At The Speed Of Life: More Proof That The West Coast Contains Many Hidden Talents

The West Coast Hip-Hop scene has been known for more than a decade as the section of the United States to glorify violence, sex, drinking liquor, etc... It's also widely thought that any artist coming from that area more than likely follows the paradigm of artists such as the group N.W.A. or the ex-record label Death Row. This was changed in 1996 with an unknown artist named Ras Kass releasing his all-time classic debut album Soul On Ice. To say it was one of the greatest albums of all time is an understatement to its genius. In that same year Xzibit released his debut album At The Speed Of Life. Of course it couldn't hold a candle to Ras Kass' masterpiece; it was still an exceptionally good album but one on a much lesser scale. What was heard in that album was an intelligent, introspective artist who was seemingly more than proud to hold the torch for the underground which artists such as Del The Funky Homosapien, Aceyalone, and Ras Kass himself were also true Olympians with. Although this would all change by the time the year 2000 came around, we still have At The Speed Of Life to remember that Xzibit once held undeniable promise.


Below Is A Track Listing And Their Overall Rating:

1. Grand Opening (Interlude)
2. At the Speed Of Life (****)
3. Just Maintain (***)
4. Eyes May Shine (****)
5. Positively Negative (****)
6. Don't Hate Me (Interlude)
7. Paparazzi (*****)
8. Foundation (*****)
9. Mrs. Crabtree (Interlude)
10. Bird's Eye View (***)
11. Hit And Run, Pt. 2 (*)
12. Carry The Weight (****)
13. Plastic Surgery (*****)
14. Enemies And Friends (****)
15. Last Words (Interlude)


The album begins with a short instrumental intro entitled Grand Opening. It's easily skippable as it has nothing to do with the album whatsoever. To this day I simply can't understand why this was even included in the track listing. It does help matters that the production is top-notch and it would have made a great instrumental for Xzibit to introduce the listener to the album in the form of emceeing. Of course that path is not taken and it falls into the category of yet another piece of space filler.

Proceedings begin immediately after the intro with the title track, At The Speed Of Life. The "heavy," suitably dark production contains a hard-hitting drum loop and a grimy, nightmarish sound. It equals the vocal equivalent of exactly what Xzibit brings forth on the album’s second track. Although he doesn't get too deep here, he lambastes commercial Hip-Hop and injects his form of street knowledge into a few bars scattered throughout. His flow is perfect and the beat seems to inspire his creativity; the production sounds tailored-made for him. He doesn't disappoint lyrically which is more than I can say for the Xzibit of the year 2000 and onward. He is basically introducing the listener to his form of lyricism and subject matter here, not necessarily putting full thought into his writing.

Eyes May Shine is certainly what he was hinting at in the title track. Over a jazzy, relaxed melody of sounds and a brief, inaudible drum loop, Xzibit delves into the topic of street life. He has a harder edge than most which may set unintelligent listeners off but upon a closer listen, he utilizes narratives rather than a diary of sorts to portray the negative effects of (street) violence. The listener can easily spot his intelligence as he describes violent acts and ends the narrative with a consequence. His rhymes are literate and extremely well-written and his flow is on-point and near perfect. While he may not deliver word after word of complex pronunciations bar after bar, that's not necessarily a detractor (even though his form of lyricism could only be improved by this).

Xzibit attacks commercial Hip-Hop fully in his legendary track Paparazzi. He notes the many downfalls of commercial Hip-Hop and how those aspects are affecting the art form that many call home. As well, he attacks the eternal question of why artists would rather gain money and fame rather than keeping their first amendment rights of free speech. It's an intelligent, thoughtful track that also ranges among one of my personal favorites. The production (as it all is with me) is an afterthought. A simple drum loop and vocal sample supplies the backdrop of the track and makes it all the much better. It puts the focus on Xzibit's intelligent, literate rhymes and the inquisitive nature of what he's stating.

After The Foundation, a track dedicated to his son was recently born upon this album's creation and yet another skit entitled Don't Hate Me, the more mediocre moments of the album begin to creep in.

Lyrically Bird's Eye View is a great track (save for the awful Hurricane G) but it suffers production-wise. Soon after, a track entitled Hit And Run, Pt. 2 reminds us that Xzibit is still from the West Coast. The lyrics are of the typical subject matter of having sex with various women and then leaving. Of course this is all stacked on top of Xzibit claiming that women are "bitches" and "hoes." It's an indescribably weak track made all the much worse by a commercialized, jiggy beat that induces vomiting.

At The Speed Of Life is improved, thankfully, with the ending trio of track that are spectacular. Beginning with Carry The Weight which is a retrospective look at Xzibit's home life which was created through adoption. He describes the troubles he had with his foster parents and how he generally mistreated. He doesn't blame them for his dependence on criminal acts but more or less for his own immorality. He states that he had no one to turn to, more specifically parental figures. The accompanying production is fitting and gives off a saddening, melancholic vibe. This track would be nothing of course if it wasn't for Xzibit's excellent emceeing. His rhymes are well thought-out and exhibit (pun unintended) his intelligence and ability to utilize a third eye. His self-expression is top-notch and, thankfully, doesn't depend on statements of ignorance as an excuse for him to rationalize what he's done throughout his life.

Xzibit is joined by Saafir and Ras Kass for the lyrical tour de force that is Plastic Surgery. While it may be put in front of a mediocre beat (which I could care less about), it's a pure miracle rhyme-wise. I would go as far as to say that this is one of the greatest tracks of all time based on pure lyrical merit alone. The three complexly diss commercial rappers by saying that they are subjected to plastic surgery; who they really are is removed and it is replaced by an image that sells. The three emcees (Ras Kass is unarguably the best here) spit spectacularly well-written lyrics that make this track a classic. I can't explain the pure lyrical prowess that's displayed here as it's something that must be heard to fully understand and appreciate.

The musical tracks on the album end with Enemies And Friends, Xzibit's own explanation of the true nature of that particular subject. He’s quite bitter as he states that he treats his "enemies like friends so I can leave 'em in the dust at the very end." His confusion can be heard through his distrust and lack of confidence he puts in people. It goes without saying that his rhymes are excellent as well as the dark, gritty production. Although I feel as though he could have been more in-depth with this particular topic (perhaps list a few of his own experiences), the outcome of the track is still remarkably good.

Everything comes to an end with an outro entitled Last Words. It's a lone instrumental outro that utilizes the same production as the intro.

At The Speed Of Life may not be an all-time classic but it's still an exceptionally good album. Along with Ras Kass' Soul On Ice, Dilated Peoples' Expansion Team and Kam's Neva Again, this is another West Coast album that is proof that it's not all about drinking liquor and shooting people. Xzibit displays quite a bit of intelligence, lyrical force, and introspection to create an honest, self-expressive, at time compelling look at his life. While it may suffer from some shortcomings, that's still not enough for me not to say that this LP definitely belongs in any true Hip-Hop head's collection.


4.0 Stars