Grand Champion?

DMX, "Grand Champ" (Def Jam Records, Ruff Riders, 2003)
Earl Simmons AKA Dark Man X AKA DMX AKA the dog has had his fair share of trials and tribulations. He has been jailed for possession of drug paraphernalia, animal cruelty (dog fighting), and been institutionalized for over six years in a psych ward. His fifth album, Grand Champ, is if nothing else the most brilliantly titled of his albums. For those of you without street smarts, I'll throw you a bone. Grand Champ is a ranking bestowed upon an undefeated pit bull with at least five wins. If you didn't already know that little tidbit, chances are you won't be getting much out of this album. X has his daughter spell it out on the second track of this album: "This is dedicated to the streets," resonates the hook. Simmons doesn't rap for his consumers in the burbs, he doesn't rap for critics. This album is riddled with terminology and references far more intellectually accessible to the more marginalized members of our society. In other words, this album was made for the hood.
While this album does include DMX staples of lots of screaming, growling, and barking, it fails to live up to its name and effectively establishes itself as his most underachieving album to date. The first ten tracks boast eight songs that are all good enough to be released as singles. Among these are the anthems: "Where the hood at" and the "dog is out." X's daughter provides an ominous sounding hook that coupled with his sinister lyrics, provides for an instant east coast classic. Also in the first ten tracks are records from Kanye West and Swizz Beatz; notable collaborations include 50 cent, Jadakiss, Styles P, Sheek, Eve, and Infa-Red.
The next three tracks are garbage. Seriously, would anyone else like to have the twelve minutes of their life back that they waisted on these songs? "Rob all night," "We go hard," and "Bout to blow" are void of energy and over saturated with the same old Sap and generic themes. Honestly, those cuts lick more ass than most pit bulls. One need only read the names of these tracks to milk them for their entire value. Track fourteen features DMX singing, yes, singing over a Greg Perry sample. Unfortunately, "Will she meet the train" is a favorite of mine so X's rendition is completely lost on me. His singing creates a strong advocacy of saddling noisy dogs with a muzzle. This is the first time I wished a rapper would've considered using the always excruciating auto-tune plug in. Seriously X, lay off the blow. The next track is a severely misplaced R&B love song with Monica during which the tandem struggle to parity the chemistry of other hip-hop duets. No disrespect to the dog, but this song bites. This track could've easily carried out cerebral homicide on both of their careers. "Ayo Kato" is the last evidence of any sincerity on the album, a memorial to a friend and victim of Gang violence.
The album ends with three tracks only fit for religious zealots one of which Patti Labelle should be credited for carrying. Ten of the album's twenty songs are worth a listen, the rest aren't worth the time you'll spend listening. Earl Simmons has put out classic albums in the past but you can't teach an old dog new tricks. Unfortunately, this puppy is very much past his prime. Two and a half stars out of five would be putting it politely.