Although Cormega was kicked out of the AZ, Nas, Nature and Foxy Brown group The Firm some time before the groups debut album, he joined Def Jam records and was working on his own never released debut album The Testament. Soon after, he was facing jail time on charges unknown to me and never released that album. Some years later, he’s finally released his true debut album, The Realness. Although I had high expectations for it, it lived up to be everything I had believed it be and is nothing short of amazing. Though Nas would say different, Cormega is almost a reincarnate if him. With this said, its hard not to notice the street poetry, the delivery and multi-syllable flow that’s apparent throughout the albums fourteen tracks. Although many would probably disagree with me, but Cormega’s style is, perhaps, better than Nas ever could have thought. While Illmatic is a classic album of street poetry, The Realness deserves, in every right, to be in that particular hall of fame.
The beats and production aren’t the main focus of the album, so the production pales in comparison to other street poetry classics (Illmatic, Doe Or Die), but that’s not to say its unlistenable. While the beats are more or less backdrops for the lyrics rather than sonic soundscapes that many albums seem to create their beats within this category. Even though the production isn’t the albums main focus, the fact that none of the beats are sampled is one of the high points of the album. Drum loops, scant bass lines, light synthesizer and strign arrangements set in a gloomy, urban sound take the lyricism and make them street/social commentary rather than just nonsensical words mixed together to create a next to nothing at all (think Cash $ Money records). With this said, the beats are at a minimalistic level, but work well enough on this premise to make them quite listenable and overall, magnetic. The album takes more of a laid back, urban sound throughout most of the duration of The Realness.
Although many albums that have taken this sound and used it only to fairly dull in its overall presentation (Immobilarity), the producers seemingly create tracks that are laid back in they’re approach, but are gritty sounding to the point where the overall sound focuses on the atmosphere to layer each track with its own uniqueness. The production is filled with fear, emotion and seriousness all in the way it’s presented. Although the synthesizer, bass lines and drum loops create the overall sound, that’s not necessarily a bad thing on the way it presents these elements. With a bit slickness and a grimy sound ever so often, it comes as no surprise that with each track, there’s a sound behind that carry’s the lyricism and atmosphere to make undeniably fresh and quite innovating backdrops. Although the urban sounds may have more people thinking that the production is trying to be more of the same in which earlier albums in this sub genre are trying to recreatate, the way its utilized is a key elements to the overall effect. Dark bass lines, string arrangements, enchanting, methodic piano keys and drum loops build to create undeniably fresh production that is some of the best I’ve seen in underground Hip-Hop.
The beats are what the album least focuses on, but that doesn’t mean that you can’t hear creative edge, the grimy sounds, the mellow strings uncompromising ’’truth or consequences’’ sound and the dark, dense bass lines that fill the album with a sound that is unparalelled. Street poetry has never had better backdrops than this, and with that in mind, create an undeniably more listenable album. Lyrically is where the album shines.
Focusing in street poetry, social consciousness and a few verses of battle rap’s, The Realness is one of the most lyrically varied albums since Illmatic. While it has street poetry to spare, it also feature a few bars of battle rap’s. Its street poetry is, perhaps, some of the best seen in underground Hip-Hop. Cormega’s lyrics are honest, unappolegetic, angry and aware of many topics. With this mixture, it’s a combination that seemingly can’t miss. Its focus on messages, thoughts and emotions is a refreshing change from the now uninspiring Nas who has decided that silver chains, backwards baseball caps, the word ’’b-tch’’, topics about guns and drugs are the way to go. Cormega’s insightful words, his religious beliefs, metaphorical rap’s and so forth bring a refreshing change of pace to an extraordinarily advanced album rich with lyrics and subject matter.
Most of the album is filled with street poetry; insightful lyricism focusing on the up’s and down’s of this lifestyle, the consequences of living this life, but happens when this goes down, etc... Although many East Coast emcees use this style, none seem to utilize well, or with this said, correct what’s at fault. Cormega’s lyrics, on the other hand, are provactive and honest to the point where the subject matter itself is undeniably fresh and almost confessionary. Although its not quite as powerful at exploiting personal demons as DMX’s It’s Dark And Hell Is Hot debut album was, or as hard-hitting with its lyrics as was found in AZ’s debut album, its a mixture of cautionary commentary, street knowledge that reflects on his life as a whole and a bombardment of topics ranging from consequences, to the state of Hip-Hop, to substance abuse and the equal of selling narcotics and so forth. This in itself is a refreshing breeze from many of the other Hip-Hop albums that focus on exploiting it rather than warning against, which Cormega does with metaphors, similes and wordplay that would even have KRS-One turning his head towards him a bit. Although many would argue the point that Cormega is one of the best street poets the Hip-Hop genre has ever seen, his moving, up-lifting lyrics make this almost a point that doesn’t need arguement.
The lyrics are what make this album the success that it is as an undeground Hip-Hop album. Its emotionally honest street poetry at its highest level. Making sure that none of his life details are left out of his unique flow and rhyme scheme.
The lyrics are overall some of the best seen on an album to be released in the year 2001 until Nas’ new album, Stillmatic, was released.
The guest artists are, again, a high point of the album. Only enlisting help from Mobb Deep and Tragedy Khadafi. Although I’ve never been a fan of Mobb Deep, and truth be told, their verses on this album seemingly aren’t changing my mind. The lyrics, though, are fairly good and don’t seem to hinder the album out all. Even with this said, with only three tracks that feature guest artists, it leaves more room for Cormega himself to show the underground Hip-Hop nation what he is capable of.
This is, quite possibly, the best album of 2001. Although many would argue that point, Cormega’s hard-hitting lyrics, valid points, true poetry and honesty found in every track on this album, it creates one of the most vivid albums of street poetry since Illmatic. Although it will be highly disregarded by many, the ones who are fortunate enough to listen to it will have heard one of the best albums of the year 2001.