Hip-hop, perhaps more so than any genre since early jazz, has been a story of dominant forces. While most popular music artists focus on climbing the charts and increasing record sales, since the inception of artist-run labels, DJs and emcees both rise and fall on their ability to influence their contemporaries. Labels gain prominence on the backs of stars. Rock-A-Fella would be a footnote without Jay-Z, not having the capital to continue supporting Wu-Tang or surviving until Kanye. Def Jam South rides entirely on Ludacris and DTP. Cash Money breaks the bank on the shoulders of Juvenile and Big Tymers’ Baby and Manny Fresh. BME Click is little more than aura around Lil’ Jon.
But no one in the past several years has more success or influence than 50 Cent and the boys of G-Unit. Many of the most influential artists, such as Jay-Z and Ludacris, have more hits for themselves, but in terms of raw influence, in the ability to create a dominant force in popular hip-hop, 50 Cent and G-Unit stand tall above everyone.
It’s not fair to compare artists on a single criteria, especially in an industry as complicated as hip-hop music. There are always leaders in individual talents. Jay-Z’s originality of sound or Ludacris’ lyrical flow makes their presence readily apparent. But across all criteria, it would be difficult to argue that anyone in recent memory has eclipsed 50 Cent.
In a strange way, the rise of 50 Cent and G-Unit was both surprising and predictable. Burned out by the rivalries of gangsta rap in the late 90s and flooded with the lighter club-friendly acts like Fabolous and Nelly, the industry was aching for something fresh and bold. By 2002, hip-hop was straining from an odd combination of forces, with increasing Eminem-fueled popularity pushing out the darker, more urban beats that had sustained the previous two decades.
His 2003 release, Get Rich Or Die Tryin’, was a godsend. 50 Cent was able to bring the darker tones of his experience into harmony with club- and radio-friendly rhythms. It immediately sold millions of copies and catapulted him into music stardom. Alongside Lloyd Banks, Young Buck and his former protégé The Game, he pushed the G-Unit style into the forefront of the industry. Under the tutelage of Dr. Dre’s Aftermath label, 50 Cent started his own label and released new albums by Banks and Buck, and more recently The Game. The albums shot up the charts, firmly establishing the label as a dominant force.
Two years after his last release, his follow-up The Massacre hit shelves March 3rd. Critical reaction has been mixed, with most attempting to compare the album to its predecessor, where it often fails to match up. But with two successful singles already released and two more in the pipe, even the harshest critics have to admit its drawing power.
But comparing The Massacre to Get Rich Or Die Tryin’ is hardly an appropriate gesture. It is unlikely that 50 Cent will ever achieve that level of critical praise again. Get Rich Or Die Tryin’ was the beginning of a revolution. The Massacre is the evolution of that vision. Rather than try to once again reinvent things, 50 Cent returns to what worked best for him in the past two years. The beats are solid — dark, harmonious and perfectly in tune with his seductive voice. The flow is always tight, wasting no words in the pursuit of his goals, with tracks alternating between club and street, between Grey Goose and gunshots.
Nowhere is that more apparent than in the single “Out Of Control,” where 50 Cent rides the line between the two. Darkness is apparent, but the beat pulses through, driving the darkness to the edge of a riding dance rhythm.
The entire album is so tight that it’s easy to imagine that 50 Cent tossed it off in one weekend and released it the next. Nothing would be further from the truth, however. 50 Cent is known for his incredible work ethic, recording and remaking upwards of 60 tracks for this album, some of which were leaked onto the Internet, giving a unique look into his progression.
Unlike the tracks of his G-Unit soldiers, which are peppered with guest appearances by 50 Cent and others, there are few guests on The Massacre. G-Unit members appear on only one track, a remake of The Game’s “Hate It Or Love It.” Dark seductress Olivia, know for her 2001 single “Bizounce,” appears on “Candy Shop” and “So Amazing.” Her voice provides the perfect foil for 50 Cent, mixing in seamlessly on “Candy Shop” then flipping to act as a counter on “So Amazing.”
The album’s other two guest appearances, Jamie Foxx on “Build You Up” and Eminem on “Gatman and Robbin’,” sit on the edge of farce. Why 50 Cent allowed Jamie Foxx to appear on his album is a mystery. His voice lacks in consistency, hinting back towards the breathy, falsetto-ridden R&B of the mid-90s. Eminem’s appearance is laughable, as if 50 Cent lost a bet to Dr. Dre and was forced to include the Eminem-produced “Gatman and Robbin’.” Rapping over a “Batman & Robin” riff, the two come off as little more than teenagers playing with the beatbox they found in their older brother’s room.
But these flaws are minor compared to the strength of the album overall. “The Massacre” may not break new ground, but in holding to the revolution started by his earlier releases and the soldiers of G-Unit, it ensures that 50 Cent will remain one of the dominant forces in modern hip-hop.
Grace: A/B
