There are few names in hip-hop more revered than that of James Yancey, better known as J Dilla. Although Dilla’s legacy primarily lies in his production skills, his latest posthumous release, “The Diary,” finds him stepping into the studio as a rapper.
Intended to be released as J Dilla’s second solo album in 2001, “The Diary” contains a mixture of Dilla’s originally recorded verses and old and new additions from a host of others, including Snoop Dogg and Nas. “The Diary” succeeds in showcasing a different element of J Dilla’s abilities, but its dated lyrical content and raw, unpolished quality – most tracks clock in at around three minutes or less – prevent the album from reaching its full potential. “The Diary” serves as an intriguing, if imperfect, addition to J Dilla’s discography and legacy.
“The Diary” begins with “The Introduction,” a strong track which finds Dilla sounding natural as an MC. However, it also sets a precedent which reappears frequently throughout the “The Diary”: a lack of lyrical content. From the second line, where Dilla speaks of the days “before my uncle Al let me pull a gun trigger,” it’s clear Dilla’s preferred lyrical content differs greatly from that of the acts he produced.
Although themes of braggadocio and misogyny have never been uncommon in hip-hop, Dilla’s content throughout “The Diary” comes from a vastly different era in this regard. Despite this, the excellent production and occasional thematic deviations prevent the lyrical content of “The Diary” from bringing down the album as a whole.
“The Diary” features excellent production from many of his peers — a homage to his prodigious ability as a producer. For example, “Drive Me Wild” finds Dilla speaking about a ride in a “brand-new Escalade,” but the track’s most telling feature is its production by Karriem Riggins. The mysterious guitar line and pronounced snare drum hits give the track a vibe which is equal parts inquisitive and head-bobbing, and makes “Drive Me Wild” one of the album’s highlights.
Another strong track is “The Sickness,” a bonus track which features a verse by fellow hip-hop legend Nas and production by the equally esteemed Madlib. The production of the track is simplistic and well-executed, which allows Nas to shine through.
Nas’s verse is one of the best on the album, as he talks about his drive to succeed and, shockingly, the world presence of his venture capital firm. He makes claims about how he’s “never been in Maldives, not even Greece yet / But I bet out in Greece I get that respect.” The track showcases both Dilla’s and Nas’s lyrical dexterity, and the memorable verse by Nas makes it another standout moment on the album.
Despite its imperfections, “The Diary” provides an interesting look into J Dilla’s life not seen as often while he was alive. It’s clear much of the content is rooted in the style of the early 2000s, but the album’s overarching quality of production and standout features are more noticeable than the lyrical monotony.
Ultimately, “The Diary” finds J Dilla to be a talented MC and a renowned producer, which serves as a solid posthumous addition to his legacy.
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