A few weeks after the release of his sluggish and frankly rather disappointing fourth album Anarchy, Trevor Smith (codenamed Busta Rhymes by his illegal steroid supplier) was disturbed at his hairstylist by a phone call. It seemed the chief executive of Elektra Records, his label, wanted to see him, and he was being called to inform him that he must report to the company's offices immediately. Shivering with apprehension, he excused himself from the stylist and drove straight there in his Lexus SC500 convertible, wondering - was it a surprise party? A communal viewing of the new Shaft film? Or perhaps suggestion that a "Get Out" remix should be recorded alongside Master P and the theme tune from Mission Impossible? Full of ideas, Trevor arrived in the office and was asked to take a seat, and after some long hard staring with the chief executive, was finally shown a copy of the Anarchy album. Having had it placed in front of him by the executive, he was ordered to stare and contemplate some questions: "is this really the best you could do? Was this album the best use of your creative abilities, time and budget? And most importantly, where the fuck was the poppy radio single that we asked you for?" Trevor didn't know how to answer, and was instead simply dumfounded. How could he let himself, he the man who had charted top 10 consistently and gone platinum multiple times, be scolded by some snobby executive in a three-piece suit? Instead of answering these questions as instructed, Busta Rhymes stood up, flipped the gentleman and his pair of bodyguards off, and stormed out of the office with his teeth bared, remembering to sign himself out on the register as he went. Jumping into his vehicle, he grabbed the notepad kept in his glove compartment, scribbled some choice words whilst repeated utterings of "motherfucker" emitted from his slightly agape mouth, and headed back inside to give the receptionist what was... his final notice.
That's right - Busta Rhymes had left Elektra Records, and most likely not in the way I described it, but anyway.
His release was celebrated at the Elektra camp by the eventual release of a greatest hits album for him, titled Total Devastation: The Best of Busta Rhymes, but as for the man himself, his departure wasn't such an abrupt choice as it might have seemed. See, during his last year or so with Elektra, Busta had formed relations with a man known as Clive Davis, and knew him well enough to receive the information that he was to be starting up his own label under the power of Interscope Records, a label that was to be named J Records. Busta was eventually one of the first artists to sign to this label, but would later be joined by others including Maroon 5, Liza Minnelli, Pearl Jam, and even fellow hip-hopper Erick Sermon. The label change did result in the postponement of the second Flipmode Squad album, but on all other fronts it looked like a positive move for Busta's career. A new label meant a new atmosphere, and this could mean a new direction in the man's music that would cause us as hip-hop heads to forget about the stale Anarchy album, and start to praise him in the same way we were in the late '90s. Busta saw this, and even decided to title his first album with the new label Genesis, to represent the supposed "genesis" of a new him. The singles were successful, and when the album came out it looked like we were in for something very interesting indeed.
On the one hand, Busta had clearly not listened to anyone who suggested his albums might be a bit too long, as this one was 20 bloody tracks and clocking in at just a couple minutes shorter than Anarchy, and that album's length was clearly one of its shortcomings. Also, the album cover wasn't as interesting as his previous four. On the other hand, however, the tracklist itself looked intriguing. The features consisted of Rah Digga, Puff Daddy, Jaheim, Kokane, Kelis, Mary J. Blige and the Flipmode Squad, and while some of these had worked with Busta before, the mixture of genres and moods these artists represented already signified that this might be a more diverse experience than his last effort. Production was handled by the likes of Nottz, Just Blaze, Dr. Dre (hell yeah!), J Dilla, The Neptunes and Pete Rock, and these were the type of credits to make the hip-hop fans go all giddy with excitement. Yeah, the last album's producer list was similarly potent and look how that turned out, but still, the hype for this album was pretty damn high.
But would the record deliver? Today, there seems to be a bit of a divide between people who think this is just as boring and bloated as Anarchy, and people who think this is one of his best, so which one of those am I? Let's see how long it takes for you to figure out.
1. Intro (prod. Nottz)
After a quick phone conversation with the aforementioned Clive Davis, Busta takes backseat to that Dolemite guy who previously showed up on the When Disaster Strikes... intro. The music from Nottz is nice, but do I really have to hear about "slappin dick in the mouths of these bitches" again? Really??
2. Everybody Rise Again (prod. Just Blaze)
A callback to When Disaster Strikes..., now followed by a callback to Extinction Level Event. Let's hope Busta doesn't spend too much time on this album reliving his glory days. I mean, imagine the next song was a homage to his verse on "Scenario"! That would be just too much, right? Right, Busta? Anyway, the song. This one has a more generic structure than the first "Everybody Rise" track, and also has a much more futuristic sound thanks to the electronic Just Blaze beat that sounds much less soulful that what he was cooking up for other artists around this time. Trevor brings the heat on this track via an interesting chorus with some nice melodies and trademark Busta ad-libs, and two verses filled with boasts-n-bullshit that happens to include the line "how I will beat you just like your father", which is slightly disturbing but also slightly funny if we're honest with ourselves. This is actually a really entertaining opener, and that scream of the title at the very end is haunting as an abandoned mansion. Great stuff.
3. As I Come Back (prod. The Neptunes)
4. Shut 'Em Down 2002 (prod. Pete Rock)
The first song that could possibly have appeared on one of his previous few albums, had it not been for how much older and calmer Busta just generally sounds on this album so far. This one is done by Pete Rock, and it is once again based around an interpolation of another song, this time being Public Enemy's "Shut 'Em Down", or rather the Pete Rock Remix of that song. Busta merely makes a few references to that song during the verses, but this beat being so similar to the original and the hook being the same makes it more difficult to focus on this as an all new song. Still, Busta Rhymes drops what are arguably the most potent verses on this album yet over this track, with some nice lines including "we drop the bomb first then get under your mum's skirt" and "lay flat, nigga, hit the deck, or face big disrespect, in addition the shit we wreck". I mean, these are the type of lines that make me just love Busta, man. So, while the song isn't entirely original, it's still pretty damn great nonetheless.
5. Genesis (prod. Dilla)
The title track, in which Busta takes what appears to be a wall of white noise and the creepiest singing performance ever recorded, and decides he can tie that together to make a great song. Busta's two verses on here are actually impeccable in my opinion (the lines about shit and farting notwithstanding), as Busta raps about his passion for the hip-hop genre with a seriousness that you wouldn't necessarily expect from the guy that spent half of track 3 simply growling at the listener. Both verses here are very impressive, but the instrumental and hook really take away from this experience, which is a shame. And, wait... J Dilla produced this?
6. Betta Stay Up In Your House (feat. Rah Digga) (prod. Yogi)
This sequencing is kinda crazy to me, as this song produced by something called Yogi has clearly better production than the last track produced by J Dilla. Interesting. On this one, Busta and guest star Rah Digga appear to take part in some form of marriage counselling, as they spend the whole track starting and finishing each others sentences in a way that works better than you might ever imagine considering just how often they swap. You've gotta wonder who actually wrote what on here, because half of these sentences contain them literally spitting one or two words each before the other comes in. It's an interesting format, but as I said, it works, and the production and hook both makes this into a pretty triumphant cut. The line "I stalk like pedophiles" was uncomfortable to say the least, but otherwise this is a dope song.
7. We Got What You Want (prod. Just Blaze)
Apparently, Just Blaze originally made this instrumental as a joke, and Busta just happened to hear it and decide that he wanted it for his album. I wish he hadn't, though, as this is definitely one of the worst beats on the whole album. And Busta Rhymes, sensing the mood, decides to deliver some stupid-as-hell verses on this one too. Occasionally pausing for a large, over-exaggerated intake of breath (which doesn't make much sense considering these verses are possibly the slowest on the album yet), Busta busts some fairly generic, boastful rhymes that are delivered with his wonderful flows and voice, but don't really actually say all that much. Also, the hook from an uncredited Tracy Leila is incredibly aggravating. Not sure about this one.
8. Truck Volume (prod. Dre)
This track probably made a lot of hip-hop heads start running around their rooms in excitement just at its prospect. A Busta Rhymes cut, produced by Dr. Dre? Wow! And, against all odds, "Truck Volume" actually does sort of live up to some of the expectations, even though it's the weakest of the three Dr. Dre produced songs on this album. The way Busta shouts "live nigga bully foot brass knuckle wrapped shit now" in the intro is absolutely hilarious, and after that we get a pretty nice opening verse, utilising vocals and flow that make me think this was one of the first songs recorded for this album - is anyone else reminded of Anarchy by some of these flows? The hook is catchy, but really it's that long and incredibly potent final verse that actually makes this one for me, with Busta displaying his humour and aggression all at once, especially towards the end. This is a great track.
9. Pass the Courvoisier (feat. P. Diddy) (prod. Nottz)
In light of recent events, let's just try and ignore the fact that P. Diddy is on this song, and focus on the rest of it. Oh wait, it's not possible because he appears all over this song. Diddy's presence on here automatically makes this one quite a bit less enjoyable, but I won't lie and claim that some of his musings aren't pretty funny, and man I'll be damned if this chorus isn't one of the catchiest on the whole album. Oh yeah, Busta's on here too, and he does a pretty great job with his parts in the verses. Nottz' instrumental has a bit too much going on, but again, I'd be lying if I said I don't enjoy this track.
10. Break Ya Neck (prod. Dre)
11. Bounce (Let Me See Ya Throw It) (prod. MelMan)
Mel-Man provides a fairly intense and dark instrumental for this one, but unfortunately Busta dissapoints by rapping about women shaking their asses, how he's going to kill you and your crew, and other such unrelated topics that seem to always appear in abundance on club songs. Sure, the beat's good and the hook is catchy, but really these verses aren't worthy of a much weaker rapper. This song is and always will be a disappointment.
12. Holla (prod. Dre)
The final Dr. Dre prescription of the record, and it's pretty damn great, if not as enjoyable as "Break Ya Neck". Then again, sex with Scarlett Johansson wouldn't be as good as "Break Ya Neck". Anyway, this instrumental is easily one of the more experimental on this album, with the weird synthy sound effects giving the song an almost spacey vibe, something Busta actually comments on towards the beginning of the song. The verses on here are filled with pieces of incredible lyricism including "my vernacular is spectacular" and "smash you niggas like mashed potato", among others, and it just shows why Busta is such a great artist in my opinion - he can just think of these goofy things to say but then say them in the best and most clever way possible. Also, this hook is dope. The song ends with a rather gruesome skit that leads us directly into...
13. Wife In Law (feat. Jaheim) (prod. Diamond D)
It was surely only a matter of time before we got to a song that flat out sucked, and while "Bounce" had its major issues, this song is just flat-out unenjoyable. Over a dreary instrumental from Diamond D, Busta Rhymes describes in detail his sexual relationship with his "wife-in-law", a codename for the woman he is cheating on his actual wife with. Isn't that a nice sentiment? The chorus from Jaheim is boring as shit, and aside from the twist at the end which I thought was a long time coming, I really can't find any enjoyment within this one. It's whack as fuck.
14. Ass On Your Shoulders (feat. Kokane) (prod. Battlecat)
Remember how on When Disaster Strikes... they removed "Survival Hungry" on later pressings to make way for the successful post-album single "Turn It Up (Remix)/Fire It Up"? Well, we have a similar situation here. On re-presses of Genesis, which actually featured a slightly different (and worse) cover art, this song was replaced by "Pass the Courvoisier Part II", presumably because Busta thought this was the worst song. However, I would actually argue that this is an improvement over the previous track. Sure, Kokane's performance is as ear-splittingly bad as ever, but Battlecat's bouncy electronic instrumental works really well, and Busta glides over it like a swan, making this into an actually alright track. But who the fuck thought it was a good idea to bring Kokane to the studio??
15. Make It Hurt (prod. Dilla)
After a fuckin' weird skit that I'm sure some found funny but I don't really understand, the next song starts, and it's another Dilla-laced joint that contains a far more impressive instrumental than his previous contribution here. This spaced-out beat is absolutely perfect for Busta Rhymes, as he relays his verses with great energy and flow, and also a nice hook where the beat switches up a bit, that comes together to make one of the better club tracks on this LP. Just ignore the fucking horrible subject matter, and you'll be fine (Jesus, I forgot how misogynistic this album was). Also, anyone else find the way this song cuts off at the end to be sublime, and a great introduction to the next track? Especially since the next one's a single. I just love that shit.
16. What It Is (feat. Kelis) (prod. The Neptunes)
17. There's Only One (feat. Mary J. Blige) (prod. Michaelangelo)
Mary J. Blige shows up for a collaboration that celebrates the pair's uniqueness in their chosen genres, only over an instrumental that has no celebratory flavour to it at all. That's a relief, as something like that would have ended cornily, but that still doesn't mean I'm a great enjoyer of this one. Busta's verses barely stick out to me at all, and Mary J's melodies ain't hittin' in the way most of her stuff does. Also, I don't know what makes Busta thinks people would want to roller-skate to specifically this track, but okay then. This is a whole is merely ehh.
18. You Ain't Fuckin' Wit Me (prod. Michaelangelo)
Busta takes a beat from Michaelangelo (who also provided the last track) that, as he puts it so eloquently, "sounds like Frankenstein's baby". Interesting analogy, but I can see it. This beat is weird as a red banana, only a lot more practical, as I actually think this instrumental is one of the best on the whole LP, something a few people might disagree with. It's just so inventive, I can't help but love it. Busta Rhymes doesn't really say much of worth on this song, though, and the chorus is a bit annoying as hell, so therefore as a whole this song doesn't go down perfectly. That's not because of the beat, though - the beat's dope.
19. Match the Name With the Voice (feat. Flipmode Squad) (prod. Just Blaze)
Ahh, another chapter in the ever depressing saga of Busta Rhymes' Flipmode Squad. In this incarnation, Lord Have Mercy is long gone, but it seems that Roc Marciano (who was promoted on a couple of tracks from Anarchy) has also departed, leaving the lineup standing as just Busta, Rah Digga, Rampage, Baby Sham and Spliff Star. Sad times. On this track, Busta introduces a sort of game where we as listeners are supposed to match the name of each member with the voices we hear on the track, which makes sense - that means we'll be able to find the best verse without letting bias from reputation get in the way. Unfortunately, the game is made null and void when you realise that all the members reveal their names right at the beginning of their verses. I mean, at the end, maybe, but at the beginning? That's just fucking stupid. Sure, the beat's dope as hell and all of the MCs perform amicably, even including Spliff Star, but I just can't get over that stupidity, and I'm sure you won't be able to either. This song ends with a pretty hilarious and rather long skit that takes us into the final track.
20. Bad Dreams (prod. Nottz)
Over an organ instrumental from Nottz that intends to remind the listener of church music, Busta spits easily the most interesting lyrical content on this whole album, talking about a bad dream he had in which he actually ended up having "beef with the devil". This song is weird as hell, with the instrumental offering up a very unsettling atmosphere, and Busta's actual verses being some of the most abstract shit I've ever heard from him. I will say, however, that this song is fucking great. I love the beat, and hearing Busta finally spit some shit that isn't about partying or being a thug or fucking bitches is a welcome treat on an album that is full of that content. This is fantastic, and one of my absolute favourite post-'90s Busta tracks.
Genesis is a rather long album, one that can occasionally be a bit tiring, but compared with his previous effort, it's a massive step up, and actually one of the better albums in his catalogue following the turn of the new millennium. This shit is dope, with Busta Rhymes delivering his verses with more humour and apparent excitement than ever before, and the production on this thing is so varied you'll swear you were listening to two ten track albums mashed together. On the one hand, you have electronic instrumentals on tracks like "Everybody Rise Again" and "Break Ya Neck", but then you also have more natural and old-school beats showing up too, like "Betta Stay Up In Your House" or "Pass the Courvoisier". The beats are varied, but still don't stop this album from having its consistent sound, and this is helped by the hooks, which are all pretty party-ready, no matter what song they appear on. I must say that some of the hooks on here aren't very enjoyable, but the ones that are really do work and get the listener singing along, which is always a plus. And as for Busta, he shows himself to still be one of the best to ever do it on here, despite the fact that his subject matter isn't very varied or interesting. Sure, the man doesn't come through with too many meaningful diatribes on here, but what he lacks in that aspect he makes up for in delivery, flows and lyricism, all three of which he is great at on most of these songs. His rapping on this album is stellar most of the time, and while there are a few tracks where his performance gets stale or overly misogynistic, those ones tend to be saved by a dope beat or a nice hook anyway (see "Bounce" and "Make It Hurt"). Also, some of the absolute best songs of Busta's discography appear on this album, including the bangers "As I Come Back" and "Break Ya Neck", and the more chilled out cuts "Holla" and "Bad Dreams". Sure, it doesn't really come close to matching the potency of Busta's first three studio albums, but I would still make the case for this being one of the funnest and most entertaining albums of the early 2000s, and one everyone should check out. This album really is a banger, and as the "genesis" of a new, more playful Busta Rhymes, it worked a treat. Dope stuff.
Best Tracks: Everybody Rise Again, As I Come Back, Shut 'Em Down 2002, Betta Stay Up In Your House, Truck Volume, Break Ya Neck, Holla, What It is, Bad Dreams
Worst Tracks: Bounce (Let Me See Ya Throw It), Wife In Law, There's Only One
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