"Roger Ebert once opined, ""Content is neutral until shaped by approach and style."" Ebert has praised Halloween, for instance, which initiated the slasher-flick motif that sluts must die and good girls live. It makes me a little embarrassed to be both a rap fan and a human, knowing that at least a million paying customers are willing to value being the former over the latter. What do you want me to say? That some of the beats are fire ("Hot Sauce," "Still Feel Me")? That a rag-tag collection of superproducers (Kanye, Pharrell, etc., etc.) overcompensates for lyrical boners? That producer Scott Storch ("Time's Up") continues to be the illest white boy in rap? That by the time a verse like "It was just bats then you know/ Beat a n***a down, take his rope/ Now we-a, heat a n***a down, take his coke" showed up I was so desensitized I couldn't even work up the proper Common-style indignation? A friend of mine says generic stuff like the Lox/ D-Block (Jada, Styles, Sheek) is the ultimate rap fan music-its very predictability triggers certain Pavlovian reflexes in the faithful. Seventeen years after Slick Rick taught us to "Treat Her Like a Prostitute," rap grows ever more morally suspect, style has petrified into disinterested affect, and wit has been ground down to a nub. Noxious morality, sure, but Halloween is also bravura filmmaking, exacting its dubious judgments with style and wit. Roger Ebert once opined, "Content is neutral until shaped by approach and style." Ebert has praised Halloween, for instance, which initiated the slasher-flick motif that sluts must die and good girls live. It was certified Gold by the RIAA with over 934,000 copies sold. It features the singles "Time's Up" (with Nate Dogg), followed by the political and world issue crossover hit "Why" (with Anthony Hamilton), "U Make Me Wanna" (with Mariah Carey) and ''Welcome to D-Block'' (with Eminem and D-Block). Kiss Of Death was a popular album among many rap fans. "Kiss of Death" was released in the US on the 22nd of June and reached #1 on both the Billboard 200 and the Rap Albums charts. It is the follow up to his 2001 gold selling debut album ''Kiss Tha Game Goodbye''. Descrição do álbum''Kiss of Death'' is the 2004 album by rapper Jadakiss. Ver mais Your browser does not support the audio element. Provided you can stomach the Will Smith version of Cassius Clay proclaiming "The champ is here!" about every 30 seconds (Jada's cackle could've been kept in check a little more, too), you should find that it's actually superior to this fine record. For further proof, listeners looking to go deeper are strongly advised to seek out The Champ Is Here, a teaser mix presented by Big Mike and Green Lantern. No matter the number of bright moments, you can't help but feel that Jadakiss has his best days ahead of him. These issues aside, Jadakiss makes good on his promise to become a rounded lyricist and receives some valuable help in the form of tight production work from a handful of pros - surprisingly enough, Swizz Beatz's work on "Real Hip Hop" tops anything that producer did for Cassidy's debut, and the Red Spyda-manned title track (bizarrely tucked near the end) is Jadakiss' most vicious track yet. This, along with a particularly ill-suited "soft and smooth track for the ladies" featuring a carted-in Mariah Carey as well as a too-familiar-sounding Scott Storch production, is thankfully the only outright blights on an otherwise satisfactory showing. The most startling thing about Kiss of Death is that Jadakiss dumped a bunch of Neptunes productions and kept only "Hot Sauce to Go," one of the record's poorest tracks. Curta este álbum nos aplicativos Qobuz com a sua assinatura