So the story of Saigon, real name Brian Carenard, is no different. What is different about Carenard isn't that he ended up imprisoned, but that prison was where his rap career began. Carenard was arrested in the early 90's (no exact date is listed from what I could gather right away) for first degree assault, after he was involved in an altercation that led him to shoot someone in a bar. Carenard got seven years and he was confined to the Napanoch’s Eastern Correctional Facility, a maximum security prison based out of New York City. One day, while Carenard was in the recreation yard, he met a fellow inmate by the name of Hakim. Hakim intrigued Carenard with his raps including more positive messages as well as Hakim's extensive vocabulary. The two became friends and Carenard began to write raps of his own and eventually started to battle rap against Hakim.
Carenard became widely known as the "Yardfather", as he struck down any challenger that would face him. Only a teenager at the time, Carenard spent much of his time studying into politics and black history. He also wanted to educate himself on topics like the Vietnam War and Toussaint L'Ouverture. The historical figure he claimed to most identify with though, was Malcolm X. His studies of the Vietnam War led Carenard to nickname himself "Saigon", which he got from a book by author Wallace Terry. The time in prison not only corrected the wrongs in Saigon's life; it gave him a purpose for after he got out. Immediately after his release in 2000, Saigon founded Abandoned Nation, which was a nonprofit company to help parents of children who were incarcerated and also to help reach out to other hip-hop acts, with the hope of gaining more exposure.
Saigon's wanted The Greatest Story Never Told to be his debut album title from the time he got out of prison and his hype slowly grew once he released his first mixtape in 2003, Da Yard Father 1. Eventually, Carenard, with a good deal of support from producer Just Blaze, signed a deal with Atlantic Records in 2004. But the marriage between the two was a failure from the start (Saigon says that it began as early as two months into it, when Atlantic suggested he do a track with the R&B group, Pretty Ricky). Much like the ordeal between Atlantic and Lupe Fiasco for the past year, the same occurred to Saigon and he refused to compromise in order to make singles for the label. He jumped out of his deal in 2005.
Although Saigon continued to write for his debut album (and even appeared on Entourage), he just couldn't seem to find a way to get it released. In 2007, after Carenard was arrested for a felony weapons charge, Saigon claimed that he was finished rapping and that The Greatest Story Never Told would hence, never be told. Yet, as about every rapper it seems today does, the retirement was merely a bluff, and Carenard eventually in 2010 signed to Suburban Noize Records (who's only other claim to fame was signing the group Kottonmouth Kings. You'll know them by their single "Tangerine Sky"). After over a decade of waiting, Saigon finally was able to release his debut album this past February, and the Greatest Story Never Told would, yes, be told.
Having a decade plus to work on an album, I'd expect it to be pretty fucking epic. So was it? Here's my review.
1. Station Identification ft. Fatman Scoop (Prod. by Just Blaze)
Nothing really special that makes this intro better than anything else out there. It was cool to hear snippets of Saigon's underground work, though.
2. The Invitation ft. Q-Tip & Fatman Scoop (Prod. by Just Blaze)
As soon as you got Q-Tip on a feature, you at least have my attention (as this dude is A. A legend and B. Not someone who is constantly jumping on albums for features in the first place). The hook comes from the Tribe classic "Jazz/We Got" where Q-Tip does his shout outs towards the tail end of the track, except this time it's improvised (as it really should be). If you're new to Saigon, then you're most likely going to be asking yourself "Where the fuck was this guy? And why the hell did Atlantic let him go?". Saigon drops three verses that he just destroys in each and flows extremely well. He touches on a lot of different subjects, all basically themed about the struggles of a young black kid growing up on the streets like he did, but the picture he paints is a beautiful, but cold and dark one.
"I represent the poor profitless corner monopolipis/The pessimist outnumber the optimist on the block and it's/Coppers that got binoculars cause I can feel them watchin us" and...
"The party is in the pen and the government is promotin it/That's the reason I don't be believin in all this votin shit/They bring the coke in this bitch, ain't no poppy seeds/In the p's please, there's nothing but a whole lot of hopelessness/That's where all the focus is makin sure all the blacks"
Like I said, he is on Nasty Nas (the old Nas) territory with this one and Just Blaze (as I expected, really) gives him a beat where he can excel on. Great way to introduce yourself, Mr. Carenard.
3. Come On Baby ft. Swizz Beatz & Jay-Z (Prod. by Just Blaze)
Now Saigon had been affiliated with Hova before and there was even rumors he may sign with his label, Roc Nation, when it was first created nearly two years ago. But to get him to appear on your album, especially one that I'm positive he knew wasn't going to sell very well? That is a statement. I groaned when I saw Swizz was on here originally, but much to my relief, he's just there to yell nonsense here and there (probably the only thing he's good at; that and producing "Murder to Excellence"). Saigon is great again here, although the real highlight of this is Just Blaze's stellar beat. The "Don't You Baby" sample sounds fucking terrific and I loved the intervals he uses between that and then the actual drums. Hova's verse is nothing spectacular, but it doesn't need to be with Saigon's verses and Blaze's production. Another song I really, really liked.
4. War (Prod. by Just Blaze)
Skit. It's humorous the first couple times when you hear that "Going to that other side of town" but it's nothing you need to play more than that.
5. Bring Me Down (Part 2) (Prod. by Just Blaze)
Part One, I'm assuming, is off an earlier mixtape of his, but I really have no idea (nor do I really care). Saigon has made it his mission to rap about the positives, rather than the negatives, and this song is certainly a perfect example of this. The beat, again, is very well done and I was surprised at how good the hook sounded as well. Saigon's second verse is better than the first (although their both solid) and the line "That Just Blaze back system knockin the mazzarati I jump out the back n turn ya block into nagasaki" was straight dirty. If Saigon had more exposure to the public eye, there is no doubt in my mind that this would be an instant warm-up song that every high school basketball team would have on their pre-game warmup disc. It's not as serious as "The Invitation", but it's difficult to make a track to inspire without sounding a little cheesy, and Saigon avoids that entirely with this. (Which really makes me wonder when this one was written. If it was finished before Saigon left Atlantic, then their executives really do have as much taste for music as Sergio Roma in Get Him to the Greek).
6. Enemies (Prod. by D. Allen)
The first song not produced by Just Blaze still manages to keep that incredible momentum Saigon has going for the first part of this album. Saigon uses the metaphor of the streets pretending with you that its your friend, when really it's your worst enemy. Carenard sounds, again, fantastic and I'm even more impressed at how he flows so well. None of this sounds stunted and he doesn't sound like he's been away from the studio at all. It's worth mentioning that D. Allen's beat is also great and, while it still led me to believe it was Blaze on the boards when first listening to it (which isn't a bad thing in all sincerity), it fits with what I've already been hearing, and that is definitely a good thing.
7. Friends (Prod. by Just Blaze)
Pretty much a continuation of the previous song, but the beat speeds up a little and the piano chords are also in play (something that wasn't in "Enemies"). Saigon basically just confirms that belief that the streets really aren't his friend and he does drop a pretty good verse for it. Probably could have combined this with "Enemies" though, and just turned it into "Enemies/Friends" as one entire track (Watch the Throne did this numerous times, turning two separate songs into one).
8. The Greatest Story Never Told (Prod. by Just Blaze)
I didn't expect Saigon to actually make a song with this title as well, but fuck it, as this one also sounds amazing. I've heard some say that this one doesn't have as good as production as some of the earlier tracks, but listening to this 10 months after its release, it still sounds pretty good (in fact, maybe better). Saigon is back at it on the mic and has lines like "Turn on the TV, all I see is celebs taking it/Feeling like they got all the bread but they ain’t breaking it/I’m taking it as soon as I find the oven where they baking it" and "If I bust a gun in the hood I get Attica or the Cat/I bang a gat in Iraq I get a pat on the back/Best believe I know better than that". They're not Saigon's strongest of the album, but still decent and I would have really no complaints about this one, except for the hook, which is fucking awful. This may have been the track Saigon was hoping would be sort of an anthem for him, but it's just not good enough to be that, especially with how good he's already shown he can be. I liked it, but it's not on the level as "The Invitation" or "Enemies" by any means.
9. Clap ft. Faith Evans (Prod. by Just Blaze)
Remember this chick?? The one that used to actually Mrs. Notorious B.I.G.? Yeah, you don't really hear her the often today, but she obviously got a call from Saigon to appear on here. This is supposed to be an uplifting track that showcases how Saigon has changed from what he used to be and it has that black gospel feel to it. Unfortunately, the beat is a little over the top to maintain my interest and I've heard songs similar to this that sound much better (take "My Generation" by Nas & Damian Marley for instance). I also don't get why Saigon decided that it's moving to sing "clap your hands if you love that Just Blaze shit". The "OooK" part was really fucking stupid as well and it got pretty damn repetitive.
10. Preacher ft. Lee Fields & The Expressions (Prod. by Just Blaze)
This doesn't sound quite like what I'd expect from Just Blaze, but it is a fantastic beat all the same. The black gospel/soul feel here sounds wayy better than the previous track and if you're going to do a song themed around a religious aspect, this is the way to do it (unless, of course, you're Faith +1). You may think that a James Brown sample was used here, but no, it's actually Lee Fields and the Expressions, who also do a terrific job with their duties on here. I also was a fan of the subject matter, as it's one that rarely ever gets touched on. Of course, this doesn't refer to every preacher, but there are some that apparently do this kind of thing out there and props for Carenard calling them out. The end is also fitting.
11. It's Alright ft. Marsha Ambrosius (Prod. by Kanye West)
'Ye jumps on the Saigon ship to produce this one, and guess what people, it's one of the album's worst (did I really just type that??). Look, it's not horrible by any means, but it doesn't sound like Yeezy put much into this (it honestly seems like he sped up The Carpenters "Superstar" and that's about it). I guess, because Saigon hasn't had a chance previous, he wanted to get that love song a spot on here. With the rest of the subject matter being so on point and serious though, it really doesn't fit and the song altogether is pretty forgettable.
12. Believe It (Prod. Just Blaze)
It's not T-Pain you're hearing on the hook. Nope, that's Just Blaze taking duties, but he actually doesn't sound too terrible. The song, another one intended to be inspiring, this time works. Saigon touches on a variety of subjects including his struggles with poverty as a musician, his drive to be different from the "Yung Jocs" and avoiding the temptations of selling in order to get a quick fix. Mainly, his message is simple: you got to believe in your dreams. He also claims he's "remain the smartest, hardest working nigga in the business", which I fully hope he does. I didn't really give this song a chance when I first listened to the album, but I'm thrilled I decided to this time. Damnit though, that skit at the end almost fucking ruined it.
13. Give it to Me ft. Raheem DeVaughn (Prod. by SC)
Unlike the first time when the production duties were left to someone other than Blaze, it doesn't work here. Not really an interesting beat and the verses on here are some of Saigon's weakest of the entire album. Combine that with DeVaughn's less than stellar hook, and yeah, you can pretty much skip this one.
14. What the Lovers Do ft. Devin the Dude (Prod. by Red Spyda)
Saigon is better on this compared to the previous track, but again, it's not a very engaging topic. And I got excited for nothing when I found out that Devin is not spitting a verse here, but is simply relegated to the hook (which seemed pointless to me). Yikes, this album has really started to lose the magic it had to start.
15. Better Way ft. Layzie Bone (Prod. by Just Blaze)
Certainly a beat that is worth of Bone Thugz member Layzie. This one is better than the last two, yet, it's still not really memorable. Saigon goes on about how he "always knew Just Blaze would sign me" but I've heard this story before (just rewind to "Believe"). I would give it a pass otherwise. Saigon also, again, lets his featured guest have the hook duties and only that, which I just felt was a mistake. You don't always have to have another MC do a verse, I get that. But to bring them on just for the hook multiple times? About as questionable as Jerry Sandusky's "Not Guilty" plea (OK, that actually isn't even questionable; that's just fucking ludicrous)
16. Oh Yeah (Our Babies) (Prod. by Buckwild)
I have no idea why this was called "Our Babies". It's possible that Saigon was trying to talk about all the actions he's done and sees others commit that influence "Our Babies" (actually that's probably it). Again though, this is mediocre at best and it doesn't help that Saigon threw this at the end of the album when any listener's attention span would start to be seriously waning. I've heard much worse for sure, but I've heard way better already on this album.
17. And the Winner is...ft. Bun B (Prod. by Just Blaze)
A nice outro with the beginning of it recorded from a live show that I'm guessing Saigon did along with Bun B. It turns out to be a dream, of course, and it's just Saigon wishfully thinking he'll be the next great thing. I wasn't crazy about it, but I think it's appropriate at least to end his album and it does make sense.
Closing Statement: I think the best way to compare this album is to a roller coaster (yes, I'm using that analogy) that I rode when I visited Busch Gardens in Williamsburg. It's called Apollo's Chariot and it starts out with a 210 foot drop, before going into another hill at around 180 ft. and then another one that's similar in height after, before coasting to basically the end of the ride. That's exactly how this album is. Beginning with "The Invitation" to "Preacher" (excluding "Clap"), Carenard puts together arguably the strongest stretch of tracks recorded by any solo artist this year. The first half of this album is fucking brilliant and it's garnered a lot of praise for good reason. The back half though, is a huge drop off. Not that the tracks there were horrible; they were just all very blah. Nothing really stuck out to me after "Preacher" except for "Believe It" and that's a problem. You do have to remember that this is technically Saigon's debut album (despite being around for forever it seems) and there were songs that he probably has been dying to include (like "It's Alright' or "Better Way"). Yet, great stories almost always are at their best towards the end, not the beginning. You don't throw the twist that Martin Vanger is the murderer in the first five chapters, do you? (apologies if I ruined that for anyone reading that particular novel right now). And that's why Saigon's story is far from being the greatest. It definitely has elements that make it great, even unbelievable at times, but as a whole, it's just good.
The Verdict: Being that this hasn't sold particularly well, I would recommend a buy if you can scrape the extra $10 for it. The first half is some of the best hip hop of all of 2011 and that is almost worth the money in itself. However, I say almost, so if you are relatively poor from that holiday shopping, then a burn will certainly suffice. I am excited though, that Saigon has another album already in the works. He is extremely talented and also wants to deliver positive messages, which is why every hip hop fan should at least take notice of him.
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