Az Doe Or Die Zip
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The phenomenon of getting your personal weed carriers signed to a record deal of their own is a natural occurrence in all musical genres, from hard-hitting rock to alternative polka that can get your girl's panties to drop, but it seems to occur with alarming frequency in hip hop. I can't remember the last time that I checked out another hip hop blog and didn't see a single or a mixtape by an 'artist' piggybacking off of their famous friends. Hell, I could probably spend an entire year writing about a different weed carrier every single day (although I will not do that: Max needs his fresh air).
In most cases, I've noticed that the 'name' artist will use their baggage handler's album to promote themselves, not their friends, in the traditional 'obviously you can see why I'm making more money than them' manner. And that point is usually one hundred percent accurate: usually the guy whose day job is to make sure your khakis are pressed just so isn't really that good of a rapper, and only ends up getting the deal in the first place because the label has convinced themselves (foolishly, in most cases) that the successful and more popular artist will be all over their boy's disc, thus guaranteeing at least enough sales to pay off that coke and whore habit that has damn near bankrupted more than one record label.
It isn't very often that a rapper's own tortilla warmer handles the microphone with enough ease to stand shoulder-to-shoulder with their more popular peers. It is extremely rare when a rapper's personal grill disinfectant actually possesses the skills necessary to outshine the primary breadwinner.
The AZ story is not one of the latter examples, but depending on your point of view, it might be one of the former.
Anthony Cruz saw his popularity rise when he was pulled directly off of the stoop in front of his building and thrown into a recording studio with his friend Nasir Jones, who at the time was an aspiring artist that hadn't yet felt what kind of impact some critical acclaim can have on one's career (and, one assumes, had not yet developed the sack one needs to spout statements such as 'Hip hop is dead' (no matter how true) and the inherent pretension to even consider ever titling an album N----r). Nas had a few singles floating around, and was in the midst of recording his debut Illmatic when he partnered up with AZ (and, it should be noted, Olu Dara, Nas's father) for 'Life's A Bitch', a track that would soon become one of the most popular joints on an album chock full of good songs, regardless of the fact that AZ fucks up and uses the phrase 'money-orientated' as if it actually makes some sense (although it certainly wouldn't be the first time a rapper had made up a word to better fit a rhyme pattern).
His guest spot was well-received (thankfully, since he was the only other rapper to actually appear on Illmatic), and AZ soon found himself courting offers from record labels, signing up with EMI in 1995. His debut disc, Doe or Die, followed shortly thereafter.
In the field of East Coast hip hop, AZ is primarily known as one of two rappers that popularized the rapper-as-Mafia-gangster theme that plagued New York rap like a cancer in the mid-to-late nineties. (For those of you that are interested, Raekwon from the Wu-Tang Clan would be the other rapper, but his crew quickly ditched their Wu-Gambino names shortly following Only Built 4 Cuban Linx..., even if Raekwon tried to hold on to it as long as possible.) Doe or Die is essentially a concept album, a tale told from the point of view of a low-level thug with big dreams, and all of the highs and lows that accompany a successful person in this particular arena.
Doe or Die ended up selling very well, and although it didn't garner as much critical acclaim as Illmatic, at least critics regarded AZ as an actual artist, and not as some guy that only got a deal because of his association with Nas (*cough* Bravehearts *cough*).
Ready? Let's begin.
1. INTRO
Bullshit rap album intro. (Did you really expect me to say something different?) Anthony Cruz even manages to offend members of both the Arab and Asian communities with one sentence.
2. UNCUT RAW
Seriously, Doe or Die could have jumped straight to this track (which sounds really good today) and listeners would have been engaged from the very beginning. Instead, I had to sit through the intro, and as a result, I find myself already annoyed with this album, although I'm getting over it.
3. GIMME YOURS (FEAT NAS)
Pete Rock's production takes you back to a simpler time in hip hop, and AZ's unwavering focus on success ('...until my hands touch a million plus/Ain't much to discuss') is damn near derailed by, of all things, Nas singing the hook. This was still early on in Nasir's career, too: what the hell was he thinking?
4. HO HAPPY JACKIE
I just heard this track, and for the life of me I couldn't remember a damn thing about it. I guess it couldn't have been that impressive, eh?
5. RATHER UNIQUE (FEAT PETE ROCK)
This Peter Q. Rockefeller production is neither hard-hitting nor soft: it's simply pleasant. (I know that sounds like harsh criticism, but it really isn't.) AZ spits his usual gibberish-with-some-clever-wordplay-thrown-in-for-good-measure, and sounds good enough that you'll wish that he exclusively worked with top shelf producers. Even if the title is a bit goofy.
6. I FEEL FOR YOU (FEAT ERICA SCOTT)
The beat is relatively simple, but I have to admit that I liked it. AZ's not a bad lyricist, but I can understand why he never hit it big; it must be hard living in Nas's shadow (well, back then, anyway: not so much today).
7. SUGAR HILL (FEAT MISS JONES)
The first single, and the first time that hip hop heads ever heard AZ spit on his own. I never cared for this song, since it sounds waaaay too radio friendly for what is ostensibly a monologue in which a budding mafioso describes, in vivid detail, what he wants out of life.
8. MO MONEY MO MURDER (HOMICIDE) (FEAT NAS)
I know it's because of the beat's pacing, but AZ and Nasir sound like their vocals have been slowed down a bit too much. Otherwise, this is pretty good. It makes you forget that Nas had an earlier guest spot on Doe or Die. The hook just sounds like four random sentences strung together, though. The extra song that immediately follows, 'Born Alone, Die Alone', is pretty short, and doesn't distract one bit from the listening experience, even if it is a bit depressing, kind of like one of those flash-forwards on Lost.
9. DOE OR DIE
Back in the day, I always felt that AZ's first three singles sounded much too polished to be representative of the New York sound at the time. I still don't like 'Sugar Hill', but I have always liked this track, and the smooth beats helps the medicine go down.
10. WE CAN'T WIN (FEAT AMAR)
AZ obliterates his guest over this moody composition, but to be fair, Amar does the best he can. The hook almost derails this train, but otherwise the ride is only slightly bumpy (due to Anthony's conspiracy theories).
11. YOUR WORLD DON'T STOP
This tale, told from the confines of a fictional cell block, would have sounded more effective without the lame-ass chanting of the title that is worked into the beat. However, I guess lame-ass chanting can help prisoners picture a world outside of their cell, a world with the freedom to choose to not incorporate lame-ass chanting into your song's beat, so in that manner, this song is successful. In fact, if I ever run for public office, that's the platform I plan on winning with.
12. SUGAR HILL (REMIX)
Okay, okay. I like the remix more, because the beat sounds more like what I expected from New York at the time, but I'll be the first to admit that the hook makes absolutely no fucking sense unless you're familiar with the original version. The addition of faster-paced drums is beneficial, though.
FINAL THOUGHTS: Doe or Die actually surprised me a bit. I don't remember the album sounding this good. While it' snot even close to great, it seems to hold up well, even with the awful missteps (mainly, Nas's singing) and zero deviation in the album's subject matter. AZ is no megahypertalented lyricist, but he does well for himself, and comes off as a weed carrier that probably should have his own weed carriers.
BUY OR BURN? This isn't bad at all. I would actually recommend you pick this one up, at an actual store, one with a cash register and four walls (ceiling optional). Especially recommended for all of you deluded fans of that shitty album by The Firm: you'll love this disc, and I'll actually be inclined to agree with you this time out.
In most cases, I've noticed that the 'name' artist will use their baggage handler's album to promote themselves, not their friends, in the traditional 'obviously you can see why I'm making more money than them' manner. And that point is usually one hundred percent accurate: usually the guy whose day job is to make sure your khakis are pressed just so isn't really that good of a rapper, and only ends up getting the deal in the first place because the label has convinced themselves (foolishly, in most cases) that the successful and more popular artist will be all over their boy's disc, thus guaranteeing at least enough sales to pay off that coke and whore habit that has damn near bankrupted more than one record label.
It isn't very often that a rapper's own tortilla warmer handles the microphone with enough ease to stand shoulder-to-shoulder with their more popular peers. It is extremely rare when a rapper's personal grill disinfectant actually possesses the skills necessary to outshine the primary breadwinner.
The AZ story is not one of the latter examples, but depending on your point of view, it might be one of the former.
Anthony Cruz saw his popularity rise when he was pulled directly off of the stoop in front of his building and thrown into a recording studio with his friend Nasir Jones, who at the time was an aspiring artist that hadn't yet felt what kind of impact some critical acclaim can have on one's career (and, one assumes, had not yet developed the sack one needs to spout statements such as 'Hip hop is dead' (no matter how true) and the inherent pretension to even consider ever titling an album N----r). Nas had a few singles floating around, and was in the midst of recording his debut Illmatic when he partnered up with AZ (and, it should be noted, Olu Dara, Nas's father) for 'Life's A Bitch', a track that would soon become one of the most popular joints on an album chock full of good songs, regardless of the fact that AZ fucks up and uses the phrase 'money-orientated' as if it actually makes some sense (although it certainly wouldn't be the first time a rapper had made up a word to better fit a rhyme pattern).
His guest spot was well-received (thankfully, since he was the only other rapper to actually appear on Illmatic), and AZ soon found himself courting offers from record labels, signing up with EMI in 1995. His debut disc, Doe or Die, followed shortly thereafter.
In the field of East Coast hip hop, AZ is primarily known as one of two rappers that popularized the rapper-as-Mafia-gangster theme that plagued New York rap like a cancer in the mid-to-late nineties. (For those of you that are interested, Raekwon from the Wu-Tang Clan would be the other rapper, but his crew quickly ditched their Wu-Gambino names shortly following Only Built 4 Cuban Linx..., even if Raekwon tried to hold on to it as long as possible.) Doe or Die is essentially a concept album, a tale told from the point of view of a low-level thug with big dreams, and all of the highs and lows that accompany a successful person in this particular arena.
Doe or Die ended up selling very well, and although it didn't garner as much critical acclaim as Illmatic, at least critics regarded AZ as an actual artist, and not as some guy that only got a deal because of his association with Nas (*cough* Bravehearts *cough*).
Ready? Let's begin.
1. INTRO
Bullshit rap album intro. (Did you really expect me to say something different?) Anthony Cruz even manages to offend members of both the Arab and Asian communities with one sentence.
2. UNCUT RAW
Seriously, Doe or Die could have jumped straight to this track (which sounds really good today) and listeners would have been engaged from the very beginning. Instead, I had to sit through the intro, and as a result, I find myself already annoyed with this album, although I'm getting over it.
3. GIMME YOURS (FEAT NAS)
Pete Rock's production takes you back to a simpler time in hip hop, and AZ's unwavering focus on success ('...until my hands touch a million plus/Ain't much to discuss') is damn near derailed by, of all things, Nas singing the hook. This was still early on in Nasir's career, too: what the hell was he thinking?
4. HO HAPPY JACKIE
I just heard this track, and for the life of me I couldn't remember a damn thing about it. I guess it couldn't have been that impressive, eh?
5. RATHER UNIQUE (FEAT PETE ROCK)
This Peter Q. Rockefeller production is neither hard-hitting nor soft: it's simply pleasant. (I know that sounds like harsh criticism, but it really isn't.) AZ spits his usual gibberish-with-some-clever-wordplay-thrown-in-for-good-measure, and sounds good enough that you'll wish that he exclusively worked with top shelf producers. Even if the title is a bit goofy.
6. I FEEL FOR YOU (FEAT ERICA SCOTT)
The beat is relatively simple, but I have to admit that I liked it. AZ's not a bad lyricist, but I can understand why he never hit it big; it must be hard living in Nas's shadow (well, back then, anyway: not so much today).
7. SUGAR HILL (FEAT MISS JONES)
The first single, and the first time that hip hop heads ever heard AZ spit on his own. I never cared for this song, since it sounds waaaay too radio friendly for what is ostensibly a monologue in which a budding mafioso describes, in vivid detail, what he wants out of life.
8. MO MONEY MO MURDER (HOMICIDE) (FEAT NAS)
I know it's because of the beat's pacing, but AZ and Nasir sound like their vocals have been slowed down a bit too much. Otherwise, this is pretty good. It makes you forget that Nas had an earlier guest spot on Doe or Die. The hook just sounds like four random sentences strung together, though. The extra song that immediately follows, 'Born Alone, Die Alone', is pretty short, and doesn't distract one bit from the listening experience, even if it is a bit depressing, kind of like one of those flash-forwards on Lost.
9. DOE OR DIE
Back in the day, I always felt that AZ's first three singles sounded much too polished to be representative of the New York sound at the time. I still don't like 'Sugar Hill', but I have always liked this track, and the smooth beats helps the medicine go down.
10. WE CAN'T WIN (FEAT AMAR)
AZ obliterates his guest over this moody composition, but to be fair, Amar does the best he can. The hook almost derails this train, but otherwise the ride is only slightly bumpy (due to Anthony's conspiracy theories).
11. YOUR WORLD DON'T STOP
This tale, told from the confines of a fictional cell block, would have sounded more effective without the lame-ass chanting of the title that is worked into the beat. However, I guess lame-ass chanting can help prisoners picture a world outside of their cell, a world with the freedom to choose to not incorporate lame-ass chanting into your song's beat, so in that manner, this song is successful. In fact, if I ever run for public office, that's the platform I plan on winning with.
12. SUGAR HILL (REMIX)
Okay, okay. I like the remix more, because the beat sounds more like what I expected from New York at the time, but I'll be the first to admit that the hook makes absolutely no fucking sense unless you're familiar with the original version. The addition of faster-paced drums is beneficial, though.
FINAL THOUGHTS: Doe or Die actually surprised me a bit. I don't remember the album sounding this good. While it' snot even close to great, it seems to hold up well, even with the awful missteps (mainly, Nas's singing) and zero deviation in the album's subject matter. AZ is no megahypertalented lyricist, but he does well for himself, and comes off as a weed carrier that probably should have his own weed carriers.
BUY OR BURN? This isn't bad at all. I would actually recommend you pick this one up, at an actual store, one with a cash register and four walls (ceiling optional). Especially recommended for all of you deluded fans of that shitty album by The Firm: you'll love this disc, and I'll actually be inclined to agree with you this time out.
Az Do Or Die Zip Vk
BEST TRACKS: 'Doe or Die'; 'Rather Unique'; 'Uncut Raw'; 'Mo Money. Mo Murder (Homicide)' B-SIDES TO TRACK DOWN: 'Gimme Yours (Remix)' - Apparently EMI also agreed that having Nas sing the hook was asinine, so Erick Sermon was commissioned to remix the track with an unknown female vocalist singing Nas's chorus. Also hunt down 'Doe or Die (RZA Remix)', featuring AZ and Raekwon the Chef ripping shit over an unorthodox and unequivocally dope beat by The Rza, and no, I'm not just saying that because I'm a Wu stan.
-Max