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,
is an emotional roller coaster that tackles the quintessential tale of good vs. evil. Though highly imaginative, like most Hollywood blockbusters,
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
questions God's existence. Yet, his lyrical transformation is best exemplified on
"Money Talks"
(featuring
Raekwon
), where
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
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
/
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
,
convincingly brings
to life, and he is such an enigmatic character that you can't help but root for him, even though he does not deserve it. [
was also released in a "clean" edition, containing no profanities or vulgarities.] ~ Matt Conaway