FAT JOE LISTENING PARTY FOR "ME MYSELF & I" - Virgin Cafeteria @ Virgin Records NYC
When: Tuesday, October 3 @ 6:30 PM
By : Conan Milne

After a high profile feud with rap's biggest commodity in 50 Cent, not to mention the disappointing performance of his last album that caused the artist to part ways with long time home Atlantic, "Me, Myself & I" could very well be the most important album of New York representative Fat Joe's career.

Yet, in the face of mounting adversity, Joey Crack has delivered a stellar record that sees him return to his rough and rugged East Coast roots.



Dubcnn was in the building as Joe debuted the new material to an excitable crowd of journalists in New York, and below is a run down of the rapper's Virgin Records debut.

Before Joe's DJ was allowed to start running through the album, Crack made a heartfelt comment where he stated just how he had poured his heart and soul into crafting this opus after hearing his detractors comment on how he had adopted too much of a Southern influence on his previous LP. After referring to his latest as a testament to real "hip-hop", the room promptly began to vibrate to the sort of drums that would chart on the Richter scale.

As openers go, this was one hell of a way for Joe to come out swinging. Kicking things off with an enraged shouting of "fuck the industry", the cut proceeds to permeate with a soulful female chant that is genuinely chilling. While Joe goes on to deliver some startling real talk when he refers to all rappers as "great liars", every head in the room (mine included) couldn't help but nod along to every word.

From there, the album effortlessly slides into track number two, awash with now-you-hear-'em-now-you-don't thuds and a squealing sample (think Kanye's chorus for "Through the Wire" and you're on the right path). Here, Joe served up some typical boasts, talking about how his fan base had insisted he "get back in the booth" to provide this record.

While track two was perfectly acceptable, it was the next offering, entitled "The Prophet", that would again command the rooms full attention. A st-stuttering chorus, coupled with a notable Lil' Wayne guest verse where he casually observes that he's "got" the listeners, combined to make this an early highlight. All the while, the track featured the kind of bass that is destined to test the capabilities of every system set to blast this impressive collaboration.

Taking things back to the gutter with "Clap and Revolve", The Runners produced track that was next to be previewed, Crack Man savages the many critics who were "thinking Joey past his prime". Beginning with The Runners trademark, screwed vocals, and spliced with some bongo-esque drums, this particular song was one of a select few that ventured outside Crack's native Eastern soundscape, and was all the more refreshing as a result.

The next track was one that many of you will already be somewhat familiar with, the Nu-Jerzey Devil helmed "Breathe and Stop". Filled with repetitive "aw's" and an odd, tribal sounding instrumental, Joe appears to be staking his claim as the NY higher power when he asserts listeners to "stop searching", then adding "I am the one". All the while, Game plays Simon over the chorus, instructing men and women to throw their guns and hands up respectively. However, it is Game's unenthused chorus and Devil's perhaps overly experimental production that stops this one from leaving much of a mark. As dream team pairings go, this one was a disappointment.

Joe fares better when he takes things back to the East, in an ode to his mami over some royal horns. However, one problem with this one is that the relatively touching chorus where Joe professes his love (of sorts) conflicts with the typical "bitches ain't shit" ethos of the rapper's verses, leaving the listener with a cut that sounds like it's going through some sort of identity crisis. Otherwise, this Street Runners produced effort is another plus point that shows Joe's developed knack for story-telling.

Current single "Make It Rain" was up next, boasting the Midas touch of Scott Storch. One of the stronger tunes on offer, some great production work (rapid-fire strings and "oo-oo" synths) and Joe's deft switching of flow patterns (one example being his "ssshooouuulder lean" impression) like sneakers in his daunting collection make this an obvious choice for radio and video play. Weezy pimps the chorus, too, with some laid back boasts of making it rain "on these hoes".

Track eight begins promisingly, with the nice use of a saxophone, before becoming another addition to the growing list of "stop snitching" anthems in hip-hop. Joe sounds menacing when he warns adversaries "don't talk to the boys, bring up my past". Despite some tired subject matter, the artist holds his own here and delivers more generally likable fare.

Track nine is, like Mobb Deep's "Put 'Em In Their Place", a brave attempt to resurrect the grime sound that was synonymous with East Coast rap for so many years. Surprisingly, this murky effort was produced by none other than Scott Storch, who sounds a million miles away from "Candy Shop" territory. Boasting a deep, dark bassline and punctuated by some occasional whines, this is a bonafide anthem for the grittier underbelly of New York, right down to Joe's boasts of being "good with the knife game". Popular with both the industry crowd and, if the way his head was bobbing was any inclination, Joe himself, this could very will transpire as a future single from the album.

Sticking to the streets, Joe then launches a ode to hustling that lyrically sees him stick in his comfort zone. It works, however, due to an inspired chorus that sees a female sample sped up to repeat the word "hustle" several times, over some crashing cymbals. It's also pleasantly unexpected to hear Joe speak about how he is hustling the music industry, as opposed to tales of slanging on street corners. Not a standout track, but far from filler either.

Business picks up with the intensely personal "Maria", a track the rapper dedicates to his "beautiful" mother. Like 2pac's "Dear Mama", Joe exposes his troubled family life for all to hear here, right down to mentioning his deceased sister, an "angel" who was taken too soon. Joe's unusually poignant lyrics and the cuts downbeat trumpets left some members of the crowd with a lump in their throat, and Crack further channels Makaveli when he ends the cut by referring to what has just been listened to as "the realest shit I ever wrote".

Closing the album with track number twelve, Joe sounds anxious and explains that he is "feeling like Michael right before the verdict". With a lot riding on this release, it's easy to understand the rapper's angst. Over rapid keys and snaps, Joe delivers a warning with this track, and that is that if you are going to hustle, be sure to hustle right. Closing the album by shouting out a who's-who of the hip-hop genre and proclaiming all of those mentioned to be down with the Terror Squad leader, it sounds like Joe has the entire rap industry behind him at this point. Basically, this outro is just as impressive as the album's adrenaline-fuelled introduction.

To conclude, Joe has delivered an album that will certainly leave some doubters in a state of awe. Clearly hurt by those who suggested he had ventured too far down South musically, "Me, Myself & I" is an album by an East Coast rapper for East Coast rap fans, and doesn't attempt to conceal that simple intention. Lyrically, Joe has also improved, and while that's not to say that he's suddenly on the level of a Nas or Budden, he certainly shows growth in this department with a wider array of subject matter. If there's a serious flaw to the album, it's the constant East-flavoured production, which starts to sound worryingly similar track after track. That said, some of the more experimental tracks, like the collaboration with Game, fall flat so maybe it is a good thing that Joe stuck to what he works best with.

In any case, those that thought that the distinct East Coast sound of yesteryear was doomed can breathe easy. Crack is back, and the short-but-sweet hit that is "Me, Myself & I" will leave old and new fiends begging for more.