The B.Coming: A Review of Beanie Siegel's Third Album

Promotion of The B. Coming, Beanie Siegel's third studio album was underwhelming at best, as the rapper was incarcerated for federal weapons gun charges shortly before the album was completed. This is a shame because the album is wholly exceptional, and is his strongest concerted effort to date. Siegel speaks candidly of his troubles with his demons, women, and money over a raft of superb productions, by some of the same producers of Jay-Z's classic records The Blueprint and The Black Album.

He is greatly improved as a lyricist since his early days, where his rhyme schemes and subject matter were relatively limited. And his rhymes recall blues themes as much as typical gangster rap themes, particularly the first two tracks, the excellent, moody lead single Feel it in the Air and the downright melancholy I Can't Go on This Way. Lord Have Mercy and Change are equally dolorous tracks revealing a surprising amount of depth and vulnerability; and while some of the other tracks are typical battle raps, there is an air of restlessness, moodiness, and frustration, that pervade the entire album. The more aggressive tracks are often downright sullen, which adds to their menace. The B. Coming is an outburst of sincere emotion, perhaps inspired by his impending incarceration, though no lyrics explicitly reference his actual legal troubles; and because the Philadelphia emcee emotes rather than just recites, it is compelling in a way few other recent albums have been.

It is a little crowded at times, with appearances from twelve guests, but Siegel's earnestness and sincerity always shine through. There is a superb duet with Jay-Z, and another with Cam'ron, both of which close the album, that affirm Siegel as a top-notch lyricist. Any lingering doubts about his mic skills should disappear upon hearing his records with Redman and Bun B. There are five solo tracks that range from braggadocio (the silky Don't Stop, with Snoop Dogg providing a smooth hook) to paranoia (the desperate Lord Have Mercy) to aspiration (the reflective Look at Me Now). And there are catchy tunes as well, such as the Peedi Crakk and Twista featuring Gotta Have It.

But perhaps the record most representative of the growth of the State Property ringleader is the ninth track, Bread and Butter. Recalling Outkast's quirky songwriting circa Stankonia, Beanie Siegel and Brand Nubian's Grand Puba, riding a Just Blaze beat, excoriate untrustworthy women between a pair of distinct, profane, yet undeniably catchy hooks.

The B. Coming marks the artistic maturation of the Philadelphia rapper. It is also in the top-tier of mainstream hip-hop releases of the past few years, and the strongest single work in his catalogue.

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