This is where the DOOM train really got started, and he leapt up into underground stardom (and even a strange Adult Swim sponsored level of mainstream appeal). Viktor Vaughn - Vaudeville Villain (2003) Yeah this is Fantastic Damage, an album to pump the brakes and lift the weights with. You can't find a bad beat here, none of those beats are topped with horrible rhymes and none of the songs lack in writing or replay value. While I still think that El-P got also more diverse with his beats a few years later, STILL ain't nothing to front on here either with the hard as f' drums or wild layered instrumentation and sample craze. At first, it's easy to think that his rapping on tracks like "Delorean" or "Accidents Don't Happen" could punch me in the face through my ears. Sure it's all some ruff stuff, but El's delivery and flawless technique allows him to drop ill lines one after another all while changing his pace and flow within one verse too. El is one of the best rapping producers of all time, he does always bring that ruckus with his tongue-twisters as he is one of the few rappers who truly *mean and care* what they rap about. Even though Vast Aire was great on Can Ox steez, that group was mostly about El-P for me and him getting an album all by himself is fucking amazing. And quite frankly, he does: his first Fantastic Damage definitely does bring what it promises in its excellent title, and even more. But his best album? No, not by a longshot even - and that is just supposed to show that somehow he is supposed to have even better stuff in his vaults. Funcrusher Plus is a big album, and an excellent one at that it really introduced hip hop to the dirtiest fucking distortion and metallic sounds, both elements that are quite not that well known if you were this thing called hip hop in 1995, for example. This album further certify’s Jay-Z’s place on the top of the rap game, especially in the 2000‘s.įor most of the people El-P's defining work will always be his *first* big one, one that pretty much made him an underground favorite and a voice to be reckoned with, and quite possibly inspired the vast majority of the Oughties' underground classics. But Jay-Z rose and kept rising afterwards. And if this album has any low points which seems merely impossible, it’s that Eminem overshadowed Jay-Z on “Renegade”. Others include “Song Cry, “Hola Hovito”, “Heart of the City (Ain’t No Love)”, and finally the acclaimed “Renagade” (featuring Eminem), which honestly Eminem gave one of the best and most memorable versus of his career. But those three aren’t the only great tracks. And “Girls, Girls, Girls” which features guest vocal appearences by Biz Markie, Q-tip and the legendary Slick Rick has Jay-Z showing his love for just about every type of woman. The next song, “Izzo (H.O.V.A.)”, which samples the Jackson 5’s “I Want You Back” is one of the less resonant tracks but it’s one of the best for sure. Nas came back hard with “Ether”, and balanced himself out with “Takeover”. All this was due to the fact that besides Nas and Jay-Z’s obvious beef, Jay-Z was stating that Nas hadn’t made an album near the brilliance of Illmatic. In fact Jay-Z said “One was ahhh/The other was _Illmatic_/Now that’s a one hot album every 10 year average”. The song “Takeover” was a dis track towards Nas and Mobb Deep. The beats were so well constructed and Jay-Z rapped with such a laid back bravado it seems that it was effortless to him. The thing about it is when he was saying it, he was right! There was no rapper at the time as hot as Jay-Z. ”.Runnin’ this rap shit” are some of the confident words that Jay-Z proclaims on this album.
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