Released amid much controversy over his latest feuds in the rap world, 50 Cent’s “The Massacre” seems to draw an alluring power from it’s erratic central figure and his public image.
50 has been under scrutiny lately for alleged arguments with his protégé, The Game, after The Game refused to back 50 up on his latest disses of Fat Joe, Jadakiss and Nas.
Sensationalism is nothing new in the rap world, as the gold chains, guns and naked women in any Lil Jon or Trilville video easily point out. But 50 Cent, backed by the celebrity status of Eminem and the authoritative Dr. Dre, has never had to resort to a public “beef” to promote his image.
Actually, after signing with Eminem and Dre’s label, Shady/Aftermath, 50 promptly released his much anticipated debut album “Get Rich or Die Tryin” with a track dissing Murder Inc. rapper Ja Rule.
However the track, and hype surrounding it, was overshadowed by the hit single “In Da Club,” which showcased Dre’s production ability at its finest.
“The Massacre” features only two Dre beats, but he does act as executive producer, along with Eminem and Sha Money XL.
It is appropriate, in any discourse of an album overseen by the man that helped make Death Row Records world famous, to put aside the lyrics for awhile and focus on the beats.
Beat production duties were handed out to a few obscure but talented old schoolers and one rising star, among others.
Scott Storch in particular shines on several tracks. Storch, an ex-pianist for the Roots, laces “Build You Up” with a signature smooth keyboard loop over a thumping bassline and handclap section, a style reminiscent of NERD’s Pharrell. The track, which is more R&B than rap, is punctuated by Jamie Foxx’s mellow vocals on the chorus.
Buckwild, the renowned producer for Diggin in the Crates, also stands out on “I Don’t Need Em.” Known for his hard-core style, Buckwild doesn’t disappoint. Beginning with a hard tapping and drum-kick intro, he moves into a dull, level sample of what sounds like trumpets and carries the listener to another height with a quick transference to a high-pitched, pseudo-scream from the horns. The song ends with a fadeout following the smooth bass that flowed throughout the track, backing Buckwild’s drums.
However, one beat maker outshines all others on the album: Cincinnati based Hi-Tek.
The up and coming Hi-Tek, who made a name for himself producing for underground icon Talib Kweli, handles the duties on “Get in My Car” and “Ryder Music.”
“Get in My Car” offers a simplistic but effective series of high pitched pangs paced by a rhythmic clap but it is “Ryder Music” that stands out as the musical masterpiece of the album.
Hi-Tek utilizes a melodic “oooohhhh” over a soft, fluid background backed by nonchalant bass and drums to evoke a sense of serenity.
“I put my life on the line when I’m out on the street/I put my Teflon on and roll with my heat,” raps 50 over Hi-Tek’s calm composition. However 50’s redundant themes of impending doom from street warfare seem absurd combined with such an evocative, mellow beat, especially to anyone who has heard Kweli’s intelligent, socially conscious lyrics lace a Hi-Tek production.
50’s lyrics on the rest of the album also tend not to stray from his obsession with money and guns.
On “Piggy Bank” 50 returns to old form by dissing Fat Joe and Jadakiss for their affiliation with his arch-nemesis, Ja Rule. On a roll, 50 proceeds in the next verse to dis Kelis, who is married to Nas. Nas’ status in both the hip-hop and rap worlds is iconic and the verse was seemingly uninspired. 50 might as well have dissed Big Daddy Kane.
However, there is a rare instance where 50 can take his morbid motifs and create a fresh head nodder. Such is the case on “I’m Supposed to Die Tonight.”
“Sometimes I sit and look at life from a different angle, don’t know if I’m God’s child or I’m Satan’s angel,” 50 ponders on “Die Tonight,” which addresses the scenario of how one handles the knowledge of knowing that death is imminent.
It is ironic that the best song on the album is a remix of a song that originally featured 50 collaborating with his protégé The Game, who is obviously superior in the lyrical department.
“Hate it or Love it” features a fresh verse from The Game as well as verses from G-Unit members Tony Yayo, Young Buck and Lloyd Banks, who each consistently deliver nice flows.
However, The Game draws all the attention away from the G-Unit family with his emphatic delivery and witty lyrics.
Generally speaking, the production is the high point of the album. 50 Cent is in the position to draw an amazing array of talent and, at least on this album, it is the work of others that raise “The Massacre” to the next level. “Get Rich or Die Tryin” was bold and exciting, but two years later, 50 just isn’t saying anything new. As he would put it, same tek, new clip.
