Close like Starsky and Hutch, stick the clutch. As his funeral parade was slowly rolling through the crowded streets of Brooklyn, the freshly pressed discs were already stacked high in record distribution centers all over the world. So he kicks in the door over a knocking Premier beat, throwing bleach in the eye of any of his peers that dare doubt his mettle. An album is meant to tell a story. But neither mood is ever left to linger, making sure no part of the audience is granted time to become alienated. And he did it with style.
Plus, similarly brought in various guest rappers -- , , , , , -- a few vocalists -- , , -- and, of course, , who is much more omnipresent here than on , where he mostly remained on the sidelines. A succession of hits, no matter their individual success, does not make an album. In hindsight, couldn't have ended his career with a more fitting album than. The ambitious album, intended as somewhat of a sequel to , picking up where its predecessor left off, sprawled across the span of two discs, each filled with music, 24 songs in all. Like 's from a year before, an obvious influence, 's album made extensive use of various producers -- , , , , and more of New York's finest -- resulting in a diverse, eclectic array of songs. Thankfully, the following interlude featuring B.
Kelly, the Peed Piper himself. It may have taken a few years to follow up his milestone debut, 1994 , with another album, but when he did return with in 1997, he did so in a huge way. How do you pull your audience back from the abyss after such a torrent of utter darkness? This wise contrast of tracks is held up throughout practically the entire album. There's still plenty of the gangsta tales on that won so much admiration on the streets, but it's the pop-laced songs that stand out as highlights. Few albums in hip-hop history make a stronger argument for this case than The Notorious B.
Speeding on a gleaming yacht with his scrawny buddy, running from the man, Gucci shirts flapping in the wind as stacks of money flutter across the water in their wake. How does this not stop the whole arch of the album dead in its tracks already? It subtly introduced a sleeker production style and cinematic sound effects that moved away from the rugged boom bap sounds that dominated much of Ready to Die. With the supreme eye for detail that made him such a master of storytelling, Biggie lavishes specific details that make the listener envision the scene: the dogs barking, the blood on the sneakers of the friend giving him the bad news, how he knows him from slinging on the 16th floor. On the second half of the album, we see Biggie introduce another element to his game of contrasting tracks: adopting styles from other regions. This is underscored by a genuinely funny skit a rare feat in itself featuring The Madd Rapper, a character on a talk show who is ranting about why his raps deserve more success than Biggie.
You'd expect any album this sprawling to include some lackluster filler. That's not really the case with , however. Over the course of only two albums, he achieved every success imaginable, perhaps none greater than this unabashedly over-reaching success. More than two decades after its author passed away, the legacy of Life After Death lives on through its creator and a master class in the art of album sequencing. . Much of this is done through sequencing, which can make or break an album, no matter the individual quality of its tracks. Puffy is lamenting his demise as we hear dramatic piano keys give way to falling raindrops.
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