(There
has to be a few of you who hope every day that a Cam'Ron review runs
on the blog, right? Well, today isn't really that day, but until
someone submits a write-up of their own, you'll have to make do with
Taylor K.'s Reader Review for Jim Jones and his third album,
Hustler's P.O.M.E. (Product Of My Environment). Leave your thoughts
for Taylor K. below.)
E1
Entertainment is a worldwide entertainment company: it has released
the television show Babar on DVD, produces other shows such as Rookie
One, and even doubles as a reputable record label, distributing
albums from the likes of Styles P. (of The Lox), among others. But
one has to wonder how the company got its start.
Let's
go back now, to 2006, when E1 was operating under the name Koch
Records, and an artist named Jim Jones was still signed to the label.
He's a rapper affiliated with the Harlem-based group The Diplomats
(they also classify themselves as a movement, and go by the
abbreviated name DipSet, so it just depends on how you wish to refer
to them at any given time); in fact, he was one of the three core
members of the crew, alongside Juelz Santana and the group's
ringleader, Cam'Ron.
Koch
was best known at the time as a graveyard (hence my continuing to
refer to it as “the Koch graveyard”, in case you two hadn't
figured it out) that almost exclusively signed artists well past
their prime, such as Master P and KRS-One: it even had a hand in
distributing projects from the once-almighty Death Row Records after
their deal with Interscope blew up in their faces. They also weren't
doing all that well when Jim Jones released his first solo effort for
them, On My Way To Church, in 2004. In fact, even with the mild hits
Wikipedia claims his first two albums cultivated (although you would
be hard-pressed to remember any of them, except maybe that one that ripped off Eazy-E), his status on the label was
rather questionable until 2006, when he struck it rich on his third
album, Hustler's P.O.M.E. (Product Of My Environment) (rappers and
their acronyms, right?).
The
album's success was unexpected: critics and fans from all around
trashed the project. But it contained a single hit song, one that
would elevate both Jim Jones and Koch / E1 to bigger and better
things: “We Fly High”, which you may remember as a rather large
radio hit. Subsequently, Koch / E1 suddenly had the cache to sign
bigger names and ultimately break out of that “graveyard” mold.
Jim Jones even scored a promotion to Vice President of the label when
all was said and done.
But
did Hustler's P.O.M.E. (Product Of My Environment) really make Koch,
or was Jim Jones's success a fluke? It's not as though he was able
to ride the wave to more hit singles or anything (and his appearances
on VH-1's Love and Hip Hop don't count, obviously).
We'll
see...
1.
INTRO (FEAT. MAX B)
As
expected, a rap album has to start with a rap album intro, especially
one where Jim Jones spouts the truth and sets the mood for said rap
album. I don't know why artists feel the need to have intros on their
albums: maybe their listeners don't have an idea of what would
constitute a first song? Since this runs for five minutes, this should be classified as an actual song. Although it's admirable that
he tries to incorporate religion into his standard-issue hustler
stories, the ad-libs flat-out ruin it. That, plus the fact that he
sounds like he's speaking random thoughts that will suddenly make
sense later. Hey, at least he gets points for trying, right? Right?
2.
SO HARLEM (FEAT. MAX B)
More
like “so weak”. Over a generic Chink Santana beat, Jim Jones
tries to show that he's so Harlem by boasting about his lifestyle,
how tough he is, how he gets money, how some of his homeys died, and
how cold his life is. To be honest, I've heard the exact same story
elsewhere, and I can understand how hard the life can be, but what
makes Jim Jones's story any different?
3.
BRIGHT LIGHTS, BIG CITY (FEAT. MAX B)
Uses
the same Yvonne Fair “Let Your Hair Down” sample as Jay-Z's
“Where I'm From” (and, for that matter, Fat Joe's “Bad Bad
Man”). Jim goes into one of his typical hustler stories where
something goes wrong, and then turns it into how The Diplomats are in
charge and how you should not mess with Jim Jones or else you'll get
brutally murdered in seven different ways. To be fair, the Jim Bond
beat is infectious and entertaining, but it also makes me want to
listen to “Where I'm From” again. Also, Max B. is a terrible
singer.
4.
EMOTIONLESS (FEAT. JUELZ SANTANA)
Over
an admittedly cool organ beat (credited to both Chink Santana and
Broken Equipment Productions), we get a collaboration with fellow
DipSet member Juelz Santana, one where both participants try to show
as little emotion as possible. Emotion is the reason there's music
in the first place: it's one of the things that allow us to express
and create art. However, “Emotionless” is the best way to
describe Jim Jones on this track, as he goes through his usual
religion-slash-hustling tales: I'm convinced he has never lived a
good day in his entire life. At least Juelz Santana steps his game up
by including metaphors and pop culture references (although I find
him to be not all that talented to begin with).
5.
REPPIN' TIME
The
Runners are an overrated production group, so it's no surprise that
they give the listener an overrated beat with no musical qualities at
all. Jim Jones shouts all over this track, which means that he was
at least alive during the recording process. This may be the perfect
song for jackasses to show off their fancy cars, jewelry, and wads of
cash, as it contains tons of materialistic boasts. Take that, lower-
and middle-class!
6.
PIN THE TAIL (FEAT. CAM'RON & JUELZ SANTANA)
The
mandatory DipSet posse cut. One things for certain: these three guys
are tight enough to provide a good posse cut, right? Wrong! While
it's admirable they're trying to have fun rhyming about women and
trying to have sex with them, the Critical Child beat, with it's
seriousness and general crappy demeanor, ruins everything. Jim Jones
is unimpressive, too: if I had to rank the verses, I'd rank Cam'ron
first (mainly because of his unique flow and the fact that he's
actually trying to come up with clever rhymes), Santana second
(because of his pop culture references and metaphors), and Jim Jones
a distant third. I suspect that none of them will be winning a rap
competition anytime soon, though.
7.
GET IT POPPIN' (FEAT. JHA JHA & PRINCESS)
The
beat is annoying, and Jha Jha is just a terrible rapper. I don't
know how else to describe it, but I truly dislike hearing her talk
money and sex in the most generic way possible. At least the other
guest, a rapper named Princess who I'm certain has never made any
other appearances, provides “Get It Poppin'” some substance, with
a verse that shows an admirable rapping style and an infectious flow.
Oh, and Jim Jones is on here, too.
8.
MR. COOL
Rasputin's
Stash is so getting paid for that “Mr. Cool” sample. Oh wait, no
he isn't, because this skit is only like eight seconds long. Sorry!
9.
WE FLY HIGH
The
song that launched Jim Jones's career, and I can understand why: his
rhymes are infectious and simplistic enough, celebrating the high
life in a way that no other song did at the time. As a plus, the
Zukhan Bey beat meshes with the lyrics in ways I didn't even think
were possible. Clocking at three minutes and fifty-six seconds, it's
almost as though Jones specifically crafted this one song for radio
airplay. However, it's far from the best song ever recorded. It
received a crazy amount of airplay around the 2006-2007 timeframe
(well, this version, one of its inevitable remixes, and Jay-Z's Jim
Jones dis track that borrowed the beat, resulting in Jones somehow
still getting paid off of it – what the hell, Hov?), but after
that, I never heard this track again until just now. How can a song
have that much of an impact and then just vanish from public
consciousness?
10.
VOICEMAIL SKIT
At
least previous DipSet albums contained voicemail skits that featured
actual voicemails: this interlude is a fake recorded in the studio.
11.
LOVE MY LIFE (FEAT. MAX B)
Jim
Jones tries to convince people to love his life, pitching the idea of
a listener caring about his fast, hard life, with its hustling,
expensive sports cars, and religious questions. Suffice it to say,
nothing on here will make you love his life.
12.
VOICEMAIL SKIT, PT. 2
E1
should release the second season of Babar on DVD. I would buy ten
copies of that right now if I could.
13.
WEATHERMAN (FEAT. LIL' WAYNE & STACK BUNDLES)
The
forecasts provided on “Weatherman”, whose title makes it sound
like a terrible Anchorman spinoff, are entirely ridiculous: if it
were raining money from the skies, then the economy would be
impacted, and if it were snowing cocaine, society would surely come crashing
down.
14.
DON'T PUSH ME AWAY (FEAT. RELL)
This
song has an amazing Mercury beat, with a soulful vibe and general
lack of a generic flavor: it could be described as a masterpiece when
compared to all of the other beats on here. The lyrics should be
about Jim Jones realizing that his chosen lifestyle could be seen as
a repellent by certain parties, but instead he just raps and ad-libs
about the high life. As usual. Rell's singing is amazing, in that
he has a beautiful voice and he follows the song's theme, thus barely
saving it from the abyss that it could have fallen into. Overall, a
good song.
15.
POUR WAX (FEAT. HELL RELL)
What
a waste of Hell Rell. He should be given a proper showcase for his
crime tales: that would be preferable to hearing him over some shitty
generic beat from our host. Is this album over yet?
16.
FREEKY ZEEKY SKIT
...
17.
DON'T FORGET ABOUT ME (FEAT. MAX B)
Jim
Jones tries his best to get people to remember him, but dude, it's
too late for that. Also, Max B. is a terrible singer.
18.
I KNOW
The
intro may suggest otherwise, but “I Know” is all about Jim Jones,
the street life, his life in the streets, how he grew up in the
streets, and how hard it is to grow up in the streets. He does make
some interesting points, and the Chink Santana beat is pretty good,
but I was waiting for him to talk about something specific, and that
never happened.
19.
MY LIFE
The
intro to “My Life” sounds so similar to the previous song, even
though Chink Santana's work on the beat is different. At least Jones
titled after something the song happens to actually be about this
time around: yes, he's still rapping about his lifestyle and
everything that allegedly entails, but at least he seems somewhat
energized. If I were Koch, I would have released “My Life” as a
single, and then shelved the rest of the album, since the rest of it
sounds indistinguishable anyway.
20.
CONCRETE JUNGLE (FEAT. MAX B, DR. BEN CHAVIS, NOE & RELL)
At
last, we've reached the end of Hustler's P.O.M.E. (Product Of My Environment), where we find one of the project's finest beats: with
its simplistic drums and soulful organs, it comes across as a gospel
track set to a gangsta rap filter. The rhymes are a true
representation of the concrete jungle, and I suppose it could be
somewhat inspiring for people living in the ghetto (even though Jim
Jones doesn't really contribute to the “inspiring” portion). The
invited guests do good work, although I dislike NOE's Jay-Z-like
biting, especially since he makes a mockery of Hova by not being
lyrically able himself. Despite its noble intentions, “Concrete
Jungle” was too little, too late.
FINAL
THOUGHTS: In my opinion, the relative success of E1 was definitely
brought upon by this fluke of an album. Jim Jones doesn't even try to
provide lyrical or musical diversity for much of Hustler's P.O.M.E.(Product Of My Environment), choosing to rep Harlem (and, by
extension, himself) instead. Much of this project can be dismissed
as disposable hustler rap that absolutely anybody can make nowadays:
this album is only “notable” because Jim Jones is a member of The
Diplomats, whose leader, Cam'ron, has sold a bunch of records. I'd
like to think it was because of the Dipset marketing machine (read:
the fans) that Hustler's P.O.M.E. (Product Of My Environment) sold as
many copies as it did: I don't believe Koch's marketing department
was strong enough to parlay this into a success. But that is a tale
for another time.
BUY
OR BURN? Fuck no. Go get that Babar DVD instead!
BEST
TRACKS: None.
-Taylor
K.
(Questions?
Comments? Concerns? Leave them below.)
Never was a fan of Jim Jones, always struck me as a horrible rapper.
ReplyDeleteThis sort-of related to the review, but what is the hype for Juelz Santana, I don't notice anything in particular.
ReplyDeleteNot gonna lie, I'm one of the few readers hoping for a Come Home With Me review.
ReplyDeleteIt may be quite a while, no lie.
DeleteAm I the only one who use to get confused bewteen Jim Jones And Mike Jones??
ReplyDeleteYep.
DeleteOh, and two more things. First, good review for pointing out the good and the bad. Second, Mobb Deep brought it back with their new album (I don't want to bring people's expectations too high though). Havoc specifically murders his production AND rapping, managing to even beat a rejuvenated (but still not the same from the days of old) Prodigy.
ReplyDeleteNobody, and I mean NOBODY was fucking with havoc's early production. Not even Primo
Deleteare you talking about the double disc they released with new material and old oh and have you heard about the new wu album where they are only making one disc and you gotta pay a bit of cash to hear it n that then they sell it to the highest bidder or something anyways
Deletelistened to the first 2 tracks on the Mobb Deep, was pleasantly surprised
DeleteTo the second Anon, Yes. and for the second part yes, and I hope the buyer leaks it to the Interent. I'm hoping that someone will start a campaign to raise money to buy the Wu album so it can be leaked to the world, or the other alternative being that something like Universal Music buys the album, and decides to make more copies of the album to sell it to the people. I also heard that while they are on tour they are offering listening sessions for up to 50 dollars, so if people think it won't leak go get your chance to listen to that album now! To A Funky Diabetic, the new and the old material on that album is fire.
DeleteI've never seen anyone ever claim that Havoc's early work was better than DJ Premier's. I love The Infamous and Hell On Earth, too, but that's a bold statement that not even Havoc would stand behind.
DeleteThe beat for Right Back At You has to stand amongst the greatest beats of the 90's and of course Shook Ones Pt.2.. but yeah Havoc didn't have enough output to be revered like Primo, but if you took their top 10 tracks (totally arbitrary) and put them head to head I think it would be close
DeleteThis is just me, but I would rank Right Back At You above above Mass Appeal. Another thing that I feel like it needs to be pointed out is that neither Havoc or Primo have listened to what their fans wanted all along (for Primo, a collabo with actual good rappers, and for Havoc, to go back to his old form, which he has done fantastically recently on that new Mobb Deep album).
DeleteI also forgot to mention (damn I'm forgetting a bunch of things today!) that everytime I hear DJ Premier I automatically think Howie Tee (Chubb Rock's producer) who I can't shake the feeling that Primo stole his production style (even the scratches) and this is before Primo even released the first Gang Starr record (If you don't believe me, listen to Chubb Rock's first record, which is extremely dated, but bangs hard).
DeleteIn my opinion, Hell on Earth and The Infamous are two albums that are better than all of DJ Premier related projects, even the Sun Rises in the East. It may be because Havoc was equipped with a better emcee than Preem, though. Big Noyd's Episodes of a Hustla weren't no fucking joke either. That statement about Havoc can be greatly justified.
DeleteThis album is what it was supposed to be, and thats hustler rap as you pointed out. Jim Jones and Dipset music was strictly for the streets. Not sure why anyone would want lyrical rap from Jim Jones. Thats not his lane
ReplyDeleteTrue. Heaven forbid anyone request anything as arbitrary as "lyrics" in an art form heavily driven by what words are used and stuff.
DeleteIm not saying that, what Im trying to say is people should know what type of music Dipset makes by now. None of them are"super lyrical", they pleased their core fanbase with street music to ride around to. Im not gonna listen to a Kool G Rap album expecting to hear Nelly type songs, or listen to a Eminem album expecting some save the world shit. Thats just my two sense...
Delete2 cents.. not 2 sense that makes no sense...see what I did there?
DeleteOk grammar police I made a little mistake. And actually it would be two cents. See what I did there? Haha
DeleteMax B is a great singer.
ReplyDeleteWhen I first heard 'We fly high' it was around the time I got suspended from school. I thought that song was the shit, and I was upset that Juelz Santana was not on the official remix. The younger me is still waiting on his album, sadly. His recent mixtape was admittedly entertaining.
ReplyDeletenot really a huge fan of Jim Jones, and only read till track #2. If you don't like people boasting and talking about the hood, why do you even bother reviewing hip hop?
ReplyDeleteSeems like someone missed the entire point of the blog.
DeleteLOL
Deletenow that Boosie Badazz is free it's time to let Max B go.. free Max B he is innocent
ReplyDeleteOk, seriously, nobody cares.
DeleteHahaha. This always happens and it turns out that the rapper comes back with something wack (Lil Wayne), but to continue the trend FREE KILLA SIN!
DeleteWas this review written by someone who works for Complex or Pitchfork? It seems very smuggish
ReplyDeleteI really love hip hop chains!
ReplyDeleteI'm so unhappy that Max doesn't like Max B but I understand I guess.
ReplyDeleteThere can be only one.
Delete