Skjellsordene hagler i kampen om hip hop-tronen i New York, men etter flere lyriske bataljer står Jay-Z fjellstøtt igjen som kongen på haugen.

9. mars 1997 blir Christopher Wallace, alias rapperen The Notorious B.I.G., skutt ned og drept - bare et halvt år etter at det samme skjedde med erkerivalen Tupac Shakur. På den tiden var B.I.G. for alvor i ferd med å ta hiphop-hegemoniet i USA tilbake til musikkformens vugge, New York; etter at California i flere år hadde hatt den kommersielle ledelsen.

"What if Notorious was here, what if he was around?/Would all these niggas claim to be king, who would wear the crown?", rapper Fredro Starr fra New York-gruppa Onyx på fjorårets Firestarr. Fredros solodebut viser først og fremst at Fredro ikke har noen sjans i kampen, men peker også presist på den harde striden om New York-tronen.

Guddommelig
Jay-Z gjorde en duett med B.I.G. allerede på sitt debutalbum Reasonable Doubt i 1996, men rett etter drapet provoserte han med låta "The City Is Mine" - der han utnevnte seg til B.I.G.s tronarving. Men med sitt sjette album, The Blueprint, viser Jay-Z for alvor at han er rette mann for tronen.

"If I ain't better than Big, I'm the closest one", sier han på "Hola Hovito", og mannen kombinerer en utrolig selvsikkerhet med sikker meloditeft og knivskarp rimflyt. Mannen som kaller seg "God MC, Jay-Hova" er pakket inn i en usedvanlig lekker produksjon, der lange samples fra klassisk soul gir musikken et ekstra melodisk løft. Jay-Z er ingen stor filosof eller politisk tenker, det er måten han skryter og flyter på som er poenget her. Eller som han selv sier det: "This is my thoughts, just what I was feeling at the
time".

Og når Jay-Z oppnår både kunstnerisk og kommersiell suksess som her, er det fristende til å utrope han til den ledende rapperen ikke bare i New York, men i hele USA. Jay-Z driver også sitt eget firma, Roc-A-Fella, som inkluderer plateselskap, et klesmerke og et filmselskap. To spillefilmer er på vei, og klesmerket har passert merkevaregiganter som Fubu og Phat Farm i kampen om det urbane USA klesvaner. Jay-Zs personlige formue skal være på rundt 50 millioner dollar.

Men en blir ikke konge uten å ta et oppgjør med sine rivaler. Mikrofonkrig og intens rivalisering har alltid vært en av grunnstammene i hiphop, og "dissing" (av "disrespect") på plate kom for alvor i gang etter at New
York-gruppene Boogie Down Productions og Juice Crew fra henholdsvis Bronx og Brooklyn røk i tottene på hverandre på midten av 80-tallet.

En mikrofonkrig fungerer også bra som PR, noe en smart forretningsmann som Jay-Z er fullstendig klar over. Under en konsert i New York i fjor gikk Jay-Z til harde verbale angrep på rivalene Nas og Prodigy. Sistnevnte ble fullstendig ydmyket da Jay-Z på en storskjerm viste gamle fotografier av den i dag så knallharde gangsta-rapperen i fullt ballettkostyme fra tenårsdagene.

Nas slo raskt tilbake med singelen "Stillmatic", med blant annet følgende gullkorn: "And bring it back up top/Remove the fake king of New York (...) Is he H-to-the-izz-O-M-to-the-izz-O?/Fa shizzle, you phony/The rappin' version of Sisqó". At Nas åpent beskylder Jay-Z for å være homofil, i det
notorisk homofobe hiphop-miljøet, var intet mindre enn en krigserklæring. Og Jay-Z ladet sine verbale kanoner.

Slår tilbake
På "Takeover" knuser Jay-Z både Nas og Prodigy så grusomt at vi nesten føler heten fra ofrenes skamrødme. Først får Prodigy høre det: "You little fuck, I've got money stacks bigger than you/When I was pushing weight, back in '88/You was a ballerina, I've got your pictures, I've seen you", før han skryter av å stjålet dama til Nas og peker på hvordan karrieren hans har utviklet seg fra topp til bunn: "Had a spark when you started, but now you're just garbage (...) That's one hot album every ten year average, and that's so LAME".

The Blueprint står igjen som 2001s aller sterkeste hip hop-album, og sannelig rakk ikke Jay-Z også å gi ut den underholdende konsertplaten Unplugged (Roc-A-Fella/Universal). Det supre livebandet The Roots sto for
det musikalske, men blir du ikke mett av The Blueprint vil jeg heller anbefale Jay-Zs kronprins Beanie Sigel. Han overbeviste også i fjor med den bunnsolide The Reason - bygd over noenlunde samme lest som The Blueprint.

Men hva med Jay-Zs ofre? Ligger de skadeskutt igjen i veikanten etter den harde verbale medfarten? Både ja og nei. Nas var så heldig og uheldig at han i 1994 debuterte med en av 90-tallets store hip hop-klassikere, Illmatic.

Problemet er at alt han har gjort siden sammenlignes med debuten, og når dette inkluderer den mislykkede supergruppen The Firm og tafatte album som I Am... og NAStradamus var det ingen tvil om at mannen trengte en oppstrammer. Og Stillmatic viser at Nas har hatt godt av "krigen" med Jay-Z, for dette er karens beste album siden debuten.

Problemet er at Nas står igjen som vel sint og humørløs sammenlignet med Jay-Z, mens den musikalske produksjonen er langt mer blod- og idéfattig sammenlignet med lekre The Blueprint. Bunnpunktet er "Rule", der melodi og refreng er tatt fra Tears For Fears' 80-tallssøtsuppe "Everybody Wants To Rule The World". Men Nas viser seg for alvor fram som en rimsmed å regne med, og Jay-Z, eller Gay-Z som Nas velger å kalle ham, får så hatten passer på biske "Ether".

Først introduserer Nas seg som tidenes "underdog": "Fucked over, left for dead, dissed and forgotten/Luck ran out, they'd hoped that I'd be gone, stiff and rotten/You'll just piss on me, shit on me, spit on my grave" før han igjen anklager Jay-Z for å være homo, stygg og stjele rim - de ultimate hiphop-fornærmelsene. "How much of Biggie's rhymes are gonna come out of your fat mouth?" spør Nas, og viser igjen hvordan Notorious B.I.G. ruver over New Yorks hiphop-miljø.

Trekker seg unna
Men der Nas slår tilbake så du nærmest kan høre spyttklysene suse i veggen, minner Prodigys reaksjon mest om en skilpadde som søker tilflukt i sitt eget skall. Prodigy utgjør den ene halvdelen av gruppen Mobb Deep, og som Nas har duoen en av 90-tallets klassikere på rullebladet, The Infamous fra 1995. Selv om duoen har holdt høy kvalitet siden har den virkelig store suksessen uteblitt. Prodigy gjorde også en soloplate med mindre hell.

Infamy er Mobb Deeps femte album, men med unntak av noe vage hentydninger, er det lite spor av feiden med Jay-Z. Kanskje hever Prodigy seg over kamphanen Jay-Z eller kanskje aner han at slaget allerede
er tapt? På Infamy graver uansett Mobb Deep seg dypere ned i sitt eget lille univers, noe som vil si en solid dose minimalistisk, grå og dyster gangsta-rap. Typisk nok er det Prodigys makker Havoc som gjør den stødigste jobben, både som rapper og produsent. Infamy er intet dårlig album, men sammenlignet med The Blueprint føles det veldig uvesentlig og uviktig.

Det skal bli spennende å se hvor denne rimfeiden ender, men vi får håpe kamphanene klarer å begrense kampen til platestudioet. Da 2Pac og Notorious B.I.G. utkjempet sine verbale tungvektsmatcher endte det i brå død for begge, uten at det noen gang er bevisst at det var noen sammenheng mellom rivaliseringen og drapene.

Opprinnelig publisert i Ny Tid i 2002.

In the news – Two children in Spain have been admitted to a mental health institution to be treated for addiction to their mobile phones, Spanish media report. They were doing badly at school and lying to relatives in order to get money to spend on their phones. They have been learning to cope without their phones for three months – Do they mean phone addiction or did the reporter mean crack addiction as that what it sound like to me.

Vodka has overtaken Scotch to become Britons' favourite spirit, new figures show. Analysts say premium vodka brands and strong marketing have won over drinkers as whisky struggled to find new customers.

Super producer Timbaland and his publicist Monique Idlett tied the knot in Virginia on Tuesday.

Chris Brown was on Power 105.1 with Ed Lover this week and spoke briefly on his relationship with Rihanna. The two have been spotted chumming it up left and right in recent months

Grinding my gears – today nothing has annoyed me to write in this section. However the weekend is coming so I am sure iwill have something to add here. Not sure if the lack of meat in my system due to this meat fast I am on counts as a grinding my gears rant.

The list – its Friday so I am going to be nice and not add anything to the list.

Was digging through the CD and heard a old school tune, this is one of my favourite songs, Beanie Sigel– feel it in the air. I have incuded the video below:

Just heard this song and watched the video from NAS, take a look and let me know what you think…

http://www.youtube.com/watch?v=DHdG3cFPtrU

No beer fridge at work today so every one is pissed please see the email string sent around, please note my office is in the Truman brewery:

1. The beer fridge is open now and is by the terrace area (second floor).

2. It’s open, but unfortunately it’s also empty...

3. Exactly, a couple of crates of beer isn’t exactly gonna go round everyone!
Or are we sharing bottles now? Anyone wanna go stand outside I’ll get a bottle of white lightning, we can share a cigarette I nicked of my older brother too.

4. Couldn’t organise a piss up in a brewery!

Michael-Bradley's Picks

1. Television - Elevation

Television is band that I've heard of for a long time, and never found the time to get into. Bu after hearing Henry Rollins' feature Television's debut album Marquee Moon(1977) in its entirety, on his weekly radio show on Indie 103- Harmony in My Head, I realized it was time. I can't believe I hadn't even heard these songs before. This album is terrific from top to bottom. A ,mix of a lot of sounds, this album proved to be super influential in all punk, no wave and post punk. I feel like Carman could talk a lot better about these guys than I can (cause I'm just learning), so lets hope he sheds some light on these guys eventually. When I hear this album, I just think oh, that's what Clap Your Hands Say Yeah were thinking.

2. Joy Division - Disorder

Much like Television did with Clap Your Hands Say Yeah, my introduction to Joy Division through their first full length album -Unknown Pleasures (1979) dissolved any interest I had in Interpol. I thought Interpol's sound was actually unique, thin reverb on the guitar, lead singer's low pitch humming, i dont know- just about everything they do, had been done TWENTY YEARS AGO. This is probably not a surprise to anybody more than a few years older than me, but shit. Totally disappointing. If anything Interpol is a bit quicker at times, and a bit bassier. But what I thought was their best release, Turn on The Bright Lights is really just Unknown Pleasures [btw,amazing album cover] through the eyes of 2002. And they fooled an entire generation to think they're doing something special. HA. Well give Unknown Pleasures a spin and see if you can listen to Interpol. I'm trying right now, and it's not working. Of course, like too many great acts, Joy Divion's story ended too soon- only a year after this release lead singer Ian Curtis hanged himself.

3. Metallica - Fade to Black

KROQ has been playing a lot of old Metallica to get ready for a show they're doing for them. Last week, I made a friend sit in the car with me for 5 minutes while all the solo's of Master of Puppets played out, so i could sing along note for note. Metallica was probably the first time I really went off the deep end in my music taste,that also involved getting into it beyond radio plays. Sure I was listening to NIN and Nirvana, but this seemed a lot darker. Their older albums were never even near the radio in NY. I collected their entire discography of cd's, going backwards starting from their most recent release at the time (Load?). I became totally obsessed with them. The musicianship, the heavy riffs, and at times the speed. It felt so right! And the deeper I went into their older stuff, the more I fell in love. This is probably the 2nd complete discography I made, after Nirvana. But I was even more proud of this one for it's lack of commonality with my schoolmates. This song, Fade to Black, was off Ride the Lightning (1984)-their 2nd full length release. This song is one of their greatest early songs. Like so many of my early favs, it starts with the acoustic guitar, and builds speed throughout the song, while just getting heavier and heavier. Truly epic song. Life it seems will fade away.
BTW, Lars Ulrich (drummer) is a fucking douchebag who got me kicked off of napster for downloading all the fucking metallica songs I ALREADY OWNED JACKASS. THANK YOU LARS, for setting up a sue fans first mentality in the record industry, instead of examining why this problem is happening. You're a rich bitch, and I will never buy anything of yours again. I probably wont even try to listen to your new material either, even though KROQ will jam it down my throats after you pay them off. In fact, I will probably burn your entire discography in mass bulk at my place, and leave them for free at venues. Trace that on the internetz.

Jonathan's Picks

1. Hypnotic Brass Ensemble Feat. Freeway, Jay-Z, and Beanie Sigel - War (Nick Catchdubs Remix)

Hypnotic Brass Ensemble is NOT your average brass band. First of all, they draw almost as much influence from hip hop and Latin music as they do jazz. But secondly, of the band's nine members, eight are related. And not only are they related, but all eight (all on horns) are actually blood brothers -- the sons of 1950s jazz trumpet player Phil Cohran, who played predominantly with the Sun Ra Arkestra. Only Hypnotic's drummer, "360," has a different father. And though the band has been recording for just a few years -- they started as street performers in Chicago -- the chemistry and energy are clearly there since they grew up with jazz in the blood, and a sense of performance in heart. This track is one of my favorites: Brooklyn-based DJ and remixer, Nick Catchdubs, combines one of Hypnotic Brass Ensemble's best songs, "War," a trumpet-heavy record with a sneaky-good bass line, with one of my favorite hip hop songs of the last ten years, hood anthem "What We do," by Roc-A-Fella Records member Freeway, and featuring Jay-Z and Beanie Sigel. The horns seem to weep while trying their best to hold their heads up high, as if they're listening to the Free, Jay, and Beans rhyme about drugs, guns, prison, squalor, and growin' up in the hood. It's a gritty yet beautiful conversion. (Watch an excellent short NY Times video profile of Hypnotic Brass Ensemble here).

2. Usher Feat. Beyonce & Lil Wayne - Love In This Club (Part 2 Remix)

So no doubt the original version of "Love In This Club" was a huge hit. And while I thought it was an above average R&B track, on the whole it was hardly special. But I admit I definitely dug the shimmering synthy beat from Polow da Don aka King of the White Girls (sorry, but I just have to write that nickname every chance I get), and the catchy chorus certainly didn't hurt for Usher's upcoming album's first single. Small problem though: the Internets are ablaze with rumors that Polow da Don made the beat using basic, pre-loaded samples and loops from Apple's DIY music program, GarageBand -- not a good look for a supposedly top-flight music producer. In any case, the remix, or "Part 2" as it's being called, has a whole new downtempo beat from producer Soundz, and all new lyrics from Usher to go with it. Usher engages in a spirited and earnest back-and-forth vocal debate with a surprisingly excellent sounding Beyonce, about whether or not they should indeed make love in the club. Kind of awkward since they both recently married other people, but still, it actually makes for quite a good song. Lil Wayne delivers, as always, with a hoarse-voiced, syrup-slurred rap, in which he once again (note the developing trend here) took to using Auto-Tune for the second half of his verse. "Love In This Club (Part 2 Remix)" is really like listening to a whole new track, and maybe even a better one, so give it a shot.

3. Colin Munroe - (I Want Those) Flashing Lights

Colin Munroe is a new artist out of Toronto who recently signed with Grammy-winning record producer, Dallas Austin, and is in the process of releasing his first album. Boom. (Got that out of the way). Frankly, I can't and won't even try to vouch for any of his other music, because there simply isn't much out there yet, and what I've heard isn't moving me much. But that really has nothing to do with why chose this track. One could say this is just a remix of Kanye West's "Flashing Lights," and to some extent that's true. But this is a new breed, and different brand of remix than hip hop or pop music are used to. Much like the "Love In This Club" remix above, "(I Want Those) Flashing Lights" is really a complete reinvention of the song it's supposedly just remixing, and giving it brand new lyrics (save for a bit of each chorus) and a reworked, if not entirely reinvented, beat. One major difference of course is that Usher's remix was done by a professional producer, Colin Munroe is more like, well, just a Canadian guy. Nonetheless, I love Munroe's honest lyrics and obviously rough rehashing of West's beat. And while his voice isn't nearly the same quality, Munroe already reminds me a little bit of a more raw, less developed Sam Sparro. One other thing: Munroe even upstages Usher's remix in one sense -- he actually made an accompanying video, which, while admittedly a little on the "Fisher-Price My First Music Video" side, is actually great looking a fun to watch.

JustJake's Picks

1. Merle Travis & Joe Maphis - White House Blues

This song is an old tune that has survived in many incarnations over the last hundred years or so. Around the turn of the century many people, especially those in the rural areas where bluegrass and country music were born, had no way of receiving news other than by word of mouth and song. This particular tune about the 1901 assassination of President William McKinley is probably an instance of this early form of newscasting. Other than the words, which today seem almost comical, take note of Merle Travis’ signature strolling guitar style

2. John Hartford - In Tall Buildings

John Hartford penned some of bluegrass and country music’s greatest songs, but none is sadder or more troubling than this waltzing eulogy for the workingman. If you live in a city or have ever found yourself working in a office be warned, this song will hit home and might even cause you to re-evaluate your priorities.

3. Lyle Lovett - I've Been to Memphis

If you’re like me, you’ve spent a fair amount of time wondering how in the hell Lyle Lovett ever got near Julia Roberts, let alone near enough to marry her. Well after listening to this song it’s not so hard to understand. Lovett, is a great songwriter and this pick, from the NPR’s Live at the World Café, is one of his more soulful tunes. Just straight-up fun.

Carman's Picks

1. ESG - Moody

Every time I listen to LCD Soundsystem I think to myself, "Man, James Murphy really, really wants his band to be the modern day ESG." And I don't mean that in a negative way; I'm a huge LCD Soundsystem fan. But hell, I don't blame him for that anyways. In my eyes, ESG were the perfect band: catchy, danceable, grooves from a trio of sisters (and a friend on bass) from the South Bronx that was honest in its simplicity and no-holds-barred approach. Unsurprisingly, they would catch the attention of early pioneering hip-hop DJs for use in beats (a reunion in 1992 saw the release of the Sample Credits Don't Pay Our Bills EP) before the post-punk revival of the new century instilled a generation of middle-class kids to appreciate not only an endearing D.I.Y. ethic, but a rhythm that made you move. Enjoy this classic cut off their first release.

2. Cecil Taylor - Tales (8 Whisps)

Cecil Taylor was unique among free jazz pioneers in that not only did he play the piano (an unusual instrument in the early days of free jazz), but he also embraced the theatrical aspect of the medium. Along with The Art Ensemble of Chicago, Cecil Taylor made jazz not only an art form to be listened to, but also to be watched. While the AEOC did it with a large ensemble of junk used for rhythm instruments and masks and makeup, Cecil Taylor was able to do it not only in a solo act, but while sitting behind a piano. If you haven't already, be sure to check out Ron Mann's superb 1981 documentary Imagine The Sound. Taylor is one of the subjects featured in the film, and you will be blown away by his performances (and his eccentric personality). The man is an acrobat behind the keys, and you can tell by just listening to his work.

Download this week's Friday Writers' Bloc Playlist HERE

DOWNLOAD HERE: Young Chris Feat. Beanie Sigel - Rush.

New jam from Nicetown's Nicest Young Chris. This is coming from his upcoming LP Now Or Never. Beans comes thru with a nice contribution as well. Philly bols still doing they thing, gotta love it.

[audio=http://www.musicwebtown.com/eightysbaby/playlists/160467/1505237.mp3]

Young Chris ft. Beans-Rush

Download Here

Young Chris - Rush ft Beanie Sigel

Props to Mr. X

DOWNLOAD: Young Chris Ft Beanie Sigel - Rush

Still no sign of Neef. Im starting to think the Young Gunz have been undone. Yeah that rhymes. Solid track from Chris and Beans like you'd expect.

Anyone know if Beanie is in or out of prison??

VS.

OK, so this episode of "Take A Trip Down Memory Lane" is not that much of a throwback - but regardless it is a vital part of Hip-Hop history. This is when Beanie Sigel & Jadakiss (State Property / Roc-a-fella VS. D-Block) were going at it. This was around the beginning of 2001 and had the streets going crazy - it was a hard decision but I think J-to-the-muah (PAUSE) took it, hands down. Even though I'm a big fan of Beans, that disco beat and Kiss' vicious lyrical assault wrapped the Broad Street Bully up. Listen for yourself and decide.

Beanie Sigel - Jadakiss Diss

"You broke, talking about you rock yourself out // When I see you, you gon' really wish you knocked yourself out."

"Everybody liked you better in them shiny suits."

"Leave it up to Hov, to X out Tommy Buns (DMX)."

Jadakiss - Beanie Sigel Diss

"I don't know where they found you son // But since yours Pops ain't around, I'm a punish you and ground you son // And n1ggas can't stand you Sigel, your flow is mine anyway // So don't bite that hand that feeds you."

"And I hate Beans, but fuck it // Kiss gon' eat // It's me and you, fuck the labels, let's go street // And your rap fans need me, I don't know why this n1gga talking all greasy when Macs jam easy."

"You got me on tape, Hard Knock Life tour hugging your moms."

[dailymotion id=x52wka]

[vodpod id=ExternalVideo.507939&w=425&h=350&fv=]

It's An Invasion!!!

Uma História Real (Paper Soldiers). 2002. EUA. Direção: Damon Dash e David Daniel. Elenco: Elenco: Jay-Z, Kevin Hart, Stacey Dash, Beanie Sigel, Memphis Bleek. Gênero: Comédia. Duração: 88 minutos. Classificação: 16 anos.

Três amigos, Burtie (Beanie Sigel), Johnny (Paul Sado) e Shawn (Kevin Hart), a fim de fazer sucesso com as gatinhas, decidem que precisam arrumar grama. Mas como têm pressa acham que o melhor caminho é roubar. Agora, eles resolvem roubar dos ricos. Invadir as casas deles e...

Acontece que eles não levam o menor jeito para a coisa. São desastrados. Com suas confusões nós é que saímos ganhando com esses roubos.

Como se não bastasse as trapalhadas desse trio, além da polícia, aparecem em campo uma quadrilha, altamente especializada no roubo dessas casas, e que não gostou dessa concorrência. Ops! Eles lá podem têm gabarito para isso? Mas para incrementar mais um pouco os apuros... Aparece também uma namorada irada. Complicando a vida desses jovens.

Eu confesso que não esperava rir, do jeito que ri nesse filme. O Shaw é hilário! Teve momentos que pensava: "Eu estou rindo disso???" Ele consegue mostrar a realidade dele de um jeito... de um jeito politicamente incorreto para nós, mas não para ele.

Peguem a pipoca e divirtam-se! Vale assistir pelas risadas que darão. Nota: 8.

Por: Valéria Miguez

[vodpod id=ExternalVideo.507648&w=425&h=350&fv=]

Props to Tha Yung cannon!

Came across this in the Mar/Apr 2008 Issue of King Magazine. 

I don't know whether the editor at the magazine or Beanie Sigel's or Angela Bassett's publicist came up with this but it sure is one way to build value in an image.  That is, having a celebrity of some acclaim write a love letter to another celebrity and having it posted in such a public way.   

Below is a love letter that rapper Beanie Sigel wrote addressed to Actress Angela Bassett and had published in King magazine.   Currently starring in Tyler Perry's Meet The Browns, the timing of this posting couldn't help but help push the movie.

Broad Street Bully Beanie Sigel shows Angela Bassett some Thug Passion.

By the time this reaches you, I pray it finds you in the best of health--physically, spiritually and mentally.  It's been a while since I've seen your beautiful face, and although we haven't met, I feel as though I've known you forever.  So allow me to apologize if I've affected you by addressing you so personally in the opening of my letter.   That merely wasn't my intent. 

I'd like to thank you for being by my side in times of hardship.  Some unfortunate events that occured in my life forces me to reside in a residential facility a few years back.  You see, while inside the barbed-wire stockade, I found relief in your beautiful face and bright smile, which gave space and lit up the dim gray walls it was posted on in the small cell I was confined in.

I'd often find myself staring at your picture and letting my imagination run free, falling asleep escaping the concrete walls that barricade me.  I'd dream that I took you on the perfect date, out of this world.  We'd take a magic carpet ride through the sky, then go roller-skating around the rings of Saturn.  We'd sit on on the edge of a crescent moon and pitch stars into the Milky Way.  There I would propose to you and offer the sun as an engagement ring.  We would make love on a bed of clouds, fall fast asleep, then slowly drift back to Earth.

In closing, it'd be real special to have the chance to meet you.  I know love wouldn't have anything to do with it, and I'm sure that your groove is intact.  :)   It'd be a dream come true.

Until I close my eyes and we meet again, stay as beautiful as you are.

Soft words from a hardened heart,

Beanie Sigel

P.S.  To Whom It May Concern:  If this letter does not meet its intended destination, please send it to heaven, because it was meant for an angel.

-- The Wow Jones Report

 La sortie de prison de Beanie Sigel au début 2005, en plus de la médiatisation du divorce entre Jay-Z (devenu président de Def Jam) et Damon Dash (qui l’a gardé sous son aile en créant immédiatement son éphémère label Dame Dash Music Group), avait favorisé le buzz pour son 3^e album, The B.Coming, qui s’est soldé à l’époque par des chiffres effarants : plus 200 000 copies au compteur dès la première semaine de sa commercialisation. Mais le vent a très vite tourné pour B.Mack - comme il aime se surnommer - puisqu’il s’est retrouvé du jour au lendemain sans maison de disque après la faillite subite de DDMG (et celle de l’amour-propre de Dame Dash). C’est là que son mentor Jigga, dans un élan de charité, lui propose le jour de la fête son anniversaire (le 6 Mars 2007 pour être exact) de rejoindre l’écurie qui l’a vu, Roc A Fella Records pour y sortir son 4^e LP. Prévu pour s’intituler Return of the Bad Guy, Beanie s’en est finalement tenu au traditionnel titre nominal, qui est cette fois The Solution. Beanie Sigel justifie ce titre en parlant d’un point de vue personnel comment il a vécu le déchirement du Roc fin 2004 et ce qui l’a poussé à redevenir le bras droit de Jigga (le gauche étant réservé à Memphis Bleek).

Cet album a une connotation particulière parce qu’il contient des textes écrits après sa libération. On aurait pu s’attendre alors à un opus de l’acabit de B.Coming, ou alors un album empli de haine et de vengeance. Et bien on s’est mis le doigt dans l’œil. Sans remettre en cause son indéniable talent de lyriciste et un flow des plus acérés, la première partie d’album est risquée, mitigée et peu ambitieuse malgré le single « All of the Above » feat R Kelly et produit par The Runners, le chanteur r&b qui n’a visiblement plus d’amertume envers Jay-Z depuis le bide de leur tournée en commun. Si on s’attendait à des thèmes plus inspirés, ce n’est pas trop le cas, et en ce qui concerne les beats, Beanie n’a pas trouvé chaussure à son pied. Entre le hardcore « Go Low » (feat Rock City) aux accents ragga, l’irracontable « Bout That » servi par les Cool & Dre et le « Pass The Patron » entièrement gâché par le refrain chanté de Diddy (malgré une prod bouncy de Rockwilder et les caméos de Ghostface et Peedi Crakk), il n’y a pas de quoi prendre son pied, pas même l’intervention de Jay-Z qui ne déploie que le minimum syndical sur « Gutted ». « You Ain’t Ready » est la copie carbone de la track du même nom (produite par Dame Grease au passage) présente sur le Super Gangster de Styles P avec qui il partage l’affiche, le bémol de trop. 

À partir de « I’m In » à l’âme soul/r&b signé Chad West, les choses commencent à s’améliorer vaguement. Toute la seconde moitié de The Solution est produite par Dre & Vidal, un duo de producteurs à la renommée discrète, à l’exception de « Rain (Bridge) » laissé à Reefa, un morceau reconnaissable (façon de parler) grâce à la présence imposante de Scarface et du crooner Raheem DeVaughn, qui lui se permet de repasser sur « Prayer » en fin d’album. Les yeux sont écarquillés en face de « Jugement Day » et « Dear Self », en feat avec respectivement le papy rockeur Ozzy Osbourne et James Blunt. Les yeux oui, mais pars les oreilles, qui détectent une part de mensonge : ils sont juste samplés pour l’occasion (on reconnaît facilement « No Bravery » de James Blunt),, pas de véritables duos manigancés par les maisons de disque comme avec Sinik. Dans ce cas, pourquoi ne pas avoir crédité Jay-Z pour avoir été scratché à outrance sur « What They Gon Say To Me » ? Pas très honnête comme démarche. Donc pour résumer, à part trois, quatre titres à garder, il n’y a pas assez de pièces à se mettre sous la dent. Le MC de Philly a peut-être les crocs, mais il rogne les mauvais beats. 

Malheureusement, The Solution ne laissera pas de traces indélébiles dans nos mémoires, si ce n’est le souvenir d’un album correct, ce qui est insuffisant pour un MC de cette trempe. Rien de mauvais globalement, loin de là, ça paraît juste décevant à l'écoute. Tout comme le dernier Freeway, ce quatrième album de Beanie Sigel aurait pu bénéficier d’une durée de vie plus conséquente s’il était construit du même bois que ses anciens disques, à savoir avec les producteurs de la maison Roc A Fella et non pas des fournisseurs sudistes. Pourquoi ne pas avoir gardé Just Blaze à la place ? C’était la meilleure solution pour entériner sa carrière, reste à savoir s’il gardera cette option pour son 5e album, afin d’honorer comme il se doit son contrat chez Def Jam.