence that Kool Keith sounded more convincing than any rapper when he rode a Prodigy tracK.

There is toughness and confidence expressed in such danceable music. Dancing, after all, requires a level of confidence. Moving catches people’s attention, and their attention could mean negative opinion that some people can’t handle. That’s why people tend to drink before they feel like they can dance. That’s where we get the ‘wallflower’ trope. The rappers that followed turned down this ‘banging beats’ approach, as if dancing was for silly and stupid people. That only made them more musically narrow and scared.

It may seem like a too big conclusion, but the Hip-Hop community’s focus on lyricism always ended up missing a lot of the details. Even music that is driven by lyrics still needs music. You cannot push back the music with hopes the lyrics will become the focus. The focus will only move to how lacking the musical aspects are. Most canonical rappers turn down the musical aspects and all we get are impressive, but boring flows. Paid in Full is great at both worlds, and that’s why it deserves the acclaim.

3.5 breaks out of 5

Mobb Deep – The Infamous…

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The Infamous has a very one-dimensional sound. Every song is a collection of street tales over hard drums with creepy piano lines. There is almost no variation.”Drink Away the Pain” deals with relationships, and it and a few songs have slightly softer drums. They do little to break from the general atmosphere of the problem. This is both the album’s biggest strength and weakness. Despite its simplicity, it’s one of the more confusing canonical rap albums.

The Infamous‘ main attraction is what it does to Gangsta Rap. Although most rappers use this sound just to tell you how tough they are, Mobb Deep add a layer of emotion. The piano hits and the hard drums are not just there to provide enjoyable and banging beats. There’s something cold and paranoid about them. The atmosphere is not of toughness, but of fear. Prodigy and Havoc sound more scared than confident.

It’s unique in a genre that’s known for its hedonism. It sounds pretty far from “Gangsta Gangsta” or Doggystyle. There’s a joylessness that’s all over the album. “Party Over” is about the party being over. On “Eye for an Eye”, they rap as if they stick together only for the sake of survival. The alliance doesn’t run deeper than that.”Drink Away the Pain”, although deviates from the gangsta stories, best illustrates this depth. Unlike a lot of songs where rappers talk about the pains of being an alpha male, sex in Mobb Deep’s world is just another drug that gets the pain away. Prodigy doesn’t sound like a tough guy who gets every girl on “Drink”. Instead, the messy world of sex is just as fucked up and hopeless as selling drugs in the streets.

This emotion layer is why Mobb Deep have been praised for being ‘real’, despite their background. Selling drugs and running from the police doesn’t seem very fun. The fear and paranoia in The Infamous makes it more real than any other rapper that’s confused over whether he shoots more niggaz or fucks more bitches.

The problem is, this extra emotional layer is the only thing the album has.

Mobb Deep don’t explore the street life from various angles like the Notorious B.I.G.. They only rap about the scary side of it. All they do is add an extra dimension, and not much beyonf that. Most of the songs are interchangeable. “Right Back at You”, “Party Over”, “Eye for an Eye” and “Shook Ones” are all variations on the same idea. They’re all really good, but they all do the same thing.

The problem is that Prodigy and Havoc aren’t very capable rappers. They’re competent, but they add nothing special to their raps. They’re both cursed with fairly generic voices and have few catchy lines. When Nas and Raekwon pop up, it’s a blessing just because there’s someone else rapping. The production is also one-note. It’s brilliant – every beat here hits hard, but they still all revolve around the same idea.

Only two songs manage to rise above. I already talked about “Drink Away the Pain”. The other great song is “Temperature’s Rising”, which has some coherent storytelling that make for the best lyrics in the album. It’s impossible to choose the third best song. “Shook Ones, Pt. II” is pretty good, but is it better than the hard drums of “Right Back at You” or the piano in “The Start of Your Ending”? It’s hard to choose a standout when all the songs sound the same.

It’s a good album, but it’s successful at just one idea. Don’t expect the variety of Ready to Die. The Infamous is just a single song looped for an hour. It’s a good song that I can listen to for more than ten minutes, but it begs for a standout. It’s better than most of the canonical rap albums I heard, but it beg for a “Life’s a Bitch” or a “We Can Get Down”.

3 shook ones out of 5