d e c d i s c s


 
    The Notorious B.I.G. / Life After Death
by Milos Yeoman


Bad Boy Records

It wasn't just his portly frame. The Notorious B.I.G. possessed a rare resonance, wielding his words with such emotional honesty that, no matter how much his autobiography got mixed up with his storytelling, his sincerity and authenticity remained. His posthumous new album, Life After Death, keeps it so real that the line between rap and reality has reached new heights of bluriness. Listen to the uncanny last song, "You're Nobody (ŒTil Somebody Kills You)," and you'll never wonder if his recent murder was just a stupid rap cliché again. Still, it's not just possible, but important, to put that line into focus. As hard as it is to separate Life After Death from Biggie's own life and death, the album is thoroughly art, and therefore manages to float atop all the cultural questions that threaten to drown it.

It's good art, too. With Life After Death's double-album sprawl, there's plenty of bum numbers, but the good ones more than carry the weight. The music is more of the same from producer Sean "Puffy" Combs, head-nodding and mesmerizing, but un-exciting (save for "Long Kiss Goodnight," produced by the Wu-Tang Clan's consistently zesty RZA) tracks. This is fine because it places the spotlight squarely on B.I.G. himself. He delivers enough "spittin' phrases that'll thrill you" to carry the whole album.

A captivating storyteller, Biggie spins tales of "climbing the ladder to success, escalator- style," as on "Sky's The Limit," where he relates some of the obstacles on his path to respect: "I'm sewing tigers on my shirt / And alligators / Ya wanna see the inside? huh! / I'll see ya later / Here come the drama: / 'Oh, that's that nigga with the fake' ... blaoh! / Why you punch me in my face? / 'Stay in your place.'" But the storytelling isn't nearly as engaging as the way that B.I.G. raps. His distinctive baritone belies the true heart of his inimitability, his flow. B.I.G.'s phrasing is as masterful as Nat King Cole's, and even more amazing considering his limited lung capacity. How many MCs turn "asking" into "axeskin" so that it can fit with "faction," and not only have it sound appropriate, but really cool too? None. All's you can say is "what a loss."

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Milos Yeoman, Thelonius Blunt, and that Snotman fella frequent the Two Dollar Pitcher Night at the Biltmore.