| Product Summary | | Label: Uni/universal Records | | UPC: 00601215799026 | | Release Date: 9/12/2000 | | Buy.com Sku: 60448977 | | Item#: M7D4KK | Format:  CD |
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(P) 2000 Universal Motown Records, a division of UMG Recordings, Inc.
(C) 2000 Universal Records Inc.
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| | Album Notes and Credits |
Notes & Personnel Info |  | Personnel: Sticky Fingaz (rap vocals); Omar Epps (spoken vocals); Tony Prendatt (various instruments, programming); Black Child, Raekwon, Rah Digga, Redman, Dave Hollister, Firestarr, Eminem, X1, Still Livin, Scarred 4 Life, Superb, Guess Who, Petey Pablo, Canibus, Columbo The Shining Star, Choclatt (vocals); Nate Smith (keyboards); Charles Shaw, Roger Munroe (programming). | | Producers include: Sticky Fingaz, Joe Naughty, Rockwilder, DJ Scratch, Self. | | Recorded at Unique Studios, New York, New York and Lo Rider Studios, Englewood, New Jersey. Includes liner notes by Sticky Fingaz. | | Personnel: Sticky Fingaz (rap vocals); lack Child, Raekwon, Rah Digga, Redman, Dave Hollister, Firestarr, Eminem, X1, Still Livin, Scarred 4 Life, Superb, Guess Who, Petey Pablo, Canibus, Columbo The Shining Star, Choclatt (vocals); Omar Epps (spoken vocals); Tony Prendatt (various instruments, programming); BNate Smith (keyboards); Charles Shaw, Roger Munroe (programming). | | Producers include: Sticky Fingaz, Joe Naughty, Rockwilder, DJ Scratch, Self. | | Recorded at Unique Studios, New York, New York and Lo Rider Studios, Englewood, New Jersey. Includes liner notes by Sticky Fingaz. | | Personnel: Charles Shaw (programming); Petey Pablo (background vocals). | | Audio Mixers: Tony Prendatt; Ken Ifill; Richard Travali; Tommy Uzzo; Brian Stanley . | | Recording information: Unique Studios, New York, NY. | | Editors: Tony Prendatt; Sticky Fingaz. | | Photographer: John Eder. | | Unknown Contributor Roles: Dave Hollister; Raekwon; Rah Digga; Redman. | | Sticky Fingaz' oft-delayed solo debut, Black Trash: The Autobiography of Kirk Jones, is a bold conceptual endeavor that loosely follows the same format Prince Paul implemented on his hip-hopera Prince Among Thieves. Scripted to fit the silver screen, Black Trash chronicles the trials and tribulations of Kirk Jones, a down-on-his-luck knucklehead who always manages to find trouble. Playing out like a lyrical collage, Black Trash is an emotional roller coaster that tackles the quintessential tale of good vs. evil. Though highly imaginative, like most Hollywood blockbusters, Black Trash fights bouts of long-windedness (this is particularly evident toward the LP's conclusion), yet there is still plenty to chew on in between. Displaying a lyrical diversity that his stint with Onyx rarely suggested, Sticky serves up a slew of profound moral messages on the thought-provoking "Why" and "Oh My God," where in a maniacal state Sticky questions God's existence. Yet, his lyrical transformation is best exemplified on "Money Talks" (featuring Raekwon), where Sticky speaks in third-person, as a dollar bill, and vividly depicts how the material possessions people strive to own eventually end up owning them. While the dramatic ebb and flow of Black Trash is the LP's saving grace, as the running dialogue (contributed by Omar Epps) and frequent skits ingeniously captures the many complex intricacies that make up Sticky/Jones' conflicting personas. However, it is hard to feel sympathetic for the character, as he is a man who, through the course of this LP, shows little regard for human life, kills his best friend, beats his wife, and deserts his child. Yet, similar to James Gandolfini's portrayal of Tony Soprano, Sticky convincingly brings Jones to life, and he is such an enigmatic character that you can't help but root for him, even though he doesn't deserve it. ~ Matt Conaway | | Sticky Fingaz, otherwise known as Kirk Jones, presents an ambitious hip-hop outing that draws on a wide variety of influences in service of a theatrical vision of rap as multi-media experience. BLACK TRASH is packaged as the soundtrack to a nonexistent film. While this is an idea that's been pursued before, Jones so thoroughly transforms the gangsta aesthetic through his cinematic conceptualism that it seems like a completely fresh notion. The use of film soundtrack-style backing tracks and melodic structures that could have come straight from a Broadway musical, as well as the theatrical context, make the violent elements of the lyrics much more palatable. And the spoken interludes have a much more substantial reason for being than on most rap albums. The gem here is undoubtedly "What If I Was White," which features Eminem, and finds Jones tackling the racial turnabout in a novel, winningly humorous way. And the misogynist's apology "Sister I'm Sorry" is as welcome as it is overdue. |
Engineer: Tony Prendatt; Steve Eigner |
Musical Guests | | Redman | | Eminem | | Raekwon | | Canibus | | Rah Digga | | Dave Hollister | | Black Child | | Still Livin | | X1 | | Scarred 4 Life | | Superb | | The Guess Who | | Petey Pablo | | Choclatt | | Firestarr | | Columbo The Shining Star |
| | Compilation Appearances |
| | Associated Artists and Works |
| | Technical Info | | Release Date : 03/07/2005 | | Original Release Date : 2000 | | Catalog ID : 157990 | | Label : Universal Distribution | | Number of Discs : 1 | | Runtime : 71m : 59s | | Studio/Live : Studio | | Mono/Stereo : Stereo | | SPAR Code : n/a | | UPC : 00601215799026 |
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| | Professional Reviews | | Rolling Stone (2/15/01, p.78)
- 3 out of 5 stars - "...[This] has some great moments....[It] manages to bring some new ideas and energy to the rap game."Uncut (8/01, p.112)
- 4 stars out of 5 - "...Kirk Jones' extraordinary LP merits reassessment: it runs the gamut from satiric outrage to gospel rapprochement..." Vibe (p.76)
- "[E]ven when he deviates from the script, like on the Eminem-assisted single 'What If I Was White,' he's funny, insightful, and one helluva storyteller." Vibe (12/00, p.199)
- 3.5 stars out of 5 - "...An engaging fictional account of the life of an ex-con, Sticky finds balance between acting and rapping....proving that [he] is a lot more thoughtful than he used to be..." The Source (12/00, p.252)
- 4 mics out of 5 - "...An artistic apex....arguably hip-hop's most visual work of the new millenium...a cinematic experience....a hip-hop treasure." NME (Magazine)
(6/9/01, p.40)
- 7 out of 10 - "...Magic realism, hip-hop style..." |
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