Phenomenon [PA] - J, LL Cool (CD 1997)

By the time of "Phenomenon"'s '97 release, LL Cool J had successfully completed yet another comeback. LL seemed to be the Lazarus of rap artists-every time he was marked for death, he made a triumphant return to the front lines. Not only was LL still making records well over a decade after his career began, but he was at the top of his game with over three million records sold of his last studio album, "Mr. Smith".

It made perfect sense for LL to align himself with the hottest thing running hip-hop, hell, ALL popular music, at the time-Bad Boy Entertainment. "Phenomenon" is LL's Bad Boy album, in several senses. Not only is Puff Daddy's tried-and-true method of sampling a big (or at least recognizable) hit and looping it 'til infinity in full effect on this disc, but Puff himself served as executive producer on this album and was even managing LL at the time.

This album also served as the birth of LL, cottage industry. At the time, not only was he rapping, but he was acting on TV ("In The House") and movies, endorsing the FUBU clothing line, and he had just completed his autobiography, "I Make My Own Rules". LL said in several interviews that this album served as an unofficial soundtrack to the book. Indeed, LL goes back into his childhood and musically revisits several moments from his past, making this his most personal effort.

True to Bad Boy's signature style, there are plenty of club bangers to be found on "Phenomenon". "Starsky & Hutch" is a high-energy collabo with Busta Rhymes. The two exude quite a bit of chemistry here, alternately finishing one another's sentences and rhyming (or occasionally singing!) in unison. The album's title track has a laid-back funk flavor with Bad Boy's signature bells and whistles on top of a bass-heavy sample of Creative Source's "Who Is He & What Is He To You". LL uses his smooth "Goin' Back To Cali"/"Type Of Guy" here, and it works well.

The album's most sexually charged moment comes with "Nobody Can Freak You", a fast-paced sequel to his previous album's hit "Doin' It". Female MC LeShaun is back along for the ride, and the two trade sexual taunts with relish. The sexual tension is so thick on this song, even LeShaun rapping "you ain't gettin' sh*t until I hear wedding bells" at the end of the song doesn't detract from the song's naked eroticism. Hard to believe that the only reason LeShaun appeared on this album (and it's follow-up "G.O.A.T") because of the result of a lawsuit she filed after LL refused to put her in the video for "Doin' It".

While LL spends much of this album in player mode, he also drops a couple of romantic gems to expose his sensitive side. "Don't Be Late, Don't Come Too Soon" finds LL cooing sweet nothings while singer Tamia warbles the chorus. It's a relaxing, mellow end to the album, although it probably should've been faded out two minutes before it actually was. Meanwhile, "Candy" (the album's first single released to radio) is a tender tribute to his wife Simone and their courtship. Bringing New Edition's Ralph Tresvant and Ricky Bell to sing the chorus of "Candy Girl" on this track gives it a wistful, sentimental vibe. It's an emotionally bare moment-especially for a rapper. How many hip-hop records do you remember that look fondly on the love affair between a man and his wife?

The album's most autobiographical moment comes with "Father". Although the sample of George Michael's "Father Figure" (and the cheesy gospel choir at the end) is sort of obvious, this is definitely one track where the music is a complete afterthought. Hearing LL rap about being disabled as a child, how his father beat his mother and ultimately shot her mother (and his grandfather) while young LL watched, then recount how his stepfather abused him, and hear how he forgave both men, is jaw-dropping. This song reveals a vulnerability (and resolve) that's, again, not often found on hip-hop records.

This album has a consistency found on very few of LL's prior records and definitely nowhere to be seen on any of his subsequent joints. There's only one throwaway track, "Another Dollar", which finds LL joining the pack, adopting a fake mafioso name ("John Mickens") and turning out completely generic lyrics. However, that moment is quickly forgotten with tracks like the moralistic "Hot, Hot Hot" (a bouncy track with a message of concern to fast women) and "Wanna Get Paid". Even the album's posse cut ("4,3,2,1") comes off well. Featuring a neck-snapping Erick Sermon beat, the track boasted a career-making verse from Canibus, who boldly threw darts at LL on his own track. LL re-recorded his verse as a response to the young challenger, but 'Bis' verse still remains the illest of all the emcees that appear on the song (which also features Method Man, Redman and DMX).

While the album's overall sound is very much in line with what radio-friendly rap music sounded like in 1997, the strong lyrics and themes prevent it from sounding like LL chasing trends. Unfortunately, that's not something I can say about...(thinks)...every single LL record since. As his career has progressed over the years and his records have gone from inconsistent to awful, "Phenomenon" stands as not only one of the "jiggy" era's best mainstream-aimed albums, but also as the last above-average LL album.

"Phenomenon" by LL Cool J
Released 1997 on Def Jam Records
Rating: 4 out of 5 stars


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