The parallels between the film and music industries are uncanny. Not only does Hollywood capitalize on magnanimous audience response by birthing sequel after unnecessary sequel, but Hip Hop is guilty of milking the cash cow where there’s profitable potential, too. Labels know the money-making capacity that album sequels have and mercilessly promote them to death – if not just to maintain their artist’s brand and relevancy, but to also make a pretty penny where pennies are willing to be spent.
And where studios mercilessly suck the dollars out of audience pockets with a “part deux,” consumers are equally, if not more, seduced by the prospect of the sequel. With the recent release of Iron Man 2, for example, the film domestically grossed almost $30 million more in its opening weekend than its predecessor in spite of a smattering of dim reviews, a cinematic feat that shows it ain’t all about the quality of the product – it’s about teasing the audience with the marginal possibility that a follow-up will blow you harder away than you could possibly imagine (even though it rarely does).
Hip Hop heads aren’t immune to drinking the Kool-Aid, either. In its 30-something-year-old life span, Rap has produced classics that aren’t just endemic to the Hip Hop genre – they’re classic in the scope of music history. And when the word “classic” is pinned to an album and a rapper proves capable of producing such an important effort – one that builds on the conventions of the genre while laying the groundwork for its future – there is always heightened demand for a follow-up. Audiences anticipate hearing them with welcome ears – encourage them, even, for the idea of a sequel even meeting the aural game-changing qualities of the first is more than enough reason to entertain the prospect of its creation. Even if the album is hot garbage, at least fans know what could have never been.
Now more than ever, Rap artists with at least one classic album tucked under their belts need the attention (and wallet-stuffing greenery) that successfully executed sequels can bring. In an age where Soulja Boy is the voice of the new Hip Hop generation (a sentence grim enough to send chills down the spine of the hardest thug), much of the older demographic has come to a stalemate. Ol’ jacks have the choice of either competing with the younglings by compromising their sound (Black Eyed Peas, though they’re long gone); rolling out half-baked albums on the regular to keep their name alive in Rap circles (LL Cool J); or collecting checks by sucking their best work dry (no disrespect to the legends, but Big Daddy Kane, Slick Rick and the Sugar Hill Gang stay exclusively touring their classic material).
With much of their mainstream star power diminished to a flicker, many rappers have sidestepped the aforementioned options and decided to hop on the sequel bandwagon. Over the past year, plans have been announced for sequels to classic albums at an alarming rate: Busta Rhymes is cooking up Extinction Level Event 2, Redman has been putting in work on Muddy Waters 2, GZA is laying the foundation for Liquid Swords 2, AZ stays busy recording Doe or Die 2, Capone-N-Noreaga are about to drop War Report 2 – the list truly does go on. And while these rappers may remain more relevant in Hip Hop culture and to heads who live and breathe the stuff, the common thread for these emcees is that they’ve lost the relevancy to pop culture that they once so valiantly had. Focus on Busta, for example, who was once a Total Request Live staple in his prime (never forget the burn that “What’s It Gonna Be” got on the show), with his first five albums going platinum and his sixth and seventh going gold. But the minute he toned down his animated style and gunned for mainstream success, his career went on the decline. His 2009 effort Back on My B.S., one of the spottiest albums of his career, failed to receive any certifications. Some might say that the album was straight up ass.
That’s because the consumer can’t be fooled when it comes to artists with whom they feel a connection. While each artist has a different story than Busta, they’ve all suffered similar downfalls, whether it was because of their transparent efforts to recapture the audiences they once had by chasing a hit or simply because they lost it. Perhaps they were viable and creative in a time when they were breaking new ground, but personalities quickly wear thin in a digital age where an album that’s taken years to record falls by the wayside faster than it takes to download said album with a DSL connect.
And while a mass exodus to Sequel City might seem sporadic and oddly coincidental for a handful of artists all looking to inject their careers with some venom, the root of the recent incarnation of the sequel movement can be traced to a single artist. Raekwon, one-ninth of the Wu-Tang Clan, reinvigorated the concept of a sequel with the September 2009 release Only Built 4 Cuban Linx… Pt. II, capturing the same grittiness and voracity that propelled him to solo fame when he dropped his flawless debut Only Built 4 Cuban Linx… in 1995. Not only did the sequel channel the same vibe and intensity as its namesake’s predecessor, but Rae also proved that he hadn’t lost the spark that so vigorously tentpoled his debut. While a few albums of questionable content had been released in between, the near 15-year wedge between albums seemed like it almost didn’t exist, and Raekwon recaptured any glory that may have been lost during that lapse in waddling productivity.
The response was more than acclamatory. While Raekwon has only sold around 200,000 copies of the disc (an accomplishment that, in this day and age, is mighty healthy), it was more than enough to cement his legacy as a solo artist and reel back any fans that may have lost interest in the emcee’s movement. And with the critical outpouring over the album’s playback value, the Chef established himself as the poster boy of reclaiming lost glory. The sequel formula had been a success. All it took was re-subsuming oneself back into that hungry mindset – independent of outside pressures and expectations – and the album became the aural embodiment of picking up where many had assumed (and feared) was the peak of his creativity.
Clearly, the success had a domino effect. Raekwon had recapitulated himself into Hip Hop relevancy, and all it took was giving the fans what they wanted. Heads had been fiending for OB4CL2 since it had been announced in 2005. All Rae needed to do was take his time making sure it played smoothly from front to back, waited for a few years to help build anticipation and, after sitting on the project so long that fans had nearly given up hope on its release, set the joint free, sending ripple effects through the Hip Hop core and beyond. Rappers took note. The idea of releasing yet another album in a line of records that yielded diminishing returns began to seem tedious and unfulfilling for rappers of the same era. Thus began the popularization of the contemporary sequel – fruit-bearing if done right, and even juicier if timed to perfection.
And while several sequels have been announced that haven’t yet come to fruition (all of the previously noted albums are works in progress, yet widely discussed), there are critical consequences if incorrectly approached. The gravest approach to the sequel came shortly after the release of OB4CL2 from none other than Fat Joe, who had recently come off of a publicized feud with 50 Cent that left him almost as scarred and disgraced as some of Curtis’ previous targets (Ja Rule and Cam’ron, though the Dipset front man’s stake in the battle is debatable). The Terror Squad chief was faltering as the people’s champ, and in February 2009, Fat Joe’s label EMI/Virgin Records swiftly announced that they would be releasing J.O.S.E. 2, the sequel to a sequel, a few months later.
After several delays and a lukewarm clamor for the joint, the album was released on October 6, 2009. And if you’re going by numbers alone, J.O.S.E. 2 was one of the greatest failures from a canonized artist to ever hit retail. When the record dropped, Fat Joseph only managed to move an anemic 8,800 copies of his sequel, which was barely enough to land the album in the Top 100 Billboard albums. Pit against the brick, the original J.O.S.E., which landed in stores on December 4, 2001, moved a mere 22,000 copies in its first week – poor sales for any album by the time’s standards, but ending up being a slow-grower, moving across the platinum threshold within six months on the strength of massive, culturally unavoidable hits. (And if we’re really getting into the nitty gritty here, the grandfather record, Jealous One’s Envy, even managed to outsell J.O.S.E. 2 back in October 1995, moving only 1,500 copies in its first week yet debuting higher on the chart and completing its sales run above the 50K mark).
So where exactly did Fat Joe go wrong? Unlike with Raekwon’s second magnum opus, Fat Joe didn’t abide by the rules. Instead of building anticipation by using digital mediums to his promotional advantage and making sure that the product itself aligned with its source material (as well was with fans’ expectations), Joe simply grabbed every producer with a hit on radio, tapped every hot artist in his rolodex for a guest verse and farted out one of the most empty bids for mainstream acceptance in a long while. The album wasn’t just a failure – it was unlistenable. I recall being at the album listening event for J.O.S.E. 2 before the effort hit retail, and even with a few Remys in the system, the music was barely tolerable. Hearing Joe disgrace the name of his best (yes, I said it) work by parlaying its integrity into this pile of trash was not only one of the saddest moments of his career, but it was a monumental letdown for the Hip Hop community.
It’s here where Fat Joe entirely missed the point of the sequel. Raekwon used the sequel not to earn himself a hit record, but to breathe life back into what listeners believed was a career put on temporary ice. Joe looked at his sequel as a way to pay the next three installments of his mortgage. Hip Hop fans may be misguided at times (let’s face it, we’re one Humpty Dance away from facing God’s wrath), but they’re never blind. And when the stakes are high for an artist like Joe to deliver something to chew on, listeners are going to be even harsher than ever if their hopes are raised and then completely dashed.
And that’s not only because there’s so much music available to the public that legendary artists are expected to consistently deliver something that floats above the rest. It’s because the sequel is nothing new to Hip Hop, and fans are hip to the game. In fact, the sequel is almost as old as Hip Hop itself, and there’s a strong, unwritten history of artists delivering part twos of their albums that attain the musical heights of part one. Dr. Dre, for example, has only released two solo albums throughout his career: 1992’s The Chronic and 1999’s (The Chronic) 2001. Not only was The Chronic an insta-classic opus, but its sequel picked up right where it left off. It was almost as if Dre recorded both albums in tandem and froze the latter in time, only to release it precisely when the game needed it most. Faster than you could put one in the air, Dre had not only revived his solo career full throttle – he had sealed his reputation as one of music’s finest. He had made lightning strike the same spot twice, and it was no accident.
While the Good Doctor used his hiatus as a means of building hype around 2001, the sequel became a different sort of promotional platform for Nas. Unlike Dre, Nasir Jones had remained relatively prolific throughout the ‘90s, but like many artists who hit their stride on the first album and rode that momentum right down the hill, “Nasty Nas became Esco’s Trash” over the course of a handful of albums. Illmatic had almost immediately been canonized as one of Hip Hop’s greatest records upon its 1994 release, and as soon as Nas got his first taste of acceptance from a wide audience (not to mention bucket loads of cash), the quality of his music was compromised. Nassir sounded like he’d be willing to sell his nuts for a plaque, and while album sales maintained (even aggrandized, in some cases), his reputation in the hip-hop community had been downgraded to “sell-out.”
We know what happened next. All it took was a lyrical knife fight to get Nas’ mind right. While he had lost touch with the type of music that his core demographic loved the most, it was his lyrical bout with Jay-Z that relit the fire beneath him. After Jay dropped his seminal 2001 album The Blueprint and fired shots straight in Nas’ direction with “Takeover,” it’s almost as if something snapped. Nas needed to take it back to the basics in order to reinvigorate his standing with the “real” Hip Hop, and soon after Jigga dropped his joint, Nas followed with Stillmatic. The Queensbridge emcee re-subsumed himself in the lyrical and creative mindset as Illmatic and, playing the situation correctly, patched over any indiscretions fans perceived him to have had by conceptualizing the album as a whole, rather than as a collection of potential singles. While it wasn’t as aurally gritty as the original, Stillmatic recaptured the hunger of Illmatic with its whip-smart rhymes, potent instrumentals and, of course, “Ether.” Like a phoenix rising from the ashes, Nas gave the people what they wanted and hoped he would produce. He took it back to his roots, and those who wished he could throw his “one hot album every 10-year average” were calmed like a newborn suckin’ that pacifier for the first time.
Not only have Hip Hop fans seen the different ways that artists can approach the sequel, but they even knowingly feed into the hype machine. As long as the artist plays the game right (like, for example, if Dr. Dre ever drops Detox, it’s a wrap) and the sequel is in the same musical vein as its companion piece, heads will support the project. It’s as simple as that. Hip Hop fans support good music. Sometimes, the results aren’t as rewarding as an emcee would have hoped (just take a look at Twista’s Adrenaline Rush 2007 and Freeway’s Philadelphia Freeway 2 – each album could have done alright, though each artist missed the mark on several fronts) or as the fan would have liked (Jay-Z’s Blueprint 2 was uneven and messy, and let’s not get into BP3), but it all boils down to artists cultivating that interest and creating a masterful product.
And as Hip Hop’s immediate future is filled with visions of sequels, it’s in the hands of rappers to play their cards right. It’s easy for emcees to hop on the trend train where they see potential to make coin – especially in a genre where your brand is as big as your bank account – but it’s important to for them to use their product to not only protect their individual integrity, but the integrity of Hip Hop. Fans don’t stick around when they don’t feel inspired, and just as not every single can be a “movie,” not every sequel album can be a blockbuster. And the culture’s posterity, for both the creators’ and the consumers’ sake, depends on rappers realizing that. Slapping the number two on the end of your album title is a dangerous move. Sure, it’s just a title, and most rappers who fail will justify the response by boiling it down to the number. But to the people who really love the stuff, the number means everything. Treat it with respect.
good read yo…
anticipating Az doe or die 2, Gza Liquid Swords 2, Dr Dre Detox, Buckshot and 9th Wonder The Solution, CNN war report 2, Redman Muddy Waters 2, Kid Cudi Man On The Moon 2, Busta Rhymes Extinction Level 2………..
any other sequels I missed, drop your post…………………
Crooked I is coming out with mr. pig face weapon waist 2 (even though the first one wasn’t a classic, or even a full length album).
Brah, Detox isn’t a sequel…hell, it’s a myth!!
return of the boom bip – KRS-One
yeah you forgot penisinyourmouth pt2
YO that article was really really fucking good. One of the best actually. Man, not really much i can say except for Busta Busss better fucking do this ablum right b/c ELE is by far Busta’s best album PERIOD!
I can’t agree. It’s definitely one of his best but I don’t think it’s better than his first two at all.
forgot about Madlib and MF Doom Madvillian 2……………..
I think its worth noting that Marley Marl was the originator of the whole album sequel thing, his first and second albums were titled ‘In Control Vol.1’ and ‘In Control Vol.2’
much respect to the old school
what about epmd and the “business” themed albums yell
http://www.myspace.com/panhandoelrcorp yell
Great article. I’m glad you touched on the Fat Joe scenario, perfect example of a veteran pushing bullshit for the sake of radioplay.
steven i have been following you for quite sometime now over on the boombox, this is a great piece right here, as a writer myself i understand the time it takes to develop such an article b, much respect due b http://www.hulkhatetimetravel.com
Bravo! So far this year, I don’t think I have read any article that was as great as this one. There’s a choice that is to be made in the genre of Hip Hop (Originally a secret but I think this turns it into a choice) when it comes to Sequels.
You either try to recapture the atmosphere of the original album and try to make that masterpiece once again
Or you become like the A&R’s and try to make the most profits out of it just by labeling your album as the sequel for the gimmick.
And seriously, if the artist chooses the number two option, they will never be forgiven by the fans.
Look at Jay-Z. After the first Blueprint, I was damn ready to label Jay-Z as the best rapper ever. But after Blueprint 2 and Blueprint 3 (What a complete sellout album), he has dropped down into the top ten. Sure he has the Black Album, Reasonable Doubt and American Gangster as part of his credentials. But the lasting thought I will have of him, is not being able to follow through from a masterpiece.
I think the one thing that separates Jay-Z and Nas is the Sequel Factor. Jay-Z used the Sequel card when he really didn’t needed to (He has the hottest rapper out there. Why not just make a crappy original album?). As a matter of fact, he used it twice (Blueprint 3 was unneeded. A failed attempt to bring Mainstream fans and Die-Hard Jay-Z fans together). Nas on the other hand, used it when his career was about to be over. That will forever be placed in my mind and because of that, I have to give it to Nas as the better Rapper.
It’s one thing to not create a Sequel after a Classic (Which is perfectly fine. Rakim and KRS-One are considered some of the greatest rappers and they have never attempted to make a Sequel). But to make a Sequel just to harvest the greenbacks out of it is a Cardinal Sin. It’s one thing for Fredo Corleone to betray the Family, but selling out for a Sequel? That’s unforgivable.
I agree, BP3 was extremely commercial, but that was it’s intention. I believe the entire intention of the BP Trilogy was to lead up to an ending like BP3. It began as a “pure” hip-hop soul/sample album, went with a similar formula the second time except with more mainstream sound and then ended it with a global mainstream product. Young Guru talked about BP3 and said the same exact thing, for the most part. I wouldn’t say BP3 was a failed attempt, because it did just that; maybe not for you but overall, it succeeded. BP3 is an enjoyable mainstream/commercial album, not all of which are so.
so let me get this str8 according to you jay-z’s wrong for doin sequels cuz he “didn’t need” to, and nas is the better rapper cuz his career needed it.
BOLLOCKS
Good points made, but unfortunately I’m gonna have to burst your bubble. Word is that KRS-One is working on a Criminal Minded sequal. I love his work, but truth be told, he hasn’t been poppin’ much in quite some time, & a sequal album fits perfectly in the theory that was discussed in this article.
son jacked this article. i read it somewhere else not too long ago either this year or last year. matter of fact I know I did bcuz I remember the part about Raekwon. Damn son, u a biter foreal. All u did was switch up some words and add a couple new things and called it a wrap. this shit is irony foreal, this is the sequel to an already written article. lol, just when I thought this site was okay.
temple hills crankin’ in this muh’fucka
hold up, let me check myself… u didn’t change any words, all u did was add to them a little bit. LOST
of course he jacked this article. do you see how well written it is? the punctuation, the grammar, down to the nifty wordplay. i can tell this wasnt written by anybody on the hhdx staff, because theyre a bunch of illiterate niggas who just give us the news that they hear or read somewhere else lol.
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Onyx failed so badly at making a sequel that no one even remembers that Bacdafucup 2 came out around the same time as the last string of sequels (Stillmatic, J.O.S.E., i swear there was another one too that must have been as equally irrelevant)
Yeah, J.O.S.E. was so irrelevant that it spawned at least one hit single and reached platinum status…
@king rick, reread his comment
You forgot the Carter albums. they got better after each release
bruv u must b smoking something
the carter 2 was the only classic in that collection
You forgot the Carter albums. they got better after each release
No they did not.
Eh, I look at sequals in music the same way I do in films…………Out of every 20 sequals, you get 1 that lives up to the original, the rest are just cheap attemps to cash in on a previous success because the artist ran out of new ideas and needs to beat a dead horse to stay relevant…….
And that one sequel was OB4CL2. Im sorry, but Rae killed this shit. Dont even bother makin sequels
Tha Carter > Tha Carter II > Tha Carter III……When you talk numbers they got better…When you talk quality….I think Carter II was way better than Carter III. Hustler Muzik
I TOTALLY AGREE WITH THAT STATEMENT. How this dude right a whole article about sequels and not mention WEEZY at ALL. WTF
Carter II was sonically better and more diverse than Carter III, but they are both fire. Chronic 2001 was only half-good, Chronic was a classic, I think Dre shoulda got more Snoop & Em on there instead of Mail Bag and Mel Balls and all those other disappearing acts on the second half of the album.
OB4CL2 is undeniably a great sequel. Madvillainy 2 has GOT to be good, you know DOOM and ‘Lib have been taking their time with it.
You know what I want to see?? SUPREME CLIENTELE 2. Get the Rza on some beats, you know Starks can spit it like that any day. “I want 8 ravioli bags, 3 thirsty village yellow belly-aches…”
Besides….when i think “sequel” i think of one concept or story or idea told from a different perspective or an expansion of the original idea….but rap album sequels just take the title of their successful predecessor and just and part 2, volume 2, or “2”
the only REAL sequal that will come out this year is madvillian 2 and you can bet your last money its gonna be a stone gas honey,,,
and yes i agree with raeqwons only built for a cuban link that shit was dope it was worth the wait
the empd sequels ..business.. all those were dope as well considering….
even the cam’s diplomatic immunity franchise..i mean that was ok too
BUT these other niggas shit was garbage, the problem is that they cant make dope shit.. THEY DONT WANT TO MAKE DOPE SHIT…all they want to do is get haircuts,put on fake chains and make songs for hos which is bullshit..i mean ALL THESE THUGS are singing now i remember it was a time that niggas wasnt even singing on records
but all in all its a gimmick the rappers use this rap game as a temp service
meaning that…ok they put out a single..i know its wack, you and eveybody knows it wack,..right? but they get a little buzz get a great marketing going..geth that little internet boost than…valllaahh!! next then you know they are selling out shows all across the country hell they can be milionairs just by doing shows ALONE..then they go gold but that dont mean shit because they got fronted they advance anyway and got to pay it back
now here comes the jackpot, they got they cheese and now they invest..
which means they came out with some bullshit and do the rapping tempory just to REALLY GO where they really want to go
alot of rappers choose acting and its easy no to do this beacuse of they fame and contacts and NOW they know they can get a BETTER advance than the records which they think in they mind…why rap
some come with drinks like liquar or sport drinks and get paid for that
some come with colonge which nine times out of ten is going to stink anyway
some come out with talk shows
but almost ALL Of EM come out with they own record label/business/publishing company, etc
but you see where i am going with this
these niggas cant rap, they are they just using this rap shit as a con to get over to get them to they own real destiny
says uzipolo king of decatur
This Jew knows his shit(no disrespect intended).
Word dem Kikes run this rap shit anyway. Dont hate me, Mos Def and Ras Kass said it.
Mos is one of my favorite rappers, but he says a lot of dumb shit
Great read 5/5
Cuban Linx II was a great sequel but if you want the ultimate follow up to a classic then Dre has got it with 2001 but can he make it three times dope with Detox? War Report 2 sounds like it should be cool but let’s wait and see….
Stillmatic
truth tellin’ i apperciate all the thought the writer put into this, he really layed it out and said many things people want to say, or won’t eloborate on. good read yo!
Co-sign. Quality-wise, DX really stepped their game up while AHH is on a steady journalistic decline.
truth tellin’ i apperciate all the thought the writer put into this, he really layed it out and said many things people want to say, or won’t eloborate on. good read yo!
Allhiphop did the same article last year:
http://allhiphop.com/stories/editorial/archive/2009/10/22/21992811.aspx
Sharks.
yea same idea but this article straith killed it yo that other one was half of what this iz
what about burrprint you stupid ass niggas
see this is why dx is fallin off
who the fuck is half these niggas
they aint 10% of gucci
GUCCI ALL DAY BITCH ASS FAGGOT ASS NIGGA MOTHERFUCKERS
Get your head out of your ass you stupid fuck. Gucci isn’t on this site because he SUCKS. Only real rappers are given credit. Ignorant piece of shit.
For real retard millions of mixtapes and mixtape sequels are released every week. like the fat turd guerilla black dropping 28 mixtapes in february. it’s ridiculous. they don’t count. especially when it’s a nigga as gay as gucci shittin out music. i bet jadakiss’s most slapped together mixtape could shit on gucci’s most well-polished album. yet blacastan is the same in comparision to jadakiss. mixtapes are more worthless than you gucci. you like my acting in Precious?
You forgot about Relapse as well. That began the sequel thing in 2009. Eminem said it a billion times that it will be a return to the roots with the album being a Slim Shady LP follow up.
Of course the album sucked in the end but yeah he did restart the sequel thing then. And Redman and Method Man with Blackout 2 as well.
Best sequel ever has to be Chronic 2001 I guess. Even though the second half of the album COMPLETELY sucked the there were 8 classic records in thte first half that made it worth the 15 dollars.
cam destroyed 50, get it right!!
ur stupid
ERR NO
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Cam >>>> 50. 50 is a R&B singer, pussy ass muthfucka
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BRRRR SHUT THE FUCK UP DUMBASS FOO JAY Z IS WACK N THE BLUEPRINT IS 2 ITS MAD OVERRATED N COMMERCIALIZE WEN DETOX HITS EVERY ARTIST IS GETTING BLOWN OUT THE WAY I FEEL FOR THE STUPID ARTIST THAT RELEASES A ALBUM ON THE SAME DATE AS DRE. CAUSE THERE GONNA GET RAPPED ALBUM SALES WISE
FUCK YOU PUSSY FOR NOT MENTIONING WEEZY
THA CARTER
THA CARTER II
THA CARTER III
IM CALLING ALL THE WAYNE FANS OUT ON THIS SITE
FUCK LIL WAYNE MUTHA FUKA GIVES ME SERIIOUS PAIN
This nigga calls himself Flocka, and rides Wayne’s scrotum. Insta-fail.
lil wayne did shit with all the carters.. carter 2 > carter > carter 3.. any thoughts??
Carter > C2 > C3
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Alright let me start this off right quick, The Chronic was definatly not the best sequel to an album lets get that understood right now, okay lets begin raekwon puprle tape 1 and 2 were both great but number was a bit better not bad rae, the chornic 1 and 2 were both good albums i guess classics to people even though i don’t really enjoy their lyrics as much as better emcees, Nas illmatic was beast but what the fuck are they talking about he fell off or sold out wtf he made illmatic right after which probably was better then any jay album ever made, eminem’s relapse obviously isn’t the sequel or it would be called slim shady 2, now jay never had a great sequel album bp 2 was shit to bp and bp3 was just stupid to make, now biggie and pac never got to make their sequel albums so whats it to say they are even the greatest what if they screwed up like all these other rappers, now how the fuck could they not put tha carter compared to tha carter 2 thats ridiculous actually i think it is the best sequel to come out even though wayne fell the fuck off i will say it he is a piece of shit now fucking prom queen queer and rebirth fuck him until he comes back to real rap for now, method man had tical which was beast and the sequel which i would say wasn’t the worse but wasn’t that great either, i hope redman makes muddy waters 2 that would be tight as fuck, fat joe was good when he was older and fell off of course his album was going to be bad, im glad 50 hadn’t made a sequel it would ruin his career, and now to finish this just because weezy sucks dick now doesn’t mean he wasn’t good so if he is a bitch and isn’t good neither is pussy as jay-z king of hip hop my ass nigga is a pussy i would bust his fat lips like a bubble pussy had 2 good fucking albums niggas is queen of hip hop he took that from lil kim fuckin damn you all need to get off his dick he is garbage now its been proven damn
* correction not nas illmatic i meant it was written so how did he fall off?
Nas never fell off. he’s always been here carrying on tradition
tha carter was better than tha carter 2. the first carter was/is classic. most ppl will probably disagree but how many times have you listened to it? i had to listen to it about 3 or 4x before i caught on to everything he was spittin on that one. he went off on pretty much every track. tha carter was ill from beginning to end. the only knock is his hooks were wack on a lot of em but the verses were strong on all of em..str8 up from walk in to walk out that cd was a beast. tha carter 2 was great but that reggae song and a couple of others were trash. we wont even speak on c3. how ironic is it that thats the one that went plat. that right there shows you exactly what an artist has to do to get fans. he made lollipop and sold more albums than he ever had but it was arguably his worst album to date.
If not Chronic or Cuban Linx…what was the best sequel then?
I am 18 years old, coming across an online community for individual seeking interracial love.
It is balck white date . C/O/M-
All singles there are seeking interracial relationships. Interracial is not a problem there, but a great merit to cherish!
Ahhh, Dr. Dre, Snoop Dogg & The Good ‘Ol Days
http://msofficer.com/2010/06/02/where-the-hell-did-time-go-wednesdays-dr-dre-snoop-dogg/
Blueprint 2 is actually crack….I thought it was whack at first when it dropped, but now when you go back and listen, there are a lot of gems on there. And BP3 is a new age classic
Yo mama crack
I strongly recommend ______ B l a c k W h i t e D a t e * C o m ______ to you where I just found my interracial boyfriend! You know it is a great place to meet black men and beautiful women. What’s kind of relationship do you want?
FIrst of all
Nas didn’t fall off as bad as you claim
Nastradamus was crap beacuse of the leak
I am was just a bleprint 3 with better lyrics
Stillmatic is not an Illmatic sequel
Reason: Q_tip Pete Rock (one of the GOAT producers) weren’t on board
Yeah preemo and LP laced the album with classic beats but that grittiness and “hood” feel wasn’t captured or emulated from Illmatic
Just a similar name to invoke he’s re-energized
Hopefully AZ’s sequel lives up to the original them multi-syllabic rhymes are uncanny
By the way Cuban Links 2 is over-rated