I am going through a shit time in my life, man. Give me a break.
In the hip-hop world, though, some different type of shit went down. Sean Price, member of legendary Brooklyn collective Boot Camp Clik as one-half of punchline duo Heltah Skeltah, and one-third of Random Axe, passed away in his sleep. If you're not familiar with his music, leave this page now and check out his Heltah Skeltah material and work your way up to his solo shit. I guarantee that you'll be blown away. Sean Price was an example of true dedication to the craft of MCing while staying true to himself, and I'm so sad I didn't get to sit down and have a deep conversation with him in his lifetime. RIP Ruck. Your punchlines and hilarious video skits will be missed. My deepest condolences go out to your family and friends.
Sean's always admirable approach to his profession always reminded me of another OG in the game: Tragedy, coincidentally one of our subjects for this evening. Now I don't want to run the risk of disrespecting a legend like Sean P by merely mentioning him in another group's review but it is my honest belief that if I focus on spreading good hip hop out there, I'm actually paying tribute to what Ruck stood for in his art: good hip hop. After releasing his sophomore effort Saga Of A Hoodlum in 1993, Percival Chapman the Fourth of Queensbridge, known in bowling alleys nationwide as the Intelligent Hoodlum yet secretly competed in juggling festivals under the aforementioned name Tragedy, found the critical and commercial reception lacking (despite the undisputed fact that it was a work of art) and decided, albeit for a minuscule period of time, that he didn't have what it takes to continue his chosen career path as an MC in the treacherous world of the music industry. Which so happened to coincide with the sudden dominance of a few fellow QB artists who were heralded as spiritual successors of his, some whom he even trained personally. You might know of them. Nas? Mobb Deep? Thought so.
So, our protagonist began entertaining the familiar 'Hey, I might actually be worth something after all in this game.' dialogues normally associated with such situations, leading into him beginning a different campaign in pursuit of hip hop glory and riches. Mostly riches, but glory's kinda nice. He went through his bowling buddies notebook (because nobody had cellular phones that could save more than a gajillion contacts with the easiest of ease back then. I think.) and found a certain Kiam Holley, who called himself Capone, truthfully one of the most unimaginative rap names imaginable in a mafioso-rap-saturated market. Numerous attempts as a duo yielded failure after failure, pushing Tragedy to look for another person to fill in as hype-man and add a little something more to the group. This time he went to fellow looking glass enthusiast Victor Santiago, who for some reason kept yelling Noreaga in his sleep so much that his folks started calling him that very name. It is of note that Noreaga was NOT from QB last I checked, thank you. Conveniently enough, both he and Capone choose this most opportune time to get themselves locked up. I'm guessing Tragedy might've been a tad miffed, but somehow they turned this into the best thing to happen to them at that time. See, the two snots didn't really click with each other until the shared jail time and by the time they got out, the two were inseparable. Corny enough to be a movie, really.
By this stage, Capone had already heeded Tragedy's tutelage and became a full-fledged MC. Unlike Noreaga, who was still struggling to lose an idiotic trait of his that would plague him fairly consistently throughout his own career: Many a time comes when the motherfucker simply refuses to flow. Inspectah Deck, Victor Santiago was not. However by then, Tragedy seemingly had enough of his bullshit. He most likely slapped him upside his fucking head a good one and knocked some sense into him. Hey, at least it kept him in check for this album, right? Or maybe it was Mr. Holley inexplicably getting himself locked up again, thereby forcing Mr. Santiago to step up and take his profession seriously, to the utter relief of Mr. Chapman the Fourth. The incarceration of Capone also led to the The War Report getting pushed back a full two years, which was a big deal back then as the hip hop climate was rife with change. Some was good, some was Diddy & Big Willie.
So now that Trag mobilized his forces, (You know. Aside from Pone thrown in the slammer again, of course.) Only two things remained on the agenda: 1. Acquiring some production suitable for his grand vision. 2. Forming a distinctive identity for this group.
I'll let the review talk about the first one while I address the second, for it is much more important to me seeing as I am a resident of the Arab World, and have been so for quite some time now: I personally find it incredibly ignorant, maybe even downright insulting at times, to imploy numerous Arab countries, phrases & ideals in a context of turmoil & thuggery as a metaphor for something as trivial as survival in the music industry or as a measurement of skill in the art form. Number one reason as to why is that I adamantly disagree with the stereotype that the entirety of this part of the world is in constant conflict is because read a book about these people, motherfucker. A book that serves no agenda whatsoever. Trust me, you'll quickly find one. Magic of Google 'n'all. Two: That fucking Arab terrorist image. Aren't you just SICK of going down this particular road? I know hundreds of Arabs here who, quite literally, only know of guns through the movies they watch or the video games they play. Also, statistics say that those terrorists rightly vilified in some media outlets are mostly of non-Arab origin, yet the media only focus on the Arabs in those situations. We all know that terrorism is inhumane but the focus should be on disassociating these criminals from ALL of humanity. Tragedy, you lost a lot of points in my book for that one. I get the 5% Nation babble & shit, but keep those thoughts about this place to yourself, thank you. And by the way: I know that's why you chose the name Khadafi and all but, seriously, the man was not the rebel the West perceived him to be. And, given the way he died, maybe it's time you took the path of your disciple Noreaga and change your name to Afi or some crap. Tragedy Afi, huh? Could work. You know what? Just stick to Tragedy, man.
I've digressed this album into the fucking concrete, apparently.
INTRO
...
BLOODY MONEY
EZ Elpee struck up an often fruitful partnership with Tragedy and his cronies (Well, namely one crony: Nore.) in 1997, starting with this very record. Nore sets the tone forthe rest of the album admirably, meshing well with EZ Elpee's now-signature piano looping, this time sampling from Philadelphia Morning, an instrumental from the classic Rocky OST composed by the legendary Bill Conti. This was proper in all the right ways as Nore sounds pretty convincing throughout.
DRIVER'S SEAT (FEATURING IMAM T.H.U.G. & BUSTA RHYMES)
Nashiem Myrick from Diddy's merry band of Hitmen scores a duet between Nore and Imam THUG, a nickname that does NOT compute in my part of the world, believe me. Imam was briefly one half of the Iron Sheiks along with this project's mastermind Tragedy, one which produced an absolute must-have in Trag's catalogue, Illuminati. Simply because Tragedy sounds like he's rediscovering his hunger for rhyming mid-fucking-song, which is awesome. This song? It moves things along, I guess. And Busta's cameo at the end infuriates me, because Busta: You’re supposed to rhyme on this shit, motherfucker!
STICK YOU
Capone & Tragedy's very first outing on this album is truly marked by an addictive song. Immediately, you're jarred by Capone's very different vocal tone. Dude sounds like he just drank sulfuric acid, and he sounds like that all the time. I don't mind it so much, though. Just thought I'd give you the heads up. The instrumental, by Naughty Shorts, (don't ask) strikes just the right balance between minimalism and melody. The skit at the beginning was entirely unnecessary, though. Other than that, this was awesome.
PAROLE VIOLATORS (FEATURING HAVOC)
Havoc's hook is standard issue. This duet between Nore & Trag is curious because the beat sounds so much like a Havoc beat, yet it’s actually credited to Tragedy as well. Perhaps Trag is a talented shaman when it comes to channeling other people. You know what I believe? I believe Havoc produced this beat for dolo, fuck the bullshit. He simply wanted to give a co-production credit to his lyrical mentor who might've been in a pinch when paying for the crew's dinner that night and Hav, super-producer that he was back then, just gave him that beat for free. Lyrically, Tragedy improves Nore's focus to impressive levels. This was a good follow-up.
IRAQ (SEE THE WORLD) (FEATURING CASTRO, MUSALINY, MENDOSA & TROY OUTLAW)
Nore, no matter how much love you're getting by this point, let me make one thing perfectly clear: You are not fit to lead a posse cut of weed carriers. This shit might fly on your own solos, but not on a goddamn Capone-N-Noreaga album. EZ Elpee does his job proper on the beat, but many people on here never should pick a mic up again. My opinion.
LIVE ON, LIVE LONG
Nore's tribute to his chum comes off as a bit cheesy, but somehow he pulls it off alright. At least, dude has some passion in him. Unlike the songs I hear today, which absolutely do not have soul whatsoever. Such as when whichever Fetty of the Wap tribe of the day blesses us with another of his "hits". It somehow helps that the beat, by something called a G-Money, is pretty fitting for this type of song.
NEVA DIE ALONE
Buckwild of the legendary DITC blesses the duo, or trio on this particular song as Tragedy comes out to play again, an eerie beat that loops a Herbie Hancock sample which inspires all three to rip the beat to shreds, especially Tragedy. He even states later on in his career that working on this album reignited his love for MCing. This was a definite highlight.
T.O.N.Y. (TOP OF NEW YORK)
Another song where all three get down, and this one's the second single. This jam is considered as CNN's signature song, and for an excellent reason. the 3 MCs' chemistry reaches one of its peaks on this album with every verse here complimenting the other well. Built around an exquisite Walter Jackson loop, the Nashiem Myrick beat is one that won't be leaving your subconscious anytime soon. More of this, please.
CHANNEL 10
Lord motherfucking Finesse brings CNN one of his best beats, a perfect atmospheric composition that was begging for Trag & co. to demolish. So of course Percival sticks with hook duties, although his hook is effective. But that's OK, believe me, for in his steed Capone unleashes an awesome contribution that made me seriously rethink my view of his abilities as an MC. Nore sounds more amped than usual, which is supposed to be a compliment. Side thought: I really miss Lord Finesse on the mic. Not saying he'd fit on this type of thuggery, though. I just miss his punchlines.
CAPONE PHONE HOME (INTERLUDE)
I get the sentiment, but it has no place on an album such as this.
THUG PARADISE
Tragedy & co. rip a freestyle to shreds. Sorry, but that's all I got on this one.
CAPONE BONE
Whoops. I may have spoken too soon regarding Poney here. For he wastes a perfectly banging Marley Marl instrumental on truly one of the worst sex raps I've ever heard. I mean, sex raps are by default repulsive, but damn, Poney, what the motherfuck?
HALFWAY THUGS
Another Nore solo. This one backed by a Charlemagne beat. (This Charlemagne is not that waste of human tissue you're probably thinking about from that radio show. I don't care how hard he's worked, that fuck wouldn't have the balls to contribute something meaningful to hip hop culture.) No lie, first time I heard this, I thought this was another EZ Elpee composition. So the fact that it isn't is a nice surprise. Nore takes the imaginary competition to heart with his grimy threats. Had he continued this approach, his solo career could've still interested me for a few more years. Instead, he chose to hook up with the fucking Neptunes. Nuff said. Anyways, this was pretty decent.
L.A., L.A. (KUWAIT MIX) (FEATURING MOBB DEEP)
The lead single, which began its life as a Tragedy single featuring CNN & Mobb Deep. Story time: Work on this album just so happened to coincide with the exact moment the East-West beef escalated: Some truly enlightened people decided in a moment of pure enlightenment (read: they were coked out of their minds) that it was a great idea to roll up and fire live gunshots at Snoop Dogg and the Dogg Pound while they were shooting a video for their East Coast hip hop tribute New York, New York. Yes, it was originally a fucking tribute, NOT a diss. Evidenced by DJ Pooh & Kurupt's approach to their product: Minimalist beat plus rhyming your ass off. Sounds East Coast to me. Anyway, Death Row, under the leadership of crazy person Suge Knight, decided it was an even better idea to insult the entire city in the song's video in retaliation by depicting Snoop & the DPG as giants wreaking havoc in NY. Needless to say, the NY hip hop scene didn't take too kindly to that. However, nobody replied from the big dogs. So, Tragedy took it upon himself & his CNN to record a "response" using the same DJ Pooh beat, while switching the hook to LA, LA. This response tackles the exact same formula as NY, NY, with no specific disses found on the track whatsoever. Later on, hip hop legend Marley Marl was brought on to commission an exclusive beat for said response, rechristened 'LA, LA'. This beat, complied of a ingenious mix of Al Green & the Magic Disco Machine among other elements, is by far the best Marley Marl beat I've ever heard. I don't care what I come off as when I write this, I consider this beat to be Marley's best work in hip hop to date. Of course the rhymes should be up to par, and thankfully, everybody brings their A-game & reach their absolute peak in their chemistry together. Especially Tragedy, as he spits as if this is the very last time he'll be allowed to rhyme. Ever. My only gripe with this classic is that despite the title stating that Mobb Deep will show up, only Havoc rhymes on the song, because Prodigy felt that his verse for this song fit Nas' Live N**** Rap better, thereby sticking to hook duties here. That might've made them more money, (because, come on, It Was Written sold a shit ton more than the The War Report) but he missed out on a critically acclaimed song that would remain in rotation till the end of time within my personal collection. Short answer: this shit is essential. Best song on the album, and my favorite CNN song by far.
CAPONE-N-NOREAGA LIVE (INTERLUDE)
Goddamnit.
ILLEGAL LIFE (FEATURING HAVOC)
Credited as a Havoc beat co-produced with Tragedy again, which I believe to be absolute bullshit by now. Trag probably wasn’t even around the studio when Hav cheffed this beat up. The song is a simple-yet-effective duet between the CNN parties, with Capone's lone verse eclipsing both of Noreaga's bookend contributions. Moving on.
BLACK GANGSTAS
Buckwild returns with one of his textbook magical atmospheric beats, comprised of a haunting xylophone loop taken from Gary Burton, which repeats my sentiments from Channel 10, for Tragedy is on hook duties once again. His hook, however, is better than the hook he provided on said song. As is Capone's verse which leaves Nore's in the fucking Sahara Desert as it soars straight into the moon. Seriously, Capone really showed a hunger that could've made him one of the greats. If it wasn't for his constant need to prove he's from 'tha streetz'. This was bittersweet in its awesomeness.
CLOSER
Ending an album like The War Report with a song from motherfucking Clark Kent?! I consider this to be one of the very worst decisions Tragedy has ever made in this hip hop game. Despite being a very credible producer, Clark Kent always has a nasty habit of looking for radio airplay in his beats and you know this for a goddamn fact, Trag. How could you allow this fuck within 10 feet of the studio at that time, man? And you're nowhere near the damn song! This bullshit attempt at positivity came off as all sorts of insincere. The Sam Sneed remix rectified some of the damage for me.
CAPONE PHONE HOME (OUTRO)
Enough with the Capone phone calls already!
FINAL THOUGHTS:
The War Report definitely qualifies as a headscratcher. One one hand, we have some truly abhorrent attempts at radio whoring, mixed with a lack of focus and too many goddamn skits. On the other, some bonafide classics that will stand the test of time. Most of the latter category has Tragedy's lyrical input, might I add. Tragedy's strange plan to re-enter the rap game apparently paid off though, as I always remember this album for containing a chunk of brilliant hip hop. The lyrical and musical high points on the joint are as high as any classic rap album I know out there, past or present. This thug rap example has truly enough goodness in it to forget that repulsive Closer abomination. What can I say? I love the word 'truly'.
WORTH IT? I'd say yes. If only for the thrill of hearing Tragedy rhyme his ass off again. The awesome beats on here might help sweeten the deal.
TRACKS TO TRACK DOWN:
CALM DOWN (FEATURING NAS)
This gem right here was to feature Trag, Nas & both CNN members. Another missed opportunity resulting from Pone's stupid situation. EZ Elpee brings us a textbook piano sample of his (from a Bette Midler record, of all sources) that allows Tragedy, fellow QB native Nas & Lefrak outtatowner Noreaga to wreck shop. I honestly don't even mind Nas' appalling-as-always singing on the hook as these 3 really have a definite chemistry on here that still endures brilliantly. I still don't know why this was left off the album, as it fits perfectly within its context. Anyhow, it's incredibly easy to find, so git.
Believe it or not, there's more Tragedy stuff! I can smell your curiosity building from here...
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