Get the hottest music, news and videos delivered directly to. The album's fourth and final single, "Batter Up" featuring Murphy Lee and Ali, achieved moderate chart success. Freeway wants the new generation of rappers to use the beef between D-Block and State Property as a lesson. "Ride wit Me" peaked within the top five on the Hot 100, ARIA Singles Chart, Irish Singles Chart and UK Singles Chart. "E.I." charted at number 16, number 12 and number 11 on the Hot 100, UK Singles Chart and ARIA Singles Chart, respectively. Its lead single, "Country Grammar ", peaked at number 7 on the Billboard Hot 100 and UK Singles Chart. It was supported four successful singles: "Country Grammar ", "E.I.", "Ride wit Me" and "Batter Up". Louis, Midwestern sound, and introduces Nelly's vocal style of pop-rap singalongs and Midwestern, Missouri twang. Nelly contributed to all lyrics on the album, with Epperson and City Spud also contributing.
The production on the album was handled by Jason "Jay E" Epperson, with additional production by C-Love, Kevin Law, City Spud, Steve "Blast" Wills and Basement Beats. It was released on June 27, 2000, by Universal Records. “State Property” achieves both, but will probably only leave you with the impression that Beans is both a better actor AND rapper than most of his contemporaries.Country Grammar is the debut studio album by American rapper Nelly. These days, ego stroking for big rappers routinely involves having their own films and their own vanity labels for releasing their own albums or ones by their lesser-known friends. Realistically speaking the “movie” that this soundtrack is spawned from is probably as significant a cinematic achievment as “Choices” was for Three 6 Mafia. Sparks sounds like a mediocre knockoff of Willie D, Oschino needs to get the mush out his mouth, Chris is just a wannabe clone of Beans, and Neef makes only one contribution to the album and barely even rates a mention. Sadly if these are the rappers Jay-Z picked to “Takeover” the industry, he probably needs to rewrite the criteria for joining The Roc. The rest of the album falls somewhere in between, from the upbeat RuggedNess bounce of the ironically titled “Sun Don’t Shine” to the abyssmal re-interpretation of “Atomic Dog” by producer Qur’an on “Why Must I.” N-O Joe’s bluesy Millie Jackson samples on “No Glory” though give Beanie Sigel a 70’s funk that puts his lyrics in the audio context of “Superfly” or “Shaft.” The lone Kayne West contribution “Got Nowhere” is both another gem for him and another Sigel and Freeway collaboration that seems to make perfect sense.
Six feet under is thus the only apt description for songs like Rick Rock’s weak “Do You Want Me,” a banal guitar pluck with sad synths that leaves you with no memorable impressions of Young Chris, Sparks or Oschino. With so many barely-known rappers sharing Sigel’s limelight, the soundtrack lives or dies by the strength of the beats.
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I pull the Mac out the closet, start firin ‘Dead Wrong’, like tryin to brawl or strongarm a midget Fortunately they are a good combination when Just Blaze provides the beat, as evidenced by Sigel and his clever raps: If that wasn’t enough, the lead single “Roc the Mic” features Sigel tag-teaming with Freeway, a sound that should already be familiar to anybody who remembers “1-900-Hustler” from Jay-Z’s “Dynasty” LP. Beans does little to dispel this theory by both starring in the film and being on 9 out of 13 tracks on the album.
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It’s easy to believe in this day and age that a movie is based on the soundtrack though, rather than the other way around.
the Broad Street Bully) they are here to bumrush the music industry, and the “State Property Soundtrack” is their foot in the door. Jay-Z warned us this was coming six months ago on Takeover: “Freeway, we runnin this rap shit/ O & Sparks, we runnin this rap shit/Chris & Neef, we runnin this rap shit.” With Beanie Sigel’s help (a.k.a.
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