Once upon a time in SCHOOL STREET, somewhere in the Yonkers of New York, there lived an up-coming, black American rapper who was mentally unstable. SOMETIMES, he would be ardent, emotional, loving, passionate and spiritual. Sometimes he would be crazy, depressed, insane, paranoid and sick. Sometimes he would be calm, contemplative, introspective or reflective. Other times he would be angry, ferocious, irate, violent or simply.... p*ssed off! In fact, this Yonkers-based human being, possessed bipolar disorder driven by VIOLENT mood-swings enough to instil fear in anyone across the world.
Nevertheless, at the age of 13, this black individual developed imaginary ambitions to become a professional rapper with tangible messages to offer in real Hip Hop. He eventually accomplished his dream in 1991 on the underground scene and through his 1992 debut single 'Born Loser'. He then made headway towards the commercial scene in 1998, where he eventually enrolled on the Ruff Ryders label. He took on the image of a psychotic creature, specifically a MAD DOG, always BARKING his lyrics in agitated, hardcore fashion like he suffered severe maniacal depression. He took us rap listeners into his demented, deranged and greatly depressed mind, investing plenty of passion and soul in his rhymes. Ladies and gentlemen, in this Hip Hop story line, this is where DMX ( real name: Earl Simmons ) and 'THE GREAT DEPRESSION' album enter the BLOODLINE.
Now that I am on the subject matter of 'THE GREAT DEPRESSION', it's time for me to explain how this record made it to my CD collection.
**INTRO: WHY I PURCHASED 'THE GREAT DEPRESSION'**
The video for the classic commercial hit, Stop Being Greedy was that DMX single that single-handedly instigated my immense appetite for DMX records. That's where my interests in DMX tracks began in the first place back in 2002. I already stressed this in my review on 'It's Dark and Hell is Hot'.
Therefore, I looked out for more of DMX's records and videos as advertised on KISS and MTV Base channels. I came across a DMX music video entitled WHO WE BE and thankfully I was highly impressed. The DOG rhymed simple lyrics from emotion within his heart to give his overview of whom we as people are in the public system. He also grasped the concepts of daily events that have adverse affects on our current society in real life (e.g. getting shot, going to jail, stabbing, robbing etc.). The DARK and humble scenes of the video related to DMX's lyrical descriptions of daily events like pen to paper. The video was designed as photographic memories of events flashing in DMX's brain and was awesome!
DMX's lyrics were highly political and thoughtful with a well executed delivery to make his simplistic lyrics listenable. I immediately felt the depression and HURT he was going through in his tone of voice. DMX is one of the few commercial rap dudes who can use empathy and messages in his lyrics to connect his heart with rap listeners, regardless of adulthood or childhood. This is exactly what I felt as I connected with DMX's political views on WHO WE BE. This is what made WHO WE BE quite impressive to me as a huge fan of political Hip Hop. Finally, this is what lead to me feeling The Great Depression of DMX. Thus, I set off like a canine to hunt for DMX's fourth album in a HMV store in London, with the intention of investigating more of DMX's depression.
**OUTRO: MY PURPOSE WAS TO MAKE THE CONNECTION WITH DMX'S INNER EMOTION TO ANALYSE HIS DEPRESSION**
In my last review on 'Tha Konexion', I stressed the importance of genuine FIRE, emotion, charisma and soul that Freddie Foxxx applied to his music. DMX the DOG is hardly any different from Freddie the FOX in this context as we shall learn further in the story of 'THE GREAT DEPRESSION'....
On 'It's Dark and Hell is Hot', DMX combined great animosity and wrath with charismatic storytelling. Worshipped by many fans (including myself), DMX made that debut album his best and most consistent to date, coming very close to classic status. On 'Flesh of My Flesh, Blood of My Blood', DMX's anger was apparently diminished in favour for more entertainment and emotional input into introspective tracks. Overall, laziness sneaked into the standards of DMX's performance over various tracks on the second album. Although I enjoyed listening to DMX's second album for the most part, it didn't have as much BITE as DMX's first album. The third record, 'And Then There Was X' released in 1999, found DMX becoming a tired and lazy dog, losing his appetite in the rap game and slippin into mediocrity. So the DOG decided to take a break and make minor guest spots on various records from other rap artists (e.g. Eve, Jadakiss etc.). After approximately 2 year hiatus (1999 - 2001), DMX grew hungry again to spit some tough, meditative lyrics through his canine teeth, over an entire, rap album. Thus, the dog returned in 2001 to eat and feed like an animal in the rap game, dropping 'THE GREAT DEPRESSION' as his fourth, hardcore album in the process.
On 'THE GREAT DEPRESSION', DMX attempts to maintain a fine balance of anger (GRRR!!!!), braggadocio (UHH!!!!), emotion (WHAT!!!!) and introspection (ARF!!!!). He also recites lyrical contents and a selection of producers (e.g. Dame Grease, Swizz Beatz etc.) from his first three, hardcore albums to compile his fourth LP.
As I march towards the next section, the time has come for me fully reveal the medical report of listening to 'THE GREAT DEPRESSION'. The medical results come in the form of my analysis of the hidden emotion behind the lyrics, spat over hardcore instrumentals, track by track. The medical analysis also covers subject matters about WHO WE BE that contribute to some of the worries, lurking within DMX's mind (WHAT!!!!).
WHAT I EXPERIENCED
I listened to 'THE GREAT DEPRESSION' of DMX for five years, since I bought the CD in 2002 and the hospital results are now ready for December 2007. I present a scientific record of what I observed upon examining parts of DMX's depressed brain over 17 track tests.
1. SOMETIMES (1:06 min)
(Not a music track)
SOMETIMES represents the intro or let's say induction into DMX's thoughts in the form of 'THE GREAT DEPRESSION'. Here are the rest of the data gathered for the first track test....
On this track, DMX whispers to himself in private, contemplating anxiously about life and the environment that surrounds him. SOMETIMES, DMX wonders '....what life's about....'. SOMETIMES he wonders why he likes to shout, which is exactly what his trademark delivery generally represents on most hardcore tracks. At other times, DMX meditates about the pain and hurt that he struggles to bear while it rains so much, he becomes too dejected to care. These are just SOME of the lifetime experiences that the DOG strives to let us people know what he feels emotionally as a person.
This is a great and thoughtful strategy of DMX to enable rap listeners to expect what the rest of this album has to offer. But what makes SOMETIMES particularly special, is DMX's ability to draw attention of not just a rap fan but practically anyone without an accompanying beat. The DOG accomplishes this by uttering simple lines in poetical format and wordplay with an emotional vibe:
'_Sometimes I see things I shouldn't have seen_ Sometimes I wonder why, I'm a hood and a fiend....
....Yet
sometimes the sun shines around the clock But sometimes it's dark, and hell is hot' (Note: DMX whispers this part)
The way DMX spits basic poetry makes it seem as if he revised William Shakespeare's performing arts in English Language and retained it in his cerebral cortex. In addition, DMX sounds like he is staring at himself in a mirror while he speaks about things that SOMETIMES matter to him. Maybe he carried out his strange poetical conversation in a dark, humble room like the one printed inside the booklet of his fourth album's cover (i.e. where the production credits are detailed for tracks 1, 2 and 3).
DMX produced SOMETIMES himself for Bloodline Productions Inc. Since there are no musical instrumentals for this effort (i.e. not a music track), I can't merit this track with a rating. By contrast, if DMX had made the beats visible, appropriate enough to fit what he SOMETIMES ponders, I could have awarded this intro track an 8/10.
Overall, these are the first set of medical results that I present on audio record, based on what SOMETIMES goes on in that troubled, unpredictable mind of DMX.
Rating: Not applicable
2. SCHOOL STREET (3:02 min)
During an ongoing scan of DMX's brain, I studied the hippocampus, the section of the brain's cortex that stores long-term memory. I came across active nerve messages (nerve impulses) in the sensory areas in the hippocampus of DMX's brain. So I decoded these nerve messages into various texts using the hospital's computer and obtained a transcript of lyrics and a track's title memorised by DMX. The name of the track is SCHOOL STREET and represents track 2, the first genuine, hardcore song to be playing in DMX's dizzy, insane mind. The SCHOOL STREET track, from a lyrical stand-point, consists of a cliche, DMX warning that precedes a single, long DMX verse but lacks a hook. From a musical stand-point, the hardcore beats are definitely banging like crazy throughout SCHOOL STREET like bullets shot from DMX's handgun (WHAT?!).
Let's begin with the medical analysis of the beats that Damon "Grease" Blackman ( real name: Damon Blackman a.k.a. Dame Grease ) decoded from DMX's memory, using his keyboard, producing skills. According to Damon "Grease" Blackman's work for Vacant Lot Productions, gunshots, police car sirens and New York bells signal the action and excitement of SCHOOL STREET. Damon "Grease" Blackman then follows up that signal with a busy, hardcore instrumental, loaded with fast, electronic bass and hard-hitting, synthesized drum loops. The hardcore beat is bursting full of energy and has an exciting, commercial vibe, particularly with respect to the bouncy layers of bass lines in the background. Damon "Grease" Blackman terminates his production for SCHOOL STREET professionally with the sound of a giant explosion. This reminds me of the way he closed out DMX's Get at me dog, production-wise, with the sound of a building blowing up. These are the disturbing sound effects that Damon "Grease" Blackman extracted from DMX's flashbacks of SCHOOL STREET!
The lyrics and subject matter are based largely on DMX's long-term memory of SCHOOL STREET, a New York project that he grew up in. DMX the DOG basically calls his home environment, '....home of the brave....', a violent territory where suckers (enemies) end up in the grave.
DMX recalls the friends he hung out with in SCHOOL STREET, as a child. He also remembers when he was part of a childhood gang, or lets say.... a pack of mad dogs in SCHOOL STREET that ran wild. Anyone who saw this violent SCHOOL STREET crew, but were not part of the group, are in DMX's lyrics said to be scared. To be precise, the other people in public would not '....dare even, stop and stare....'. Why? Well, DMX lyrically explains '....cause they know we don't care and we don't play fair....'(UH-HUH!).
DMX gives a special '....shoutout....' to some of his deceased dogs (i.e. friends), namely '....Little Monty and Paso....' who he has wonderful memories of in SCHOOL STREET (aight?). DMX also recounts of the days when he and '....Nick Styles used to get piles of cash....' from street robberies (c'mon!).
Approximately 67 per cent of DMX's verse is nothing more than calling out name's of individuals (UHH!). For this reason, SCHOOL STREET may not stand out as DMX's best, musical piece of art to some rap listeners (WHAT?!). That goes especially for the non-DMX worshippers who prefer to listen to the more frightening DMX and his dark, debut album back in 1998. However, I'll give credit to the DOG's rare ability to incorporate a multi-syllable into his simple rhymes and as well, make people's names rhyme (c'mon!):
[DMX] ' ....I'm DMX but my, name ain't Dave (uh) Step to my title and I'll crash yo' wave Buildin #80 (uh-huh) used to L-I-V-E (uh-huh) Come through on the, late night tip and you could see me....
....Little ni**az, like Big Joe and Nutty Eighty-eight, Dave, Dan, the Peanut gettin money Tweety Bird, Big Monty and Rocky (UH!) His brother Chico, Red Mack's Brother Hockey (UH!)....'
To end here, the results of track 2 test, display the crazy, insane and reflective combination of DMX's character.
Rating: 7/10
3. WHO WE BE (4:43 min)
(Note: Although Dustin Adams is not credited on this album, he is featured on this track.)
Scientific results gathered from track 3 test have revealed that DMX SOMETIMES likes to think politically while feeling depressed about WHO WE BE ('''DMX's second single'''). Thus, DMX exhibits his introspective, paranoid and passionate character as he describes all of the circumstances and anti-social behaviours that he sees in the community (WHAT?!). In short, he raps from '....the heart....' (WHAT?!).
DMX's breathtaking delivery of topics on society and the positive effects it brings to my mind, has already been reported in my Introduction. The DOG's flow and subject matter are driven mainly on monosyllabic terms and very simple wordplay:
[DMX] '_The bullsh*t, the drama (uhh), the guns, the armour (what?)_ The city, the farmer, the babies, the mama (what?!) The projects, the drugs (uhh!), the children, the thugs (uhh!) The tears, the hugs, the love, the slugs (c'mon!)....
....The hurt, the pain, the dirt, the rain (uhh!) The jerk, the fame, the work, the game (uhh!)....'
But the in-rhyming skills, between the monosyllables and disyllables, backed by genuine passion, make valuable contributions to the repeated listens of DMX's views on WHO WE BE. Also contributing to the high replay value of WHO WE BE, is the hook that is driven on a child's backing vocals. The child's voice in particular is that of Dustin Adams. Sound-wise, Dustin Adams' chorus has a mild eerie vibe, but is catchy at the same time. This interesting hook that revolves around WHO WE BE is one of the voices that echoes within DMX's mind of beliefs about corrupt society (UHH!).
DMX adapts his bohemian and unconventional flow to match the commercial beat produced by Black Key ( real name: Mickey Davis ) for Black Key Productions. Melvin "Hip" Armstead acts as Black Key's sidekick (i.e. production assistant), being the co-producer for the WHO WE BE track. But most of the hardcore beats are designed and crafted by the blacksmith, Black Keys. Speaking of Black Keys, the producer unlocks an aggressive sound of music and instrumental that plays in DMX's memory, whenever DMX ponders on WHO WE BE.
These were the following results, after Black Key worked behind the boards to extract the disturbing sounds from DMX's mind and transform them into his musical production....
The production commences with a single drum kick, followed by the sounds of high-pitched, brass trumpets infused with electronic, bass guitars. The rest of Black Key's instrumental is mainly guitar driven. The instrumental is constructed on electronic, hardcore bass guitars, hard-hitting percussion and animated guitar loops that assist in keeping DMX's connection with WHO WE BE spiritual. Personally, I think Black Key's formula of guitar samples holds the KEY to making WHO WE BE highly catchy to go with DMX's sick delivery. Furthermore, Black Key's aggressive art of music is absolutely inspiring to my eardrums and yet somewhat relaxing on my mind.
Yo, Dog (DMX), I agree with your hardcore messages. SOMETIMES, these people don't know who we are. They DON'T know! They couldn't possibly f**king know DOG. That's from the heart! Grrrrrrr.
Rating: 9/10
4. TRINA MOE (4:02 min)
Track 4 tests based on the analysis of the pre-frontal cortex in DMX's brain lead to discoveries of a song called TRINA MOE. Here are the rest of the data in full....
WHAT?! UHH! WHAT?! C'mon!!!! Once I forget about WHO WE BE to check out TRINA MOE, Dame Grease welcomes me into DMX's kennel with beautiful sounds of persistent harps. The producer also grabs my attention instantly with an orchestra of synthesized percussion kicks and light, electronic bass to make up for a commercial-sounding production. In short, Damon "Grease" Blackman's (i.e. Dame Grease) sick and mind-blowing instrumental, definitely bounces to that TRINA MOE!
After politically dwelling on thoughts about who WHO WE BE, DMX bounces that TRINA MOE to explode his thoughts about irresponsible rappers in the music industry. Thus, he uses the pre-frontal cortex section of his brain to mentally, identify the rights and wrongs that various emcees commit in the rap game. Yo check it out....
Right, lets cut to the chase. On this TRINA MOE track, DMX's lyrics and subject matter largely follow the braggadocio formula. The lyrical content of TRINA MOE sounds a lot like Ain't No Way and can probably be thought of as 'Ain't No Way part II'. This is because most of the time, DMX is bragging about his accomplishments as a rap artist and downfall of any rapper he bumps into.
In verse one, the DOG briefly describes how most emcees brag about their personal possessions to sell records. But in a charismatic twist, DMX employs his trademark, DOG-biting lyrics to brag about materialistic rappers dropping in sales, whenever he drops an album. Yes, DMX's lyrics are simplistic as usual, especially for the first verse. But the wordplay and charisma that the DOG uses to get his point across is just awesome. I like the way DMX barks out ....Man listen, you cats better walk easy, I'm on some positive sh*t but I still walk greasy....' in a semi-conversational tone. I believe DMX's intention, was to warn his materialistic rivals that he can craft music with positive messages to appeal to mature rap listeners of introspective Hip Hop. Yet at the same time, still maintain that signature hardcore vibe to draw attention of hardcore rap fans as well as the ghetto generation. In this context, the DOG lyrically stresses to bling bling CATS that there is more 2 a song for the people than expensive cars, shoes and watches.
DMX makes his points crystal clear in verse two and this is where TRINA MOE picks up the most marks from a lyrical standpoint:
[DMX] '_....we already know how much your watch is worth_ talk about, helpin the hurt, savin the church won't you brag about helpin out where you come from and give brothers a job that really want one....'
Besides these concepts, DMX reveals his annoyed and irate character in his delivery over the second verse. In doing so, the DOG is p*ssed off at these stupid black CATS who mess up mainstream Hip Hop with songs about jewellery.
In verse three, DMX lets down the quality of TRINA MOE a bit, by boasting excessively about how many records he sold while most rappers struggle to go gold (WHAT?!). In all honesty, I don't think the DOG really needed to take his braggadocio to that extreme. In as much as I admire DMX's attack against "bling bling" rappers attempting to go gold, DMX must not forget about lyricists like AZ, Common, Cormega and Mos Def. These rap names that I have cited, display a lot more talent than DMX in lyrical complexity and multi-syllables to get their messages across. Yet they have sold even less records than the likes of 50 Cent, Chingy, Nelly and Snoop Dog.
Nevertheless, listening to DMX and TRINA MOE file their complaints against lame pop-rappers who brag about watches, was a lovely experience for me. In addition, DMX's fitting hook for TRINA MOE, relaxes my mind like the positive effects of anti-depressive drugs. AYO!
Rating: 8/10
5. WE RIGHT HERE (4:28 min)
Medical results recorded for track 5 tests, show that DMX continues to come RIGHT HERE with another impressive, music track straight out of his crazy mind. The hardcore track is WE RIGHT HERE and it displays aggression, anger, emotion, fire and temper that burn within DMX's heart. A closer examination of DMX's brain linkages and serotonin levels, will help in further understanding the neurological mechanisms of DMX's anger on WE RIGHT HERE.
WE RIGHT HERE, finds DMX continuing his series of hardcore, street anthems that he traditionally drops as singles to represent his albums. Thus, WE RIGHT HERE was the first single off 'THE GREAT DEPRESSION' and it follows the same trend as 'Ruff Ryders Anthem' and What's My Name. Lyrically, it is especially similar to the 'Ruff Ryders Anthem' and the similarity is most obvious with the powerful hook that DMX the DOG brings:
[DMX - chorus] Bring it! What? We right here We're not goin anywhere We right here This is ours and we don't share We right here Bring your crew cuz we don't care We right here
The written layout of the hook demonstrates how well DMX keeps that tone of anger and emotion locked within his wordplay. DMX successfully updates his formulas on the classic, 'Ruff Ryders Anthem' chorus without losing the dog-bite and trademark, hardcore vibe to his rapping style. Whenever, DMX delivers the hook, the level of his emotion rises temporarily, such that his brain level of serotonin drops concomitantly. Whenever, there is little or no serotonin (or neurotransmitters) in the brain, you can bet on a DOG's life that the human is going to be ANGRY and AGGRESSIVE as f*ck. This scientific theory, male and female Epinion readers, is where DMX (with bipolar disorder) falls into the scientific equation.
From a lyrical stand-point, the rest of WE RIGHT HERE is based on braggadocio lyricism that bites my eardrums with a creative edge. DMX spits braggadocio rhymes through his canine teeth, over all three verses with a vivacious delivery. The rhymes for WE RIGHT HERE runs mostly on two-syllables but the lyrics as a whole serve their purpose to support the honest, mental toughness of DMX. As DMX stresses that WE are RIGHT HERE to stay in the rap game over three verses, fire burns steadily within his soul. In addition, DMX barks out a few of his lines against various rap cats on track 5 just as he aggressively did on track 4.
Well as WE are still HERE on track 5, I guess I'll spend some time giving my analysis of the production handled by Black Key....
Black Key studies the patterns of sounds that travel along the framework of brain linkages and neurons in DMX's pre-frontal cortex. Black Key then unlocks DMX's brain, extracts the sounds and plays it on the musical boards to produce WE RIGHT HERE for the second time on 'THE GREAT DEPRESSION'.
Production-wise, Black Key's performance behind the keyboards for WE RIGHT HERE, is ill to my eardrums and definitely banging! His beats are constructed on lively bass and hard-hitting percussion snares, designed to match the red-hot temper heard in DMX's voice. The bass lines have a touch of electronic flavour to them, allowing for the track to grab attention of mainstream rap fans. The dangerous, percussion snares provide the atmosphere with an energetic, street-wise feel and aggressive mood to draw attention of hardcore rap listeners.
Yo DMX, Bring it! WE RIGHT HERE to support your vigorous rapping performance, live in SCHOOL STREET!
Rating: 10/10
6. BLOODLINE ANTHEM (4:26 min)
(Note: Although Dia is not credited on this album, she is featured on this track.)
After track 6 test of the BLOODLINE ANTHEM, I obtained a mixture of positive and negative results based on the quality of this track. Overall, the results were average as we shall see below....
Right, let's begin with the good factors that the BLOODLINE ANTHEM has to offer. More energetic production is brought to the table to feed the lively and vivacious delivery of DMX. The heavy, instrumental produced by DMX and Kidd Kold ( real name: B. Collins ) is rock influenced. It sounds like an orchestra of electronic rock guitars, urban drums and Yahama keyboard effects being performed in a motorcycle garage. Altogether, the beats are catchy and pleasant upon my listening experience.
Dia ( real name: Diavallan Ferron ) sings the chorus lively with her soprano voice delivered vivaciously, flowing perfectly over the rock-driven instrumental. In doing so, Dia informs us rap listeners that ....it's our TIIIIME out to let em know.... DMX will be coming harder at other ni**as in the music industry. Dia's vocals also serve to make the BLOODLINE ANTHEM track sound like a real anthem in support of DMX's lyrics.
Right, now it's time to report on the drawbacks and this is where weaknesses observed in DMX's hardcore lyricism enter the equation. As I have already mentioned, DMX is angry and vivacious (i.e. energetic) and flows well over the beat. But some of his lines are admittedly whack and his rhyming on many occasions, is just appalling:
[DMX - 1st verse] I like my blunts heavily hashed, bi**hes heavily a*sed....
[DMX - 3rd verse] Now there's a lot of - b**ch ni**az that's rich ni**az I stick ni**az (uhh) Pick ni**az and hit ni**az I lift ni**az (uhh, uhh)....
And these unoriginal lines are interspersed with some nice (if not special) rhymes that DMX the DOG furiously spits at his haters in BLOODLINE style. Given the presence of whack rhymes that aren't compatible with the dope ones (e.g. ....for every bone in your spine (ahh) make a ni**a recline (ahh), this whole rap sh*t is mine (WHAT?!) ....), DMX's verses come across as vague. Overall, this lyrical aspect makes up for a rather patchy, performance by DMX over the microphone.
BLOODLINE ANTHEM, I believe is DMX's attempts at recreating a new version of the 'Ruff Ryders Anthem' from his long-term memory. But lyrically, it doesn't quite have the same impact as 'Ruff Ryders Anthem'. The BLOODLINE ANTHEM doesn't even match WE RIGHT HERE, DMX's alternative follow up to 'Ruff Ryders Anthem', 'Flesh Of Flesh, Blood Of My Blood' and 'What's My Name'.
The findings I present here, are the first drawbacks that contribute to the minor depression of DMX's fourth album. To end my scientific examination of BLOODLINE ANTHEM, I normally listen to this track for the production crafted by DMX in partnership with Kidd Kold.
Rating: 6/10
7. SHORTY WAS DA BOMB (5:12 min)
During track 7 tests, a hospital probing device attached to a PC was used to scan DMX's internal memory again. A thorough probe into DMX's long-term memory revealed that DMX had a relationship in his past life with some girl he called SHORTY. Also observed in DMX's brain, was an outstanding sequence of messages in the neurons, unique to most results I gathered from 'THE GREAT DEPRESSION'. The neuronal messages were translated into a speech of a woman that occurs at the beginning of SHORTY WAS DA BOMB, a track within DMX's imagination. This was was recorded from DMX's memory onto the computer like an answering machine and sounded as follows:
[SHORTY - answering machine] *BEEP* Thursday, June 28th, two, oh-two, A.M. "I just called you and you said Domino's Pizza but, and you said you were on your way but there's just one problem, I'm all the way to f**kin Rochester, New York. Wrong ho!"
As DMX lyrically begins his song about SHORTY WAS DA BOMB, he exposes his enchanting and loving character, making himself sound like Prince Charming. From a lyrical standpoint, DMX's performance over the mic on track 7, is a huge step up from track 6, despite lacking his trademark fury. DMX narrates a tale about how he fell in love with a beautiful girl, whom he nicknamed SHORTY. In the first verse, DMX recounts of all the essential features of the body the girl possessed, making her, physically DA BOMB. The decision that DMX made to capture SHORTY as his girlfriend eventually transpires into sexual activity.
Well, as I scan along DMX's memory to study the second verse, things seem to be progressing well in DMX's relationship. That is until I reach the concepts about DMX's girlfriend on the verge of delivering a baby where she argues '....I ain't havin this kid, is you crazy?....'.
In the third verse of DMX's storyline, DMX's relationship with SHORTY and his opportunity of continuing his BLOODLINE of offspring falls apart. The DOG soon realises that SHORTY was not the honest perfect girlfriend he thought he fell in love with. In return for DMX trying to displaying his devoted, loyal side as a father figure to the prenatal child (unborn baby), SHORTY betrayed him with deceit and lies (WHAT?!).
And so DMX finally breaks up with SHORTY, showing pride in his heart, feeling understandable that they weren't meant to be compatible. He wishes her all the best of luck in the future, saying '....but she'll be aight, cause shorty was the bomb....' in an upbeat mood. Man.... DMX certainly enjoyed tasting SHORTY's good pu*sy like sweet, chocolate shortcakes (UHH!). Still, this doesn't justify the fact that SHORTY was f**kin up DMX's life, forcing DMX to utter, '....This b**ch, has got to go....' in frustration. In addition, DMX spits a decent chorus to go with a nice set of storytelling rhymes.
Other physical observations that I made upon track 7 testing, are based on the musical production by Damon "Grease" Blackman. Dame Grease puts together a nice instrumental of soft drum loops, light xylophones and gentle bass lines. All three musical elements play at a delicate and steady pace, forming an instrumental that creates a laid-back feel to SHORTY WAS DA BOMB. Dame Grease's instrumental also provides a relaxing atmosphere for DMX to calmly describe his experience of his relationship with girl. Thus, Dame Grease succeeds in putting DMX's mind at rest and counteracting the rapper's violent mood swings like the effect of sedatives.
Other than this musical theory, the easing feel of Dame Grease's beats is enough to keep any rap listener (including me) feeling relaxed as well.
Rating: 8/10
8. DAMIEN III (3:22 min)
The AMAZING account of my research project on the investigations into DMX's 'Great Depression', continue as I meet DAMIEN III. Results of track 8 testing of DAMIEN III, with respect to the production and subject matter were truly astounding. Yo, check this out....
The magnificent, DAMIEN III begins straight away with a classic piece of DARK music designed by P.K. ( real name: Anthony Fields ) for P. Killer Trackz/Bloodline Productions Inc. P. Killer is ALWAYS at his best as a producer, when he throws a beat for DMX to rap over. He was the main driving force behind DMX's frightening, classic single, Stop Being Greedy, that instrumentally, possessed a psychotic vibe.
P.K. uses his scary hands to produce DAMIEN III, using incredibly sick piano loops and ghostly whistles. He complements these instruments with simple drum loops that devilishly play through the track like ghastly steps of Frankenstein. All three musical elements combine together to create a terrifying atmosphere that plays within DMX's photographic dreams like a horror movie. By Lucifer, it is like DMX the DOG mentally pictures himself in the dark Canadian forests, having conversations with a devilish WOLF named DAMIEN III!
Lord Jesus.... I feel DAMIEN III is talking to me inside my head and he won't stop hassling me (What?!). This is getting..... really spooky (Uhh!). This is comparable to the terrifying events of Michael Jackson's 14-minute, Thriller video, shot from a ghoul's glock in 1984 (aight!). I must be getting paranoid, crazy and .... mentally SICK (Arrrf!)! Get me back to the animal hospital so that I can get my mental illness medically checked out by a vet (Grrr!).
************************End of DMX's Interlude************************
The subject matter of DAMIEN III sees DMX following his scary patterns of Damien and The Omen (a.k.a. Damien II). DMX resumes his conversation with his alter ego, the bad DMX (a.k.a. Damien) from 'The Omen'. In this context, DMX displays his demented, insane and schizophrenic behaviour that comprise his split personality.
DMX finally comes to his senses that DAMIEN didn't like him as a true friend. As I previously heard on DMX's second album, DAMIEN only used DMX for his own evil schemes and selfish pleasures just like Satan would use Jesus Christ. Therefore, DMX emphasises in his lyrics that the whole time, Damien f**ked with him. This Epinion readers, was the reason why DMX didn't create a Damien-type track for his third LP, 'And Then There Was X'. He didn't believe DAMIEN deserved a place on his third album and Damien's questions below demonstrates this fact very clearly:
[DAMIEN (DMX's alter ego)] Hey yo D ( '''DMX''' ) , it's your ni**a D ( '''Damien''' ) Uh-huh What the f*ck, you forgot about me? You've been eatin real good lately Didn't get a shout out on your last album (third album), what you hate me?
Furthermore, DMX's passionate hook is awesome, especially where it revolves around ....eye for an eye.... and ....piece of the pie..... It even recites a line from the Coming From track, DMX's old collabo with Mary J. Blige.
Besides all that, the feel of DMX's lyrics captures a cinematic vibe. This DAMIEN III track exemplifies creative, commercial Hip Hop at it's finest.
Rating: ++10/10
9. WHEN I'M NOTHING (4:46 min) featuring Stephanie Mills
Track 9 test results obtained upon listening to WHEN I'M NOTHING were very unique from what I observed for the first 8 tracks. In fact, on WHEN I'M NOTHING, DMX steps out of his zone of anger and great depression to try a new rapping style. Thus, DMX trades his signature emotion and fury to display his animated, happy and spirited nature, a behaviour that I rarely see from him in general. WHEN I'M NOTHING could be one of the most cheerful moments of 'THE GREAT DEPRESSION' that DMX usually through on this album (Woo!). DMX also combines his animated and delightful side with doses of introspection (uh-huh).
DMX's lyrical concepts on track 9 centre on whether people in ....more real life.... will still show him love WHEN he's NOTHING. These questions that rests in DMX's thought is made even more obvious by the brilliant hook sung by Stephanie Mills. Given this description of subject matter in brief, WHEN I'M NOTHING is actually DMX's new version of No Love 4 Me (from Flesh of My Flesh, Blood Of My Blood). But this track is far superior to No Love 4 Me due to the graceful and powerful deliveries of DMX and Stephanie Mills over a high quality beat (uhh).
Although DMX's wrath is virtually absent, the DOG's delivery is still very hungry and passionate. DMX is near his lyrical best on this track and rather surprisingly, even spits a bunch of multi-syllables at times (WHAT?!). He comfortly carries this task over a magnificent, non-hardcore instrumental (c'mon!).
Speaking of the non-hardcore instrumental, DMX and Dame Grease join forces to combine their production styles for Bloodline and Vacant Lot respectively. The result is two producers creating an award-winning, silky and smooth beat. The beat has a classic disco vibe it, being professionaly laced with animated horns and other brass instruments, infused with bass drums. This musical masterpiece designed by DMX in partnership with Damon "Grease" Blackman sounds perfect for a high-class concert in affluent parts of New York. Hell, this WHEN I'M NOTHING is a song where DMX the DOG succeeds in reaching out to wealthy music fans from high-class and middle-class backgrounds (Woo!).
Rating: +10/10
Well, I think, I've given a detailed, scientific analysis of 'THE GREAT DEPRESSION' that resides in DMX's mind. So I'll just give summaries of the rest of the medical results in the form of lyrics and production credits printed on paper. The summaries cover my findings of physical track tests carried out on DMX's brain and are numbered from 10 to 17, followed by three bonus tracks.
10. I MISS YOU (4:33 min) featuring Faith Evans
Produced by Kidd Kold for Bloodline Productions Inc.
I MISS YOU ( the third single ) is DMX's eulogy to his deceased grandma, Mariella Holloway who died when he was about ten. He hires the heart-warming, singing vocals of Faith Evans to enhance the emotional vibe as DMX lyrically stresses to his gran, I MISS YOU for all the sunday dinners.
This song exemplifies heart of a true DOG.
Earl Simmon's Grandma speaks from heaven in DMX's dream: "Listen DMX baby, it's gon' be okay".
Rating: ++10/10
11. NUMBER 11 (4:41 min)
Produced by P.K. for P. Killer Trackz/Bloodline Productions Inc.
NUMBER 11 represents DMX's follow up to his previous series of ATF tracks, namely ATF, Heat and Make A Move.
P.K. proves once again that his will to craft his best instrumental for DMX the DOG, is stronger than for any other emcee (e.g. Jadakiss and Styles P). Hence, P.K. delivers a KILLER beat.
The main problem here is DMX's lyrics are vague and the chorus is taxing to listen to especially after about 4 listens of NUMBER 11. Based on the lyrical performance, it doesn't appear NUMBER 11 is DMX's lucky number (WHAT?!). I must therefore regard NUMBER 11 as filler inside DMX's greatly depressed brain.
Although DMX didn't make a video for NUMBER 11, the track itself was released as B-side to his I MISS YOU single on a 12 inch vinyl record.
Rating: 6/10
12. PULL UP (SKIT) (0:21 min)
(Not a music track)
Produced by DMX
This is a pointless track about a group of men PULLING UP in car, at a venue with purpose of carrying out a criminal activity, probably based on stealing bricks of money.
Rating: Not applicable
13. I'MA BANG (4:25 min)
Produced by Just Blaze ('''real name: Justin Smith''') for F.O.B. Entertainment/N.Q.C. Management
The way DMX delivers his subject matter on I'M A BANG, is quite similar to what he successfully achieved on TRINA MOE. I also like how DMX growls like a vicious dog at the end of each verse, especially the third one, before he spits the chorus in paranoid fashion.
Production-wise, this track is A BANG! Just Blaze laces a truly dark instrumental that is heavily rock-influenced and straight hardcore. It is driven on persistent guitar flicks, electronic bass guitars and synthesized percussion that carry so much potential energy, they set DMX's crazy mind on FIRE! In short, DMX bursts into flames of anger which explains the so-called track name, I'MA BANG. Consequently, heat energy is released as DMX's angry voice explodes through microphone!
Okay DMX, say it again - Grrrrrrrrr. I'MA BANG!
Rating: 8/10
14. PULL OUT (SKIT) (0:21 min)
(Not a music track)
Produced by DMX
The men PULL OUT from the scene, successfully making a getaway with the loot. Another nice waste of track space!
Rating: not applicable
15. YOU COULD BE BLIND (4:36 min)
Produced by Swizz Beatz ('''real name: Kaseem Dean''') for Swizz Beatz Part II
Great, introspective subject matter from DMX.
This track showcases Swizz Beatz at his best from a production standpoint. If you could not see and believe this awesome beat was actually made by Swizz Beatz who is usually a bad producer, YOU COULD BE BLIND!
Rating: 9/10
16. THE PRAYER IV
(Not a music track)
Produced by DMX for Bloodline Productions Inc.
DMX writes THE PRAYER IV to God. In doing so he presumably shuts his eyes and speaks to God through his mind. Amen.
Rating: Not applicable
17. A MINUTE FOR YOUR SON (4:50 min)
Produced by Swizz Be
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Jan 5th, 2008
(Jun 6th, 2009)
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