After typing up a monologue on how much I absolutely love DMX's debut album It's Dark and Hell Is Hot, you may have noticed that I refrained from covering another of his efforts until now, even though I continued with the discographies of the likes of Jay-Z, Nas, Common and others. Now, you may wonder why exactly that was - surely since X made arguably my favourite album of all time, he would have a pretty solid discography after that too, no? Well, no. For me, DMX never made an outright classic again, and spent the rest of his career (R.I.P. Earl Simmons) seemingly more focused on acting and impersonating police officers than making great music, something he had already proven he could do, but oh well. Still, I thought I'd better talk about his second effort nonetheless - I mean surely the horrifying cover art alone deserves a write up.
DMX's second album, the ridiculously titled Flesh Of My Flesh Blood Of My Blood, was released in late 1998, only about 6 or 7 months after It's Dark and Hell Is Hot, his absolute masterpiece of a debut. This quick release time would cause some to believe, naturally, that the album simply consisted of outtakes and unreleased cuts from his first album, and while this could have been the case, it most likely wasn't. This album, for starters, had quite a few sequels to songs that appeared on It's Dark and Hell Is Hot: "The Omen", a sequel to Damien, "Ready To Meet Him", a sequel to "The Convo", and even a hidden "Prayer" to continue the thoughts of the first. Another thing this album had was a lot of vocals from Swizz Beatz, who provided backing vocals on "Heat" and "Ain't No Way", and even a credited feature on the promotional single "No Love 4 Me" - the producer also had his hand in a lot more beats here, which could show the label wanting more "Ruff Ryder's Anthem"-esque cuts, but let's hope that's not the case, eh? (Although it can't be because Swizz Beatz is a good producer, so what else?).
As for features, they were mainly carried over from the last album - we had appearances from the members of The LOX, as well as a Drag-On verse, and a lot of solo tracks, but we also had new contributions from Jay-Z, who worked with X on "Money, Cash, Hoes" earlier in the year, Mary J. Blige, who had famously done a lot of guest singing spots for various MCs, and Marilyn Manson, who- wait, what?? We also had minimal input from PK, Dame Grease and Irv Gotti (who together did almost all of It's Dark and Hell Is Hot), as well as new Ruff Ryders in-house DJ Shok, but make no mistake - this was mainly a product of Swizz Beatz, and was the album that would seemingly prove his worth to the mainstream. The project itself was very well-received for something seemingly recorded in half a year, too, which granted X the chance to release more music on Def Jam in the future. The album was also his second in a row to chart at no. 1, and it wouldn't be his last.
So, would the album stand up to the blockbuster releases that came before and after it? And would it be as menacing as the cover art implied? Let's see.
1. My Niggas (Skit) (prod. Swizz Beatz)
Well, this intro track certainly doesn't scream "menacing", that's for sure. After spitting some acapella vocals taken from the end of his guest verse on Jay-Z's "Money, Cash, Hoes", X proceeds to repeat the titular phrase (with other background vocals) over one of Swizz's typical Beatz. What a strange way to begin.
2. Bring Your Whole Crew (prod. PK)
While the intro track would lead one to believe that X was going in a worryingly poppy direction for this record, this second track would remove all thoughts of that from one's mind, as quickly as it removes your sense of calm and tranquility - this shit is about as aggressive as it gets. I won't repeat X's second bar, as it's too gross for words, but let me tell you, if you're faint of heart, do not listen to this song - it's brutal. Then again, those of faint hearts would probably have already passed out from looking at the album cover, so I guess that's not a problem. The PK beat on here is intense and aggressive, and DMX flows so well over it that you would think the label had given him the prospect of a free new pet dog if he got it exactly right. This track is phenomenally good.
3. Pac Man (Skit) (no producer)
Stupid and unnecessary skit.
4. Ain't No Way (prod. Swizz Beatz)
Now, while I very much appreciate X's aggressive bars and great singing on this one, I always found this track to be one of the least entertaining on the LP. This is probably due to Swizz Beatz' monotone instrumental, which lies around in the background like a fat sunbathing old man, leaving the vocals to do all of the heavy lifting. I like DMX a lot on this one, though, so I'll give it the pass - but Swizz, you've got to up your game, man!
5. We Don't Give a Fuck (feat. Jadakiss & Styles) (prod. Irv Gotti & Dat Nigga Reb)
DMX enlists LOX members Jadakiss and Styles P to help him make something out one of the most generic titles that he could have possibly come up with. Interestingly, the pair are not listed as features on the back cover, but are in the booklet - an early example of hidden features, or a botch-up typical of a '90s rap album? I'll leave it up to y'all to decided on that one. I was about to say "hey, Swizz Beatz made a good beat", when I realised that he didn't do this one either, but nonetheless, this is a great instrumental - lowkey yet threatening at the same time. Aside from the hook (which opens with the awful line "used to be my dog, you was in my left titty") and the fact that Jada doesn't get a verse, only the aforementioned hook, this stands as a really good song, and X's foray into a rage-fuelled rant at the end was surprisingly entertaining. Great stuff.
6. Keep Your Shit the Hardest (prod. Swizz Beatz)
While the title would lead one to believe that X is about to deliver some anti-fibre verses for some reason, this track is actually yet another about being a hard street dude. X, would it be so hard to switch it up a bit? Anyway, while Swizz Beatz is still fucking around with tacky drums and melodies that just end up sounding like un-calculated rackets, DMX does deliver some good verses on this one, even though the hook is unpleasant at best. As a song this does not work, but at least DMX can still rap well over even the goofiest of beats.
7. Coming From (feat. Mary J. Blige) (prod. PK)
Of course, it wouldn't be a mainstream rap album without an R&B feature, but thankfully, Mary J. lends herself to this track about X's rough upbringings, rather than a silly sex song (a title that ironically goes to the next track). PK once again provides a beat that makes Swizz Beatz' sound like they were made by an 8 year old on a £12 keyboard, and X finally appears to switch up the tone here, delivering profound bars like "What's the sense of hatin', when I can show love? What's the sense of fakin', when I can show blood?" that display both peace and aggression on our host's part. Mary J. also delivers a catchy hook, usually preluded by some weirdly creepy laughter, but whatever. This is still great.
8. It's All Good (prod. Swizz Beatz)
One day in the studio, it seems, DMX hid Swizz Beatz' prized "my first keyboard", forcing him to actually make a proper beat for once. Sadly, X decided to grace it with some inane sex bars that we really didn't need to hear from the man that once threatened to kill us "from the waist down". Still, at least his flow remains unique, and we can give props to Swizzy for actually making a dope beat. This needed some sort of storytelling over it, though, and definitely not a foray of typically misogynistic lines ending with "I tell them bitches "I'll be back", and they believe that shit".
9. The Omen (prod. Swizz Beatz)
So, remember back on "Damien", when a deep voice shouted "to be continued, motherfuckers!" at the end? Well, that deep voice was true to his word, as this stands as a sequel to that classic track. This one features a much slower instrumental than that on the last, that stood as the best Swizz Beatz ever did until we reach (spoiler alert) track 14 - it gives the track that perfect creepy, sinister atmosphere. On this song, it seems Damien bought X to the hospital after he was shot, and now he wants compensation, especially after Damien then helped to get rid of the people that caused the killing of X's cousin (whether they're blood related, I don't know). While I prefer the first one for it's sheer originality, and the Marilyn Manson (yes, Marilyn Manson!) vocals are grating, this still stands as one of the best and most invigorating tracks on here.
10. Slippin' (prod. DJ SHOK)
11. No Love 4 Me (feat. Swizz Beatz & Drag-On) (prod. Swizz Beatz)
12. Dogs For Life (prod. Dame Grease)
Preceded by a skit that really needed to be separated into a different track, or perhaps simply deleted full stop. Over easily the most chilled-out beat we have seen throughout this LP, DMX gets a little more reflective, and talks about loyalty. Of course, this song would have a completely different message and tone over a more aggressive instrumental, but that's just how it is. The hook on here is pretty catchy, and DMX sounds like the legendary rapper he is here, unlike on the last song. Great stuff, and props to Dame Grease for that damned good beat.
13. Blackout (feat. LOX & Jay-Z) (prod. Swizz Beatz)
Almost like a sequel to the previous album's "Niggaz Done Started Something", only this time it's Jay-Z instead of Ma$e. You would think that that was a guaranteed way to make this song better, but you'd be wrong - it's worse. The beat on here is more aggressive than your usual Swizz Beatz number, but still, it's a Swizz Beatz number, and therefore it sounds pretty cheap and not very well put together. Jada seems to insinuate that one of the other members of the LOX is more expensive (and therefore, one would assume, better) than him, meanwhile DMX simply recycles a verse from a freestyle he did on the set of LL Cool J's "4, 3, 2, 1" music video. Still, both Sheek Louch and Jay-Z deliver great verses on here, and no-one sounds weak (although Styles P could have come harder). This is a good posse track, but given the lineup, it should have been better.
14. Flesh Of My Flesh, Blood Of My Blood (prod. Swizz Beatz)
Hold on. Let me get this straight. Swizz Beatz produced this? How can you produce "No Love 4 Me" and this in the same time-frame? They're not on the same damned planet. This beat is truly incredible, and is just the right pace for mr. Simmons to go completely off on it about how he's just gonna keep dropping music, and nothing you can do will stop him. "Matter of fact, I think I'll drop another song tonight!". Well, if it's anything like this, X, then please feel free.
15. Heat (prod. Swizz Beatz)
This Swizz beat has a more melancholy atmosphere than most of the instrumentals on this project, and while the drums on here are a bit static - you ain't gon' be nodding your head to this one - I still think it's a pretty good instrumental, light years ahead of "No Love 4 Me". DMX's lyrics are going back to the "I'm as tough as a brick wall" bars that he was using throughout the first half of this thing, and the hook is annoying as hell (God, I wish Swizz Beatz would shut up), but overall, this is a pretty underrated effort.
16. Ready To Meet Him (prod. Swizz Beatz)
Before we get to the final track on the album, DMX gifts us with a Prayer to serve as a sequel to the one on It's Dark and Hell is Hot. It's damned powerful, and once the beat from Swizz comes in at the 2 minute mark, the goosebumps increase, as this is the best instrumental he ever made. It's so unsettling, and also gives the church vibe that is sorely needed for this track in which X has a conversation with God himself, similar to on the previous album's "The Convo". These verses are some of the harshest to listen to in X's catalogue after his tragic death back in 2021, and I especially find myself truly moved by the final verse. The extended instrumental outro was also heavily appreciated. Easily one of the best DMX songs, and one of my favourite of all time. Rest In Peace, X.
Flesh Of My Flesh Blood Of My Blood is an interesting album to say the least. This record contains quite a more upbeat sound than his debut for the most part, largely thanks to the production of Swizz Beatz, who is as hit-or-miss as the UK weather this summer. Sometimes, he will provide something quite powerful, especially on "Ready To Meet Him", but then he will provide us with crap like "No Love 4 Me". I think that him having a hand in almost three quarters of this album was to the project's disadvantage, as even though DMX always shines, the beats on this album aren't always up to snuff, at least until we reach the second half. This is actually an incredibly bottom-heavy album - tracks 1 to 8 range from good to poor, whereas all but "No Love 4 Me" in tracks 9 to 16 are good to an extent. And there's quite a few tracks on here that are truly great - the insanely aggressive "Bring Your Whole Crew", haunting "The Omen", saddening "Slippin'" and powerful "Ready To Meet Him" are all examples of classic music this thing has to offer. DMX is always great on here, providing verses that are usually pretty redundant in terms of subject matter, but terribly unique when it comes to flow and delivery. I do wish this had been sequenced better, and some of the filler could have been cut, but as a whole this is a very solid effort from DMX, and for something recorded in half a year, I can't complain. I would recommend a listen here, as the best tracks are true classics, and there's quite a few dope bangers in here too - just watch out for the godawful "No Love 4 Me". A good, good album, that, with a bit more time put into it, could have been a classic.
Best Tracks: Bring Your Whole Crew, We Don't Give a Fuck, Coming From, The Omen, Slippin', Flesh Of My Flesh, Blood Of My Blood, Ready To Meet Him
Worst Tracks: Keep Your Shit the Hardest, No Love 4 Me
Read up on a little bit more DMX here
Images for "Slippin'" and "No Love 4 Me" singles taken from Discogs
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