Genesis

Rolling Stone - 3.5 stars out of 5 - "...GENESIS backs up his undeniable vocal substance with beats that sustain his willfully overstated style....its peaks prove Busta ain't broken yet..." Q - 3 stars out of 5 - "...Busta's gruff, urgent voice remains a potent instrument in the right setting..." Rolling Stone (1/17/02, pp.48,50) - 3.5 stars out of 5 - "...GENESIS backs up his undeniable vocal substance with beats that sustain his willfully overstated style....its peaks prove Busta ain't broken yet..." Q (2/02, p.106) - 3 stars out of 5 - "...Busta's gruff, urgent voice remains a potent instrument in the right setting..."

With his rough-hewn voice, edgy delivery, and hard-hitting lyrical scenarios, hip-hop icon Busta Rhymes has never been one to tread softly. GENESIS is no exception; on this album, Busta pretty much keeps to his strengths, spitting out tongue-twisting rhymes with an almost startling facility atop beats that are both texturally inviting and danceably funky. Despite his no-holds-barred style, though, there's more to Busta than thug-life/gangsta scenes. Anybody who can pull off a tune like "Pass the Courvosier" and make it a duet with P. Diddy no less, has obviously been living the high life long enough to know that hooks and accessibility are of equal import to the upfront style for which Rhymes is famous.|

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

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