Ja Rule: Pain Is Love 2

The original Pain Is Love was released in 2001, debuting at number one on the Billboard Chart. In addition, the album had two number one singles, and was eventually certified 3 times platinum in the US. Over ten years later, an incarcerated Ja Rule releases the sequel, Pain Is Love 2 to minimal fanfare. Having not had a charting album since 2004, it is fair to say that Rule has fallen so far off of the hip hop landscape that he is now practically invisible. Gone are the days where Muder Inc. ruled the charts, singles such as 'Always On Time', 'Between Me And You' and 'Livin' It Up' dominated airwaves both at home and abroad.


Reassessing former glories forms a central theme of the album. On 'Real Life Fantasy', Ja reminisces about his former label mates, lamenting the fact they never kept in touch and exploring his darker moods: 'None of that matters/ When the mirror shatters/ All I see are pieces of me/ Scattered'. Anita Louise provides a radio-friendly hook, representing just one of several singers on the album. 
The track listing features no additional rappers, but several unfamiliar R&B names appear. This can be taken as an indication of how far the stock of Ja Rule has fallen in the hip hop world, but it is not necessarily to the detriment of the album. The lack of rhyming support allows the listener to focus on what Rule has to offer, the relatively short 12 tracks providing a cohesive feel to the LP. The vocal talents assisting the album are admittedly not top quality, but there are some bright spots to be unearthed from the rough. Amina particularly shines on the haunting 'Spun A Web', while Leah Siegal is well suited to the rock stylings of 'Parachute' and 'Pray 4 The Day'.


The aforementioned rock influence works well throughout the album. It is clear that Ja Rule regards himself as akin to a fallen rock idol, alternating between bitterness and quiet acceptance that the musical landscape has changed. The electric guitars driving 'Parachute' suit Rule's signature gravelly voice, while 'Pray 4 The Day' finds the rapper in a reflective mood over softer strings.


For the main part it is clear that Rule understands his former glory has all but dispelled, and with that the nature of his music must adjust is he is to continue recording. A recourse to the old formula is evident, however, on 'Black Vodka'. The sultry track is sure to appease those nostalgic for the smooth R&B hooks that initially propelled the rapper to the forefront of early 2000 era hip hop. The track is a timely reminder that when he is on form, there are few who can produce the rap/R&B hybrid better. The harder edge to his music, reminiscent of the rambunctious Murder Inc. swagger can be found on 'Believe', Ja growling his way menacingly over the fast paced beat.


There are a few notable flaws that bring the quality of the album down, however. If there is an archetypal example of a rapper who shouldn't use auto tune, then it is surely Ja Rule. Unfortunately, he employs this technique liberally on 'Strange Days', the song a struggle from start to finish. A promising instrumental on 'Superstar' is ruined by a lethargic chorus, while 'Drown' has difficulty getting off the ground with a slow, ponderous beat that Ja cannot lift alone. The sagging middle section of the album brings down the quality markedly.


Track By Track

1) Intro “Fuck Fame” ( feat Leah Siegal)
2) Real Life Fantasy ( feat Anita Louise) 8/10
3) Parachute ( feat Leah Siegal) 8/10
4) Super Star 6/10
5) Black Vodka 7/10
6) Drown (feat Somong and Kenny Dark) 6/10
7) Never Had Time (feat John Doe) 6/10
8) Strange days 5/10
9) To The Top ( feat Kalina of Dirty Money) 7/10
10) Pray 4 The Day (feat Leah Siegal) 7/10
11) Believe (bonus) 8/10
12) Spun A Web ( fear Amina) 8/10

The Verdict


This album was never going to be a classic. The composition and recording process were fragmented and subject to various pressures, which shows in the final quality of the finished product. Pain Is Love 2, however, is a refreshingly authentic Ja Rule release, the listener under the impression that only he could have recorded an album such as this. Fans looking for a nostalgia trip will be somewhat satisfied, but may also find something to surprise them.


7/10

Is Hip Hop Dead?

The early 2000's were the golden years for Hip Hop in terms of albums sales. Even the most depressingly average MC's could virtually guarantee a gold plaque (500,000) with every release. Fast forward to 2007, and sales were rapidly declining. For the first time in 12 years there was no rap album in the American top ten best sellers of the year. Sales of music in general suffered due to the recession, but hip hop was hit particularly hard. The ceaseless mantra of 'bitches, money and hoes' was growing increasingly stale as the gangsta rap market became saturated with cheap imitations. Consumers were crying out for something different.
The last 2 years, however, has seen a resurgence of quality music from a litany of new MC's. First up was Wiz Khalifa, fuelled by his mega hit 'Black and Yellow' and a huge underground buzz for his mixtapes. Rolling Papers sold 197,000 in its first week of release, eventually receiving gold certification. Hot on the heels of his success were standout projects Section 80 from Kendrick Lamar and Follow Me Home by Jay Rock. Though not commercially successful, the two albums displayed the wealth of young talent lurking just below the surface of mainstream hip hop.
After numerous delays, September saw J Cole finally drop his highly anticipated Cole World. Selling over 200,000 in its first week, the figures were particularly impressive as there was no particularly popular single to promote the album on the airwaves. Similarly, Wale received a remarkable career boost by signing onto Maybach Music. Compilation album We Are Maybach Music was well received, along with fellow freshmen Pill and Meek Mill, but the sales figures for sophomore project Ambition were truly remarkable. Over 160,000 units were moved in the week of release, compared to the 28,000 sold of 2008's debut Attention Deficit. Again, Ambition had no substantial single to promote. Love him or hate him, Drake is setting the standard for the rap/r&b hybrid, Take Care awarded a gold plaque within a week.

The success story of the year so far has been Mac Miller's Blue Slide Park. Despite being released on an independent label, the album debuted at number 1 on the Billboard Chart with 144,000 sold. Without substantial promotion, the rapper relied on engaging with his large internet following to great effect.
Though these figures are unimpressive when compared to the multi-platinum albums of the first half of the last decade, or indeed against continuing superstars such as Eminem, Jay Z and Lil Wayne, placing them alongside recent work from established stars is worthwhile.

50 Cent- Before I Self Destruct 160,000 (2009)
Rick Ross - Teflon Don 176,000 (2010)
T.I - No Mercy 159,000 (2010)
Game - The R.E.D Album 98,000 (2011)

Taking these figures into account, it suggests that hip hop is certainly working on a reduced scale. This is not to say, however, that the quality of music is declining. The state of the music industry is forcing labels to go look for other ways to promote their product, the creation of twitter becoming an increasingly dominant force in the hip hop world. A 'back to basics' approach, with an increased focus on creating quality free mixtapes to build a large following has yielded excellent results for artists such as Drake, Mac Miller and Wiz Khalifa. The new generation is now in a position to stand alongside the big hitters in the rap industry, with newcomers such as A$AP Rocky, Vado and Childish Gambino hot on their heels. Particularly exciting is the wide range of styles coming through the ranks. The introspection of J Cole, for example, is a world apart from the jaunty 'backpack' rap of Mac Miller.
Taking all this into account, it is clear that hip hop isn't dead. It's just smaller.

Styles P - Master Of Ceremonies

As a member of The LOX, Styles P had already enjoyed much success before the first of his solo albums, 2002's A Gangster and a Gentleman. Two more albums followed in 2006 and 2007 respectively, before the New York MC's output slowed dramatically. Five years after his last LP, Styles has released Master of Ceremonies, a short, guest laden 12 track album.

The project kicks off with 'How I Fly', the hook provided by forgotten singer Avery Storm. The track serves as a laid back introduction, but fails to fit with the rest of the album. Things move into more comfortable territory with the gritty 'We Don't Play', featuring both a chorus and verse from an invigorated Lloyd Banks. P and Banks feel liberated on the track, the burden of big label expectation being removed from their shoulders as they swap aggressive street tales.

'Ryde on the Regular' is one of only two solo offerings on the LP, the other being 'Feelings Gone'. Both tracks are moody, reflective narratives, providing the listener with a disquieting insight into street culture. The theme is continued on 'Keep the Faith', supported by a soulful hook from newcomer Aja.
The abundance of guest appearances suggest that Styles is at his best when he feels challenged. Fellow LOX alumni Sheek Louch and Jadakiss appear on separate tracks 'Street Shit' and 'It's OK' respectively. Sheek is ferocious over the piano driven beat, but the outstanding chemistry is reserved for the latter song. Jada and Styles trade bars in the now familiar fashion over a schizophrenic beat: "Styles: Tryna' renovate the West wing of the mansion/ Jada: I aint thinking recession, I'm thinking expansion/ S: I be in the malls, I aint be in the Hamptons/ J: And I'm playing the wall, but my chain is dancing..."

The highlight of the LP is the Busta Rhymes and Rick Ross assisted 'Harsh'. The star billing lives up to expectation as Busta provides snarling, violent bars, the rapper seemingly enjoying being freed from the shackles of a label.  

Not all tracks are this successful, however.The pairing of Styles and Pharrell seems unnatural on 'Don't Turn Away', while the second Sheek Louch appearance closing out the album on 'Uh-Ohh' seems an unnecessary rehash of the earlier collaboration.


Track by Track:


1. How I Fly (Feat. Avery Storm) 6/10
2. We Don’t Play (Feat. Lloyd Banks) 8/10
3. I’m A Gee (Feat. Rell) 5/10
4. Ryde On Da Regular 7/10
5. Keep The Faith (Feat. Aja) 8/10
6. Children (Feat. Pharoahe Monch) 7/10
7. Street Sh*t (Feat. Sheek Louch) 7/10
8. Feelings Gone 6/10
9. Harsh (Feat. Rick Ross & Busta Rhymes) 8/10
10. It’s OK (Feat. Jadakiss) 8/10
11. Don’t Turn Away (Feat. Pharrell) 5/10
12. Uh-Ohh (Feat. Sheek Louch) 6/10


The Verdict:


Styles P does not stray very far out of his comfort zone on his fourth solo album, but for the most part this does not matter. The vast array of guests often enhances the quality of the work rather than detracting from it, and the chemistry with members of the LOX will surely whet appetites for their rumoured third outing. The Ghost is still on form.


7/10