50 Cent: Before I Self Destruct

We may hate him as an artist, envy him as a millionaire, and even despise him as a person. Regardless, there is no denying how entertaining Curtis Jackson can be on a regular basis. Sure, he may craft an entire album titled Curtis, suggesting a more introspective look at the thoughts inside of the head of the musician, and instead deliver an entire album loaded with tracks about flossing and styling, but really, 50 Cent does it so stylistically and so blatantly that one can’t help but simply ignore any preconceived notions of what a “good piece of cake” taste like and “kneed the dough” (shouts to The Yellow Kid for that one). With 50, you get what you expect; an above average rapper with an uncanny ear for tremendous production and zero to limited lyrical range. On Before I Self Destruct, an album title that once again suggest some sort of in-depth commentary on the man behind the music, there is only this school-yard bully who has no conception of forming any sort of academic essay. Sadly, for this reviewer, there is something hypnotic about BISD that keeps him coming back. At times it is like that bug you squished with a book: you know it’s gross and really you have no attachment to this thing, you know it’s dead, but you lift up the book anyways just to check. That’s not to say this album doesn’t have some “unsquish worthy” material, in fact, it has exactly 50% heat, making Before I Self Destruct one of the most blatant hot and cold albums put out in recent memory.

The album starts off so smooth and coherent that 50 straddles on Get Rich or Die Trying greatness for a bit. “The Invitation” is the perfect album starter. Laced with a Ty Fyffe gem, 50 takes it back to the days of intimidation and cockiness as the trusted recipes for success. And why not? It has worked for him on various occasions. “Then Days Went By” is an awesome brief recounting of some timely mementos from Fiddy’s past. The Lab Ox produced soul-enthused piece gives Mr. Jackson a platform to wax philosophically on his non-regretful experiences ranging from his run-ins with crime, dysfunction families, and successes. “So Disrespectful” is just that, an un-bashful, blatant laugh-in-yo-face to all of Fifty’s haters, even name dropping a few in there (Jay-z, Game).

“Death to My Enemies” is one of the albums obvious standouts, as it contains an NWA-esque Dr. Dre production draped with addictive elements that let Curtis dive into discussion about well, killing his enemies both metaphorically and literally (both mostly literally). “Psycho” features Slim Shady in all of his show stealing greatness over a Dr. Dre cinematic experience. Of course, while Eminem gets his freakishly accurate Norman Bates on, 50 delivers a really entertaining performance, trading jabs with one of hip hop’s best and he certainly holds his own by conversing in psychotic extremes both metaphorically and literally (but mostly literally). “Crime Wave” certainly delivers a flurry of uppercuts to the punching bag too, but mostly due in part to the Team Demo heatrock. Damn. This is certainly one for the streets, like, “Heat” territory.

When he gave us the War Angel LP [download] earlier this year, these aforementioned tracks are the types of joints audiences were expecting on BISD. Certainly not on the radar was the underachieving and tacky qualities that define “Get It Hot,” “Do You Think About Me” and “Strong Enough.” In fact when considering the albums title, one has to think where these even logically fit in. With “Stretch,” Fifty further pronounces his cash flow and it is flat out horrible. If he’s going to deliver this content, and by all means I’m not stopping him, at least give me “I Get Money.” He tries equating “21 questions” in various forms with all the female-friendly tracks, but none of them pan out or closely match the sincerity of it. Even the Polow Da Don beat can’t save the questionable “Baby By Me.”

According to 50, Before I Self Destruct was actually made before Curtis. Regardless of the changes he made or didn’t make, “I Got Swag” and the worst-of-both-worlds collaboration with Robert Kelly (“Could’ve Been You” are unnecessary additions to an already outdated project.

Even though the number of 50′s gun references are equivalent to Game’s name drops, they are certainly welcomed when done with that flare 50 has been known to give. Of course, he delivers that flash and flare on occasion throughout BISD, but, he’s certainly not consistent enough throughout the project. It’s just a tad bit obvious that Fif is obviously strictly in the business of making music for profit. This is evident with all the female-and-club-friendly, dumbed-down tracks throughout the 16 track album. Nevertheless, 50 still has the ability to keep even the biggest hip hop cynic’s head bobbing with ridiculously addictive tracks that require very, very little brain power and undoubtedly keep dance floors poppin’. There’s got to be some merit in that. Evidently, there are various products on BISD that show that this once very hungry emcee still can trash talk with the best of them and still can have that ear for beats he did when his monster major label release dropped. As an audience, we should encompass this album for what is it, but lest not forget what it isn’t.

72/100

Psycho

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Stretch

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Do You Think About Me

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Then Days Went By

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