The Big Bang [PA] - Busta Rhymes (CD 2006)

Ten years ago, Busta Rhymes was one of my favorite MC's. Not only was he a hyper, caffeinated MC, bringing a fun element to a genre that was increasingly dark, but the man was capable of ripping a guest MC-as evidenced by his scene-stealing verses on Tribe Called Quest's "Scenario" (the original and remixed versions) and Craig Mack's "Flava in Ya Ear" remix.

In the years since, Busta has devalued himself into just another MC. Case in point: in a decade-long solo career, he has yet to make a classic album, and the closest he came was his second joint-1997's "When Disaster Strikes"-which, at most, might be a 3 1/2 star album. Despite the fact that he's managed to stay fairly successful over the years, he's also proven himself to be the never-quite-satisfied-with-his-success type. After four albums on Elektra, he moved to Clive Davis' J Records for a two album stint, and now he finds himself on Dr. Dre's Interscope imprint, Aftermath. There's obviously some serious money to throw around on Bus's seventh studio album, "The Big Bang". There's big-name production courtesy of Dre and his minions, as well as Swizz Beatz. There are also a plethora of guest appearances-a guest MC and/or singer appears on all but three of this album's cuts. Unfortunately, all the big name production and guest artists can't obscure one simple fact:

This album is incredibly average.

Remember back in the day when Busta was considered original? Not only was his rhyme style unique, but he went out of his way to bring a positive image to his music (although at times it bordered on buffoonery). Gone are the invitations to party (for the most part) and the 5% Nation-derived proclamations of pride. In it's place, Busta has become just another MC talking about sex, money, drugs and thuggin'. His flow has barely deviated over the course of 7 albums, and while the production is uniformly solid, the beats would've sounded better on...just about anyone's album.

The album starts off with the electro-derived "Touch It" as well as "How We Do It Over Here", which features Missy Elliott. The beats for both are slammin'...they're woozy, computer-derived beats that would be perfect for Busta's flow...but the former has nothing of substance to offer, and the latter track is just another excuse for Missy to spit the same ol' tired sex rhymes. "New York Sh!t" wastes a smooth, jazzy beat from DJ Scratch over tired rhymes. This record would have been better as an instrumental. Actually, most of these songs would have been.

When the songs are good-Busta finds himself outshined by his guests. While "New York Sh!t" promises some of that hot street stuff, "You Can't Hold the Torch" actually brings it. Over a smooth beat that could have appeared on a hip-hop joint a decade or even 15 years ago, Busta and compatriot Q-Tip trade off rhymes like it's 1992 again. Raekwon cooks up a tight verse on "Goldmine"-a joint that could easily have been on "Only Built 4 Cuban Linx", while Nas blows Busta out of the water on "Don't Get Carried Away". Nasty Nas has definitely stepped up his game lately-and this verse only serves to heighten anticipation for his soon-coming Def Jam debut.

Oh, right, we're talking about Busta. He tries to get introspective several times on this album, with mediocre results. He completely wastes the rarity of a Stevie Wonder cameo on "Been Through the Storm"-which is the typical "did what I had to do to survive in the streets" bullsh*t hip-hop fans have heard for years on end.(editor's note) Busta grew up in the suburbs on Long Island. He claims he grew up in the Brooklyn neighborhood of Flatbush (where I spent the majority of my first 17 years), but that is a fallacy. He used to come to the neighborhood to hang out (I ran into him once or twice), but he didn't live there (/end editor's note). He then turns and commits the mortal sin of grave-robbing on "In the Ghetto", which boasts a "feature" from Rick James, BUT, actually samples a) his 1981 recording "Ghetto Life", b) his speech at the 2004 BET Awards, and c) the line "cocaine is a hell of a drug" from the infamous "Chappelle's Show" sketch. So where it seems like Rick decided to bless Busta with a vocal before he passed, all Bus did was pay James' estate for a sample.

Stevie and Rick aren't the only talents wasted here. Snoop protege Le Toiya Williams (a genuinely soulful singer who needs to release a solo album) is completely wasted on yet another tired sex jam, "I'll Do it All", but the worst offender on this album is far and away "I Love My B*tch".

Yes, Busta Rhymes has a song called "I Love My B*tch". The chorus goes "I love my n!gga/I love my b*tch". Sexy, huh? To make matters worse, the song relegates the talented Kelis to a hook girl (and it's a spoken hook, not a sung one), and also features (and is produced by) will.i.am of The Black Eyed Peas. Every time I feel like giving this brother a pass (John Legend, Mary J. Blige), the guy turns around and serves up a steaming hot plate of dookie like this song.

As bad as this album is, there are a few cuts that give it redeeming value, and the production is solid (and occasionally more than) throughout. What kills me about this is that Busta, obviously a creative individual, seems to only have his eye on the top of the charts, making records with hot beats and very little in the way of substance, as opposed to making the type of album a 34-year old man should be making. After listening to "The Big Bang", it's hard to believe (not to mention disappointing) that Busta seemed more contemplative and mature 15 years ago when he was 1/3 of Leaders of the New School.

"The Big Bang" by Busta Rhymes
Released 2006 on Aftermath/Interscope Records
Rating: 2 out of 5 stars