A lot of people still don’t forgive Beans for dissing the god of hip-hop, let’s just be clear.” I’m trying to be funny, but at the end of the day I want to teach him a lesson that loyalty is better than anything. “Let me just be clear, everything I’ve said about Beanie Sigel, I’m joking about Beanie Sigel. “If you want to compare us on paper, it’s no match,” N.O.R.E. On Tuesday, June 27 the Drink Champs host called into The Breakfast Club to give his take on them going track for track. The tracks build on each other, swirling into a symphony of pain, a fitting soundtrack to one man's dark days.Get That Dough: Beanie Sigel Says Ye’s Yeezy Nickname Was On The House Even 'Gotta Have It', the album's only remotely club-ready track, drowns in an ugly, metallic synth wash.

On 'Wanted (On the Run)', da Neckbones give the chipmunk-soul treatment to Bon Jovi's 'Wanted Dead or Alive', mining that track's theatrical sweep with stunningly funky results. Ty Fyffe slathers 'Change' in swooning, melodramatic violins. On 'Feel It in the Air', producer Heavy D has nothing but mournful noir saxophones for ya, baby. Like Ghostface's The Pretty Toney Album, The B.Coming swims in the sad signifiers of 70s soul: glistening strings, weeping guitars, swollen horns. The album's producers weave a grand, sweeping tapestry to give Sigel's lament the heft and majesty it deserves. But on the next track, the ominously cinematic 'Flatline', he's snarling, 'Had to try to show a nigga what the metal do/ But didn't succeed the nigga still breathing.' Even on 'Look at Me Now', his song for the haters, Sigel sounds defiant and weary there's not an ounce of joy in his voice.

On the searing, gospel-infused track 'Lord Have Mercy', he begs God for understanding and forgiveness: 'I do my dirt so my kids can see heaven on earth/ But the pain on my heart weighs heavy, it hurt'. 'Wanted (On the Run)' is based on a standard rap theme- life on the lam- but Beans attacks the track like it was 'Life During Wartime', breathlessly painting a bleak picture: 'You never see the daylight/ Jakes get on your tail, never let 'em see the brake light'- a stark contrast from guest Cam'ron's blithe confidence. Fittingly, The B.Coming is suffused with a sense of dread and regret and emptiness. He could be inside for a long, long time. When that sentence ends, he'll stand trial for attempted murder. Only two things matter here: the production, which is masterful, and Beanie himself, a virtuoso of lonely, bitter desperation.īeans recorded the album in the weeks between being found guilty on a federal gun charge and beginning his one-year sentence.

It's nice to have them around, but the album would not suffer at all without them. The second thing you need to know about The B.Coming is that none of these guest verses is the least bit important to the success of the album.

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