Dmx Flesh Of My Flesh... Blood Of My Blood CD

Personnel includes: DMX, Swizz Beatz, Drag-On, The Lox, Jay-Z (rap vocals); Mary J. Blige, Marilyn Manson, Tamyra Grey (vocals); Rich Keller (guitar, keyboards, bass).
Producers include: Swizz Beatz, PK, Irv Gotti & Rebel, DJ SHOK, Dame Grease.
Engineers include: Rich Keller, Adam Gazzola.
Personnel includes: DMX, Swizz Beatz, Drag-On, The Lox, Jay-Z (rap vocals); Mary J. Blige, Marilyn Manson, Tamyra Grey (vocals); Rich Keller (guitar, keyboards, bass).
Producers include: Swizz Beatz, PK, Irv Gotti & Rebel, DJ SHOK, Dame Grease.
Engineers include: Rich Keller, Adam Gazzola.
Personnel: Mary J. Blige (vocals); Rich Keller (guitar, keyboards).
Audio Mixer: Rich Keller.
Recording information: Alien Flyers, New York, NY; Encore Studios; Enterprise studios, Burbank, CA; Powerhouse Studios, Yonkers, NY.
On the heels of his multi-platinum debut, It's Dark and Hell Is Hot, DMX unleashed his dogs again on an album overflowing with raw energy and spiritual catharsis. The irascible Yonkers MC, 27 at the time of this recording, continues the Ruff Ryder legacy on this follow-up release. DMX's canine split personality flow is like none other, not only rhyming over tracks, but barking expression over explosive beats. Production here -- by Swizz Beatz, PK, DJ Shok, Dame Grease -- is mostly stripped-down, pure high-tech drum machine and synthesizer combinations that are sure to inspire emotional and adrenal responses in listeners. Although DMX is no new jack, he is a part of a no-frills new breed of MCs that hold nothing back on the microphone; emphasis is on emotion rather than on word-bending. Standout cuts include "Blackout," with guest appearances from fellow hip-hop heavyweights the LOX and Jay-Z; "Coming From," a duet with the queen of hip-hop/R&B, Mary J. Blige, which stuns the ears with a haunting piano loop; "The Omen," a bout with the devil featuring the demonic Marilyn Manson on the hook; and the opening cut on side two, "Slippin'," an introspective look inside DMX's struggle to stay on top of his art while dealing with the perils of his reality. This is a very spiritual album, a testimony to one artist's struggle with the manifestations of good and evil. The final cut, "Ready to Meet Him," a conversation between DMX and his god, punctuates this realness. ~ M.F. DiBella
Get at me dog! DMX returns with his sophomore album, FLESH OF MY FLESH BLOOD OF MY BLOOD, a sixteen cut collection of tracks that scream with energy and vocal prowess. In a move that bucks the trend of collaboration-heavy albums, FLESH OF MY FLESH BLOOD OF MY BLOOD, has only a few strategically placed collaborations. The Lox and Jay-Z drop science on "Blackout," while Mary J. Blige adds her smooth R&B touch to "Coming From." Perhaps the most improbable pairing is on "The Omen," which features Shock-turned-Glam Rocker Marilyn Manson. The track uses a sample from the famous horror movie of the same name from the late 1970's. Various producers including Swizz Beatz ("It's All Good"), PK and Dame Grease ("Dogs For Life") handle the beats, which range from street hard to jazzy smooth. Overall, DMX never fails to deliver the goods.
Get at me dog! DMX returns with his sophomore album, FLESH OF MY FLESH BLOOD OF MY BLOOD, a sixteen cut collection of tracks that scream with energy and vocal prowess. In a move that bucks the trend of collaboration-heavy albums, FLESH OF MY FLESH BLOOD OF MY BLOOD, has only a few strategically placed collaborations. The Lox and Jay-Z drop science on "Blackout," while Mary J. Blige adds her smooth R&B touch to "Coming From." Perhaps the most improbable pairing is on "The Omen," which features Shock-turned-Glam Rocker Marilyn Manson. The track uses a sample from the famous horror movie of the same name from the late 1970's. Various producers including Swizz Beatz ("It's All Good"), PK and Dame Grease ("Dogs For Life") handle the beats, which range from street hard to jazzy smooth. Overall, DMX never fails to delivRolling Stone (2/4/99, p.61) - "DMX...shines, delivering a deep, intimate record that sounds like it was written in a confession booth..."
Rolling Stone (2/4/99, p.61) - "DMX...shines, delivering a deep, intimate record that sounds like it was written in a confession booth..."
Entertainment Weekly (1/15/99, p.63) - "...As he rasps distinctively through a set of horror-show hardcore hip-hop, DMX's primal grooves pump as relentlessly as an AK-47 and he's not afraid to mix it up (Mary J. Blige and Marilyn Manson make cameos)....At his best, he radiates a nihilistic thug charisma that rivals Tupac's." - Rating: B+
Entertainment Weekly (1/15/99, p.63) - "...As he rasps distinctively through a set of horror-show hardcore hip-hop, DMX's primal grooves pump as relentlessly as an AK-47 and he's not afraid to mix it up (Mary J. Blige and Marilyn Manson make cameos)....At his best, he radiates a nihilistic thug charisma that rivals Tupac's." - Rating: B+
The Source (2/00, p.95) - Included in The Source's "Top 10 Albums of the Year [1999]."
The Source (3/99, p.212) - "...marks DMX's official canonization as a ghetto saint, who has made it loud and clear that the masses' pain becomes his pain..."
The Source (2/00, p.95) - Included in The Source's "Top 10 Albums of the Year [1999]."
The Source (3/99, p.212) - "...marks DMX's official canonization as a ghetto saint, who has made it loud and clear that the masses' pain becomes his pain..."