2011 was a big year for Ryan Montgomery.
The Detroit artist who records under the moniker Royce da 5’9” even though
“Royce” has nothing to do with his real name found himself realigned with his
former friend, colleague, and rap partner Marshall “Eminem” Mathers when it was
announced that Slaughterhouse, the four-man lyrical clinic made up of Crooked
I, Joell Ortiz, DJ Akademiks’ BFF Joe Budden, and Ryan himself, were officially
signed to his label, Shady Records. This was followed up with a Slaughterhouse
EP the very next month, one that was, interestingly enough, not distributed by
Shady (plans had been well under way for that release prior to their major
label signing). That June, Ryan and Marshall reformed their duo Bad Meets Evil
for their very first project (everything that had released previously, way back
when both were babies within the industry, were just loose singles), The
Hell EP, which introduced Ryan to the mainstream, debuting at number one on
the Billboard charts and earning our subject a golden plaque for units
sold. Things were looking up for Ryan Montgomery.
Two
months later, Ryan’s fifth solo album, Success
Is Certain, was released to far less fanfare.
Success
Is Certain was intended to be a spiritual, if not a direct, sequel to
Royce’s sophomore effort, Death Is Certain, showcasing the other side of
the coin that mirrored how he felt about his position within our chosen genre
at the time of recording. It was released by Gracie Productions, notable by how
much it isn’t Shady Records: Eminem only saw fit to sign the quartet as a crew,
and didn’t offer individual deals, not unlike what he gave to current Interweb
champions Westside Gunn and his brother Conway, who have a joint venture that
will likely expire before they ever release anything, since right now
Marshall’s only looking out for Marshall, especially after the reception to his
latest offering Revival, which I really don’t want to have to listen to,
but I acknowledge that writing about the rest of the motherfucker’s back
catalog has me kind of backed into a corner.
Ahem.
Anyway,
Royce treated Success
Is Certain as he did all of his other solo projects, securing the best
beats he could from his friends and collaborators, such as The Alchemist, Mr.
Porter, and, most promisingly, DJ Premier, whom he would form the duo PRhyme in
three years (PRhyme 2 is also apparently hitting virtual shelves this
year, and as I actually liked their first effort, I’m looking forward to it).
The guest appearances are limited in scope purposefully, as Success
Is Certain is the Ryan Montgomery Hour, our host feeling the need to
prove to the listener that he was still able to hold it down all by his lonely
even though his most recent success has been as a part of a crew (see:
Slaughterhouse, Bad Meets Evil, hell, even PRhyme).
I’ve
referred to Ryan as one of my favorite rappers in the past, and I’ve gone out
of my way to review the Slaughterhouse projects and PRhyme fairly close to
their respective release dates, but I haven’t done the same for the man’s solo
catalog. I have no real explanation: for whatever reason, I’ve just never felt
the need to listen to Success
Is Certain until today. Maybe seven years ago I was fully aware that I
would be fighting to gain readers back after a lengthy hiatus, and subconsciously
saved this album just for the occasion.
Nah,
that sounds fucking stupid.
1.
LEGENDARY (FEAT. TRAVIS BARKER)
I
have mixed feelings about the album opener “Legendary”. Musically, it’s
alright, if incredibly repetitive: the rock-tinged production (credited to
Eminem, Luis Resto, and the duo then known as The Futuristiks, making their
second appearance in as many days on the blog, weirdly) is punctuated with live
drum work from Blink-182 and the Transplants’ Travis Barker, hip hop’s second
favorite drummer behind Questlove of The Roots, which gives the track more life
than it would have claimed had Marshall stuck with a machine. The music doesn’t
really fit Ryan’s performance, though: it’s more loud than laudatory, forcing
Royce to work triple shifts in order to prove that he is a “Legendary” emcee.
However, the bars do come at a furious clip, our host rhyming at his standard
pace, beat be damned, and at least he sounded good, even when he’s lightly
crooning on the hook. Overall, though, this introductory track doesn’t really
work.
2.
WRITER’S BLOCK (FEAT. EMINEM)
Although
Success
Is Certain was released two months after Bad Meets Evil’s The Hell
EP, in no way is “Writer’s Block” a means of cross-promotion: if anything,
this song is a throwback to Ryan’s first major-label single, “Rock City”, where
guest star Eminem also just performed the hook, much to the listener’s dismay.
I will give it to Marshall: he realizes this isn’t his show, and ensures the
spotlight remains on Ryan, who does not disappoint, spitting two fire verses
and half of a goofy chorus that play around with the idea of “Writer’s Block”
before proving otherwise. I could have done without the screams of “Psych!”, as
though our host and his guest were still in junior high, but whatever. The
instrumental, credited to Streetrunner and Sarom, sounds more like the type of
beat most rappers would use to kickstart an album (it’s okay otherwise), so
maybe the sequencing on Success
Is Certain is going to be a bit off. Also, Marshall drops some
references to EPMD and 3rd Bass at the very end, so at least he hasn’t
forgotten his roots, even though his fans today will have no idea what he’s
even talking about.
3.
MERRY GO ROUND
Let’s
get this out of the way right now: as a song, “Merry Go Round” is bad.
The beat, from Nottz, approximates the music from a haunted jack-in-the-box,
and is annoying as shit. The lyrics, though, are at least worth reading the
once: our host uses “Merry Go Round” to dissect why he’s so bad at maintaining
friendships (spoiler alert: it’s a combination of hubris and alcoholism), a
tale that becomes fascinating when he touches on his fractured relationship
with Dr. Dre, how his manager inadvertently got him dropped from 2001 (he holds
one writing credit on the album but was originally planned to contribute a lot
more), and how the culmination of all of this led to Em and Royce ultimately
burying the hatchet. The jump to Slaughterhouse is nonsensical, but is a part
of his story, after all, so it is what it is. (Note: curiously, the mp3 and
iTunes editions of Success
Is Certain replaces “Merry Go Round” with “I’m Fresh”, a bonus track
from Ryan’s last full-length album Street Hop. An interesting choice, I
guess?)
4.
WHERE MY MONEY
With
the exception of “Merry Go Round”, every beat on Success
Is Certain so far sounds like Royce was trying to announce his return
to the rap world, a reintroduction disrupted by the Bad Meets Evil EP two
months prior, a savvy move on our host’s part that actually scored him both
radio and television airwaves. I guess those residual checks from the label
were a pittance, though, because Ryan spends the bulk of the
Streetrunner-produced “Where My Money” demanding proper compensation for his
work. The strange part is, Royce da 5’9” doesn’t make his case from a lyrical
standpoint: his verses on here are boring as shit, and the energetic
instrumental just can’t change that. Oh well.
5.
ER (FEAT. KID VISHIS)
Corny
as shit. Royce positions himself as a doctor of sorts, charged with saving the
life of our chosen genre, which, for the purposes of “ER”, is dying, but he largely
abandons that pretense (save for the shitty chorus) to talk his shit again.
Doesn’t work this time, though. Guest star Kid Vishis (Ryan’s brother) sounds
okay-ish, but the Streetrunner instrumental they’re both saddled with is just
too much, man. Next!
6.
ON THE BOULEVARD (FEAT. NOTTZ & ADONIS)
Success
Is Certain is the furthest thing from a cohesive album as I’ve heard in
a while. Ryan’s bars, for the most part, aren’t at fault: if anything, his
excitement for the reunion of Bad Meets Evil has encouraged him to pick up some
of those fancy-as-fuck pens from Staples. But musically, this project is all
over the place, and on “On The Boulevard”, he’s fallen into phony Dr. Dre-esque
territory. It isn’t a bad instrumental by most standards: it’s just difficult
to fit this onto an album where the only real direction given was, “Remember Death
Is Certain? That, except it sucks.” Interestingly, our host gives producer
Nottz the first verse, while Adonis sings a hook that would have been performed
by Maroon 5’s Adam Levine had Success
Is Certain been released by Shady/Aftermath. Overall, the track is
alright, if not very memorable, but it was a strange time to introduce a more
serious song into the proceedings.
7.
I AIN’T COMING DOWN
Eminem
may never bother asking his own goddamn deejay for beats, but his associates
make no such mistake, as Royce da 5’9” reunites with The Alchemist for “I Ain’t
Coming Down”, the first track on Success
Is Certain I can say I enjoyed throughout. Alan’s instrumental abandons
his typical cold, apathetic gangsta cinescapes in favor of something
approximating whimsy and hope, while our host frankly discusses some of his
past beefs, how he was at fault, and how he’s moving forward and upward (hence
the song’s title). I even liked Ryan’s singing during the hook. This shit was
nice, is all.
8.
SECURITY
I
was a little worried at the beginning of “Security”, as the “vocal sample from
a soul song” trope has been done to death, but that gave way to what is the
best Mr. Porter instrumental I’ve ever heard the man do. And it’s fitting that
the producer also known as Kon Artis handles the instrumental here, as
“Security” is Royce da 5’9’s tribute to Porter’s D-12 bandmate Proof. Ryan’s
three verses are sober, clear, and powerful, as he describes his interactions
with the late Proof and his mindstate when attending the man’s funeral. His
singing on the hook doesn’t really lead anywhere, but overall I found myself
liking “Security” quite a bit.
9.
SECOND PLACE
I
count myself as a fan of the collaborations between Royce da 5’9” and DJ
Premier. Their early team-up “Boom” I still listen to today; same with the
slightly more recent “Hip Hop”. As I mentioned above, I enjoyed their PRhyme
project quite a bit (the deluxe version was a reach, but still) and look
forward to their planned follow-up. So I was shocked to discover the
Premier-produced “Second Place” on Success
Is Certain, as it had completely passed me by. How does that even
happen? (Aside from shifting priorities on my part, obviously.) All in all,
“Second Place” isn’t the pair’s best work. However, it does sound like ground
zero for PRhyme, albeit with an incomplete set of blueprints, and Royce didn’t
sound bad, although the casual homophobia was a bit much in 2011 and completely
unnecessary seven years later.
10.
MY OWN PLANET (FEAT. JOE BUDDEN & MR. PORTER)
I’ve
written about “My Own Planet” before, back when it was a mysterious bonus track
on the deluxe edition of Royce’s last solo project, Street Hop, except
today’s edition swaps out fellow Detroit rapper Big Sean for our host’s
Slaughterhouse companion Joe Budden, the only other member of that crew that
appears on Success
Is Certain. The instrumental and the hook, both provided by Mr. Porter,
remain the same, as does my overall assessment: the track is okay, if a bit
goofy. However, Budden shouldn’t have tried to muscle his way onto the track if
he wasn’t willing to play ball: Sean at the very least tried to mirror Ryan’s
lyrics on the original take, providing much-needed cohesion and the illusion that
the two actually worked together. Budden simply spits a random verse, apropos
to nothing, that he probably emailed our host two weeks before this project was
mastered. Joe Budden’s lost many times before (and since), but coming in second
to Big Sean? What world is this?
11.
I’VE BEEN UP, I’VE BEEN DOWN
Ryan
chooses to end Success
Is Certain with a pretty terrible song. Mr. Porter’s instrumental is
okay, if a bit busy, but our host contributes bars that land like anvils onto
an already-crushed coyote, some of which are hateful for absolutely no reason.
He’s trying to spin a positive tale here somehow, but the final product is so
awful that it won’t connect with any listener.
The
deluxe edition of Success
Is Certain contains the following bonus tracks.
12.
ROCK THAT (FEAT. KID VISHIS)
Ryan
only sounds moderately better on the Kon Artis-produced “Rock That”, which aims
for old-school flavor mixed with a lyrical clinic, but doesn’t hit the mark.
Our host and his brother spit their rhymes with a combination of flair and
excitement, with Royce taking control more often than not, but the track itself
left me feeling hollow, as though I wasn’t even sure if what I had just
listened to was a real song. Which is never the response one wants to hear
about their music, so.
13.
WRITER’S BLOCK (DJ PREMIER REMIX) (FEAT. EMINEM)
Hip
hop heads who were chomping at the bit to hear Eminem over a DJ Premier beat
will need to immediately temper their expectations, as this remix to the
earlier “Writer’s Block” merely lifts the vocals from the original version, so
it’s debatable whether or not Marshall Mathers even knows Preemo exists.
(There’s always PRhyme 2, maybe?) Aside from one minor quibble, though,
Premier turns in the definitive take on the material: Ryan’s shit-talking just
seems to fit better over boom-bap, each drum hit providing emphasis to his
bars. My problem is with how the beat never changes until the very end, where
Marshall is rambling: a newer listener will get lost in the part where Ryan’s
verse ends and his half of the hook begins, as everything sounds that seamless
(this is a bad thing, folks). And yet I still enjoyed this much more than
Streetrunner and Sarom’s production.
THE
LAST WORD: Success
Is Certain was met with heaps of critical acclaim upon its initial
release in 2011. Maybe it would have worked better for me seven years ago, or
perhaps my taste (and ears) have evolved well beyond this plane of existence,
because I just didn’t hear anything super-special on here. Ryan has secured his
position as one of my favorite rappers of all time, and if I ever get that
indie label started and he’s interested, I would absolutely sign the dude. But
while there are stretches of lyrical wizardry at play on here, and even his
singing voice isn’t terrible (as it is designated for hooks only as needed),
this didn’t click for me because a lot of the beats are whatever. It’s a
damn shame, as Success
Is Certain contains many of Ryan’s most personal rhymes to date (a
handful of tracks act as straight-up autobiographies), but the music was
largely forgettable. The run from “I Ain’t Coming Down” to “Second Place” is a
keeper, and deserves to be listened to by anyone who has made it this far in
the write-up, but as for the rest of it, feel free to put Success
Is Certain on hold until you feel the need to play something in the
background while you clean your kitchen.
-Max
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Yeah, I’m deeply ashamed of that pun, too.
I absolutely love security. One of the most succinct and hitting tributes I've ever heard in a rap song. RIP Proof
ReplyDeleteI would agree with this.
DeleteI listened to this once when it come out 7 years ago and that was it, so I must have had a pretty similar reaction to you.
ReplyDeleteI'm super excited for new PRhyme. Even though I doubt the project will hold up over 18 tracks, I'm sure at least a handful will be good. And the good news about 18 tracks-- that increases the likelihood for an awesome features (Nas, Kendrick, or Danny Brown would be great).
It also increases the chance of album filler, so my fears won't be assuaged until I hear the end result. Also, I sincerely hope they don't get a guest feature from Danny Brown, as that would sound terrible (and I usually like the guy).
DeleteYou know who would be a great out-of-left-field cameo, though? Sauce Money. Think about that.
I can't remember the last time I saw Sauce Money on a track. If anyone could dig him up though, it would be Primo.
DeleteAnd I think Danny is a strong and versatile enough rapper to accomodate different kinds of production and rap styles. But yeah, that could backfire.
Also, really random, but Sauce Money made me think of late 90s and early 2000s NY rap: have you ever listened to Nature's debut album For All Season? It's actually quite good (I was shocked too, after hearing him on The Firm album), and he has some great production on there (Ski produces the best song). I think you might like some of the tracks on there.
personally I would LOVE to hear Freddie Gibbs on it, although I highly doubt it. He can flow over a pretty wide variety of beats so would be interesting to hear him on Preemo. He needs the spot for a come back anyway
DeleteSauce Money remains one of the most underrated MCs this game has ever seen. But what if he worked with a Brother Ali?
DeleteSort of related, but I wasn't really feeling Era, until Royce came on. It would just be hard for him to sound bad on such a minimal beat, his voice is just so damn magnetic. As for the song overall, decent single, but I really hope it's nothing more than that in the relative context of the album, as it pales in comparison to pretty much all of Prhyme imo
ReplyDelete