B.I.G.'s explosive 1994 debut album, Ready to Die, chronicled his survivalism and sexploits with charm, menace, and urgency. After dropping out of high school and serving jail time for drug charges, he recorded a demo tape that eventually landed him at Bad Boy Records, founded by Sean "Diddy" Combs. was raised by a Jamaican immigrant mother, writing raps and freestyling on street corners as a preteen. The title was fitting and limiting: His swagger was unmistakably Brooklyn, but his talent and charisma made him a world-renowned superstar. dubbed himself the King of New York after the Christopher Walken-portrayed antihero from the film of the same name. It’s hard to imagine how that third album would have sounded.At the height of his success, The Notorious B.I.G. “Life After Death” achieves this, and it lives up to its debut. Everybody would have been stoked for another album that sounds like “Ready to Die,” but he wanted something more dynamic, something bigger. While the album lacks consistency, it succeeds in his growth as an artist. (“Another” and “Nasty Boy”)ī.I.G sets the bar high for “Life After Death” by continuing where his legendary debut left off. And finally, “Sky’s the Limit,” the final single of the album, sounds great but doesn’t carry the same weight as “Hypnotize” and “Mo Money Mo Problems." Along with these stand-outs are some good, (“Going Back to Cali” and “You’re Nobody”) some boring, (“The World is Filled” and “Long Kiss Goodnight”) and some ugly.
LIFE AFTER DEATH BIGGIE SONGS CRACK
“Ten Crack Commandments” marks the peak of his lyrical originality, in which he raps exactly what the title suggests. Biggie's storytelling combined with 112's vocals work beautifully and the song comes off as the biggest highlight on the second disk. In the somber “Miss U,” Biggie leaves behind his ego to tell a few tragic hood-tales. Although the change in flow is nice to hear, his double time is inferior to his usual delivery. The CD opens with the fan-favorite “Notorious Thugs,” in which B.I.G raps a lot quicker alongside the Bone Thugs. The second disk isn’t as pretty, but there are a few brilliant stand-outs. Together they are a great way to cap off the near-perfect first disk. But seriously, the stories these two songs tell are something special. Towards the end of disk one there is “Mo Money Mo Problems,” one of the catchiest hip hop songs ever made, "Niggas Bleed," which most strongly displays B.I.G's crazy-good storytelling abilities, and the comedic closer, “I Got a Story to Tell.” These last two tracks are growers because they are carried by words and narrative rather than sound. The disk peaks with “I Love the Dough,” the best sounding track on the album, which perfectly captures the smooth atmosphere of the album. “Kick in the Door” is his response to all of his nagging, child-baby MCs in which he claims, “Ain’t no other kings in this rap thing, they siblings, nothing but my children, one shot they disappearin’.” Finally, “*** You Tonight” is the “Big Poppa” of the album, the bed anthem, led by R-Kelly’s pussy-wetting hooketry. “Hypnotize” is the chart topper which has one of Biggie’s most memorable flows.
LIFE AFTER DEATH BIGGIE SONGS MOVIE
“Somebody’s Gotta Die” is a movie itself. The first four, full-length songs go in this order: “Somebody’s Gotta Die,” “Hypnotize,” “Kick in the Door,” and “*** You Tonight.” There has never been a better twenty minutes. By doing so, B.I.G assures fans that the album will be of equal quality to its predecessor. The first disk kicks off where “Ready to Die” leaves off: Biggie’s resurrection. The two make up a flawed, but very entertaining rap classic. Disk two is a more challenging listen, but needless to say it has its great moments. The track ordering seems to do wonders with all of the album’s mixed styles, and even the interlude and skits feel right. Front to back is a quick, exciting listen, well worth all of its 49 minutes. (see “Niggas Bleed,” “I Got A Story to Tell,” “Ten Crack Commandments”) The first disk is legendary. Although his lyrical themes remain to be about pussy, crime, stories about crime, money, and more crime, the execution is a lot more varied. B.I.G’s voice and rap style rely more on swagger and smoothness rather than his debut’s aggression and technicality. The beats are created for a more world-wide appeal, partly due to Puffy’s sales push, and the album sounds massive in return. “Life After Death” is a two disked, “B.I.G” sized album which trades the Brooklyn grit of “Ready to Die,” with a much cleaner sound. Review Summary: The first disk is near perfect, the second is pretty average.
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