Throughout the album, 50 keeps all the confidence he had on The Massacre but little of the arrogance. Maybe the experience of playing his younger self onscreen has helped 50 recapture some of the hunger he had a couple of years ago. And sometimes, as with the monstrous foghorn tuba stomp on "I'll Whup Ya Head" and the magnetic descending Spanish guitar on "You Already Know", the tracks find an irresistibly hazy widescreen throb. There are sex-raps and party-raps here, but the R&B elements are played down to the point where they sound just like the gangsta tracks, all bleary windswept glistening soul samples, not a "Candy Shop" in sight. And the oddly coesive result is the best G-Unit album since Young Buck's Straight Outta Ca$hville. All the rappers here come from 50's G-Unit camp, and most of the beats come from no-name producers like K.O.
#Where was get rich or die tryin album recorded movie
If the movie is his respectability move, the soundtrack is a direct anti-pop move, a record full of hard, grim, liquid NYC street-rap- woozy flanged guitars and swollen horns and nonchalant bloodlust. But 50's done something surprising with the Get Rich soundtrack. We'll know next week whether it's as boring as 8 Mile. Get Rich or Die Tryin' is 50's attempt to make his own 8 Mile, right down to the legend-building loosely autobiographical story, respectably middlebrow director, and grainy verite cinematography.
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Earlier this year, he released The Massacre, an album bloated with maddeningly half-assed asshole-rap that will probably end up being the biggest-selling record of 2005.Īnd now he's made a movie. He started meaningless feuds for no good reason. He endorsed video games and vitamin water and doo-rags. And then, of course, he became the biggest rap star on the planet. Dre and Eminem, and there was nothing to stop him from just destroying wack candy rappers like Ja Rule and running wild all over the industry. He'd put the entire rap world on blast in "How to Rob an Industry Nigga", he had impeccable mixtape credentials, and he already carried himself like a star.
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Here was a guy who'd come out of nowhere with an endlessly hypnotic slurpy singsong flow spitting unbelievably hard, violent street shit and naming names.
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It's difficult to remember now, but there was a moment in late 2002 when 50 Cent seemed like exactly what rap needed.