![x gon give it to ya genius x gon give it to ya genius](https://images.genius.com/bfba5a103d91ddb6bd18d8cecfdeaae8.317x317x1.jpg)
Thankfully Swizz Beatz shows up to break the monotony on “Get it on the Floor,” and although it doesn’t pack the punch of previous monster hits like “Party Up” it still sounds more like the DMX of old: “Dogs Out” features more of the same, except it’s over a Kanye West beat instead of one from Tuneheadz. Perhaps it wouldn’t be an issue if Def Jam themselves hadn’t taken issue with just how brutalistic it was even on the explicit version of the CD they edited out the words “reload” and “slugs” from the sixth line.
#X gon give it to ya genius how to#
Only know how to be ONE WAY, that’s the dog!” I don’t fuck with niggaz that think they broads That’s the cat with the Kool-Aid on his lips and pumps I don’t buck with chumps, for those to been to jail Y’all niggaz was havin sex, with the SAME sexĮven if we squashed the beef, I ain’t touchin ya hand Even if don’t mind the occasional use of the word “faggot” in a rap song, this track really takes his hatred of gay men out of the closet (pun intended): It’s somewhat curious then that X suddenly feels the need to assert his manhood in such a brutally homophobic fashion. X has always portrayed himself as a man’s man, winning over women with his chiseled looks and street attitude and winning over men with his tough talk and rough rhymes. Officially, that makes “Where the Hood At” the first single off this album. Last year’s surprise single “X Gon’ Give it to Ya” is nowhere to be found on the album though. Undoubtedly all bullshit, but another long absence from the charts and store shelves with a new album only seemed to lend credence to their theories.ĭMX is answering back with “Grand Champ,” his first new album in two years.
#X gon give it to ya genius movie#
Then the media vultures started spreading rumors like mosquitoes do West Nile: X is depressed, X is an alcoholic, X doesn’t care any more, X gave up rap for a movie career. Or maybe just enough time had elapsed from the initial hit of X for everyone to realize behind the growling and snarling was the same old rap in a different package. Perhaps it was the noticeable absence of Swizz Beatz, whose musical madness always seemed to fit X like a glove. When he returned in 2001 with “The Great Depression” it was another success commercially, yet critics and hardcore fans alike seemed to feel it was a dissapointment. Then for a couple of years, the loudest barking man in rap was nowhere to be found. At the start of his Def Jam deal, DMX was the hands down consensus for “most prolific recording artist in rap.” 1998-99 saw three consecutive albums, each of which quickly went gold and then beyond into platinum.