Greg Dona
09/11/07, 02:32 AM
50 Cent - Curtis
Aftermath
September 11, 2007
In the face-off between 50 Cent and Kanye West, hoards of musical elitists call into question Curtis Jackson’s intellectual capacities; why put so much on the line when going up against an artist many consider far superior? These hipsters rattle off a multitude of reasons ‘Ye looms over the mainstream rapper: more intelligent lyrics, slicker beats, and a more fluid flow. Remarkably, they forget that 50 Cent’s Get Rich or Die Trying sold more copies than any other album in 2003, and his The Massacre came in second in that same arena. With Curtis, Jackson looks to keep the ball rolling.
Right off the bat, the CD begins to bore. The introductory skit involves two gentlemen talking about weapons, 50 titled the second track “My Gun Go Off,” the third sports lyrics such as “I’ll murder them,” and “I’ll Still Kill” follows. Immediately listeners wish Curtis to rhyme regarding anything other than stereotypical criminal banter, but he fulfils such desires only after six killing-related ordeals. On the disc’s seventh piece, “Ayo Technology,” even trite sexual dialogue intrigues. Sadly, 50 Cent’s lyrical woes continue after the aforementioned Justin Timberlake-assisted effort, as the ensuing “Follow My Lead” features such gems as “I call a square a square and a circle a circle, so if act like a bitch I’ll call you a bitch.” Curtis’s writing fails to improve throughout the rest of the album.
Fortunately, 50’s fans rarely reveled in his lyrical prowess; instead they rejoiced in his instantly memorable singles such as “In Da Club,” “Wanksta,” and “Candy Shop.” Unfortunately, few such constructions found their way onto Curtis. Lead single “Straight to the Bank” excelled only due to novelty factor fueled by haughty chuckles propelling the chorus; “Amusement Park” lacks any sort of infectious qualities and thus never caught the public ear; and despite sampling Audio Two’s “Top Billin’,” “I Get Money” flopped as well. Jackson calls in for backup on the fourth release, “Ayo Technology.” On the tune, last year’s king of production, Timbaland, lays down a thrilling electronic instrumental sporting simple bass and a racing pace. 2006’s prince of pop, Justin Timberlake, joins his proverbial partner in crime and croons a few choral lines, which prove enough to carry the track. Curtis sounds good through association, and the effort provides a reprieve from an inevitably dull album. But right after such an overwhelming triumph, 50 creeps back into pop music anonymity with his atrocious “Follow My Lead.” The beat tries painstakingly hard to exude sophistication, Robin Thicke moans awkwardly in doomed attempts to exhibit suave characteristics, and Curtis Jackson struggles mightily to put his finger on an interesting rhyme; none happen, and the single fails miserably. With such a stellar track record with respect to singles, fans wonder just how 50 Cent fell so far in the department.
However, non-single efforts manage to impress. “Movin’ on Up” bangs out a relatively old-school beat that 50 pounces on masterfully, his work with Eminem on “Peep Show” reminds listeners of his impressive early efforts, and Akon’s high-pitched wails compliment Curtis’s guttural rumblings impeccably on the musically (but not lyrically) enjoyable “I’ll Still Kill.” In fact, many of these efforts sound infinitely better suited for modern radio in its current fast-paced electronics obsession than the official singles released by 50’s camp thus far. Whereas the chosen songs for some reason feature soft, lollygagging backing, the rest of the album showcases the aggressive, accelerated feel of past Curtis successes. In fact, with “Fire” Jackson churns out one of his most outlandishly captivating tracks to date. Who knows who chose such sub-par singles?
After 50 Cent promised to quit making solo albums if Kanye West outsold him on September 11th, the whole of the music world embarked on a 50 vs. ‘Ye month-long debate. If Curtis intends to stay true to his ill-advised word, he needs to start worrying immediately; though the disc presents more than its fair share of entertaining jams, the shoddy choice of pre-record singles threatens to produce far too little hype to overcome West’s Daft Punk-featuring phenomenon. 50 brought the bangers, but flaky promotion offers up a likely cause of death for Curtis.
Aftermath
September 11, 2007
In the face-off between 50 Cent and Kanye West, hoards of musical elitists call into question Curtis Jackson’s intellectual capacities; why put so much on the line when going up against an artist many consider far superior? These hipsters rattle off a multitude of reasons ‘Ye looms over the mainstream rapper: more intelligent lyrics, slicker beats, and a more fluid flow. Remarkably, they forget that 50 Cent’s Get Rich or Die Trying sold more copies than any other album in 2003, and his The Massacre came in second in that same arena. With Curtis, Jackson looks to keep the ball rolling.
Right off the bat, the CD begins to bore. The introductory skit involves two gentlemen talking about weapons, 50 titled the second track “My Gun Go Off,” the third sports lyrics such as “I’ll murder them,” and “I’ll Still Kill” follows. Immediately listeners wish Curtis to rhyme regarding anything other than stereotypical criminal banter, but he fulfils such desires only after six killing-related ordeals. On the disc’s seventh piece, “Ayo Technology,” even trite sexual dialogue intrigues. Sadly, 50 Cent’s lyrical woes continue after the aforementioned Justin Timberlake-assisted effort, as the ensuing “Follow My Lead” features such gems as “I call a square a square and a circle a circle, so if act like a bitch I’ll call you a bitch.” Curtis’s writing fails to improve throughout the rest of the album.
Fortunately, 50’s fans rarely reveled in his lyrical prowess; instead they rejoiced in his instantly memorable singles such as “In Da Club,” “Wanksta,” and “Candy Shop.” Unfortunately, few such constructions found their way onto Curtis. Lead single “Straight to the Bank” excelled only due to novelty factor fueled by haughty chuckles propelling the chorus; “Amusement Park” lacks any sort of infectious qualities and thus never caught the public ear; and despite sampling Audio Two’s “Top Billin’,” “I Get Money” flopped as well. Jackson calls in for backup on the fourth release, “Ayo Technology.” On the tune, last year’s king of production, Timbaland, lays down a thrilling electronic instrumental sporting simple bass and a racing pace. 2006’s prince of pop, Justin Timberlake, joins his proverbial partner in crime and croons a few choral lines, which prove enough to carry the track. Curtis sounds good through association, and the effort provides a reprieve from an inevitably dull album. But right after such an overwhelming triumph, 50 creeps back into pop music anonymity with his atrocious “Follow My Lead.” The beat tries painstakingly hard to exude sophistication, Robin Thicke moans awkwardly in doomed attempts to exhibit suave characteristics, and Curtis Jackson struggles mightily to put his finger on an interesting rhyme; none happen, and the single fails miserably. With such a stellar track record with respect to singles, fans wonder just how 50 Cent fell so far in the department.
However, non-single efforts manage to impress. “Movin’ on Up” bangs out a relatively old-school beat that 50 pounces on masterfully, his work with Eminem on “Peep Show” reminds listeners of his impressive early efforts, and Akon’s high-pitched wails compliment Curtis’s guttural rumblings impeccably on the musically (but not lyrically) enjoyable “I’ll Still Kill.” In fact, many of these efforts sound infinitely better suited for modern radio in its current fast-paced electronics obsession than the official singles released by 50’s camp thus far. Whereas the chosen songs for some reason feature soft, lollygagging backing, the rest of the album showcases the aggressive, accelerated feel of past Curtis successes. In fact, with “Fire” Jackson churns out one of his most outlandishly captivating tracks to date. Who knows who chose such sub-par singles?
After 50 Cent promised to quit making solo albums if Kanye West outsold him on September 11th, the whole of the music world embarked on a 50 vs. ‘Ye month-long debate. If Curtis intends to stay true to his ill-advised word, he needs to start worrying immediately; though the disc presents more than its fair share of entertaining jams, the shoddy choice of pre-record singles threatens to produce far too little hype to overcome West’s Daft Punk-featuring phenomenon. 50 brought the bangers, but flaky promotion offers up a likely cause of death for Curtis.