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. ' Released: February 11, 1997. ' Released: May 27, 1997.
' Released: August 12, 1997. ' Released: December 2, 1997. ' Released: March 31, 1998 No Way Out is the debut by American rapper.
It was released on July 1, 1997,. The album's crediting of 'The Family' references the from his label-mates and other artists, where Puff Daddy initially gained recognition through his public image and work as a producer for Bad Boy. Puff Daddy worked extensively with and when creating the album, which saw a change in direction following the former's a few months prior to release.
This greatly affected Puff Daddy, which he expands upon on the album with a combination of aggressive and introspective lyrics, as well as with raw production to convey his varying emotional state before and after his friend’s death. Additional production was provided by and, while the album contains features from The Notorious B.I.G.,. No Way Out saw significant commercial success, debuting at number one on the, selling over 561,000 copies in its first week of sales. The album's singles also saw commercial success, namely with ', which became a worldwide hit, and the first rap song to debut at number one on the. ' also peaked at number one, while ' and ' reached number two. The album also saw widespread critical success, with Puff Daddy being nominated for five awards at the, winning the. It remains Puff Daddy's best selling album, with over 7 million copies sold in the United States, and is considered a classic rap album.
Contents. Background Speaking about the album's title, Puff Daddy said that because of 's death on March 9, 1997, he had felt that there is 'no way out' of things the way we were. The album's lyrical content is filled with some of his emotions that he felt while mourning the loss of his close friend. In the song, titled 'Is This the End?' , he raps about experiencing the drive-by shooting that happened in, California, which took The Notorious B.I.G.' The album was originally called Puff Daddy & The Goodfellas, then slated to be titled Hell Up in Harlem, but following the death of The Notorious B.I.G., he decided to switch the album's title to No Way Out.
As discussed in ' Unbelievable: The Life, Death, and Afterlife of The Notorious B.I.G.' By Cheo Hodari Coker, the weight of the and the accompanying threats had taken its toll on Combs and those around him. It was decided that they needed to get away and become focused on making hits. So, Combs brought producers Steven 'Stevie J.'
Jordan, Nashiem Myrick and as well as engineers Axel Niehaus and Tony Maserati down to the Caribbean Sound Basin studio in Maraval, Trinidad, along with everything that they needed to craft hits. In the book, Puffy is quoted as saying, 'For the next two years, I wanna have radio on lock. Call the girlfriend, wifey, or whatever, and let 'em know that you're not gonna be around for a few weeks. We're gonna get away from all this drama, put our heads together, and when we come back, we’re coming back with hits.'
The material would later be used on No Way Out, and other Bad Boy albums from 1997 to 1999. Accolades In the United States, the album topped on the, with 561,000 copies sold in the first week. The album topped music charts worldwide for 24 non-consecutive weeks. In 1998, No Way Out would win the for the Best Rap Album. On September 7, 2000, the album was certified seven-times platinum by the (RIAA).
In 1997, among the ten songs that reached at number one on the Billboard Hot 100 list, four of them belonged to Bad Boy Records. The album spawned two Billboard Hot 100 number-one singles – ' and ' – and the 'number 2' singles ' and '.
The longest reign of the label's four hits was this single 'I'll Be Missing You', which topped the charts for 11 weeks. The melody for 'I'll Be Missing You' is sampled from 's 1983 hit '. This successful album led to Puff Daddy to be named as one of ' 40th highest-paid entertainers, along with rapper. The music video for 'Been Around the World' features cameo appearances by, playing Puff Daddy's love interest in a fictional storyline. Its positive reception led to widespread rumors of a personal relationship between the two in the media. This was later confirmed when Puff Daddy and Lopez dated for a period of time in the late 1990s. Furthermore, the music video for ' was one of the made.
The song titled 'No Way Out' performed by Puff Daddy, appeared on the soundtrack for the film (1997), but is not included on this album. Critical and commercial performance Professional ratings Review scores Source Rating C+ 7.8/10 Upon its release, No Way Out was a significant commercial success, particularly in the United States where it reached number one on the in its first week, selling 561,000 copies. It also produced five commercially successful singles, the most successful of these being the worldwide hit ', a tribute song aimed at The Notorious B.I.G., which became the first rap song ever to debut at number one on the, and remained at the top of the chart for 11 consecutive weeks, whilst topping several other charts worldwide. The other four singles, the hits ', ', ' and ', were also commercially successful, and all except the latter peaked in the top two positions of the Billboard Hot 100. On September 7, 2000, the album was certified septuple platinum by the for sales of 7,000,000+ copies in the United States: to date, it remains Combs' most commercially successful album. Track listing All tracks, with the exception of 'Young G's', were produced by members of Bad Boy's in-house production team,. The tracklisting was slightly altered on the album's remastered edition, where it was shortened down to thirteen songs.
No Way Out – and No. Title Writer(s) Producer(s) Length 1. 'No Way Out (Intro)'. Charles 'Prince Charles' Alexander – mixing. – associate executive producer, composer, producer.
Lorrenn Argumendes – assistant engineer. – photography. Carlos '6 July' Broady – producer. Sean 'Puffy' Combs – engineer, mixing, producer, executive producer. Bill Conti – composer. Lane Craven – engineer, mixing.
Stephen Dent – engineer, programming. John Eaton – engineer. Jay Garfield – producer. Rasheed Goodlowe – assistant engineer. J-Dub – producer. Stevie J.
– piano, producer, programming. Jazz – producer. Steve Jones – assistant engineer. S. Strauss, Neil (January 7, 1998). The New York Times.
The New York Times Company. Retrieved 16 July 2011. Archived from on February 10, 2010. Retrieved 2012-03-03. Stanley, Leo. Retrieved 2017-08-24. (1997-08-08).
Retrieved 2017-08-24. Pearce, Sheldon (2017-03-09). Retrieved 2017-08-24. Retrieved 2017-08-24. Archived from on 24 September 2015. Retrieved 16 July 2011.
July 1, 2012. Retrieved June 6, 2018. July 1, 1997. Retrieved June 6, 2018. What does a hole punched drivers license mean in california.
July 1, 1997. Retrieved June 6, 2018.
Retrieved 16 July 2011. Retrieved 17 July 2011.
Retrieved 17 July 2011. Retrieved 17 July 2011.
Retrieved 17 July 2011. Retrieved 17 July 2011. Retrieved 17 July 2011. Retrieved 1 February 2017. Retrieved 17 July 2011.
Chart Stats. Retrieved 17 July 2011.
(in German). Retrieved September 8, 2016.
Select albums in the Format field. Select Gold in the Certification field. Type No Way Out in the 'Search BPI Awards' field and then press Enter. If necessary, click Advanced, then click Format, then select Album, then click SEARCH. External links. – P Diddy Lyrics.
Press Play is the fourth studio album by American hip hop artist Sean « Diddy » Combs, released October 17, 2006 on Bad Boy Records. It is his first album under the « Diddy » stage name and the first release distributed by Warner Music Group’s Atlantic Records, which acquired his Bad Boy label in 2005. Press Play features several guest contributions from hip hop and R&B musicians, producers, and ghost writers. 10 11 Primarily dance-popand hip hop-oriented in sound, it is a loose concept album that contains lyrical themes concerning the ups and downs of a relationship. 11 Press Play debuted at number 1 on the U.S.
Billboard 200 chart with sales of over 173,009. In the UK, the album debuted at number 11. Its singles « Come to Me » and « Last Night » both reached the top–ten of the Billboard Hot 100.
The album became available to preview on MTV’s The Leak on October 10, 2006, one week before being sold in stores. 12 Press Play received generally mixed to positive reviews from music critics. 13 As of November 21, 2008, the album has sold 700,000 copies in the United States.
Track listing No. Title Producer(s) Length 1. « Testimonial » (Intro) Diddy for The Hitmen 2:24 2. « We Gon’ Make It » (featuring Jack Knight) K-Def 3:33 3. « I Am » (Interlude) (featuring Aasim) Diddy, Sean C & LV for The Hitmen 1:46 4.
« The Future » Havoc 3:11 5. « Hold Up » (featuring Angela Hunte) SC, Havoc (co.) 3:29 6. « Come to Me » (featuring Nicole Scherzinger) Diddy, Younglord for The Hitmen, Jai 4:36 7. « Tell Me » (featuring Christina Aguilera) Just Blaze 4:06 8.
« Wanna Move » (featuring Big Boi, Ciara & Scar) Danja, Big Boi 5:18 9. « Diddy Rock » (featuring Timbaland, Shawnna &Twista) Danja 5:12 10. « Claim My Place » (Interlude) (featuring Avant) Rob Lewis 3:25 11. « Everything I Love » (featuring Nas & Cee-Lo Green) Kanye West 4:23 12. « Special Feelin' » (featuring Mika Lett) Diddy for The Hitmen,will.i.am 4:25 13.
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« Crazy Thang » (Interlude) (featuring Sarah Rosete) Rob Lewis 1:15 14. « After Love » (featuring Keri Hilson) Timbaland, Danja 4:47 15. « Through the Pain (She Told Me) » (featuringMario Winans) Mario Winans for The Hitmen 5:28 16. « Thought You Said » (featuring Brandy) Mario Winans for The Hitmen 5:49 17. « Last Night » (featuring Keyshia Cole) Mario Winans for The Hitmen 6:26 18. « Making It Hard » (featuring Mary J.
Blige) Rich Harrison 4:54 19. « Partners for Life » (featuring Jamie Foxx &Pharrell) The Neptunes 4:30.
Puff Daddy The Saga Continues Instrumental
G-Dep is an emcee who was once signed to Puffy’s Bad Boy Records: he remained there from 1999 to 2001, when his debut album failed to move any units. (Although he did contribute to Puff Daddy’s successful compilation that year, The Saga Continues., which makes his career very similar to Hittman’s.) He is currently doing time on Rikers Island for shooting and killing a man during a robbery back 1993, a case that initially went cold even though the man tried to confess on three separate occasions (he wasn't taken seriously the first two times because he happened to be on angel dust). Over an ominous piano-based Amen-Ra beat, Dep introduces his pre-album-advance persona. Although he isn’t as charismatic as his labelmates Black Rob and Shyne (note that I’m not saying Shyne is a good rapper here), he turns out to be a good storyteller with close attention to detail, and his tale about being broke, down, and out is something we can all relate to in this economy. The hook cleverly flips a line originally from Doug E. Fresh and Slick Rick's “La Di Da Di”. (Side note: the fact that G-Dep allegedly (and by his own account) killed someone during a robbery lends credibility to the belief that he actually did have a bad time in the ghetto, unlike, say, The Notorious B.I.G.).
This club banger, courtesy of EZ Elpee, was actually a hit single. To me, this sounds like an overly simplistic version of the Clipse’s “Mr.
Me Too” (although “Special Delivery” was released well before that effort), with its entranced female ab-libs and it’s bleeps. Anyway, if it weren’t for Diddy shouting everywhere on the song as if he was trying to coax better verses out of G-Dep, this would be flat-out boring: as it is, it’s simply obnoxious. I guess I had forgotten how talented this man truly is. There’s also an official remix that features Ghostface Killah, Keith Murray & Craig Mack.
I guess I could get all excited about the return of the Mack to Bad Boy Records (a comeback that lasted the length of exactly one verse), but then again, it doesn’t sound sufficiently better than this song. It comes as a surprise that Shyne appears on this song because I believe this was released after the infamous trial. This sounds like a parody of, well, keeping things gangsta. The hook, courtesy of the guest, has to be the absolute worst I have ever heard in my entire fucking life.
Perhaps the judge heard him ask, “Where the n-z with big guns and big dicks?” 3,729 times on this song sometime during the proceedings and decided to let him experience the answer firsthand in the bing for ten years straight. It's that awful. Also, why were Knobody and Sean Cane both required to create this shitty beat? The Yogi instrumental sounds a lot more engaging than everything since “Every Day”. Although I’m fairly new to the work of both guest stars ( hey, at least he's honest), they both lay down decent verses. Not great: just decent. This isn’t what their respective legacies are based upon anyway, so I’ll probably be forgiven for not eating this shit up like a poorly made cheeseburger when you’re on some good weed downtown and having the munchies.
Still, compared to the suffocating boredom that was what came before this, it was a breath of fresh air. The beat (by some guy who goes by the awful, awful moniker Spunk Bigga) has a way of creeping up your spine, and Dep's hook is actually really good in this context. Rob murders G-Dep on his own shit because his voice isn’t so sleep-inducing to whomever may listen.
This could have been better had Robert been given more mic time, but overall this was okay. (Side note: The fact that Dep really killed a guy makes this song a lot creepier, even though that doesn't actually change the quality of the track.). FINAL THOUGHTS: I originally went into G-Dep's with an open mind, having heard Dep's contributions to that one Gang Starr song, Black Rob’s Life Story, B.I.G.’s Born Again, Diddy’s Forever and The Saga Continues. (yeah, I know) and a Benzino remix that also featured Fabolous (I know, quit your bitchin’). Although a lot of what I just mentioned is bad music in and of itself, I found that I often did enjoy G-Dep's performance.
However, when he is left on his own for more than one or two verses, he is simply not that interesting of a rapper. G-Dep seems barely able to write one entire song worth hearing, and his bloodless vocal tone (which is annoyingly bland, as opposed to Ma$e’s possible-to-ignore monotone). This is so problematic that if you try to hear this in its entirety, you’ll find yourself paying more attention to Puffy’s fucking ad-libs. Although I have to give Puff kudos for not filling with samples from 1980s songs and old Biggie verses, most of the instrumentals he chose for this project are pretty awful. There are rumors that G-Dep was battling an addiction to angel dust while recording this project; although I'm not sure what the effects of that particular drug are, Dep does sound heavily sedated on here most of the time. There is an interview in which our star claims that his drug problem caused Diddy and him to fall out: I say it was probably his pimp’s general inability to sell him to any audience.
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