Polski opis

Typ :	LP
Gatunek :	Rap
Rok Wydania :	29.03.2005
Jakość :	VBR ~188kbps Joint Stereo
Okładki :	Front

Opis:
Trzeci album odkrytego przez Jay-Z, rapera z Filadelfii, może okazać się jego ostatnim. Grozi mu bowiem długoletni wyrok za morderstwo i nie wiadomo jak to dalej będzie. W oczekiwaniu na wyrok, Beanie nagrał chyba najlepszy album w swojej karierze.

O ile jego porywające zwrotki zawsze zachwycały słuchaczy, bity często pozostawiały wiele do życzenia. Tym razem otrzymujemy przemyślany materiał, którego muzyczna strona nawiązuje do klasycznych albumów z "Dynasty" i "Black Album" na czele. [...] Beanie Mac wciąż należy do czołowych MC z dużym ego i umiejętnością opowiadania życiowych historii. Nie jest, co prawda, w stanie zbliżyć się maestrią do swojego mentora, jednak niewątpliwie pnie się w górę. Warto posłuchać.
[fen.X, muzyka.onet.pl]

 English description

Type :	LP
Genre :	Rap
Year :	29.03.2005
Quality :	VBR ~188kbps Joint Stereo
Covers :	Front

Description:
When Jay-Z signed Beanie Sigel to Rocafella without a demo, it was clear that he saw something special in the young Philly rhyme-spitter. Beans has often shown glimpses of his potential, but has not been able to sustain it for a full album. Well, not until now. After months of being burdened with legal issues before serving a one-year jail sentence, Beanie presents his most sincere and comprehensive work to date, The B. Coming.

The album stays true to its title, as Beanie’s growth is clear throughout. He vents on the pain and stress in his life on “ Can’t Go On This Way ,” pleads for forgiveness from a higher power on “Lord Have Mercy,” and takes a reflective look at his progression on “ Look At Me Now .” His spider-sense is tingling on “Feel it in the Air,” where he grows wary of those around him over Heavy D ’s somber sax. Cam’ron comes through on “Wanted,” as they give rules for fleeing the police over a Bon Jovi sample: “Can’t go where mom at / the last place you wanna bring the dram’ at / the first place they gon’ track / I prom’ase.” But when the stress becomes intolerable, Bun B joins in to indulge in some much-needed “Purple Rain,” their salute to intoxication, which samples The Dramatics’ “In The Rain”.

On The B. Coming, Sigel’s lyrical flow is as sharp as ever, especially on “ Once Again It’s On ,” a recycled track from Chain Gang 2 that sounds as fresh as it did when it was first released, and “One Shot Deal,” where he trades punch lines with a vintage Redman: “I put your body in a cast / keep my shotty on blast / hardheads don’t get the picture til’ they see the flash,” Sig raps. Just Blaze revives Johnny “Guitar” Watson’s “Proud of You,” as the Broad Street Bully links up with Sadat X and Grand Puba to dismiss gold-diggers on “Bread and Butter.”

Sonically, The B. Coming plays smoothly despite production from a plethora of beat-makers, including Chad Hamilton, Boola, Buckwild and DJ Scratch. They all manage to set an ambiance consistent with Sigel’s state-of-mind. Although, the various production does not disrupt the album, it’s the many guest appearances that take the spotlight off of Beans too often. The most awkward cameo by far is Snoop’s on the Neptunes-produced “Don’t Stop,” which sounds like a thrown-together stab at radio play.

Although there are a few trivial faults, The B. Coming‘s strengths greatly outweigh its weaknesses. With all of the stress, from his attempted murder trial to his house arrest, Beanie Sigel has dug into the depths of his soul and created his most masterful work yet. This album does not need a title track to prove that Beans is finally “becoming” everything that Jay once saw in him and more.
http://www.nobodysmiling.com/hiphop/album_review/84791.php