Ready to Die

All of the sex noises were only slightly disturbing

Hip hop again. I always thought this was about music and not lifestyle. As usual, I played a few tracks from the album, found them immediately off-putting or boring and chose the next one. Then I followed the crowd and listened to Big Poppa or watched the video. Is this the representation of a certain kind of big city life? Clubs, (white) wine, gambling (at best :-)), money, pretty girls? The sound was quite cool, but very repetitive. No, I can't do anything with this genre. 1/5

God damn dude. Your DEBUT album is an hour and ten?

Too violent, it's bringing me down. Sorry about whatever happened that made you feel like you had to be this way. Gangster violence is always going to be entertaining to some people. Like horror films, I'm not into it. This album is unrelenting in it's violence: I'm not going to try to stop anyone else from listening to it, it's well made (I'm sure, not an expert, critics like it apparently), and there's a lot of cleverness and rhythm in the "poetry." But the subject matter is not subtle, not all that artistic. Pretty sure gangster rap did NOT solve the problems the rappers were complaining about.

The Good: realizing that rappers know how to spell a name
The Bad: realizing the size of one’s ego if you’ve got to spell out your nickname…
The Ugly: trying to convince us of an innocence lost

I don’t want to get all philosophical here, so I will keep this one short… I don’t like rap.

Not that rap is bad, nor that I can’t enjoy a good rhyme, or “flow”… but give me a beat poet any day over this “look at the size of my dick, click, there goes Rick, with my gin-n-tonic”

Do I know what it’s like to live in the ghetto? No.
Do I find this album a good means to let me understand what life is like in the ghetto? If I use most rap albums of that era, then yes… and how grateful I am that I don’t live in the ghetto, or have to worry about a ghetto… but for the love of all, stop glorifying the shit, pretending it’s all cool and shit.

And what’s with blow-job in the middle of it all?

At the end of the day, if I go by words being used, and the flow, then I’ve heard it before, which might prove that B.I.G. is the goat, or it just might prove that there are only so many words that rhyme with gat, rat-a-tat, or dick, or bitch, or cold champagne…
Also, you can’t have a background line stating “remember they used to thump, now they blast, right?” inferring the better days of the past, to then glorify carrying a gun and knowing how to use it…

So, needless to say, this album is getting the best possilbe rating

1*

I’m at a 4.5, and I’m kind of conflicted about whether I should go down to a 4 or go up to a 5.

I’ve heard this album before – I think anyone who claims to know 90s music has at least heard one of “Juicy” or “Big Poppa” before, and in my case, I listened to the whole thing for the first time… gosh, maybe a decade ago, when I was 15. I liked it back then, but I never really gave a lot of thought to the lyricism, and this is obviously when people still liked Diddy, before… well, you know.

So, with several years removed from listening to this album in full, but with years of the songs coming up in my big playlist, I was really curious about how it would hold up as a complete front to back package. I’ve matured in spades since 2015, and as part of this whole 1,001 albums thing, I’ve learned to really & truly pay attention to music, and analyze it a lot more past “it sounds good”, for the most part. From the intro, though, this weirdly felt akin to riding a bike – once my brain locked in on “Things Done Changed”, a lot of it came right back to memory. From a purely musical standpoint (i.e., melodic flow, instrumentals/beats, mood-capturing energy, etc), this really is a masterclass on most of the tracks. Easy Mo Bee deserves a lot of fucking credit for the opening stretch of this album, because his stuff is an incredible tonesetter, and a bar for every other producer on here to meet, and they all got pretty close.

The lyrics need to be talked about, because they are mostly the reason I’m wavering between a 4 and a 5 – it’s not even necessarily in the fact that a lot of the deeply misogynistic stuff has aged so poorly (although that is a really big factor that should not be understated), and more so in the fact that when you really pay attention, a lot of these tracks end up circling the bases on flexing, bragging, self-hype, and threats of violence, with a touch of domestic abuse throughout. Granted, that’s probably a lot of Diddy’s influence striking through on this album (and I’ll get to him at some point), and from what I remember of “Life After Death”, his songwriting improves tremendously in those regards to make a more varied, thoughtful, introspective & arguably, a more fruitful & better album. On here, though, while those subject matters have legs for a while, by tracks 14 and onward, it just feels like retreading old water, and it does get sort of bland. The curse of a long album, I suppose.

However, I’m more inclined to lean towards a 5, if only because Biggie Smalls makes those lines, as poorly aged and repetitive as they might be, sound compelling and unique and mesmerizing every single time – yes, this is a 70 minute album, but it genuinely still flew by for me. Part of that is familiarity, but a lot of it comes in how charismatic and unique Biggie’s voice is, and how he’s able to pull you into the story he’s telling almost every time, without fail. It really didn’t hit me until I had headphones in just how smooth the man’s flow is – the ending of “Everyday Struggle” struck me as the key example, with the bass picking up, the percussion getting a little louder, and the clarity where you can hear just how on-beat he was the whole time becoming apparent. It’s that sort of mesmerizing appeal that’s pulling me towards a 5, and I think it’ll stay there.

I’ll be damned if old Puff Sean Diddy Daddy P. Combs didn’t do his damn best to drag this down to a 4 though – it’s not even that he does anything especially bad, but for the love of God, man, do you need to be doing hype-man adlibs on every single fucking track? It’s a side effect of getting this album after all the crimes really came to light, but I just don’t need to hear the man give an Ariana Grande-esque “yuh” after every single fucking line Biggie says. It happens so often that it feels like I’m listening to a man ride coattails in real time, and it is by far the worst side effect of The Notorious B.I.G.'s success.

Ultimately, though… I dunno, maybe I just have too much reverence for this album from my younger years, but I think I just have to give it a 5. I can see the case to go lower, and if I were going in with totally fresh ears, I’d probably be there. I cannot change the misogynistic parts of this album from existing, and they do genuinely drag it down on a modern relisten (and don’t even get me started on why the interlude had to be on this album), but on so many of the tracks, I’m just reminded of why Biggie felt special. Even in 2015, I just knew. Beyond the mythos of the Tupac rivalry & his own subsequent death, the man’s talent was on full display, and in 2025, I think his musicianship still speaks for itself. I could (& probably will) go down to a 4 in the future, when I have less of a starry-eyed glaze, but I feel OK about giving this a 5.

Repetitive, sort of drones on. Skits are cringe.

Good beats and a good flow. I can understand how this was incredibly influential.
But I completely fail to connect with it due to the infantile skits and lyrics.

Yes, the skits are unpleasant, but the music is really good, and importantly, is not one-dimensional.

the skits really brought this down

I was sure that this was going to be an easy 5. One of the best rappers ever, what a flow. Production is great. It just didn't age well. The skits are out of control, and there's just to much of everything.

The sex skits drag down an otherwise perfect album. Some of the skits are in the songs so it's not like you can easily just skip them

Funny coincidence to have 2pac and Biggie right after each other. This album is pretty bloated just like Biggie himself. The skits are awful but the songs are all bangers. The songwriting does get repetitive after a while though. Could count about 20 different cars he bragged about and shooting and fucking and bragging gets tiresome here.

The beats are made from classic soul and funk samples with a bit of live bass to animate them, for a smooth easy going sensual strip club feel that fits well with the horny songs and offers a stark contrast on those that deal with the violence of hustling life. He's got an incredible lyrical gift and delivery, layering rhymes on top of each other relentlessly in a fluid direct cadence that plays around the beat to create a autobiographical/self-mythologizing narrative, that ends in a remarkably introspective reflection on lovelessness and how little it all amounts to in the end. The skits are so annoying and it gets a bit samey over an hour, but there are torrents of masterful verses and Big-Poppa has probably THE most iconic sound of 90s hip hop.

I like the instrumentals and his flow, but I found the songs blended into one a little bit. Also that skit in the middle was unbearable.

How does one rate this through a modern lens? Problematic skits, problematic lyrical content, problematic producer who seemed intent on appearing as much as possible with "yeahs" and "uh huhs" on every goddamn song.

"Juicy" and "Big Poppa" are obvious bangers, but "Machine Gun Funk" is the lowkey MVP of the whole album for me.

Absolute classic album but feels roughly made in a way that even its contemporaries did not. Skits are fun and provide some counterpoint to what would otherwise be solidly braggadocious. The man's flow is unmatched when he is on. One of the best rappers of all time but this isn't a perfect album. It is a good album with perfect swaths. I don't mean to seem overly critical but when you have peaks as high as this album goes the low points stand out in stark relief.

This album just missed the day my twins were born which would have been amazing considering the album art and the song "Big Poppa." I love Biggie's cadence and rhyme. There is a smooth and crunchy sound to his voice that makes it so good. Some of the lyrics are your stereotypical rap theme (women, money, drugs, murder, cars) but when Biggie raps about these things it feels real. Biggie sounds like a motherfucker you don't wanna mess with. Probably what got him killed unfortunately.

Just about every song here is a certified classic. Incredible beats and quite possibly the best flow and voice of all time. Would be an easy 5/5 if not for the sex skits, which haven’t aged well, and Diddy not ever shutting up. Who Shot Ya? Is one of the best beats ever, but half of the song is his yapping. My favorite songs were Gimme The Loot, The What, Juicy, Big Poppa, Unbelievable, and Who Shot Ya?

Although Hip-Hop is not really my favourite gerne, I quite enjoyed this one. Apart from the weird "sex-interludes", the tracks were quite mellow

Obviously a bunch of great ones... "Respect" is a jam for sure!