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Lil Wayne is in rare form on “Dog’s Out,” a follow-up to Tha Carter V’s Swizz collab “Uproar,” where the Louisiana veteran again skates effortlessly across an East Coast production. Up top, “That’s My Dog” unites X with his former labelmates the LOX, proving that the still-hot chemistry of last summer’s “ Bout Shit” was no fluke. The loudest songs recall the Ruff Ryders’ heyday. Swizz is striking a precarious balance between raucous ’90s street rap, smooth R&B, stadium-rap bombast, and modern minimalist boom bap.
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It draws notable figures into the late Yonkers star’s orbit.Įxodus is the sound of sparks rekindling, of friends reuniting. Exodus doesn’t push X past his comfort zone. It was on a posthumous album that Biggie met Korn, that we found out what 2Pac sounds like over Eminem beats. This isn’t always the case with a posthumous rap release, in which records are often cobbled together out of bits of what was left behind and the ambitions of an executive producer with too much dip on their chip yield bizarre pairings between deceased artists and living producers and performers who might never have met. These are songs he had every intention of our hearing. (Swizz told Complex that his only bit of interference after the fact was trimming records.) The guests are people X wanted to work with. Promising cuts on off-peak releases, like Redemption of the Beast’s Freeway collab “Where You Been?” or “What They Don’t Know” from 2012’s Undisputed, suggested that all DMX needed was a favorable label situation and a producer who understood his strengths and his process.Įxodus, the new DMX album out today, is posthumous by circumstance but not by process in a private listening session earlier this week, Swizz said the record had been finished long before X’s sudden passing this spring.
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He was still good for a hit you may not remember the dodgier parts of the Grand Champ and Year of the Dog … Again albums, but “Get It on the Floor,” “Where the Hood At?,” and “Lord Give Me a Sign” endured. New York hip-hop was changing, and the man whose first three albums famously went platinum over a stretch of 18 months was falling out of step with the times.
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The pair drifted apart in the aughts, though, when X made headlines for everything but music. “ Ruff Ryders’ Anthem” introduced a lot of hip-hop fans to DMX, but it was also Swizz’s first successful beat, the start of a hit parade that has kept the Bronx-born beat-maker afloat ever since. Swizz was paying it forward for the man who helped put him on. DMX wanted to prove he still had something to say, to own his status as a 50-year-old survivor, to match wits with his peers and successors again.
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It had been nearly a decade since his last official studio album (discounting the choppy, unsanctioned compilation Redemption of the Beast, which was released against the artist’s wishes in 2015), a rough patch marked by sporadic guest spots, money troubles, an upsetting episode of Iyanla, Fix My Life, and worrying arrests. According to Swizz Beatz, it was in the days following his Verzuz last summer that DMX got the drive to make a new album. It’s a space for a musician to show us what they’ve been up to and for us to remind them that we care. The value of the Verzuz battles born of the pandemic, beyond the feel-good nostalgia we get from them as viewers, lies in reconnecting artists with audiences that have dispersed in the years since the performers’ commercial peak. We talk a big game about giving artists their flowers - as we should - but love doesn’t keep the lights on. When your audience loses interest, your bargaining power diminishes. These awkward dealings often scan as funny, but they never bode well. Maybe your favorite rapper starts hawking offbeat products during their public appearances, using their social-media accounts to promote weight-loss supplements, hosting motivational seminars, or popping up in delightful commercials for local businesses. In a field notorious for tall tales and expenditures, that fall can be subtle. The hits dry up on everyone in time either you’re prepared for that, or you’re back hustling to make ends meet. For every Jay-Z or Nas, veterans known as much for the contents of their investment portfolios as their records these days, there are scores of beloved performers who aren’t doing as well. Retracing his steps seems to reinvigorate DMX, and that makes Exodus sting.