The Greatest Story Never

Like most Saigon fans, I became aware of the man via HBO's "Entourage," where he played an emcee who was trying to get a record deal in L.A. His stint on the show made him a household name amongst hip-hop fans, causing a demand for his debut record, which Atlantic Records had shelved. Soon enough Atlantic cut him loose, making him an in-demand free agent. During this time Sai was self-releasing mixtapes and half-baked "street albums" while also causing much drama in the hip-hop scene, all along recording a new record with some of today's best producers and emcees (his Atlantic record still stuck on the shelf). At some point he finished that new record, titled The Greatest Story Never Told, and promptly started talking it up, repeatedly calling it "the best record of the last 20 years." Now finally on shelves, thanks to indie label Suburban Noize Records, The Greatest has been the talk of the underground scene thus far in 2011, many calling the record the best debut since Nas' Illmatic (a record that stands as this writer's second favorite hip-hop album ever) or Nototious B.I.G.'s debut.

So, is The Greatest really that good? Is it "the greatest?" Well, the critics agree with the underground kids, giving the record unanimous acclaim thus far, many already calling it the best hip-hop record of the last couple years (surprising, considering the same praise went to Kanye West's recent record). With uber-producer Just Blaze credited as either producer or co-producer on 16 of the records 17 tracks, you'd better bet that the beats are almost all very, very good (that one other beat is produced by  Kanye himself). The record is long, cinematic and cohesive, reminding me of Ice Cube's similarly long, similarly skit-filled debut, Amerikka's Most Wanted more so than Illmatic. And, similar to all those classic early solo Wu-Tang records (and Biggie's debut), Sai's proper studio debut plays through something like a film, telling the loose story of a former cage-dweller who now lives a rather gritty street life fully of stress, drama and hope.

The real drawl, of course, are Saigon's verses, which are often quite good and, at times, possibly classics or near classics. If you're not familiar with his style, imagine 50 Cent's pre-Dre street tape days, but with far more writing skill and charisma. I'm not ready to call his writing "intelligent," as so many already have, but he is often very clever and, more than most mainstream emcees out today, understands hows to write a proper verse - the kind that's labored over and perfected over a long period of time. No, he doesn't have that very, very special - ethereal, even - thing that young Nas (or even early Cube) had, but for today's standards (up against, say, Lil' Wayne and Eminem), Sai is pretty damn far above his peers. Not "best albums in 20 years" beyond, but up there near the Big Boi, Ghostface and MF Doom level of current greatness.

My peeves? Well, the skit stuff quickly gets to be a bit much. Not since Doggystyle - or maybe that Dr. Octagon record - have I heard a skit-filled album that played through without boring me to tears (though A Prince Among Thieves and the first Handsome Boy Modeling School album came close). Mostly, when the skits play, I begin to feel anxious, ready for a banger like "Preacher" to explode into my headphones. Also, I'm not a big fan of the handfuls of R&B vocal elements that creep into the hooks. When you have the gritty and cinematic appeal of a guy like Saigon, you just flat out don't need gospel and R&B hooks. Did Cube lean on R&B hooks in his prime? Never. Nor did young Nas. Sure, had this record been released on a big label that planned to push the album on mainstream audiences, those hooks may have helped to bring in some idiot ears; but this is an underground record, and underground ears are tasteful - refined, even. To me, the R&B elements are in poor taste - a shame when you consider how good all the other elements here are.

But, hey, small nags, really, when you consider how good - and consistent - the beats and verses are. Just Blaze is one of today's best producers, making crisp, punchy beats that are often lean and always memorable, his style standing as one of the most timeless of anyone out since Jaydee passed on. Couple that production with a very hungry, very hard working emcee and you maybe have the hip-hop record to beat of 2011 (hopefully Andre 3000 finally puts out his long-completed record). Greatest isn't bound to be the "greatest" anything (other than maybe the best hip-hop record from the first quarter of 2011), but it is, for sure, one heck of a debut record. Here's to hoping Saigon has some steam left or, better yet, is just getting started. I kinda doubt it.  (8.5/10)

Written by G. William Locke