Ghostface Killah - Big Doe Rehab: Album Review

Ghostface; he has a rep to protect. More than rep, he owns a contested spot at the top. He’s one of Def Jam’s highest selling artist, and we can all follow that correlation straight to the bank. God knows he has. Big Doe Rehab is more of an ironic jest than simply a statement of intent, which tells of both how addicting the chase for finances can be, and how even when one’s gotten proper, its hard to ease back.

Arriving on the heals of the success of Fishscale and Mo’ Fish, Big Doe Rehab finds our hero Toney Starks cocky as ever with a mounting justification for being so. The album opens with an intro from the Rhythm Roots All-stars, with whom, at the release of this album, just finished touring with the Wally Champ. This track is an interesting choice because the shift between this and the knocking Hitmen produced “Toney Sigel aka Barrell Brothers” is so drastic, it makes the latter stand out that much more. The song features Beanie Sigel who kills it. He presents his frustration with the Bush administration’s assult on Islamn and spits “You gonna have to cut me off this track like cancer/ can’t stop won’t stop….” as the track fades out, still eager as ever to murder any beat with a decent bpm.

Each track is tinged with a little bit of hate; stories that revolve around the ills of big doe. These aspects have always been prevalent in hip-hop, but on this particular album, the message seens to ring clearer. “Yolanda’s House”, hums a story about the hustles reprieve, that can be found in a woman. Raekwon and Method Man lend verses to help bolster the vividness that Ghost albums are known for. “We Celebrate” pretty much sticks to what its name infers but is a little too kitsch. Kid Capri’s added charm doesn’t always equate to a smash, and this is a perfect example of that. The symphonic creep of violins on “Yapp City” help make it a Scram Jones gem. The beat structure is simple, with cleverly placed rattles, and elects the perfect stick up scene.

The aforementioned tracks do an excellent job of setting up the second half of the album to drive home Capetian America’s progress. Each of the last nine tracks on the album sells stories of the success that come with a coup d’état on hip-hop; guns blazing. “White Linen Affair (Toney Awards)” is not so much only for Ghostface, but for everyone at the top of Black Culture who is suffering from a doe addiction. He even drops names of rappers who he has had beef with in the past (50 cent…), and shows some continuation of growth that we saw on Fishscale.

“Super GFK” stands out under the merit that Ghostface produced it himself, and the soul pouring out of every aspect speaks more to Ghost’s attachment to his craft than the sample backing it. Slow strutting horns with a simple two step beat allows Starky Love to project his greatness to the masses, faster than a locomotive at times. Remaining mindful of the fact that although this album is lavishly illustrating the effects of big doe, any signs of rehabilitation are lacking. This point becomes irrefutable once “Rec-Room Therapy” cycles through. With flutes whistling behind a chant of “Get money/ Get money, Ghost!” it becomes apparent that there was never a true 12 step, or that or Ghost has been flung so far from the back of the wagon to the point where any hopes of getting back on can speedily be dismissed. In either case, “The Prayer” is the presents signs of healing. It acts twofold, as a tool to justify the exuberant images and values that are more valuable then money and looks for help in trying to change, or a solid reason to do so. “Paisley Darts” and “Killa Lipstick” are definitely firm tracks worth mention, but the bonus track is what clenches the awesomeness of this album.

“Slow Down” featuring Chrisette Michele may be the epitome of vibe in hip-hop. Jason King once wrote an essay describing vibe, as it’s own entity and that soul albums had the ability to capture this. The surging drums juxtaposed to Michele’s buttery voice create such a ambiance that it warrants several replays. Ghostface spits the first verse about the quality and flash that money allots, but doubles back on the second verse to explain that every day, dollar, and album release is to keep those he keeps close happy. While the song’s title urges a steady pace, Face waxes that slowing down isn’t an option today, an while he hates the grind and the course of the world, he’s thankful for the resources given to him. Most addictions cause the user to become self-absorbed and conceited, or cut off from those they love. Pretty Tony, the master don, doesn’t seem to have that problem at all. The Big Doe Rehab has Ghostface more conscious of the ills of wealth that many lower level hustlers, making it a celebrated success for music addict or recovering paper junkie alike.