Nas - Life is Good

In August 2011, Nas released 'Nasty' as the lead single for his new project Life Is Good. The track showcased a veteran rapper still hungry to demonstrate his skills; the freewheeling, hook-less virtuoso performance reminding listeners of an artist still desperate to top the classic Illmatic. Then all went quiet. Fans had to wait until the following April for a second single, the rousing, Heavy D produced 'The Don' further whetting appetites for the main event. After numerous well received track leaks, July 17th has rolled around, Life Is Good finally held up to the scrutiny of the hip hop community.

'No Introduction' opens the album, soft piano backing the Justice League produced track. Nas ranges over a variety of topics, cushioning gangsta trash talk between revolutionary plans and reminiscing about meetings with Biggie. The financially draining divorce that thematically shapes much of the LP is lightly brushed upon, revealing the motivation for the album: "I wrote this piece to get closure/ Some of you may know Kelis/ This goes to her with love, also goes to y'all to see/ The craziest things already happened to me/ Either you'll be laughing with me or be laughing at me."

Second track 'Loco-Motive' finds Nas on sparkling, vintage form. The listener is transported back to the grimy 90's, the train wheels providing the backdrop for the Queensbridge native to paint pictures of the dark New York underbelly. On a similar subject, 'A Queens Story' becomes a more personal ode to friends lost since his career blossomed.
Rick Ross drops in on 'Accident Murderers' for the only rap feature on the album. Rozay holds his own impressively against Nasty Nas, the two MC's trading bars menacingly in a musical relationship that seems to be flourishing. The album then changes tone as it moves into 'Daughters', an introspective, meditative discussion of the challenges raising his teenage daughter. The track reveals a matured father figure, a far cry from the occasional misogyny of previous releases.

The Anthony Hamilton assisted 'World's An Addiction' is arguably the best effort on an album filled with highlights. Over Hamilton's haunting hook, Nas documents a world of flagrant excess and damaging addiciton, despairing at the crumbling world he sees around him. The LP then moves into a soulful lull on 'Stay', the MC becoming conversational over the hazy, saxophone driven instrumental. Also included is 'Cherry Wine', a product of an unlikely friendship with Amy Winehouse.

Unfortunately, there is one misstep included in the track listing. 'Summer on Smash' features the schizophrenic, all or nothing approach that characterises the production of the increasingly redundant Swizz Beats. The blatant attempt at radio exposure hinders an album that is otherwise excellent.

Life Is Good ends with the emotional 'Bye Baby', in which the rapper tries to make sense of his failed marriage. Nas' rhymes neatly encompass the variety of emotions synonymous with the break down of an important relationship, bittersweet memories sprinkled over a bed of directionless anger. This provides a suitable ending for an album that features the artist cradling his wife's green wedding dress on the sleeve, the only item left by Kelis after she cleared her belongings from the martial home.

Track by Track:

01. No Introduction (Produced by J.U.S.T.I.C.E. League) 8/10
02. Loco-Motive (Feat. Large Professor) 9/10
03. A Queens Story 9/10
04. Accident Murderers (Feat. Rick Ross) 8/10
05. Daughters 8/10
06. Reach Out (Feat. Mary J. Blige) 8/10
07. World’s An Addiction (Feat. Anthony Hamilton) 9/10
08. Summer On Smash (Feat. Miguel & Swizz Beatz) 6/10
09. You Wouldn’t Understand (Feat. Victoria Monet) 7/10
10. Back When 7/10
11. The Don 8/10
12. Stay 9/10
13. Cherry Wine (Feat. Amy Winehouse) 8/10
14. Bye Baby 9/10

The Verdict:


After a run of consistent, if unspectacular projects, Nas has returned with an album of astounding quality, fully justifying the hype generated over the course of the year. With 10 solo albums under his belt, Nas appears likely to extend his astonishing longevity a little further yet.


9/10

Nas - HMV Picture House, Edinburgh 26/06/12

Stepping onto the stage, hip hop godfather Nas was greeted by the enthusiastic, sweltering crowd packed into the HMV Picture House. Wrapped in a jumper promoting yet unreleased new album Life Is Good, the rapper opened with a raucous rendition of 'Hip Hop Is Dead', the track brought to life by the live band accompanying the MC in an attention grabbing opening gambit. 
"Lets go back to where it all started," he then proclaimed, launching into a medley of tracks from classic debut album Illmatic and tipping the crowd into a frenzy. 'N.Y. State Of Mind', 'Life's a Bitch' and 'It 'Aint Hard To Tell' were all given an airing. Nas is well known and admired for his complex lyricism over a multitude of projects, so it was perhaps inevitable that the MC would fluff his lines at some point. A slippage occurred during 'The World Is Yours', the rapper briefly forgetting his words in a delivery that was otherwise technically flawless.

The song selection ranged widely over Nas' decorated career. Popular singles 'Hate Me Now', 'Get Down' and 'If I Ruled the World' were brought to life with gusto, tracks linking seamlessly in a breathless performance. Guitar and rapper were merged to strong effect on Fox News baiting 'Sly Fox', while the tempo was mercifully slowed by the bluesy 'Bridging the Gap', a collaboration with his father Olu Dara.
The aforementioned forthcoming Life Is Good featured heavily on the set list. The reflective 'Daughters' was contrasted with the freewheeling 'Nasty', in which the rapper demonstrated exactly why he is considered one of the most talented MC's to ever pic up the mic. New single 'The Don' rose the atmosphere to a crescendo, a rousing way to end the show.


75 minutes after he first appeared, the Queensbridge native left the stage. Though there was no encore, the crowd were left satisfied by a breathless, honest performance from a true hip hop legend.
With 6 million dollars worth of backdated taxes to pay, it's fair to say Nas will be doing many more tours and adding to the discography that already stretches into double figures (including collaborative projects, upcoming LP Life Is Good will be his 12th official release) for some time to come. On this evidence, he will always be welcome back.  

Waka Flocka Flame: Triple F Life

In October 2010, Waka Flocka Flame exploded into the Billboard Charts with his debut album Flockaveli. The album was heavily praised for stripping gangsta rap back to it's roots, Lex Luger's hard hitting beats complemented by Flocka's brash, violence soaked simplistic delivery. After an eventful, mixtape filled 2 years, the Riverdale representative returns with his sophomore effort Triple F Life. 


Opener 'Let Dem Guns Blam' sees Waka paired with MMG member Meek Mill. The first few lines of the track give listeners a taste of what to expect:
'I'm too drunk, I'm to high to hear that fuck shit/ Came to the club, yeah I'm on that fuck shit/ Let them things blam/ Let them things blam/ Let them things blam'.
The repetitive, menacing delivery is an example of where the rapper excels, eschewing complex lyricism to batter the listener into submission over loud, compelling instrumentals. This theme is continued with bangers such as ''Cash' and 'Lurkin', featuring Piles. The guest spot proves to be a masterstroke, the raspy Floridian sounding like he's auditioning for a late spot on Flockaveli. 
Also present is a healthy amount of experimentation, Ludacris and Bun B providing a nice change of pace on the Southern soaked 'Candy Paint and Gold Teeth'. Personal travails are revealed on 'Power Of My Pen', a welcome change of subject towards the end of the tracklist.


Unfortunately, the promising tracks are let down by a baffling array of guest stars in the early stages of the LP. Drake just about holds his own over the unusually subdued Lex Luger produced 'Round of Applause', but Waka and Trey Songz are mismatched on 'I Don't Really Care'. 'Get Low' features Nicki Minaj, Tyga and Flo Rida on a syrupy, shameless assault on the singles charts. It is not that the track is particularly unlistenable, but Flocka's legions of fans buy his material precisely to avoid this watered down, radio friendly rap. If this represents a misstep, the B.O.B assisted 'Fist Pump' is simply lamentable, the pop leaning of Bobby Ray proving to be too jarring with the style of Waka's music. It is not until the 3 bonus tracks that Triple F Life fully returns to the formula that made Flockaveli so successful, 'Inky' being the particular highlight.


Important to note is that the Georgian rapper has improved his flow measurably since his debut LP. Often employing double time, a slicker delivery is detectable throughout Triple F Life. Though this is commendable, it is conversely a drawback to the project as a whole. The new rapping style allows him to fit in more comfortably with the more mainstream oriented acts on his guest list, but this in turn reveals a transparent attempt to crossover to a wider audience. Flocka has built a career and garnered acclaim by deliberately ignoring the demands of lyricism in favour of outlandish violence over thumping beats. This heavy metal-like approach is what sets him apart from his peers, and losing this causes the album to struggle at times.      


Track by Track:


1. "Triple F Life Intro" 
2. "Let Dem Guns Blam" feat. Meek Mill (7/10)
3. "Round of Applause" feat. Drake (6/10)
4. "I Don't Really Care" feat. Trey Songz (4/10)
5. "Rooster in My Rari" (5/10)
6. "Get Low" feat. Nicki Minaj, Tyga, & Flo Rida (5/10)
7. "Fist Pump" feat. B.o.B. (4/10)
8. "Candy Paint & Gold Teeth" feat. Bun B & Ludacris (7/10)
9. "Cash" feat. Wooh Da Kid (7/10)
10. "Lurkin'" (8/10)
11. "Clap" (5/10)
12. "U Ain't Bout That Life" feat. Alley Boy & Slim Thug (6/10)
13. "Power of My Pen" (7/10)
14. "Flex" feat. Travis Porter, Slim Dunkin & D-Bo (5/10)
15. "Triple F Outro"
16. "Inky" feat. Slim Dunkin & Wooh Da Kid (7/10)
17. "Chin Up" feat. Slim Dunkin (7/10)
18. "Everything I Love" feat. Future & Trouble (6/10)

The Verdict:

In aiming for mainstream acceptance, Waka Flocka Flame has shot himself in the foot. With an admittedly small, but committed fan base, Waka is risking losing those who put him in his position by dabbling in pop rap. Though some tracks retain his trademark sound, the lukewarm filler may see some listeners lose faith.

6/10 

Homophobia In Hip Hop

Man, cats don't know what it's gonna be/

Fucking with a nigga like me, D-to-the-M-to-the-X/

Last I heard, ya'll niggas was havin sex, with the same sex/

I show no love, to homo thugs/

Empty out, reloaded and throw more slugs/

How you gonna explain fucking a man?/

Even if we squashed the beef, I ain't touching ya hand.

DMX - Where The Hood At (2003)

On May 9th 2012, President Obama confirmed his belief that same sex couples should be able to get married. Though this is seen as a risky political move, Obama has received some unlikely support from Jay Z: 

"I've always thought it as something (the ban on gay marriage) that was still holding the country back. What people do in their own homes is their business and you can choose to love whoever you love. That's their business. It's no different than discriminating against blacks. It's discrimination plain and simple." (Jay Z)

Such a bold statement from a hip hop heavyweight is at odds with a genre of music that has traditionally attacked and avoided homosexual relationships, particularly between men. Wu Tang member Raekwon described his disgust towards gay culture in a 2009 radio interview: 

"My mouth is too small to suck a d*ck," Raekwon added. "How the f*ck do you convert over to do some sh*t like that? How do motherf*ckers get into that sh*t? The males? The females, they gonna do what they do. I ain't gonna front, I can't stand f*cking h*mos. That sh*t is just f*cking disgusting. They can never holla at me. Get the f*ck away from me, immediately."  (Raekwon)

Such views, unfortunately, are prevalent within the hip hop community. The DMX lyrics quoted above were taken from 2003 album Grand Champ, a record that debuted at number one on the Billboard Hot 200, and the song itself was released as a single. Around 2004 Harlem native Cam'ron popularised the phrase 'No Homo' to justify the use of 'suspect' phrases while asserting that the speaker is a heterosexual. Though these events were nearly ten years ago, the attitudes expressed can still be found in much of the fan base of mainstream hip hop. In 2011, XXL Freshman Lil B received death threats when he announced a new LP titled I'm Gay. The record sold terribly, though that could be down to  factors such as the project being available for free for a short while and lukewarm critical response, rather than outright homophobia (Lil B is straight, though has pledged his support for GLAAD).

The picture however, could be slowly changing. Popular figures such as Kanye West have publicly spoken out about their previous homophobia, and how they now accept the gay community. N.O.R.E confirmed in 2009 that he is aware he has worked with gay rappers, and he has no real issue with this, while rappers such as Eminem, Juelz Santana, Game and Tyga have either defended the homosexual community, or apologised for homophobic slurs/musical content.

Perhaps the most heartening response, however, is from rap newcomer A$AP Rocky. Discussing his previous homophobia, he confirmed to Pitchfork that he now has a different outlook: 

"I'm going to be honest with you-- I used to be homophobic, but that's f*cked up. I had to look in the mirror and say, "All the designers I'm wearing are gay." I hear stories about all these industry motherf*ckers who are gay, and I don't know if it's true or not, but that sh*t don't matter. It's so immature." (A$AP Rocky)

A statement like this gives rise to the hope that the new generation of rappers is becoming more tolerant and accepting, something that ideally will be reflected in the new music being produced. It is elder hip hop statesmen such as Jay Z, however, that have a responsibility to lead the way in changing attitudes. His support of Obama's policy is a strong start.

Mixtape Kings

In the late 70's, the mixtape in hip hop was the only way fans could listen to recordings of their favourite artists in the absence of proper records for sale. Before hip hop became officially marketable in the early 80's, DJ's such as Afrikaa Bambaata, Grandmaster Flash and Kool Herc would make recordings of their gigs, then offer them for sale. Tapes could be tailored to individual clients, with many willing to pay premium prices for shout outs. Fast forward to the 90's and the LP had become the dominant form of money making rap recording. The mixtape became a vital medium for new artists to showcase their talent at a reduced price. The tapes often had low production values and a typically featured an extended list of shorter tracks. In addition, DJ's that were supplying the mixtapes had to find new ways to make the form a viable commercial interest to the public. This was achieved by securing exclusive remixes and freestyles over established beats at a time when hip hop was experiencing its golden era (in terms of quality, rather than money making).
The growing influence of the internet changed the distribution of music in all genres, but had a particular impact on hip hop. The distribution of new music became easier, allowing for the rise of 'ringtone rap' with artists such as Soulja Boy and D4L becoming one hit wonders through the strength of youtube views. At the same time, the physical mixtape became less popular as a  way to establish a fan base. Instead, new music was routinely uploaded to sites such as Myspace, allowing MC's to reach a large audience easily and quickly.

The mixtape, however, wasn't dead. Sites such as Datpiff.com sprung up offering regular, new collections of music from established stars and newcomers alike. Owing to the free nature of the product, the downloadable mixtape is now a phenomenally potent marketing tool. Stars such as Wiz Khalifa and Mac Miller have used this medium to build large and loyal fanbases, offering popular mixtapes 'Kush and OJ' and 'Best Day Ever' respectively. Both of these have received well over 500,000 downloads, and translated into impressive album sales (Wiz's Rolling Papers easily achieved Gold certification, while Miller's Blue Slide Park became the first independently distributed debut album since 1995 to top the Billboard 200 in its first week). This success, however, had a sting in the tale. Both albums suffered lukewarm critical reception from reviewers and fans alike, with the common criticism that neither LP's were as good as the mixtapes that preceded them. Taking this into consideration, Wz has subsequently admitted that Rolling Papers was not 'creatively his best work', and promised fans to revert back to his former weed loving persona on new mixtape Taylor Allerdice. At the time of writing the project has accrued over 1.2 million downloads in less than 2 months of availability. It would seem, then, that rappers can struggle to maintain their focus and channel their talent under the pressures of releasing a physical product to sell. This could obviously have implications for future album sales as fans come to realise that the retail release will never measure up to the free collections littering their itunes.

New artists aside, the popularity of free mixtapes has another implication for those already well established at the top of the game. After suffering two seizures in late 2011, Rick Ross postponed the December release of studio album God Forgives, I Don't, feeling he wasn't in a position to promote the LP effectively. Instead, he released Rich Forever, which quickly became one of the most downloaded mixtapes of all time. Tracks clearly intended for GFID can be picked out from Ross' frequent references to the album title in some of his rhymes. The track listing features a litany of hip hop heavyweights guesting alongside Ross, including among others Nas, Diddy, Pharrell, Drake, Kelly Rowland and almost the entire MMG roster. Production is handled in part by familiar names such as Justice League, Lex Luger and Beat Billionaire. The point of this is that by making this project available free, Ross has rewarded loyal fans, but also raised questions about the value of his upcoming studio album. It is difficult to imagine that God Forgives, I Don't won't feature various A List guest rappers assisted by MMG stalwarts, backed by lavish production with Ross waxing lyrical about his luxurious life, selling drugs and generally living out the gangsta fantasy. Which is exactly what we find on Rich Forever. If the physical retail release isn't going to expand on the free mixtape, what motivation do fans have to buy it? This perhaps explains why Rich Forever has well over a million downloads, but Ross has never had an album break 200,000 in sales in a first week performance, or had an LP break the Platinum mark of a million sales.

This is not a problem confined exclusively to Rick Ross. Game has recently brought out a mixtape with over 50 guest spots that has easily eclipsed the first week sales of his last album. Ace Hood, despite accruing more than 250,000 downloads in less than a month of his new Starvation mixtape, has never cracked 30,000 first week sales in three separate studio album releases. My point is that, in moving to free internet distribution, the mixtape is continuing to be a major influence on how hip hop music is distributed, asking profound questions about the future of retail album sales. It may be the case that rappers are being forced to move away from traditional methods of gaining financial reward for their craft, and instead will be relying more and more on live performance, merchandise and royalties.

Nicki Minaj: Pink Friday: Roman Reloaded

Pink Friday: Roman Reloaded marks the second Young Money release of the year, dwarfing the moderately successful Careless World in terms of anticipation. As part of the all-conquering hip hop triumvirate also including Lil Wayne and Drake, Nicki Minaj aims to continue the dominance of the label, capitalising on the exposure her halftime Super Bowl appearance generated in February. Minaj herself has commented that this album provided an opportunity to branch out and diversify from the safe pop formula of her debut LP, utilising the 'Roman Zolanski' alter ego found on some of her most engaging guest appearances (Kanye West's 'Monster' being a particular highlight).

The alter ego concept is used from the very first track. 'Roman Holiday' is quite frankly bizarre, lurching from the sickly sweet, bubblegum chorus to an intense, drum laden beat. This culminates in Minaj singing her own version of 'O Come All Ye Faithful' in a song so strange it just about works. 'Come On A Cone' follows as a less memorable version of its predecessor, carrying on the Zolanski theme with reckless abandon.

Despite the title of the album, after the first two tracks the alter ego is almost dropped entirely. This is not, however, necessarily a bad thing, as Rick Ross and Cam'ron drop by as the first album guests on 'I Am Your Leader'. Minaj leaps back into more settled rhyming territory, Ross providing commanding support. The somewhat surprising addition of Cam'ron turns out to be a bonus, the menacing beat fitting well with his wonderfully weird flow. Ubiquitous man of the moment 2 Chainz is the third guest appearance, lighting up 'Beez In the Trap' over the catchy instrumental.

The undeniable chemistry Nicki shares with Lil Wayne is in evidence on 'Roman Reloaded'. Trading boastful bars, Wayne spits in and out of the beat the way he used to in the golden 12 months before Tha Carter III. Unfortunately, the Young Money label head undoes all his good work by phoning in a verse for 'Sex in the Lounge', a track that is otherwise a strong, sexy R&B offering. Drake pops up on the triumphant 'Champion', along with Young Jeezy and Nas. Though it is refreshing to hear a positive message from Minaj and company, the song never really matches the sum of its parts. It goes without saying that Nas provides the best verse, but it is a chilling glimpse into the future for an MC who has been reduced to this level by his dreadful tax difficulties.

The album abruptly changes tack with new single 'Starships', a catchy dance influenced, euro pop song that is clearly aimed at success overseas, mindful of the fruitful partnership Minaj has engineered with David Guetta and his ilk (thankfully Pitbull and Flo Rida are nowhere to be seen). The next four tracks are virtually interchangeable dance efforts, the best of the bunch probably being 'Automatic'.

Familiar pop territory is returned to for the conclusion of the LP. 'Marilyn Monroe' deals with the pitfalls of fame and jealousy while 'Young Forever' explores a teenage relationship gone sour. The highlight of the section, however, is the Beenie Man assisted 'Gun Shot'. The dancehall tinged pop is complemented perfectly by Minaj doing her best rude boy impersonation, making what could be an odd pairing strangely compelling. The album is rounded off by the regrettable 'Stupid Hoe', an unnecessary Lil Kim diss that already seems outdated.

             
Track by Track:


1. Roman Holiday (7/10)
2. Come On A Cone (6/10)
3. I Am Your Leader (Feat. Cam’ron & Rick Ross) (8/10)
4. Beez In The Trap (Feat. 2 Chainz) (8/10)
5. HOV Lane (7/10)
6. Roman Reloaded (Feat. Lil’ Wayne) (7/10)
7. Champion (Feat. Nas, Drake & Young Jeezy) (6/10)
8. Right By My Side (Feat. Chris Brown) (6/10)
9. Sex In the Lounge (Feat. Lil’ Wayne & Bobby V) (7/10)
10. Starships (7/10)
11. Pound The Alarm (6/10)
12. Whip It (6/10)
13. Automatic (7/10)
14. Beautiful Sinner (7/10)
15. Marilyn Monroe (7/10)
16. Young Forever (6/10)
17. Fire Burns (5/10)
18. Gun Shot (Feat. Beenie Man) (7/10)
19. Stupid Hoe (5/10)


The Verdict:


As ever, Nicki Minaj remains entertaining and listenable. Unfortunately, the album suffers from filler and a lack of focus. At its best, Pink Friday: Roman Reloaded is a lot of fun, but Minaj needs to find a concept and stick with it if she is to avoid another mixed reception for her work.


7/10

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