Puffy is lamenting his demise as we hear dramatic piano keys give way to falling raindrops. The introduction on Life After Death picks up where Biggie last left us on the outro to Ready to Die, with his suicide still ringing in our ears as he’s being rushed to the emergency room. Despite having some genuinely great material on their double-disc extravaganzas, neither JAY-Z nor Nas could pull off that kind of excess. It’s 24 tracks deep, and that’s not even counting a multitude of skits peppered between those two dozen songs. Much of this is done through sequencing, which can make or break an album, no matter the individual quality of its tracks.įew albums in hip-hop history make a stronger argument for this case than The Notorious B.I.G.’s Life After Death.Īt first glance, Life After Death shouldn’t work. Not necessarily in a literal sense-though, it certainly can-but in that every good album has a beginning, middle and end, and that as a whole it’s more than the sum of its parts. A succession of hits, no matter their individual success, does not make an album.
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