Dmx Its Dark And Hell Is Hot Zip __EXCLUSIVE__
Dmx Its Dark And Hell Is Hot Zip
you can hear the pain and chaos in xs voice on its dark and hell is hot, the sense that he had been engulfed by temptation and the all-consuming pull of the streets. x is a victim of circumstances, his greatest boon being an overwhelming charisma that renders him indispensable to the business of music. but though he has never pulled his punches lyrically, its dark and hell is hot felt like a first step towards redemption. the album debuted at number 1 on the billboard 200 back in 1999. its been a long time since anything like that has happened to dmx. so what is it like to come back after such a long time? i dont know. i think about it a lot. i think of it sometimes and i think about it for the next few hours, whatever it is like. its been a long time coming, thats the way i look at it. i feel like its the first time that im doing something that im supposed to be doing. you know, im really just savoring it right now. ill enjoy each moment. i say ill give you the royalties, ill be happy to continue. what happened back then just happened. for the first time in a long time, i feel like i have a purpose in this music. a reason for it to exist. i think its just a miracle that i made this album, so there really isnt much more to say. i just have to continue to enjoy what im doing. and i think im really good at enjoying music right now. its something that i feel like im a champion at. its a lot of fun.
as its dark and hell is hot ended, one of x own expressions was also taken as a parting shot. in the final seconds, right before an ominous pause, the beat fades to a chopped chop, before dropping out. it serves as a reminder that what x was saying and how he felt were not permanent; they were ephemeral, to be enjoyed, but ultimately fleeting. he was right.
but while its dark and hell is hot is ambitious and considered, its track record with its audience is even worse. by 1999, dmx was the most talked-about rapper on the planet and his it’s dark and hell is hot album was released to critical acclaim, earning him the album of the year grammy. despite his impact, he’d risen to the top in a musical era in which the record label was more dominant than ever. dmx, like every rapper today, was reduced to hustling, begging for royalties and eating up executive producer credits. while he released 13 solo records in that decade alone, his listeners only cared about one of them: it’s dark and hell is hot.
by this point, dmx was no longer a basketball legend or a fan favorite–he was a sinner. and no record could redeem him. the soft-spoken serial assailant was no longer just a rapper, but a grown man whose focus was no longer on making music, but repairing relationships. by the time his great, self-appointed comeback album flesh of my flesh, blood of my blood was released, his career looked like a dark, sad story. in an interview with vibe, hova, who had fallen in and out of rehab, was asked if that was why he was doing his album from prison. “yea,” he said, a little weary. “i just want my life back.”
dmxs time had come. facing down multiple charges of attempted murder stemming from a 1995 melee in yonkers, he turned himself in, spent a few months in jail, and, once out, readied himself for flesh of my flesh, blood of my bloods release in december of 1998. according to the source, the album featured collaborations with aaliyah, jadakiss, kanye west, nas, redman, swizz beatz, and busta rhymes. if that sounds like a lot of people collaborating with one rapper, it was. dmx had become the biggest thing to ever rap, and his time was now. but as dmx became the biggest rapper, he also became a bit of a mess. as hip-hop head and co-owner of city morgue imprint babygrande records, david levy happened to be in new york that year, and he was there to witness the rapper’s triumphant comeback. he had already witnessed dmx on the biggest stages in hip-hop, but flesh of my flesh, blood of my blood was a game-changer. dmx its dark and hell is hot zip the album begins with the fx intro (just dmx and distorted horns from the rocktronica foundation), then luv can relations, yearbook, and his and hoes all intermingle on a build that pushes the album along. the opening track, hell rell, switches gears a bit, but returns to the formula of growling and biting when x raps about a fat old lady who spreads rumors about him, and the consequences of such behavior. he won’t succumb to the pressure, and the song builds to a one-minute buildup, over beats from producers like professor griff and linkage, that rivals the bombast of let da kids do da thang and ready to die. as if hell rell wasn’t enough of a powerhouse, the album’s second single, moment of truth,” is a beast of a track, complete with a rapped-over saxophone section and horn blasts that recall eternal sunshine of the spotless mind. dmx its dark and hell is hot zip the album itself peaks with the introspection-laced the convo, where the rapper chats with a supposed friend. it’s one of the most personal moments in dmx’s career. after waxing about life on the streets and the blockades that plague bronx neighborhoods, dmx opens up about the family feud that had been going on for years. he even talks about his hate for the media, and his need to gain respect. but it’s not enough for him to go up one night and murder someone. the lines “i’m never on the news, i’m never on the news,” will haunt him. after he murdered an artist friend on an episode of the fx show, sons of anarchy, in the spring of 1999, and sinema ’99 and down to earth ’99 both dropped the summer of that year, the media continued to pounce on him.
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