Phantom_rydaz

50 Cent - Curtis Review

More of the same, albeit denser, darker, and a whole lot moodier.

by Spence D.

September 11, 2007 - While not containing any stand out hits like on his 2003 debut, 50 Cent/Curtis Jackson's third official release is a much more consistent affair, in terms of sound, style, and demeanor. Those familiar with 50's blueprint won't find much changed, at least in terms of lyrical latitude, but the overall sonic vibe of the album is much leaner and noticeably moodier. Beats lean toward the low and slow opting for a much darker tone than on any of his previous material. What's more, given that just about every one of the 17 tracks was produced by a different beat meister (Mobb Deep's Havoc actually laced up two of the album's tracks, but he's the only repeat offender), the overall sound is surprisingly uniform and consistent from start to finish. The only downfall to this cohesion is that after awhile things begin to sound the same, with songs melting into one another with little or no distinguishing features to separate them. Consistency has its price, that's for sure.



As mentioned earlier, 50's lyrical stance is remarkably unchanged. He hasn't found God or decided to go afrocentric on his fan base, that's for damn sure. Those who have come to relish in his braggadocio and guns/drugs/ho's thematics will find plenty to revel in here. Yet while the linguistic focus remains more or less status quo, 50's delivery has gotten even more laid back and casual. The trademark sing-song lilt is still there, but now it's smokier and mellower. In many ways it's less aggressive, energy wise, but at the same time it's somewhat more subversive, and in a strange way living up to the adage that real bad boys move in silence (or at least subdued whispers). This is the 50 Cent album that takes a little time to actually sink in.

That said one of the other noticeable differences in this album is that 90% of the guests fall from outside the requisite rap circles. Akon, Justin Timberlake (!), Robin Thicke (double !!), Mary J. Blige, and Nicole Scherzinger are the key guests with the requisite G-Unit appearances from Young Buck and Tony Yayo, and a drive by from Eminem to round things out. In many ways, musically speaking mind you, this album presents a kinder, gentler 50. Or at least a more sonically introspective one.

50's guns-n-glory orientation continues with the intro featuring dialogue lifted from the film Shooters. This bleeds immediately into "My Gun Go Off," a rumbling little ditty that features locomotive bass licks, gun loading sound FX, and 50 delivering laidback menace. It's standard fare from the Southside King. "Man Down (Censored)" continues the dark aural ambiance, piano and bass creating another slice of menace. Gun shots then lead us into the Akon augmented "I'll Still Kill." Even with Akon delivering his silky falsetto nasal intonations, the track is still chock full of atmospheric intimidation.

"I Get Money" is the type of track that showcases 50 stuck in an outdated pattern, extolling the virtues of his earnings, dropping names of high profile automobiles and referring to ice and bling at the drop of a hat. Most folks know that 50 is paid, so to continue to devote time and energy to restating the obvious is a bit played out. At least the beat is a shuffling dose of aggravated stygian compulsion. Dr. Dre drops in for "Come & Go," which is a propulsive number built around shards of synth that careens over the lilting lyrical discharge.


Horror show electronics saturate "Ayo Technology." The swirling ambiance quickly turns into a strange late night club sway, built around cascading blips and click tracks and the lyrics dip into sexcapade territory. JT's falsetto crooning doesn't help matters much, though, especially when he sings "I'm tired of using technology, why don't you sit down on top of me..." 50 keeps the love grinding going on "Follow My Lead," which brings in Robin Thicke for the silk sheeted chorus embellishment. On the track 50 talks about how he treats the ladies, being upfront, honest, and calling things the way he sees 'em. He makes the first of many references to Beyonce and Jay-Z on this track, too.

"Movin' On Up" has 50 ranting about fools who copy his style over an aggressive, rumbling groove. Then "Straight To The Bank" has the man rapping quixotic about the differences between NYC and LA. The sing-song lilting is replaced by a much more aggressive lumber that fits the chugging Ty Fyffe beat. The lyrics basically add up to 50 rubbing his success in the collective face of anybody who has ever doubted his place in hip-hop history. Meanwhile "Amusement Park," which sounded cheesy as a stand alone single, seems more at home tucked in here (it also sounds like it's been revamped for the album, coming off a lot slower and darker in tone that I remember). The infusion of flute sounds rippling through the suave laden bass and the tinkling chimes creates a multi-dimensional soundscape.

With "Fully Loaded Clip" 50 starts in on all his competition, stating that while Beyonce and Jay, Nas and Kelis, Janet and Jermaine and others were all getting lovey-dovey he was cookin' up yayo and dealing guns to maintain his rep. Basically the track is about how when some folks sleep, others creep. It's one of the few menacing tracks that works, thanks to haunting female whispers floating underneath the emphatic bass blasts. The Shady One himself, Eminem, pops up on "Peep Show," another punchy number that revolves around thunderous bass augmented by nice little sonic nuance (strings, guitar, etc). After some of Em's recent sluggish production, this track showcases him in command of the beat and dropping a nice groove that is turgid and catchy at the same time.

The album's bona fide club jam manifests itself in the form of "Fire," which features Pussycat Dolls' Nicole Scherzinger and a scathing synth blitz. Honestly, it's the one track that really feels out of place with the rest of the album, both in tone and sonic structure, even more so than the between-the-sheets-stylings of "Ayo Technology" and "Follow My Lead." Thankfully the Mary J. Blige number, "All Of Me" brings the '70s blaxploitation vibe and creates a sticky funk temperament.

Things conclude with "Curtis 187" in which the familiar slink of 50 is unleashed, as he retells his tale of coming up from being an awestruck youngster to a neighborhood kingpin. Meanwhile "Touch The Sky," featuring Tony Yayo, is the strange hands-waving-like-you-just-don't-care number in which 50 shouts out R.I.P. nods to Biggie and Pac.

Aurally speaking Curtis may just be the strongest 50 Cent offering to date. The overall vibe of smoldering menace and shadowy dread is pervasively rapturous. The only thing that weights it down is 50's lyrical approach, which is still steeped too much in clichés of the street. Naturally if 50 flipped his script too drastically people would flip out, but he does need to shift his focus and expand his lyrical horizons just a tad, perhaps examine some storytelling angles (he's got to have a few Kool G. Rap styled adventures tucked away in the back of his cerebellum) and maybe even some cautionary tales of the street to offset the cocked guns and getting money thematics.

Definitely Download:
1. "Movin' On Up"
2. "Straight To The Bank"
3. "Fully Loaded Clip"
4. "Peep Show"
5. "All Of Me"

IGN's Ratings for Curtis
out of 10 click here for ratings guide
7.7 OVERALL

source:

cOdEoFtHaStReEtZ

wAcK aSs rEvIeW

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$/B aInT nO oPtIoN iTz A rUl3

LadyValentine

I Agree..Review Is Most Definitely On Point

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Why In The Hell Would You Let Your Fingers Type Such Absurdity? - Me

S to the T

7.7 is kinda good

MIke Morrison 18

I like 15 outa 17 songs. and 1 is the intro that i dont like so i give it an 8 or 9