Busta Rhymes Albums (8)
What The Critics Say
Following up his troubled 2006 release The Big Bang, Back on My B.S. -- or B.O.M.B.S. -- is guided by the "return to form" template, sometimes to a fault. "Give Em What They Askin For" is an exercise in yelling, kicking, and screaming "I'm back" as loud as you can, and while fans will likely cheer, Busta and producer Ron Brownz are just preaching to the converted and should have left this hookless monster on a mixtape. A handful of similar tracks suffer from this same problem of ambition over inspiration, but for every miss, there's a hit, and you don't have to look any further than the other Busta and Brownz team-up, "Arab Money," which acts as an Arabic-sampling alternative to its equally infectious older brother, "Mundian to Bach Ke." The Jelly Roll production "Sugar" is the wild sound of Kraftwerk with an Isley Brother in their ranks, while Pharrell gives "Kill Dem" a Neptunes-styled version of dancehall, allowing Busta to turn on the patois and let his Jamaican heritage take control. Odd that a comeback album would put unsurprising Akon and John Legend collaborations in the fourth quarter, but even odder is the successful closing bit of Euro-disco called "World Go Round" which falls somewhere between a Flo Rida single and a new wave club classic. That's more highlights than last time out, and even if B.O.M.B.S. fails to put Busta back on top, it is certainly a step in the right direction. ~ David Jeffries, All Music Guide
What The Critics Say
The hard-working Busta Rhymes feels he wasn't handled properly by the J label. He might have a case: 2002's It Ain't Safe No More was the first album he released that failed to reach the Top Ten of the Billboard album chart, and it didn't come close -- it didn't even see the Top 40. Now on Dr. Dre's Aftermath, which is sort of a story, he also chopped his hair (as evidenced on the cover of an XXL issue and throughout the booklet of this album), and has had to deal with the death of his bodyguard, Israel Ramirez, who was shot on the scene of his video for the "Touch It" remix. Lead single "Touch It," released months ahead of the album, did well despite being a very polarizing club record. He gets a few hot beats here, including a couple from the boss of his label and one from the late J Dilla. Stevie Wonder and the late Rick James are two of the dozen-plus guests, and Busta remains the dominant voice throughout. ~ Andy Kellman, All Music Guide
'It Ain't Safe No More'
Release Date 11/26/2002
Tracks 19
Label J-Records
See Album Tracklist and Review
What The Critics Say
No matter whether the title's a reference to the increased risk of terrorism in Busta's hometown circa 2002 ("sh*t is crazy!") or to the fact that rap's most volatile and unpredictable personality is back and bigger than ever, It Ain't Safe No More continues in the vein of loose-cannon classics like 1997's When Disaster Strikes and 2001's Genesis. And when he's on, he's better than ever, too; the title track features a P-Funk singalong and a vivid, synth-heavy production over some of the tightest spitfire raps heard on any hip-hop LP of the new millennium. After a half-hearted melodrama called "What Do You Do When You're Branded," Busta returns to what he does best on "Call the Ambulance" -- incapacitating all comers with rhymes as hardcore as they are hilarious. "What Up" is half-Neptunes and half-Raymond Scott, and the single "Make It Clap" is just the latest classic Flipmode anthem. Except for a few overblown performances and quasi-epic productions, It Ain't Safe No More finds Busta Rhymes with the same sure grip on his distinctive personality. ~ John Bush, All Music Guide
What The Critics Say
Busta Rhymes takes his charismatic style of rapping and applies it to a new production style on Genesis, his fourth solo album. This time around the beats seem darker and more synth-oriented, giving it an edge reminiscent of the bass-heavy G-funk sound. "As I Come Back" is a good example, featuring a sustained keyboard note droning on throughout the chorus with Busta rapping in his raspy style. On the other hand, Rhymes can still make a good dance song, like the hypnotic "What It Is," a fractured funk anthem that features robotic female vocals from Kelis and a slow beat consisting of clicks and snaps. Other guest appearances include P. Diddy's turn on the dramatic "Pass the Courvoisier," Mary J. Blidge on "There's Only One," and the occasional appearances by the Flipmode Squad, as well as production work from Pete Rock and Dr. Dre, among others. The only questionable track is a remake of Public Enemy's classic "Shut 'Em Down" that may leave some fans cold due to its different feel and message. But outside of the one track, this is another solid release from a consistent hip hop artist who can still make relevant, interesting albums long after his days with the Leaders of the New School. ~ Bradley Torreano, All Music Guide
What The Critics Say
Busta Rhymes is undoubtedly one of the best and most distinctive rappers of the '90s. He's also one of the most prolific; Anarchy, released in the summer of 2000, is his fourth album since 1996. Each one has been jammed full of material and also a little erratic, packed not only with great singles and tongue-twisting performances but also filler that gets by mostly on Busta's personality. Clocking in at around 78 minutes, Anarchy is no exception to the rule. Its best moments are as brilliant as ever, but there are also signs that Busta's winning formula is starting to show a little wear and tear. "C'Mon All My Niggaz, C'Mon All My Bitches" has the insanely rapid-fire delivery of E.L.E.'s "Gimme Some More," which sums up the difficulty of Anarchy in a nutshell: no matter how incredible it is, we've heard much of this from Busta before. Of course, the converse is also true: a lot of it is still incredible, no matter how familiar, and there are a few intriguing production touches. But, perhaps for the first time, Busta's singular yet now familiar style isn't quite enough to carry the weaker material, which often feels too tossed off. It doesn't help, either, that Anarchy follows the same sort of millennial-apocalypse concept that enlivened E.L.E. (and, to a certain extent, When Disaster Strikes); it's a little disappointing to hear such an inventive rapper retreading familiar territory. It seems almost impossible that Busta could produce a true failure, but by this point, a growing number of fans may not salivate over a new album nearly as much as the inevitable best-of collection. ~ Steve Huey, All Music Guide
'Extinction Level Event (The Final World Front)'
Release Date 12/8/1998
Tracks 19
Label Elektra
See Album Tracklist and Review
What The Critics Say
Busta Rhymes rocketed to superstardom in an alarmingly short time, simply because there was no other rapper quite like him. Nobody else in his position had his wild sense of humor, reckless fashion sense, and, most importantly, willingness to take risks. Yes, underground rappers like the Jurassic Five and the entire Wu clan relentlessly pushed the boundaries of hip-hop, but they operated at the fringes of pop culture. Busta placed himself smack in the middle of middle America, gleefully taking cameos on Cosby and recruiting both Janet Jackson and Ozzy Osbourne to appear on his third album, Extinction Level Event (The Final World Front). Where this could seem like pandering by some artists, there's no condescension or crass commercialism in his approach. Busta's party is careening out of control because he doesn't see a reason to exclude anybody. That's the reason why Executive Level is a richer listen than most contemporary hip-hop records -- it has hard beats, weird samples, unpredictable musical juxtapositions and collaborations, and sharp, intelligent rhymes. Like any artist who attempts so much, Busta occasionally falls flat (the rewrite of "Iron Man" wasn't a great idea), but there's so much happening on Executive Level that the missteps don't really matter -- especially since Busta has come up with a party record that doesn't just sound the end of the millennium, it feels like it. ~ Stephen Thomas Erlewine, All Music Guide
'When Disaster Strikes'
Release Date 9/16/1997
Tracks 18
Label Elektra
See Album Tracklist and Review
What The Critics Say
Busta Rhymes' second album, When Disaster Strikes, is a sprawling, often brilliant mess that confirmed his status as one of hip-hop's most singular characters. Restraint isn't Rhymes' strong suit, and thus the album careens from sheer genius to repetitive indulgence and right back again. When Rhymes is on, there's no one like him, and when he isn't, it's like the calm before the storm. Fortunately, he's on most of the time on When Disaster Strikes, helped out by what would become his favorite theme for the next several years: the coming apocalypse. Even if the concept doesn't carry through the entire album, When Disaster Strikes is framed as a pre-millennium party spinning out of control, sort of like the dark side of Prince's "1999." Rhymes presides over the chaos like a mad master of ceremonies, running amok with his posse at his back (there are countless shout-outs to the Flipmode Squad). It's a hugely effective persona when paired with Rhymes' caffeinated, herky-jerky flow, and helped prove he was more than just a novelty. The album's two big hit singles, "Dangerous" and the creepy "Put Your Hands Where My Eyes Could See," are terrific, but there are more than a few moments that are just as inspired. The second half of the album slows down the momentum somewhat, with a bevy of guests, collaborations, and posse cuts; a few offer some welcome variety, but often they don't replace Rhymes' manic energy with anything quite as exciting. Still, nearly every rap album from this era has its share of filler, and it doesn't prevent When Disaster Strikes from ranking as arguably Rhymes' definitive original album. ~ Steve Huey, All Music Guide
What The Critics Say
Busta Rhymes delivered his debut album, The Coming, three years after the Leaders of the New School unofficially disbanded, and it reflects the change in hip-hop between 1993 and 1996. The Coming is indebted to the slow, spare, and quietly menacing funk and soundscapes of the Wu-Tang Clan -- in fact, Ol' Dirty Bastard appears on one of the album's most infectious tracks, the single "Woo Ha!! Got You All in Check." Busta Rhymes, like Ol' Dirty, is a surreal, inspired rapper, but his skills are on a whole different level. Though his talents were evident on the Leaders of the New School records, Busta Rhymes has never had such an impressive showcase for his rhymes as he does on The Coming. Busta doesn't have a deep message in his raps, but he twists words and phrases around with an insane, invigorating flair. Like many hip-hop albums of the mid-'90s, The Coming is padded with too much material, but Busta Rhymes' brilliant raps keep the record from sinking during its monotonous passages. ~ Stephen Thomas Erlewine, All Music Guide
