Political correctness aside, “X-Is Coming” is required listener for any fan of aggressive lyricism, to which DMX provides royally. It’s some of the more controversial lyrics of his career, a few of which would prove particularly problematic today. Flowing over an eerie soundscape provided by PK, the entertainer shows little remorse, or boundaries. Creating a dialogue with the man above with production by Dame Grease, X gets insight to the unanswered questions that have plagued his psyche on what is one of the more heartfelt and impassioned inclusions on his high-powered debut.ĭMX gives fair-warning to his foes on “X-Is Coming,” a menacing number that’s equal parts grisly and sinister. “Somebody’s knockin’, should I let em in,” DMX ponders on “The Convo,” inspired by his relationship with God. Produced by Dame Grease, “Damien” is a testament to DMX’s originality and imagery and ranks among the greatest storytelling songs of its era. On “Damien,” DMX makes a deal with the devil in exchange for riches, but learns that the cost is too pricey to pay. Add in subtle wrinkles like the whimpering dog at the beginning of the song and “Look Thru My Eyes” stands as an exceptional deep cut that helps make up the fabric of this classic.
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“Burning in hell, but don’t deserve to be/Got n**** I don’t even know that wanna murder me,” DMX laments on “Look Thru My Eyes,” a hard-boiled heater that finds the Yonkers heavyweight attacking with the vigor of a canine off it’s leash. It’s one that will surprise a listener who’s only jammed to the rapper’s major singles. There’s a precision-like attempt to the track that features sheer comedy with a mix of wit. As far as storytelling goes, the song has it all. “Crime Story”Ī sample of Edwin Starr’s “Easin’ In” serves as the foundation of “Crime Story,” an epic crime parable that finds DMX on the run during a murder spree and evading the capture of the NYPD. Although the track is more of an interlude than a bonafide song, “ATF” is among the more explosive numbers on the latter half of the project and captures the Ruff Ryders grand champ in the heat of the moment. “ATF”Ī vivid tale of an ATF sting operation is spun on the album, which finds X going toe-to-toe with law enforcement in a blaze of glory. X’s rendition falls short of the original due to guest star Nardo’s pedestrian vocal performance on the hook. “I Can Feel It”ĭame Grease reworks a sample of Phil Collins’ classic “In the Air Tonight” for “I Can Feel It.” The somber track catches Dark Man X in a state of reflection and introspect. Produced by Dame Grease, the track trends towards the lower end of tracks from DMX’s debut, but remains a serviceable cut worthy of an occasional spin. X dials up Kasino, Loose, Big Stan and Drag-On for a show of crew love on “For My Dogs,” a posse cut that finds the five pitbulls busting out of the kennel with a succession of rhyme spills. It’s anniversary has come and gone, but with the tracks aging exceptionally well, VIBE dived deep into the album by ranking it in its entirety. Selling over five million copies worldwide and shifting the paradigm of hip-hop, It’s Dark and Hell Is Hot is regarded as one of the most impactful debut albums of all-time and a bonafide classic that’s synonymous with one of the most exciting eras in rap.
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Led by the singles “Get At Me Dog,” “Ruff Ryders’ Anthem,” “Stop Being Greedy” and “How’s It Goin Down,” It’s Dark and Hell Is Hot dominated radio and would become the soundtrack to the streets, with many hailing the artist as a rap savior and an icon in the making. 1 on the Billboard 200 with 251,000 copies sold in its first week. The hype would lead to DMX inking a record deal with Def Jam Records in 1997, as well as the release of DMX’s highly-anticipated debut album, It’s Dark and Hell Is Hot, the following year on March 12, 1998.īoasting production from Dame Grease, P.K., Lil Rob, Swizz Beatz and Irv Gotti, with guest appearances by Ma$e, The LOX, Faith Evans and additional Ruff Ryders talent, It’s Dark and Hell Is Hot would make an immediate impact, debuting at No. to Live,” “Take What’s Yours,” and The LOX’s “Money, Power & Respect.” The rapper would hit another stride in 1997, scoring high-profile guest spots on LL Cool J’s single “4, 3, 2, 1,” Ma$e’s “24 Hrs. HBO Releases 'DMX: Don't Try To Understand' Documentary Trailer