Listened to: MP3
After seeing a small white boy walk past me yesterday wearing a Life After Death t-shirt, I felt it was high time I got back in the game. One of the quintessential rappers of the genre, Biggie Smalls, only released one album in his lifetime, the classic Ready To Die. Life After Death was intended to be his stellar follow-up, a double album featuring some of the biggest rappers in the game, among them Puff Daddy, Nas and Jay-Z, but Biggie was tragically shot two weeks before it’s release. It’s almost universally agreed that this is the album that solidified Biggie as a legend in the field, sparked a movement to more radio-friendly sounds in gangsta rap, and proved to be one of the most significant albums in rap history.
I can’t think of a better album to come back on.
The album begins with the intro “Life After Death (Intro)” which samples Biggie’s own “Suicidal Thoughts” (off of Ready to Die). It’s a reminder of how old rap albums used to be, with a sense of fun (The “Previously on…”) and a sense of drama (The soulful music and the ambulance sounds). The intro is also sadly ominous, starting the whole album on the idea of Big’s passing. The sound of “Biggie”s heart beat ceasing leads into the beat for the first song on the album, “Somebody’s Gotta Die”, a revenge track . “Somebody’s gotta die, if you go then I go.” is a chorus that keeps no secrets about Big’s philosophy on whether or not to turn the other cheek. A point of interest for anyone unfamiliar with the song is Notorious B.I.G.’s declaration of his desire to make this shooting as, well, as safe as a shooting can get. “See niggas like you do ten year bids/Miss the niggas they want/And murder innocent kids/Not I/One niggas in my eye/That's Jason/Ain't no slugs gonna be wasted”. See, a conscientious killer.
Now, I apologize for the length, but as we approach the track “Hypnotize”, I went to my usual source of fun facts, Wikipedia, and before someone changes it, I felt I should repost the synopsis of the song, as whoever wrote it earns my ultimate respect. So, without further ado, Wikipedia’s synopsis for “Hypnotize, the Grammy-nominated first single (I‘ll only ad that it samples on of my favorite Pink Floyd songs, “Young Lust”):
“The song begins with a narrator who is ill; generally in a worse way than other black men whom do not think their defecation possess an odor, pink alligators and residents of Detroit. However, the narrator wishes nothing but good tidings for the ruffians of Brooklyn.
Amongst his friends, if they display no characteristic of mental illness, the narrator states his willingness to be around them most evenings.
Mental illness plagues our narrator. He appears to suffer to schizophrenia. Early in the tale, he refers to himself as “Poppa.” “Poppa” has always worked well in a crowd, demonstrating little social awkwardness. He states he’s possessed these traits since he was a child, when he often wore Underroos brand undergarments. “Poppa” is affable, and chooses not to engage in fisticuffs with people that may disagree with him, deciding instead to turn the other cheek to their slanderous comments.
“Poppa” is also desirable by the women in the neighborhood, who will approach to two young gentlemen in the story, stating a desire to fornicate with them. The young gentlemen are “Poppa” aka Christopher Wallace and his associate Sean Combs, referred to in this instance as “Puff”, a shortened appellation of his self-applied nickname “Puff Daddy.” Mr. Wallace analogizes his friendship with Mr. Combs to the partnership of David Michael Starsky and Kenneth “Hutch” Hutchison. The fictitious duo were made popular by the eponymous police officer drama aired on ABC from 1975 – 1979.
Should Mr. Wallace discharge three rounds of ammunition at one’s cherry red BMW M-3 automobile?
Other male siblings of the narrator have been putting on a pantomime show recently, involving an elaborate visual display without speaking. Mr. Wallace on the other hand is more inclined to be vocal, and wishes to do so with his peers, a group that includes people of Cuban descent who are religious. Mr. Wallace carries with him a weapon, routinely asking those in close proximity if they would the relieve him of the burden of this firearm. If so, then said persons should display the firearm in a rather ostentatious manner. This trait and others form the common behavioral patterns of Mr. Wallace’s neighborhood, and he is well aware of it.
In addition to his bouts with multiple personality disorder, our narrator—now called “Biggie” by a chorus of unnamed females—appears to have vision problems, and thus is unable to witness the success of his hypnosis upon the women in this entourage. The women postulate Mr. Wallace’s hypnotic success is most closely correlated to his outsized personality, which in turns leads him to a very lucrative position relative to his peers.
Mr. Wallace is a keen observer of the high-end women’s fashion of the time and has noticed women—referred to in this instance by a derogatory name given to females that are employed as prostitutes— in different parts of the country have an affinity for specific brands. According to Mr. Wallace, women in New York primarily wear DKNY, a brand made popular by Donna Karin. However, women in Miami and Washington, D.C. have stated a preference for Versace, at the time being headed up by the late Gianni Versace. The women residing in Philadelphia seems to have a desired to accumulate more wealth in addition for their likes of Moschino fashions, according to the observations of Mr. Wallace. Universally accepted and purchased by women who possess a derriere is clothing made by Coogi.
Mr. Wallace now has a question for the audience. He would like to know who among us is really excrement. The reason for his question is the homosexual behavior of his male siblings. This is not the case for our narrator’s alter ego Frank White, a reference to the Christopher Walken character in the 1990 movie “King of New York.” Our narrator in his persona of Mr. White drives a Lexus LX 450, with tinted windows. Said vehicle is well suited for discrete encounters with the opposite sex, says Mr. White, aka Mr. Wallace, aka “Poppa,” aka “Biggie.”
In general, Mr. Wallace notices most of the people who belong to an organized crime syndicate prefer to save their inquires until after the discharge of a firearm.
Instead Mr. Wallace is here to sing songs of verse set against a syncopated beat about topics such as marijuana, females, mammary glands, brassieres, sexual encounters with multiple partners simultaneously and fornication in an automobile.
Despite his obvious wealth and privilege and a hedonistic lifestyle, Mr. Wallace will still leave one on the pavement. He also has excellent fiscal discipline as he does not have a mortgage on his condominium nor does he owe any money on his main mode of transportation, his automobile.
Mr. Wallace now finds himself in some unspecified legal difficulties and must appear at arraignment. While in the court, he asks his attorney to pass a note to the plaintiff, which reads: “Your daughter’s tied up in a Brooklyn basement.” This rather bizarre legal maneuver was successful. As the legal proceedings advanced from arraignment to trial, the jury in Mr. Wallace’s case has reached a verdict of “not guilty.” Mr. Wallace will now be able to save his money for more leisurely pursuits, until such time as one of his male siblings can reach him.
Again, the women in the narrator’s repertoire inquire about Mr. Wallace’s poor vision. One may speculate that his lack of vision is related to glaucoma, a degenerative eye condition, which some doctors will prescribe marijuana to help alleviate pain. The women in the entourage, however, are still under a hypnotic trance induced by Mr. Wallace’s personality and wealth.
Mr. Wallace’s wealth allows him to accumulate many of the trappings of a millionaire lifestyle. He consumes escargot and drives an automobile that has a maximum speed of 160 miles per hour. In the event said automobile is involved in an accident, Mr. Wallace has the means to purchase a newer version, rather than filing a claim with an insurance company, paying the necessary deductible and waiting for the automobile to be repaired. Often times, repaired vehicles have a lower resell value. The time involved might also slow down the daily activity of his associates, which are quite busy, often times, the group is on the “run run run,” a reference to The Crystals’ song of 1963.
By this point, the narrator is aware that audience is feeling under the weather. One potential cause of the general malaise may be witnessing Mr. Wallace’s prolific sexual activity. Once he engages in conversation a woman, he’ll give her a writing instrument, provide her a phone number to call and arrange for an encounter at 10 pm. Said encounter results in fornication upon a Persian rug. Later, Mr. Wallace will sodomize the unnamed female at her place of employment, ejaculating into her anus, while not speaking. Other times, Mr. Wallace will vocalize his request that said female disrobe in an unhurried fashion. Once undressed, Mr. Wallace will engage in a sexual fantasy involving a Star Wars Episode IV fetish. His penis is the color one would expect an African-American’s penis to be.
The tale concludes with the narrator roaming about the neighborhood, collecting debts. For some debtees he suspects may have funds in a secure location, he’ll kindly request they reveal the location of their lock box.
All of this is rather remarkable considering Mr. Wallace has been unable to see for some time. Yet, his powers of hypnosis are strong. The women in his support troupe continue to testify to his remarkable hypnotic feats.”
We then move on to “Kick In The Door”, featuring The Madd Rapper (In one of my favorite what-I-hope-is-a-joke-jokes {you have to at least spend a second confused} on the album), in Biggie’s full-on attack on Nas, Ghostface Killa, and basically any other rapper who’s gotten “too big for their britches”, which is the term I’ll go with unless there’s a way I can sound even whiter. This track has one of my favorite beats on the album, a hip-hop modification of “I Put A Spell on You” by Screamin’ Jay Hawkins. It’s well known that Biggie was a big influence on Eminem, and that fact is obvious on a track like this. The beat, the rhythm, it’s clear Shady learned his attack moves from one of the masters. After “Kick In The Door” is the ever-eloquent “Fuck You Tonight” featuring R. Kelly, and I promise not to make any piss jokes while we talk about this track, so…let’s just move on. Though I will say for the record, only R. Kelly could make “You must be used to me spending’/ All that winin and dinin/Well I’m fuckin you tonight” sound like sweet talk.
“Last Day” features The Lox, a hip-hop group featuring Jadakiss and two other guys whose names you’ll forget immediately after reading this, which is a shame, ‘cause these guys have a great flow. The track as whole features a dark, eerie tone, sending shivers down your spine hearing the hook talk of living till their last day, and knowing Big’s last day occurred before the world even hear this track. It’s points like this on the album you have to imagine what it was like buying this album upon it’s release, and having it first sink in that he was gone. This track also features one of my favorite Biggie lines “You still apoligizin, analyzin, my size and your size and/realizin, a fist fight would be asinine/You just pop wines I must pop nines/Genuine steel piece, nozzle in your grill piece”.
The next track, “I Love The Dough” features Angela Winbush, and none other than HOVA himself, not to mention a synth playing “Da Ya Think I’m Sexy” by Rod Stewart. Sadly, while the beat is good, this track is under whelming. You come to expect more when two titans come together. Even if it’s not as memorable as “California Love” by Pac and Dre, it should at least be a sick cut, like “Renegade” with Jay and Em. Instead, you get a bland hook, dull rhymes, and a passionless Jay-Z. Biggie can be laid-back in his rhymes and make it sound sly, but someone like Jay-Z just sounds lazy if he’s not spitting fire. Luckily, the next track finds Big matched with somebody in his same chill style (a laid back delivery in the vein of Erik B. and Rakim) in “What’s Beef?” featuring Puff Daddy. The track may seem like another gangsta rap call-out, but at heart it’s a stark and brooding rumination on the world of hip-hop beefs and rivalries, as two men in the heart of the game sit back, resigned to the darkness of their chaotic kingdom. After a brief interlude (“The B.I.G. Interlude”) Puff rejoins Biggie on the track everyone remembers off the album.
The Grammy nominated (and should have been Grammy winner if it weren‘t for Puff‘s tribute to Bigge) “Mo’ Money Mo’ Problems” is undoubtedly one of the most famous, most popular, and most influential songs in the history of rap music. The song’s theme is apparent in the title, but it’s the unique soundscape of the track, it’s use of Diana Ross’ “I’m Coming Out”, it’s funk-infused bass line, it’s undeniable dance-appeal that allowed it to have mainstream appeal without lyrically losing any of it’s gangsta edge. Many have written in many ways about the negative impact of wealth and fame on their lives, especially in music, it being the theme of albums by such extremes as Eminem and Lady Gaga) but no piece of art has proven more anthemic of the idea then “Mo’ Money Mo’ Problems”. Biggie’s rhymes seem to move with an ease and agility on this track, as if he knew this would be the track to stand out in his legacy.
That track is followed up by the more generic rap track “Niggas Bleed”, and perhaps it’s a better track than I give it credit for, but anybody who’s read my reviews before will know how I feel when a truly remarkable track is followed by a bland one. It’s got a good flow, and after the first minute it begins to grow on you, it’s almost operatic sense of drama escalating as the gunshot sounds and laughs come in, and after you;ve forgotten the feelings you;ve gotten from “Mo’ Money…” you starty to really enjoy the track, including the sense of humor displayed in the ending. Disc 1 ends with “I Got A Story To Tell”, a track about Big’s favorite activities, “beatin’ up niggas and fuckin’ hoes”. This track also features one of the numerous references to the number 112 (Another song mentions room 112, and I’d point the rest out for you, but why not play lyrical Where’s Waldo?).
Disc 2 opens with “Notorious Thugs”, and I’ll be honest, them saying “Biggie” gets grating after the first 10 seconds. The track features Bone Thugs-N-Harmony and has Biggie spitting one of the fastest flows I’ve ever heard him utter. If nothing else, this track has to be applauded for the normally chill Notorious B.I.G.’s lyrical agility, not to mention the fire spit by Bone Thugs-N-Harmony on the second verse. This track is a great example of word acrobatics, and for any readers with the attitude of “anybody can rap, it takes no skill”, I dare you to try and lay down a track like this. Get back to me on that.
Up next is “Miss U” featuring 112, which opens with Biggie telling a story of a “nigga” that “just got moked out”, and the song is dedicated to “all the niggas that died in the struggle”. The track is a somber story, not of people dying, but of the people who lost someone they love. “Damn, they lost a brother - they mother lost a son/Fuck, why my nigga couldn't stay in NY?/I'm a thug, but I swear for three days I cried/I look in the sky and ask God why/Can't look his baby girls in the eye/Damn I miss you .” The second verse, where Big tells the tale of “Drew” is heart wrenching as well, but it isn’t until the end that you realize this track is also an unintentional apology to all those loved ones Big himself was leaving behind.
Lil’ Kim, who is featured on my favorite skit on Ready to Die, comes in to lay down some rhymes on “Another”, a track that sounds like an 80’s club-hit, you know, until you hear the lyrics. It’s fun track, and totally undercuts the beauty of “Miss U”, which might have been Biggie’s goal, not wanting to get too emotional all at once. Listen to Lil’ Kim’s verse on this song, and maybe a lot of you will revise that attitude that women can’t rap (despite the undeniable patriarchy of the industry, Kim held a good rep in the field until that whole prison and Dancing With The Stars thing). Though it should be noted Biggie couldn’t sing for shit.
“Going Back To Cali” is partly Biggie’s reflection on the east coast/west coast beef going on that ultimately resulted in he and 2Pac’s untimely demise. “If I got to choose a coast I got to choose the East/I live out there, so don't go there/But that don't mean a nigga can't rest in the West.” He admits to only having a beef with “those that violate me” and seems to be trying to bridge the gap between the two sides. Who knows what effect this track may have had, had it come out before those bullets were fired. “Ten Crack Commandments” is an interesting track from a sociological perspective if no other, as B.I.G. lays out ten rules for selling crack, such as never telling anyone how much money you’ve accrued and “Keep your family and business completely separated”. Musically, the track is nothing special, but as a window into the world of crack dealers and the life, this track is invaluable.
“Playa Hater” is a track that probably should have as much substance as the instrumentation alludes, but instead it’s an empty little joke Biggie warbles through. The track is followed by the equally under whelming “Nasty Boys”, which is just an irritating 5 minute waiting period before “Sky’s The Limit”, one of the best tracks on the album. Much like “Juicy” on Ready To Die, “Sky’s The Limit” features Biggie chronicling his upbringing. Fun fact: Spike Jonze directed the music video. Ok, maybe that’s only cool to me. Following up “Sky’s The Limit” is “The World Is Filled…”, which again suffers from being a bland track following a great one. However, the next track, “My Downfall” featuring rap forefather DMC, is one that can’t be missed, if just to hear two eras of hip-hop come together.
The final two tracks on the album really close it out right. First, “The Long Kiss Goodnight” has a great little piano thing going on while Big spits sick, violent rhymes, and the final track “You're Nobody (Til Somebody Kills You)” is not only a terrifyingly ominous ending, but it features a collaboration with his widow, the lovely Faith Evans. The track is as somber a goodbye as Biggie could offer us, and a dark, misty conclusion to the posthumous masterpiece that is Life After Death.
Bottom line, listen to Ready To Die before this to get a real feel for the talent and potential that was Biggie. But for any rap fan, this album’s essential.
Next album up, one of my favs, another great artist of the 90‘s final album, #311: Unplugged in New York by Nirvana.
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