Kiam "Capone" Holley and Victor "Noreaga" Santiago released their debut album (as Capone-N-Noreaga), The War Report, in 1997. The follow-up, The Reunion, magically appeared on store shelves in 2000. But the years in between were fucking packed.
Capone, who was locked up on a parole violation during the recording sessions for The War Report (which accounts for why he barely appears), missed out on the album's mostly positive critical reception; The War Report is considered somewhat of a classic today, which isn't exactly a classification I agree with (it's a good, entertaining album, but it doesn't bring anything new to the table), but people like what they like.
Noreaga, the only member of the duo who was in a position to capitalize on the success of The War Report while trying to keep his friend and rhyme partner's name on the minds of hip hop heads, drank the Kool-Aid and went solo. His debut, N.O.R.E., was a commercial hit (thanks to Victor's connection with the production team The Neptunes before they hit it big), moving over five hundred thousand units, but his rushed follow-up, Melvin Flynt - Da Hustler, tanked, even though it followed the exact same blueprint. (It doesn't help that the album was terrible.) Around the time Noreaga discovered that his sophomore album was a colossal failure, Capone was released from prison, and after hooking him up with some weed and some women, Nore convinced his friend to jump on a remix to his Neptunes-addled "Oh No", which wasn't a very good remix, but oh well.
They then immediately got to work on their second group effort, which they called The Reunion for obvious reasons.
The Reunion moved many units, but most of them were purchased out of sheer curiosity alone: aside from one or two of the songs presented, abso-fucking-lutely nobody ever brings up this album whenever they talk about Capone and/or Noreaga (in the off chance they ever come up in conversation). For their part, Capone and Nore stuck with what they knew, writing lyrics based around the war-torn streets of the Queensbridge housing projects while farming out the musical duties to outside help such as Havoc (from Mobb Deep), L.E.S., and The Alchemist, among others. They also enlisted far too many guest artists to contribute in some fashion, perhaps because Capone wasn't yet acclimated to what it took to actually record an album after being away for so long. (One man who notoriously doesn't appear is Tragedy Khadafi, who was seen as an honorary third member of Capone-N-Noreaga on The War Report, contributing more than Capone himself: after the release of The War Report, he began feuding with Noreaga and took his act on the road. By the way, how the fuck can someone be looked at as the third member of a duo to begin with?)
Although I stopped caring about Noreaga's solo career after N.O.R.E., I apparently gave enough of a fuck about the unit to pick up The Reunion: I came across this album while I was cleaning out those crates that everyone says that I don't really have. But I'll be damned if I can remember a single thing about this project.
So this should be fun.
1. INTRO: CHANGE IS GONNA COME (FEAT. CARL THOMAS)
Now this was an interesting rap album intro. Foregoing his usual tradition of fucking up any song he appears on by crooning a love song that has nothing to do with the actual proceedings, Carl Thomas simply covers Sam Cooke's “A Change Is Gonna Come”, making The Reunion already sound like a gritty independent thriller where you just know some tough life decisions will be made and at least one person's life will hang in the balance. (It may also turn into one of those indie flicks where the bulk of the budget was spent on procuring the rights to Sam Cooke's “A Change Is Gonna Come”, though.) Capone's ad-libs at the end fuck up the momentum, but up until that point, I'll be honest, CNN had my undivided attention.
2. COLLECT CALL SKIT
…
3. PHONETIME
Much like how it went down in real life, Noreaga plays the role of a free man, while Capone portrays the locked-up rapper who is behind on all the current trends. The L.E.S. beat fails to convey the seriousness of this song, but to be honest, Nore doesn't play fair, either: his rhymes are more Melvin Flynt - Da Hustler than The War Report, and Capone can't help but sound dated when compared to that shit. They play around with the convention of rhyming on the hook a bit, but instead of being praised for its experimental nature, it just sounds awkward. Groan.
4. QUEENS (FEAT. COMPLEXIONS)
There's no depth to The Alchemist's instrumental: all of its secrets are laid out on the table in front of you, and none of them are interesting. The decision to include an overly long R&B chorus is also questionable, unless every crew walking around in Queens actually has that one guy who sings about random daily events, in which case, this track is very realistic. Capone barely registers with his verse, as if even he was unhappy with the direction “Queens” was heading toward, since he leaves the studio after his performance to catch the hot dog vendor outside the studio before he closes up shop for the day.
5. INVINCIBLE
This DJ Premier concoction is best known for containing Noreaga's apology to his fans for making Melvin Flynt - Da Hustler a “half-assed album” (but he had just lost his father at the time, so I can still understand his position). This bit of honest candor lends “Invincible” credence that it doesn't actually deserve. Primo's beat is fairly generic, and neither Capone nor Noreaga come across as the type of artists who could use it to their advantage. This is the most entertaining track on The Reunion thus far, but it still isn't very good, and the fact that Primo only scratches in sound bites from other CNN records is kind of annoying, as if this duo has lived in a bubble ever since The War Report dropped, ignoring the rest of the hip hop community. I know a lot of you two dig this song, but it is what it is.
6. BANG BANG (FEAT. FOXY BROWN)
A quirky Alchemist beat (complete with the sound of crickets chirping) adds a whimsical element to an otherwise murky track. Capone and Noreaga come across as decent enough, although neither man seems to know what to do with the beat (it is out of their league, for the most part), as they quickly resort to catchphrases (Nore especially) in lieu of the usual “lyrics”. Oddly, Foxy Brown provides the harshest verse, aiming “lyrical” (I'm using that term loosely here) barbs at Lil' Kim and Puff Daddy, two “artists” (see previous set of parentheses) who still have actual careers today, while poor Inga was left in the dust. Neither member of CNN takes her side, which was kind of funny and interesting. This is a creative misfire, but it still manages to be somewhat entertaining, much more so than “Invincible”, anyway.
7. GANGSTA SKIT
To his credit, Capone actually spits a verse on this interlude. But it isn't a very good one.
8. FUCK WITH US
At least he's being upfront with us, but what exactly does Noreaga have against sex? He keeps bragging about how much he loves receiving oral sex, but he's apparently afraid of pussy. What's up with that shit? Anyway, the beat wouldn't be terrible if not for its facilitation of a weak-ass hook. Capone, good luck with your duo's hunt for “the pesos”: with the exchange rate being what it is, you'll he hustling for quite a fucking while. You may not even be able to find the time to record shit like this, which might be a blessing. (Online websites seem to believe that this song also goes by the title “Ya'll Don't Wanna”, which I guess would fit my version's name like a puzzle piece.)
9. SHOWS! (INTERLUDE) (FEAT. TIMBO)
...
10. STRAIGHT LIKE THAT (FEAT. ALGADO & SHOBALLOTTI P/K/A FINAL CHAPTER)
This Jewellz beat isn't all bad, but the chorus on here should have been fucking erased. Otherwise, this Thugged Out posse cut is okay, I guess. The weed carriers do a much better job than they should, given their lot in life, and I liked how Noreaga appeared to have absolutely nothing to do with the song until you heard him prepping in the middle of the artist formerly known as Final Chapter's contribution. Could have been a lot worse.
11. ALL WE GOT IS US
Over a poppier-than-it-should-be EZ Elpee beat (due to the drums), Capone and Noreaga each take one-and-a-half verses to get their point across (in short, Noreaga is friendly while Capone is far more guarded, but when it comes down to it, they can only trust each other). Almost everything on this song is of no consequence: aside from the reference to Latina women spitting sperm onto your car seat (after blowing you, obviously – just try cleaning that shit up), all I can recall is Nore's phone ringing at the end of the track during his rambling monologue. Thankfully, he leaves the booth to take the call, but still.
12. BROTHERS (FEAT. GOLDFINGAZ & TROY OUTLAW)
For some reason, Noreaga, the Tommy Wiseau of hip hop thanks to his non-sequiturs and general misunderstanding of how human beings interact, plays it completely straight on “Brothers”, elevating this otherwise rote posse cut into something that you won't immediately turn off. This is quite an accomplishment, considering how far down the hole the man has gotten lyrically after The War Report. Nice work, Victor.
13. B EZ (FEAT. NAS)
This L.E.S. beat is nowhere near as dark and moody as a Capone-N-Noreaga track featuring Nas should be, and Nasir turns in one of his least interesting verses to date (although I will admit that he still walks away with the song, easily), but “B EZ” isn't a complete and utter loss, as the mere presence of God's Son seems to have a positive impact on Capone, who delivers a truly commendable performance, while Noreaga is...well, Noreaga. I'll never need to listen to this shit ever again, but I've heard much worse.
14. GUNZ IN DA AIR (FEAT. 5-8 & TED SMOOVE)
It took me a minute or two, but I finally figured out what this Noreaga solo track was trying to be: this is what he believes a Swizz Beatz DMX song sounds like. Everything from the Havoc instrumental to the chorus, which practically begs the listener to chant along and he'll be your best friend, screams for mainstream radio airplay. Not that it actually deserves that level of attention, as it's corny as hell, but at least Victor had a theme in mind, one Capone, apparently, didn't agree with.
15. WET WILLIE SKIT (FEAT. QADR & TYSON BECKFORD)
What the hell?
16. FULL STEEZY
Kudos to Capone for realizing that what the CNN catalog was missing was a song for the ladies that isn't about forcing girls to give you head and then simulating anal sex with them using the handle of a broomstick because you're too afraid of the vagina to help them reach orgasm in a humane manner. (I have to assume that's what Noreaga was talking about during his appearance on DJ Clue's “Fantastic Four” from The Professional.) Capone handles this love rap for dolo, and although he doesn't sound all that sincere (there's something about his voice: he seems to feel that he's above this material), he works hard to impress the listener, and on that end, he succeeds.
17. QUEENS FINEST (FEAT. ALGADO, SHOBALLOTTI P/K/A FINAL CHAPTER, & MOBB DEEP)
The Havoc beat tricks you into thinking that this could be in the same vein as some of the better Mobb material, but then the lame-ass drum machine that is set to “hip hop dance” kicks in. The tracks boasts six collaborators, but the only folks to receive proper airtime are Havoc, the artist formerly known as Cellblock P, and our two hosts, which I kind of saw coming. Surprisingly, mostly everyone sounded decent (especially Hav, who still appears to be fucking starving), but P squanders his goodwill yet again, with his lame-as-fuck “Last night I sat in a car / It was a nice car / It was blue / It had a CD player / I read a magazine / Better Homes & Gardens and shit / Someone knocked on my window / It was a pigeon / It's dead now / I contemplate life / Fragile and pure / While my girl gives me head / Oh shit, dunn just left his house / Kick her out the car / Throw her bus fare and a Dunkin' Donuts coupon / Reach for the burner in the glove box”-type reenactment of the previous evening's events, in lieu of a coherent verse. Has anybody ever fallen off as horribly as Prodigy? Discuss below.
18. YOU CAN'T KILL ME
Capone sticks with the script, but Nore's bizarre opening lines are fucking hilarious, so much so that I have to actually share them with you two, so that you can understand: “I can't believe what I saw / Through the eyes of the corner (huh?) / I had warrants on each name / Aliases in each state / I got caught, what the hell did I thought? / Turkey bacon or turkey ham, it's pork / It's the same thing.” It's the same thing, people! His verse is more poorly acted than the entirety of Troll 2. Good for a laugh, but I feel bad for Capone, who could have actually pulled this off with a better rhyme partner.
19. DON'T KNOW NOBODY (FEAT. MUSALINY-N-MAZE)
Meh. Capone and Noreaga could have saved four minutes and twenty-three seconds of my life by simply saying “stop snitchin'”, instead of trying to write a shitty song about the anti-police movement.
International pressings of The Reunion contain an extra final song. For some reason, that's the version of the album that I have, so here you go.
20. HEY Y'ALL (FEAT. ALGADO & SHOBALLOTTI P/K/A FINAL CHAPTER)
Truly one of the worst ways to end the comeback album from a thug-obsessed rap duo from Queens. You think anybody back in their home base bumps this shit? Fuck no, they don't. Also, why did C and N deem it necessary to explain that Shoballotti was previously known as Final Chapter on every single fucking song he appeared on? The once would have been enough.
FINAL THOUGHTS: The Reunion was somehow successful, but it's really a fucking mess. In an attempt to appeal to the streets, Capone and Noreaga eschew the pop sensibilities Nore embraced while Capone was locked up (read: there is no Neptunes production on The Reunion) in favor of hardcore rap, but aside from throwing us a bone by including production efforts from Havoc, The Alchemist, and DJ Premier, their respective ear for beats need to be checked. The Reunion sounds what I would imagine an all-Trackmasters gangsta rap album to be, which is a horrible slight to the producers who actually worked on this garbage. Lyrically, Noreaga has reached Kool Keith-levels of nonsense, while Capone tries his best to stay together for the kids, but the task is too overwhelming for him to handle alone. The Reunion, with its lack of consistency and a sound that wasn't even popular upon its release in 2000, is a waste of time.
BUY OR BURN? Neither one, but I understand that you two might be interested in the tracks listed below for some reason, so track those down and you'll just have a few more songs on your hard drive than the next guy. But it's not as though you need to have them.
BEST TRACKS: “Bang Bang”; “Brothers”
-Max
RELATED POSTS:
Capone-N-Noreaga – The War Report
Noreaga – N.O.R.E.
Noreaga – Melvin Flynt - Da Hustler
(For today's Reader Review, I'm trying something different. Both Rex and The Professor (who keeps his own blog, Represent Real Hip Hop: you can check it out by clicking here) sent over Gut Reactions for Capone-N-Noreaga's The War Report 2: Report The War, and instead of running them back to back, I decided to save space and combine them. I don't think I'll do this all that often, but I figured you two may be interested in a point-counterpoint between two of your own (although I have to note that neither of these guys ever spoke with each other, which is why this is more disjointed than I would like). Rex starts things off with the intro, while The Professor starts to chime in during the actual track-by-track analysis with his short takes. Leave some comments for both of them below.)
Hip-Hop has been blessed by plenty of duos that complemented each other so well that their combined output always seems to transcend their individual work. Duos such as Eric B. & Rakim, Gang Starr, Kool G Rap and DJ Polo, Pete Rock and CL Smooth, Organized Konfusion, Mobb Deep, Tha Dogg Pound, Method Man and Redman, OutKast, EPMD and Capone-N-Noreaga. Some of these acts have always been together. Some haven't collaborated in over a while. Some have broken up and have since reunited. What remains consistent is that all of these artists have never reached the heights of critical (and sometimes commercial) success that they have when they are collaborating.
Case in point: Capone-N-Noreaga. These two have always been tight, but that hasn't stopped them from getting progressively worse ever since their classic debut, The War Report, dropped. After selling five hundred thousand units with virtually no radio airplay and helping Noreaga become a star, the members of CNN were set to benefit from successful solo careers. Unfortunately for them, Capone couldn't stay out of jail, so Noreaga had to hold it down on his own, releasing solo projects which ranged wildly from enjoyable to mediocre at best.
For the purpose of this review, I'm skipping ahead to Capone-N-Noreaga's fourth album, The War Report 2: Report The War. They released two projects in between, but they're obviously hoping that fans have forgotten about them (which we have, since they weren't very good). Hoping to capture lightning in a bottle twice, both C and N crafted a direct sequel to their debut, with the main difference being that Capone managed to stay out of jail during the recording process, so he actually appears on every track this time around.
1. PAIN
REX: This was a very good start. There's no real rap album intro bullshit to sit through, just some sampled dialogue that helps set the tone, after which both Capone and Noreaga go in over some somber Alchemist production work. Both of them come strong and place a lot of emotion in their vocals about fallen brothers in the streets and their pain. Powerful track and shows their depth and versatility.
THE PROFESSOR: Well, after that long-ass intro (I left this in because I thought it was funny that what one person thinks isn't your typical “rap album intro bullshit” is the next guy's “long-ass intro”), we get straight to business. Noreaga kicks the song off with a flow similar to his older self from The War Report, while Capone sounds like an entirely different person. The chorus is decent enough, and the instrumental wasn't bad. Overall, this was a very good sign of things to come.
2. BODEGA STORIES (FEAT THE LOX)
R: Scram Jones brings in a very nice beat that giving The Lox and CNN ample room to wax poetically about...well, the bodega, I suppose. That would help the song's title make sense, anyway. The track worked pretty well, but the chorus was pretty bad.
P: I was kind of surprised to see The Lox appearing on here. All three of the guests do okay (Sheek Louch sounds especially interesting over this Scram Jones beat), but Capone and Noreaga also sound fairly decent. The hook was even manageable. All in all, this song was alright.
3. DUTCH MASTERS VS. PHILLIES VS. BAMBOO (FEAT RAEKWON)
R: This was another good beat from Scram Jones, but it draws attention to the poor job that was done sequencing this album, as this track sounds way too much like “Bodega Stories” (which was produced by the same guy). Both Capone and Nore comes across as lazy-sounding, and the title means nothing within the context of the song, save for on the chorus, which isn't alluded to at all in the verses themselves. Although he sounds very sleepy, guest star Raekwon truly destroys the track.
P: This sounded like a leftover from Rae's Only Built 4 Cuban Linx...Part II. Which means that it was good, but not all that great.
4. MY ATTRIBUTE
R: I had never heard of the producer Dreddy K. Amarae, but he brought some real heat on here. Capone and Noreaga don't say anything interesting, but the track still sounded, great and, just as importantly, they sound great over it.
P: This song was annoying as fuck. I liked the beat, though.
5. FAVOR FOR A FAVOR
R: This was produced by resident Ice Water producer BT (who crafted some hot shit on Only Built 4 Cuban Linx...Part II), who provides some chipmunk soul that sounds pretty good, which is a big deal for me, as I usually find chipmunk soul to be annoying. The rhymes are made up of your typical gangsta thug shit; it isn't atrocious or special in any way, it just is. It has become very apparent that, unless these two have a specific concept to write about, they truly live or die by the beat they rap over.
P: This beat was also annoying, but Noreaga sounded good on here. Capone, however, simply sounded out of his element.
6. HOOD PRIDE (FEAT FAITH EVANS)
R: “Hood Pride” was released as the first single from The War Report 2: Report The War, and for good reason, as this song is actually good. Swizz Beatz protegee Neo Da Matrix (what an awful name) provides a teriffic beat, Faith Evans provides some great vocals, and both Capone and Nore talk about how the hood raised them and all that (you know, the same stuff gangsta rappers from New York have been talking about since forever).
P: Now this is more like it. I hadn't heard from Faith Evans in a while, but she sounds good on here. This is the best song on The War Report 2: Report The War thus far.
7. THE RESERVES (FEAT RAEKWON)
R: A short and sweet track. It features both a great chorus from Rae and a great beat by Tha Bizness, and both Capone and Nore sound inspired. This was the best song yet.
P: Don't get too excited: Raekwon only has chorus duty on here. Capone and Noreaga also sound uninspired. This was pretty shitty.
(At this point I have to laugh, because I know that these two are listening to the same album, but their opinions are so far removed from each other, I don't even thing these two are on the same planet.)
8. WITH ME (FEAT NAS)
R: Diggin' In The Crates resident producer Buckwild brings a nice, if a bit boring, beat for Nas and CNN to rap emphatically about snitching and standing up for your fellow soldiers. They all sound great, but Nas does his usual shit, ethering Capone and Nore in the process. Two great tracks in a row. Also, I'm surprised that there haven't been any awful songs so far.
P: Pretty rough Beat on here. Noreaga sounds like his old The War Report self, and God's Son does his thing. (Capone merely sounds okay.) This would have been a fantastic song if the chorus didn't suck so much. Toward the end of track, there's a brief skit involving a letter to Tragedy Khadafi, a friend of CNN who is currently serving time in prison, and that leads into...
9. LIVE ON, LIVE LONG PART II
R: I don't know much of SPK's work, but he arrives with a beat that lives up to the original classic track. Unlike last time, when Noreaga was talking about Capone while he was locked up, this track features both C and N rhyming about Tragedy Khadafi, who basically played the role of missing third member on The War Report, making as many appearances as Capone did (well, he actually put in more work than Capone when you could all of his production credits). It was interesting to hear how big a role Tragedy plays in their lives. That's three great songs in a row.
P: This song, a sequel to a track that originally appeared on The War Report, was pretty good as a dedication to Tragedy Khadafi. It sounds incomplete, but it's still worth a listen.
10. THE OATH (FEAT RAEKWON & BUSTA RHYMES)
R: Awful producer name aside, Hazardis Soundz provides a nice cinematic beat, and each artist recites an oath (hence the title) in a different language before rapping about some random mafia stuff. The concept wasn't bad, and Capone and Nore sound decent enough, but once again, the guests are running shit. That's four in a row.
P: After a long-ass intro, we get down to business, with each artist taking an oath. The instrumental is pretty tight, and everything runs smoothly, at least until Busta Rhymes fucks everything up.
11. BROTHER FROM ANOTHER
R: An uplifting beat from Kyze puts CNN into the right mood to rhyme about how they met and how they decided to get into the rap game. This was one of those songs that only a musical duo with real love for each other could record, and the emotion in their voices even help strengthen the lyrics. I found the chorus to be a bit disappointing, though. Otherwise, there have now been five great songs in a row. Seriously.
P: “Brother From Another” is about the duo outside of the music business. I found this to be pretty touching.
12. THUG PLANET (FEAT IMAN T.H.U.G. & MUSALINY)
R: This “Planet Rock”-inspired song has a vicious beat. On here, Imam T.H.U.G. and Musaliny connect with Capone and Noreaga for the first time since The War Report. While the chorus is terrible, it does make you want to stomp the shit out of someone, so I suppose it kind of worked. Each rapper also holds their own (for the most part), so this track just bangs in general. That's six great tracks in a row. That's almost unheard of these days.
P: I liked this track because of its purposely-1990s vibe. Another good track.
13. SCARFACE
R: Contains one of the more high-energy beats on The War Report 2: Report The War. However, the beat was at a higher difficulty setting than either Capone or Noreaga know what to do with. I take that back: Nore does what he can, but Capone sounds awkward as hell. This would have been a much better fit for a much better rapper (like, oh, let's just say Ghostface Killah).
P: Max's favorite word: Meh.
14. THE CORNER (FEAT AVERY STORM)
R: M3 comes with a really interesting beat, one that sounds both militant and somber at once. I really liked the singing by Avery Storm on the hook, too. Both Capone and Noreaga sound good enough, if unspectacular: that's one of the more consistent traits on the album.
P: It's halfway decent. But I won't give it a pass.
15. OBITUARY
R: After looking at the title of the track, DJ Green Lantern (the Evil Genius) brings a very appropriate beat, breaking out the organs and everything. This was hardly a song at all: both men begin their verses with long introductions, in which they get emotional about all of the friends and family members they've seen pass away over the years, and then they each fire off some quick verses. They also hand out praise to some of their fallen comrades in hip hop. This was a nice way to end the album, but you won't want to listen to this track more than once. You could say that Capone and Noreaga wasted the instrumental, but it's hard to be critical when they are mourning the dead.
P: This was a decent way to end an album.
(Capone and Noreaga had previously announced that there would be a track entitled “T.O.N.Y. Part 2” on The War Report 2: Report The War, but it failed to make the final cut, so who knows if it ever existed in the first place.)
THE LAST WORD:
R: I have to say that I was very impressed with The War Report 2: Report The War. Capone and Noreaga have banged out an album that both rivals their classic debut and accompanies it quite well. Both projects tread the same territories: snitching, brotherly love, their hood, death, women, alcohol, weed, organized crime, murder, and the like, but these two have managed to do so over some very good musical selections, with a startling chemistry few duos or groups have ever managed to muster even in their finest moments. You could even argue that this sequel is a more complete product than the original, as Capone and Noreaga share every track, and they have less guests this time around. The War Report 2: Report The War is also just the right size. sixty-two minutes with no (real) skits. There isn't a weak beat on the entire album, and nearly every guest makes a strong appearance (except for Musalini, who kind of sucks). Aside from the part where two Scram Jones productions played back-to-back, even the sequencing on here was well though-out. (You shouldn't ever listen to tracks two and three together, as they sound far too similar and it actually detracts from both of them when you do.) I highly recommend a purchase. While you're at it, you should pick up The War Report as well, as you won't be disappointed. However, if you hate albums that glorify violence, drug use, liquor, the mob, and the degradation of women, then you just wasted your time reading this review.
P: The War Report 2: Report The War is a pretty decent album, although some of the songs clashed with one another. Noreaga sounded like a rejuvenated rookie artist at times, which was a nice change of pace. I'm surprised that Capone and Noreaga actually took it back to the streets as they promised, as opposed to going the mainstream route (although it does sometimes steer into that territory). While it was one of the better albums I've listened to all summer, you still shouldn't rush out and buy it: a burn will suffice. It isn't consistent enough for me to recommend a purchase.
- Rex & The Professor
(Yeah, I know, that was weird, kind of awkward, and I probably won't do that again. Let me know what you think of both the album and the format by leaving some comments below.)
Does anyone remember being slightly creeped out at the album cover when The War Report dropped? No? It's just me? I don't see how that's possible; come on, picture an army made up of only robot Capones and Noreagas. It's kinda like that horror flick, Multiplicity, starring Michael Keaton. What do you mean, it was supposed to be a comedy?
Anyway, Capone-N-Noreaga, also known as Capone and Noreaga, is a rap duo that came straight outta Queens, New York. Capone, whose name used to be Kiam Holley until a tragic boating "incident", was from the Queensbridge housing projects, but for some reason, always turned down the locally brewed water offered on a regular basis by the likes of Nasir Jones and Cormega H. Macy; he instead opted for Ozarka. Noreaga, or Victor Santiago if you're nasty, hails from Lefrak City, and often refers to his old housing projects by the code name "Iraq", which right off the bat will make The War Report an uneasy listening experience for some.
CNN, as they often call themselves in an effort to make things more efficient, met each other while in prison, and decided that rhyming together would be a nice diversion to, I don't know, being in prison. Once released, they got the word out, even appearing in the Unsigned Hype column in the hip hop bible of yore, The Source. They signed a deal with Penalty Records, and with the help of Tragedy Khadafi (the former Intelligent Hoodlum), recorded their debut The War Report. In fact, Tragedy helped with production work, guest rhymes, catering, mixing, sample clearing, wardrobe, marketing, and underwater basket weaving, to such a degree that many people considered him a third member of the group. Which would be a stupid assumption. Notice the name of the duo is Capone-N-Noreaga, not CNN & Friends.
CNN & Friends wouldn't be that far off, though. Midway through the recording process, Capone violated his parole and was sent back to the clink, leaving Nore all by his lonesome. To fill the void left by Capone, Noreaga and Tragedy called in some favors. Guest spots include both halves of Mobb Deep, who I'm guessing were hanging out at the diner on the corner about a block from the studio, Tragedy's boy Iman Thug, and a bunch of Nore's weed carriers, and production duties were in the very capable hands, of Lord Finesse, Nashiem Myrick (of Puff Daddy's Hitmen), Marley Marl (!!!), and Tragedy himself. Together, the mostly solo Noreaga, with a few assists from Capone, delivered a grimy and hardcore East Coast gangsta rap album, with the help of Capone's infrequent narratives and Noreaga's ridiculous non-sequiturs and visual imagery.
The War Report is considered to be a hip hop classic, and is credited with both establishing the career of Noreaga (not Capone, though) and ending the East Coast's infatuation with the Mafia that was started by the Wu-Tang Clan (and immediately dropped by the Wu-Tang Clan) and pushed toward its inevitable demise by Nas and The Firm. I wouldn't go that far; that would be placing too much importance on a rap album that was made strictly to be entertaining. As for that "classic" moniker, though...
1. INTRO
Yes! A rap album intro! I haven't heard one of these in such a long time!
2. BLOODY MONEY
EZ Elpee brings a simplistic but effective banger for Noreaga to rhyme over. Looking back, guys, was it wise to have the first song on The War Report be a Noreaga solo effort?
3. DRIVER'S SEAT (FEAT IMAN THUG)
Iman Thug sounds like Ghostface Killah at a slightly sped-up RPM. That being said, wow, this song is super-annoying.
4. STICK YOU (FEAT TRAGEDY KHADAFI)
I don't like how the song waits until the one minute nine second mark to start, since it actually sounds pretty good. Features the first of approximately nine hundred and eighty-four guest appearances by Tragedy The Intelligent Khadafi. Also features the first rhymes by Capone to be featured on The War Report. The self-censoring in the chorus is off-putting, as it disrupts the flow of the track, especially since it's not like the verses are censored.
5. PAROLE VIOLATORS (FEAT HAVOC AND TRAGEDY KHADAFI)
Don't get excited; Havoc only appears on the hook. Nore and Tragedy provide Mobb Deep-esque rhymes over a Mobb Deep-esque beat, one that was actually provided by Tragedy. I find it interesting that, on a so-called "underground" hip hop album, Tragedy's references to rape are backmasked.
6. IRAQ (SEE THE WORLD) (FEAT CASTRO, MENDOSA, MUSALINY, & TROY OUTLAW)
Noreaga and the fine folks who carry his pot on a regular basis, over an EZ Elpee banger (any news on whatever happened to him? Anyone?). It should go without saying that Noreaga included this track for the same reason that all semi-successful rappers put their friends on: not out of loyalty, but so there will be at least one song where they have the best sounding verse.
7. LIVE ON LIVE LONG
Nore's tribute to Capone, who was in prison for the majority of this album's recording. Maybe it's just me, but considering Noreaga went on to a somewhat successful solo career (at least, for one album, anyway), I don't think he really minded carrying the burden of The War Report on his shoulders.
8. NEVA DIE ALONE (FEAT TRAGEDY KHADAFI)
Capone appearance number two. Get past the creepy-ass laughter at the beginning, and you'll be rewarded with a song that's actually decent, even though it sounds like it ends prematurely, which I've noticed is a consistent trend on this album.
9. T.O.N.Y. (TOP OF NEW YORK) (FEAT TRAGEDY KHADAFI)
When "T.O.N..Y." was released as a single, I couldn't really get into it, and today it's no surprise why: it doesn't sound anything like a song that should have been played on the radio back in 1997. Nashiem Myrick and Carlos "Six July" Brody provide Capone, Noreaga, and Tragedy with a slow-moving, yet damn near cinematic instrumental to work with, and even though the rhymes aren't always on par with the beat, you'll be returning to this track often, especially if you're a fan of East Coast hip hop.
10. CHANNEL 10
Lord Finesse provides a track that the duo seem to utilize more as a skit than an actual song.
11. CAPONE PHONE HOME (INTERLUDE)
...
12. STAY TUNED
With that title alone, you would think that this was the end of the album. Nope, sorry, you're not that lucky.
13. CAPONE BONE
Wow. This is one of the most imaginative (and by "imaginative", I mean "ignorant") song titles I've seen in a while. Marley Marl produced this?! Say it ain't so! This song is awful, and sadly, it's the only Capone solo song, which will probably lead my two readers to believe that I don't think much of Capone's ability to carry a song. Well, read into that whatever you like.
14. HALFWAY THUGS
Another Noreaga solo. Nore obviously has more of a presence on the mic, which is probably why he got that solo deal in the first place. And if he had rhymed over beats like this exclusively, I might still be following his career.
15. L.A., L.A. (KUWAIT MIX) (FEAT MOBB DEEP & TRAGEDY KHADAFI)
When Tha Dogg Pound, with an assist from Snoop Dogg, released the video for their "New York, New York", the fine folks in Queens took offense to the scenes featuring a larger-than-life Snoop stomping on New York buildings. (It's important to note that the song wasn't actually supposed to be a dis, but the video was probably more of a poor artistic choice by Snoop than anything else.) Anyway, Mobb Deep, Tragedy, and then-newcomers Capone and Noreaga retaliated, with the help of Marley Marl, with a response track that could also be seen as simply a song, not a dis. (This was obviously a far cry from the battle raps of today, where artists title their songs "Fuck You Max" and "No, Really, Fuck You, Max (Kutmasta Kurt Mix)".) There are actually two versions of this track: this one, which utilizes the same basic beat structure that you would later hear on The Notorious B.I.G.'s "Long Kiss Goodnight", and the original version, which jacked Tha Dogg Pound's beat wholesale; both feature the same lyrics.
16. CAPONE-N-NOREAGA LIVE (INTERLUDE)
...
17. ILLEGAL LIFE (FEAT HAVOC)
This was the first actual song I heard by Capone-N-Noreaga, and I only turned it up on the radio because I thought it was a new Mobb Deep release, what with Havoc on the chorus and all. Good thing I did; I still love this song to this day, even though I can't decipher what the vocal sample is supposed to be saying.
18. BLACK GANGSTAS (FEAT TRAGEDY KHADAFI)
If The War Report was a movie, Tragedy wouldn't just have a cameo role; he would be eligible for a Best Supporting Actor award, with the amount of screentime he would have. This song isn't that good, but it features both members, and the beat is pretty interesting.
19. CLOSER (FEAT NNEKA MORTON)
This song sucks. There's a remix floating around that was produced by Sam Sneed, whose "U Better Recognize" (featuring Dr. Dre), from the Murder Was The Case soundtrack, I've always loved. Pretty sure that version sucks too, though. You'll thank me when you skip this track.
20. CAPONE PHONE HOME OUTRO
Exactly as the title reads.
FINAL THOUGHTS: The War Report, while not great, seems to have actually held up ten years later. Most of the tracks presented here haven't lost a step. The continuous references to Iraq are strange to listen to, but once you recall that there was no war in Iraq back in 1997, you'll look past them. The War Report is simply a thug rap album from New York, released at the pinnacle of the movement, back when Mobb Deep didn't suck, and as long as you have a tolerance for violent and misogynistic lyrics, you could do a lot worse than CNN.
BUY OR BURN? You can probably find this album for less than eight bucks, no problem, and you should actually spend the money. With your purchase, you'll receive: one (1) shiny reflective disc that seems to play music when prompted, one (1) plastic jewel case which may or may not be good for the environment (probably not, now that I think about it), and one (1) album booklet, which contains a fun game of "Who the fuck was the guy Photoshopped out of the group shot?"
BEST TRACKS: "Illegal Life"; "T.O.N.Y."; "Halfway Thugs"; "Bloody Money"; "Stick You"; "Parole Violators"
-Max
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Mobb Deep - Juvenile Hell
Mobb Deep - The Infamous
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Mobb Deep - Murda Musik
