The first time I picked this CD up was at my friends house over 2 years' ago. I'd never even heard of DMX, but I wanted to give it a chance, like I give all music. That night I walked out a changed guy. Later that week I made a stop at the store and picked up the best CD I ever bought. Every track is a masterpiece, from the intro, to the finely tuned skits. One by one, Earl Simmons created a conditioned work of art that cannot be topped. The "Ruff Ryders' Anthem" is an urban classic, with a raw sound and beat that still bangs in parties and clubs today. Another hit, "Get At Me Dog" is another rough, and urban sound, which can get anyone's adrenaline soaring. Important messages are detailed throughout songs such as "Damien", which has some of the most well constructed lyrics I've ever come accross. Other tracks such as "Stop Being Greedy" and "ATF" relect on DMX's past street life, which can grab your attention and never let go. Softer cuts such as "How's It Goin' Down", "The Convo", and the infamous "Prayer" show DMX's softer side, and take away some of the anger and angst that is heard throughout all of the other tracks. This will forever remain a classic in the hip hop industry. It re-opened numerous doors for the east coast rap business, and hip-hop in general. This is one disc you cannot be without - satisfaction guaranteed.

I can definitely call this album a classic because it shows his versatility ("Stop Being Greedy" and "Damien" finds him rapping in different voices, while "How's It Going Down" is a successful joint for the ladies), his religious manner without being too preachy ("Let Me Fly"), and his energy, of course ("Ruff Ryders Anthem", "Get at Me Dog", "F'n Wit D" and "N'z Done Started Something"). On the latter song, Mase and The Lox guest starred on there to show everyone that they weren't no shiny suit rappers from Bad Boy. DMX also tells good stories on "ATF" and "Crime Story". On every album following this one, all of his songs have too many "What?"'s and "Come On!"'s, too many Swizz beats that derived from Casio, and too many songs that sound like rejects from this album.

So, I've heard noise about DMX for a little while now, but I didn't pay any real attention to him until LL's "4,3,2,1." Even with the LL-Canibus backstory, I think I liked his verse the best.

"Believe what I tell ya

It was definitely a different style, if nothing else. Since then, he's shown up quite a bit, releasing "Get At Me Dog" and "Stop Being Greedy," both very in-ya-face, hardcore and quite nice. Now, he's finally dropped his album, aptly titled It's Dark and Hell is Hot.

I think my biggest fear was that his little "arf, arf" barking would wear thin quickly, and then we'd find out that there was nothing else to him. Mind you, there was no fear that he wouldn't be able to make bank. DMX posters are all over the place; he's plugged into the hype machine in a serious way. He'll make money for Def Jam, no doubt.

Of course this is a double-edged sword. Like Snoop, he risks being overhyped. If expectations are too high, he'll disappoint the headz regardless of the quality of his effort. Also, let's face it: if the underground decides he's too commerical, they'll run away in droves. It won't affect this month's paycheck, but it might affect next year's when he's no longer MTV's current flash, and he'll find he has no core audience.

Anyway, I'm here to report that there's more to DMX that an occassional bark, and loud production. DMX has some serious lyrical skill and a very nice flow. This is a solid album, with only a few weak tracks. There's a hint of real talent here, and even at its weakest, It's Dark and Hell is Hot has a lot of energy and lyrical niceitivity.

All is not perfect, though. There are at least two problems. First off, despite the skillz, every once in a while I think I'm listening to Strictly 4 My Niggaz. That's not completely bad--I loved the album--but it does make me do a double take.

Second, while I appreciate that he's essentially taken up the street gangsta mantle of early 2Pac and early Ice Cube--and the hardcore production style that went with it--one sometimes feel there isn't enough of a self-aware political and social conscious. I appreciate an angry voice as much as anyone, but the gangsta nihilism that underlies some of this work is as empty as the big willie silliness that's been taking over mainstream hiphop. As a result, the first person irony of OG: Original Gangsta or Death Certificate seems to be missing sometimes.

Let me be careful, tho'. I'm not suggesting that there is no message here. There is quite a bit of a point or two, certainly after we hit track nine, "Damien". I also wouldn't suggest that DMX has no care other than rappin' about bangin'. Sometimes you have to listen carefully, but he definitely tries to give the impression that he does care, especially towards the last half, as we shall see. On the other hand, there's something about this album that makes It's Dark and Hell Is Hot far darker and sometimes even meaner than it needs to be. I can't quite put my finger on it, but it's there.

Anyway, DMX should have ended here, but instead he ended it with another of the damn posse cuts. Whatever. Let's pretend he did, and "Niggaz Done Started Something" never happened... or maybe happened earlier in the album, and I've already dissected every single line.

There, that was fun.

Okay, before we wrap this up, I should point out that some of you who act now will find a bonus CD with your copy of It's Dark and Hell is Hot. It's called Survival of the Illest and features Ja on "Intro," an Onyx album samples, Def Squad on "Full Cooperation," Cormega, and LL Cool J's "The Ripper Strikes Back." I'd review them, but this has gone on too long as it is.

So, then, the bottom line.

I know that there are some that have been disappointed by this album, and I think I understand why. Still, the truth is, this is really a nice effort. There are some really inventive lyrics throughout, phat presentation and except for a couple of bad choices, the production is tight. If you like gangsta stuff, you'll probably like this. If you're tired of that, then you'll probably hate it. It's fairly simple.

There are three types of tracks here: (1) the in-ya-face punching bag gangsta as bragster, (2) the street stories, and (3) the rest of it. DMX is best known for (1) but I think he's best at (2). The other stuff, I really couldn't care much less about, but I'm all up on the the stories and even the gangsta-bragger. Phat stuff this, kid.

I suggest that you give a serious listen to "Crime Story," "Let Me Fly," "ATF," and "Damien." Then try "Stop Being Greedy," "X-Is Coming," and "Get at Me Dog." Go through those a while, then try "Look Thru My Eyes," "Prayer," and "The Convo." Now give the whole album a listen. This is not quite an all-time classic, but I think you'll find that this was a worth every penny and you'll be playing him for quite a while.

DMX is the natural child of our gangsta eighties. He's the early Ice Cube and breakout 2Pac that so many of us liked and with whom we identified. He's living on the east side, but whatever, it's all the same.

Well, almost. On one level, I really like this album. DMX is a real talent, with a slightly familiar style, but one that at the end is all his own. The production is usually tight, and I appreciate the energy behind his delivery as much as I appreciate the thought behind his rhymes.

On the other hand, this album is like its title. It's dark. Even when he's practically pleading--as in "Prayer"--there's a cold and very scary detachment. There's an almost sociopathic clinicism to his tales. I sense he believes what he says, but there's a cynical air around it all. I don't think this is immaturity (which may have been Cube's thing), the view of a young man who still thinks he's invincible (which may have been 2Pac's thing), or even the man who's given up. I don't know what it is, but whatever it is, it's calculated, and I find that somewhat disconcerting.

Maybe it's just the effect he wants. If it is, it works.

It makes me think twice about "Damien."

Maybe he really is the natural child of our times. I dunno.

Pick it up and let me know.

Arf.

In may 1998 the then mostly unknown DMX (Earl Simmons)dropped his first album "It's Dark and Hell is Hot" one of the illest album in years in my opinion. DMX's gruff growling vocal flow is distinct, unlike anything I had ever heard before. A then unknown Swizz Beats produced the melodic "Ruff Ryders Anthem" which would blow, and become a common anthem in the hiphop world. Years later still bumping "Let Me Fly" one of my all time favourite hiphop tracks. "How's It Going Down" would also blow, another crossover hit, where X talks to the ladies. Hardcore tracks like "Stop Being Greedy" and "Get at Me Dog" where X talked about street life make this album a great album. "Damien" is an entertaining story telling track. Guest appearances are mostly good on this album, especially those from the Lox who would later sign with Ruff Ryders. DMX's lyrics and flow is exceptionally tight on this album, beats and production is excellent, with a few exceptions not being too par, most of these coming from producers outside the Ruff Ryder family like Irv Gotti. One of the reasons X comes across as strong as he does, is he is real, he isnt just talking about stories he has heard, he is talking about himself, and where hes been, and what he has gone through, this is what makes him one of the best in my opinion and its what makes "Its Dark and Hell is Hot" a Classic.

DMX 1st album was so touchy to me (maybe because of being some kinda disturbed person just like D.). I know there's people who say this album is weak but when I saw D on MTV in live I just felt the hairs stand up on my arms. He touched me with songs like "Stop being greedy", "Damien", "How's it going down" and "The convo". I know his lyrical skills ain't as godd as Nas or Black Star but I really like this album except for "For my dogs". He hard, he real and rep the streets. He got karma. He got a voice that rocks your pants off of you. I like listening this CD. "Get at me dog" is my favorite track.

I know he ain't a Roots, Cormega, Tragedy Khadafi or Nas but he aight. And if you real, you gotta recognize the real... you feel!

To me it's classic: 5-stars.