)This might feel like an odd time to revisit Shyne. J. Cole just released his pre-fame projects on
DSPs, and Kendrick Lamar surprised us with a new album. Yet, for some reason, Shyne’s story
has been at the forefront of my mind lately. Why? I recently watched Hulu’s documentary The
Honorable Shyne, and it left me in awe.
I never realized how many layers there were to Shyne’s early career. The bidding war for him,
despite having no record? That was a revelation. The tension with Ma$e over Brandy? Totally
new information. And I had no idea that the infamous club shooting occurred before his debut
album even dropped—and how much of a struggle it was to get the album released.
All these revelations compelled me to revisit this album, which some outlets have even labeled a
classic.
1. Dear America (Intro)
Produced by Shyne
“Dear America, I’m only what you made me / Young, Black, and fucking crazy, please
save me.” These are the opening lines of Shyne’s debut album. The first track is devoid
of a beat, with Shyne delivering a raw, poetic reflection on his life and perspective.
2. Whatcha Gonna Do
Produced by Dee Trotman
The first instrumental kicks in, immediately setting the tone for the album. The gritty
snares and menacing strings perfectly complement Shyne’s dark, unapologetic lyrics.
While the intro offers a glimpse into Shyne’s perspective, this track introduces his
actions. The hook, where he asks, “What you gonna do when shit hits the fan, take it like
a man or snitch like a bitch?” solidifies the gangsta persona Shyne clearly aimed to
cultivate for the project.
3. Bang
Produced by Yogi
Yogi provides Shyne with a lighter, more infectious beat, featuring lively drums and
playful air instrumentation that feels like it belongs at an exotic festival. Surprisingly,
Shyne’s dark, crime-infused lyrics blend seamlessly with this upbeat backdrop. He raps,
“Prolific words, I speak for the unheard / Niggas who love guns, money, girls, and furs,”
showcasing his sharp wordplay. Notably, if you listen closely, you can catch Diddy
dropping rare ad-libs on this track, a departure from his usual absence on the album.
4. Bad Boyz
Featuring Barrington Levy; Produced by EZ Elpee
I won’t spend too much time on this track, but it’s been a staple in my workout playlist
since I first started making them. With an infectious hook, hard-hitting beats, and gritty
lyrics, this is undoubtedly Shyne’s biggest song of his career.
5. Let Me See Your Hands
Produced by Shampelle Everett
The strings on this track remind me of another song, though I can’t quite place it. Once
the full beat drops, however, it establishes its own identity. The string-dominant
production, paired with a strong bass, is simple yet perfectly complements Shyne’s
straightforward hook. This track could have easily been a street single, amplifying the
album’s buzz.
6. Gangsta Prayer (Interlude)
Produced by Mario Winans
“The Lord is my Shepherd, let’s get this coke measured” opens Shyne’s “Gangsta Prayer”. If you
expected the gangsta persona to soften at this point in the album, you’d be mistaken.
The eerie instrumentation beneath his prayer only intensifies the track, evoking the
atmosphere of a horror movie as the villain stalks their victim.
7. The Life
Produced by Nashiem Myrick, Mario Winans, & Sean “Puffy” Combs
The music on this track is much more upbeat than anything earlier on the album. While
still haunting, it’s enriched with lush, atmospheric undertones, reminiscent of the
signature Bad Boy sound. Shyne’s lyrics remain gritty, yet also introspective, maintaining
his mafioso persona that runs throughout the entire album.
8. It’s Ok
Produced by Daven “Prestige” Vanderpool, Sean “Puffy” Combs & Mario Winans
This is the grooviest track on the album. Before this, I couldn’t have imagined Shyne
rapping over a beat like this. Not only is it smooth and groovy, but the laid-back vibe
allows Shyne’s gritty rhymes to hit even harder, making a stronger impact than some of
the other tracks.
9. Niggas Gonna Die
Produced by The Neptunes
Another haunting and ominous beat, this time crafted by The Neptunes, giving it a sound
reminiscent of their work on Lord Willin’. The beat features sharp percussion and a
bass line that seamlessly fits with the rest of the album’s dark atmosphere. Lyrically,
Shyne paints himself as a cold, calculated figure of street justice, commanding the
narrative with lines like, “My point of view is me or you, and I’ma burn anyway,”
solidifying his dominance and resolve.
10. Everyday (Interlude)
Produced by Shyne
This interlude features two young ladies expressing jealousy over another woman dating
Shyne. It sets the stage for the next track, seamlessly leading into the album’s next
chapter.
11. Bonnie & Shyne
Featuring Barrington Levy; Produced by Chucky Thompson
This reggae-influenced track is laid-back and captivating, with mellow, soulful sounds
that still retain an edge, allowing Shyne to stay true to his style. His gangsta persona
remains intact, but this time he blends it with a love story reminiscent of Bonnie and
Clyde. Barrington Levy makes another appearance on the album, adding to the track’s
allure.
12. The Hit
Produced by EZ Elpee, Sean “Puffy” Combs, & Mario Winans
Simple and gritty is the best way to describe this production. It almost sounds like
Shyne’s vocals were recorded first and then the production was created around his
voice. Shyne’s descriptive rhymes and flow are the closest to Biggie on this song. He
creates an amazing story. This is a highlight of the album.
13. That’s Gangsta
Produced by Sean “Puffy” Combs & Mario Winans
The track kicks off with Shyne rapping, “Hustler, Bad Mother Fucker,” instantly setting
the tone. The beat is heavily inspired by “It’s Funky Enough” by The D.O.C., and it’s one
of those tracks that speaks for itself. With dope rhymes over a dope beat, this might just
be my favorite track on the album.
14. Spend Some Cheese
Produced by Mario Winans
I’m not a fan of this production. It tries to create a laid-back, mellow vibe, but it feels too
cluttered. Oddly, this is the first track where Shyne sounds a bit uncomfortable. I’m not
sure this one adds much to the album.
15. Get Out
Featuring Slim of 112; Produced by Mario Winans
Here we go! This beat does what the last one couldn’t. It’s smooth, mellow, and simple
— exactly where Shyne shines (no pun intended). Slim makes a brief appearance,
mainly in the background. Had Shyne not faced legal issues, this could have been a
massive hit.
16. Commission
Produced by Nashiem Myrick & Jay “Waxx” Garfield
The outro track features Shyne over another brooding, dark, and gritty beat, perfectly
closing the album. For the first time, he directly references his upcoming trial with the
line, “Crime pays, nigga, Nine-Hundred and Ninety-Nine ways my destiny’s vague, will I
survive or blow trial? Lay shot up, Puff cryin’ in denial while my enemies smile.” In
hindsight, given what we know now, this song feels like the perfect way to end the
album.
I’m genuinely surprised by how good this album is. Is it as polished as other Bad
Boy releases from the era? Not quite. But does Shyne display more enduring talent than
contemporaries like Black Rob or G-Dep? Absolutely. The fact that this project was crafted by a
19-year-old is remarkable.
Some of the album’s weaknesses are understandable given the circumstances surrounding its
creation. While Diddy contributes occasional ad-libs and holds a few production credits, his
involvement feels minimal compared to the hands-on approach he took with other artists. More
of Puff’s influence might have elevated this project.
That said, the album’s strengths stand out. Shyne crafted a persona and maintained it
consistently throughout the project. Though often compared to Biggie, Shyne delivers a grittier,
rawer experience than even Ready to Die.
Is this album a classic? Yes—but not solely because of its musical quality. Let me explain.
Shyne dropped three years after Biggie’s untimely death and just one year after the infamous
nightclub shooting involving Shyne, Diddy, and J. Lo. These events, paired with Diddy’s current
legal troubles involving sexual assault allegations, cast a new light on Shyne’s career. In many
ways, he might have been one of the first casualties of Diddy’s ambitious, often exploitative, rise
to power.