Much like the regional differences between rappers from differring coasts, New York MC’s are often the representation of a larger community’s ethos. For instance, Cam’ron‘s slick-talking, flamboyance embodied Harlem, Jay-Z‘s sharp, hustler mentality derived from Brooklyn, while Nas’ profound, thought-out and laissez-faire style is a Queens thing. In that regard Lloyd Banks is a lot like Nas. The veteran rapper has taken the long-winding road to artistic nirvana and his latest project, The Course of the Inevitable 3: Pieces of My Pain, sees the Queens native at his songwriting best, while capturing the essence of New York City’s underbelly.
Widely recognized as the punchline king, Banks’ cultural relevance within hip hop often relied on his hard-hitting punches. However, the platinum-selling rapper has re-emerged and reinvented himself through his COTI series, showcasing never before seen vulnerability and earnestness. Through a hue of sinister, 90’s inspired boom-bap production, Banks plays the role of philosopher and commentator. After all, the rap game has changed drastically since Banks released his platinum-selling debut, The Hunger for More.
Invariably talented, the knock on Lloyd Banks has been his indifference to the promotional aspects of a rap career. While that apathy played a part in Banks not releasing a studio album for over a decade, the boom bap sound’s re-emergence in niche form was the perfect opportunity to return to the scene and Banks struck while the iron was hot. “I was like, ‘Yo, it’s time for me to attack now.’ he reveals. “The boom bap wave was kind of reemerging. I was like, “Yo, it’s no better time than now.” “Let me get my feet wet.”
Album’s Best
With a New York-centric supporting cast, the 16-track, 54-minute project was curated to capture New York City’s hardened nature. Hence, Banks alternates between first person tales and analysis of the state of the culture. Furthermore, the PLK’s more descriptive form of songwriting led to a few vulnerable album cuts. Records like “Voices,” “Pieces Of My Pain,” “Daddy’s Little Girl” and “Deceitful Intentions” provide insight into Banks’ mental state. Meanwhile, songs like “Automatic Pilot,” “101 Razors,” “Money Machine” and “LSD” sees the veteran rapper provide commentary on the current state of street ethics, making numerous mention to the current trend of recording one’s death and disrespecting the dead that has been brought about by drill culture. Moreover, Banks’ improved beat selection and swift, hard-hitting rhymes make for a incredible coherent project with plenty of replay value.
My album’s flawless for your rap genius to scrutinize
They told me sharks was in that water, watch me scuba dive– Lloyd Banks, “Money Machine”
Album’s Worst
If there can be a knock on this project, it would be the redundancy in Lloyd Banks’ voice. While the songs vary enough in beats, flows and rhyme patterns, Banks’ grizzled, monotone voice remains a constant. Established fans should have no issue with this, while first-time listeners may be thrown off by the lack of variance in Banks’ pitch. Correspondingly, Banks featured a host of New York rappers throughout the album, making it a very east-coast friendly project. Moreover, Vado and Dave East hold their own in supporting roles, while Method Man delivers one of the album’s best verses on “101 Razors.” However, it was lackluster features from former G-Unit cohort Tony Yayo and Rochester native, 38 Speech, that left more to be desired. The duo share the stage on the album’s 10th track, “Red Alert.” While 38 Spesh came with potent rhymes, the lack of chemistry between the two was apparent. Meanwhile, Tony Yayo’s verse began decently enough, but quickly tales off as his flow did not mesh with the beat.
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