Introduction to DMX’s Music Career
DMX burst onto the hip hop scene in the late 1990s with a rawness and aggression that revitalized hardcore rap. Known for his gritty, growling delivery and dark, introspective lyrics, DMX became one of the most prominent and influential rappers of his era. His debut album It’s Dark and Hell Is Hot shot to number one on the Billboard 200 in 1998, making DMX an overnight star in the rap game.
Unlike the flashy, feel-good tunes popular at the time, DMX offered a darker sound and perspective. His music gave an unfiltered look into his inner struggles, drawing from his difficult upbringing and encounters with crime and violence. DMX rapped with a poetic bluntness, painting vivid pictures of urban life. Songs like "Ruff Ryders’ Anthem" and "Get At Me Dog" highlighted his mastery of storytelling and raw lyricism.
Beyond just music, DMX was known for his intense live performances. He would bound on stage with explosive energy, growling and barking his lyrics with a palpable aggression. His arresting stage presence made DMX a must-see act, solidifying his reputation as a hip hop icon. Overall, DMX’s unique style and artistic authenticity paved the way for hardcore rap to flourish at the end of the 1990s, leaving an indelible mark on hip hop as a whole.
DMX’s Studio Albums
DMX released 8 studio albums over the course of his prolific music career. His discography showcased his raw, gritty style and established him as one of the most influential rappers of the late 90s and early 2000s.
It’s Dark and Hell Is Hot (1998)
DMX made his explosive debut in 1998 with It’s Dark and Hell Is Hot, establishing his hardcore rap style. The album featured DMX’s aggressive flow and dark production, with tracks like "Ruff Ryders’ Anthem," "Get At Me Dog," and "How’s It Goin’ Down" becoming hip hop classics. It’s Dark and Hell Is Hot was met with critical acclaim for its authentic street sound, debuting at #1 on the Billboard 200 and eventually going 4x platinum.
Flesh of My Flesh, Blood of My Blood (1998)
In an unprecedented move, DMX followed up his smash debut by releasing his second album Flesh of My Flesh, Blood of My Blood in the same year. The album continued his dark, uncompromising sound with raw emotion in tracks like "Slippin’" and "No Love 4 Me." Flesh of My Flesh, Blood of My Blood also topped the Billboard 200, making DMX the first rapper to release two chart-topping albums in one year.
…And Then There Was X (1999)
DMX’s third album …And Then There Was X was released in 1999, debuting at #1 with over 670,000 copies sold in the first week. It contained his biggest singles to date, including party anthems like "Party Up (Up in Here)" and the Swizz Beatz-produced "Ruff Ryders’ Anthem." While maintaining his hardcore edge, …And Then There Was X showed DMX crossing over into more radio-friendly fare. The album was another massive success for DMX both critically and commercially.
It’s Dark and Hell Is Hot (1998)
DMX burst onto the rap scene in 1998 with his debut studio album It’s Dark and Hell Is Hot, immediately establishing himself as a unique and captivating new voice in hip hop. With its grim, hardcore production and DMX’s aggressive lyrical delivery, It’s Dark and Hell Is Hot ushered in a new era for East Coast rap.
Songs like "Ruff Ryders’ Anthem," "Get At Me Dog," and "Stop Being Greedy" exemplified DMX’s gritty, almost sinister sound. Over menacing beats, DMX barks violent and spiritual lyrics with a preacher-like intensity. Tracks like "Damien" and "Look Thru My Eyes" showcase DMX’s ability to tell compelling stories and get personal about his inner demons.
Propelled by hits like "Get At Me Dog" and "Ruff Ryders’ Anthem," It’s Dark and Hell Is Hot debuted at #1 on the Billboard 200, making DMX the fastest solo hip hop artist at the time to have an album enter the charts at #1. The album was certified 4x platinum by the RIAA, cementing DMX as a commercial force in rap.
Critically, It’s Dark and Hell Is Hot was hailed as a revival of hardcore hip hop. DMX’s authenticity and originality were praised, with critics applauding his emotional range and lyrical skills. The album appeared on numerous "Best Albums of 1998" lists and is now considered one of the landmark rap albums of the 1990s. With his stunning debut, DMX proved he was far more than just another gangsta rapper.
Flesh of My Flesh, Blood of My Blood (1998)
Released just 6 months after his explosive debut, Flesh of My Flesh, Blood of My Blood marked a historic achievement for DMX as he became the second rapper ever to release two #1 albums in the same calendar year. While building on the hardcore, gritty sound of his first album, Flesh displayed a raw vulnerability and emotional depth that few rappers had shown before.
Tracks like "Slippin’" detailed DMX’s struggles with addiction and depression in uncompromising detail. The pain in his voice was palpable as he rapped lines like "I’m slippin’ I’m fallin’ I can’t get up." On "I Can Feel It," DMX opened up about paranoia and fear over moody production. Flesh solidified DMX as not just a great lyricist, but a master of eliciting emotion through his words. The album cover, depicting DMX covered in blood, further exemplified the dark themes.
While certainly dark, Flesh contained triumphant moments as well. "No Love 4 Me" showed DMX’s confidence and bravado over a hard-hitting Swizz Beatz instrumental. The album’s biggest single, "Ruff Ryders Anthem," became an anthemic call-to-arms for DMX’s crew. Flesh cemented DMX’s versatility – able to release hardcore street anthems and vulnerable confessionals with equal skill. By releasing two #1 albums in 1998, DMX proved he was a hip-hop force to be reckoned with.
…And Then There Was X (1999)
Released in December 1999, …And Then There Was X marked the continuation of DMX’s meteoric rise to rap superstardom. The album debuted at #1 on the Billboard 200, selling over 698,000 copies in its first week. It was DMX’s third consecutive album to debut at the top spot on the charts, cementing his status as one of the most commercially successful rappers at the time.
…And Then There Was X featured some of DMX’s biggest singles, including the hard-hitting "Party Up (Up in Here)" and the radio-friendly "What’s My Name?". "Party Up (Up in Here)" became one of DMX’s signature songs, showcasing his energetic live performances. The song’s anthemic chorus and high-powered production made it a staple at parties and clubs. "What’s My Name?" found DMX trying out a more melodic style, layering his gruff raps over a sample of dancehall artist Super Cat’s track "Dolly My Baby". The song’s catchy hook helped it become DMX’s first top 40 hit on the Billboard Hot 100.
While still rooted in hardcore hip hop, …And Then There Was X showed signs of DMX expanding his sound. There was a subtle evolution as he blended radio-friendly tracks with his signature hard-edged style. Songs like "What These B****es Want" and "Ruff Ryders Anthem Part 2" contained DMX’s characteristically aggressive raps, while "I Miss You" featured Faith Evans on a mellower R&B-influenced track. DMX collaborated with Jay-Z and DJ Clue on "Money, Cash, Hoes", signaling his growing status in the rap world. Overall, …And Then There Was X found DMX progressing as an artist while still staying true to his raw, uncompromising style. The album’s blend of hard rap bangers and radio hits marked an important step in DMX’s continued crossover success.
The Great Depression (2001)
The Great Depression marked a notable shift in DMX’s musical themes and direction. Released in 2001, the album delved deep into the rapper’s personal struggles and introspective thoughts.
Unlike his previous boastful, aggressive albums, The Great Depression showcased a more contemplative DMX reflecting on his inner demons. The album touched on dark topics like addiction, depression, and suicidal thoughts. Tracks like "I Miss You" featuring Faith Evans were incredibly raw, with DMX rapping about the desire to end his life and reunite with loved ones in the afterlife.
Other songs like "Who We Be" and "We Right Here" contained reflections on fame, violence in America, and maintaining hope through difficult times. DMX collaborated with rappers like Jay-Z, Nas, and Mary J. Blige to add additional perspectives to the album’s themes.
The Great Depression received praise from critics for its mature, introspective nature. But it marked the beginning of DMX’s decline in mainstream popularity, with lower album sales compared to his previous chart-topping releases. Regardless, it remains one of his most personal works, providing a glimpse into the internal struggles and pain that shaped DMX as both a man and an artist.
Grand Champ (2003)
DMX’s fifth studio album, Grand Champ, marked a triumphant return to the top of the charts in 2003. After taking some time off to deal with personal issues, DMX came back rejuvenated and refocused. The album debuted at #1 on the Billboard 200, once again demonstrating DMX’s commercial dominance.
Grand Champ saw DMX returning to his hardcore rap roots, with aggressive beats and his signature gruff delivery. However, the content reflected a new maturity as DMX rapped about being a father, questioning his faith, and striving for redemption. Tracks like "Where the Hood At" showed he could still unleash raw, gritty lyrics, while songs like "The Prayer V" revealed a more contemplative, spiritual side.
DMX collaborated with producers like Swizz Beatz to create a sound that blended vintage Def Jam records with updated production elements. The album produced several hit singles, including "Where the Hood At" and "Get it on the Floor." While it may not have crossed over to pop radio as much as his previous album, Grand Champ proved DMX was still a force to be reckoned with in the rap game.
The album showed how DMX had evolved as an artist after over 5 years in the spotlight. No longer just trying to shock listeners, DMX infused the album with hard-won wisdom about life. For fans, Grand Champ was a welcome return to form – showcasing DMX’s trademark intensity with a new perspective befitting a rap veteran. Though not his biggest commercial hit, the album demonstrated DMX’s resilience and uncompromising creative vision.
Year of the Dog… Again (2006)
Year of the Dog…Again was DMX’s sixth studio album, released in 2006 after a two year gap since his last project. It proved to be his final album before taking an extended hiatus from music for several years.
The album showed DMX experimenting with different musical styles and production techniques. While still rooted in his signature hardcore New York rap sound, Year of the Dog incorporated elements of rock, crunk, and electronic music. Producers Swizz Beatz and Scott Storch contributed to the album’s diverse range of beats.
In terms of features, Year of the Dog had high profile collaborations with rappers such as Snoop Dogg, Busta Rhymes, The LOX, and Amerie. The track "Lord Give Me a Sign" featured soul singer Faith Evans. Overall, the album had a star-studded roster, showcasing DMX’s relationships within the hip hop community.
Lyrically, DMX touched on themes of his troubled past and trying to move forward. However, the album lacked the raw intensity of his earlier work, as his personal issues clearly impacted the recording process. Year of the Dog received lukewarm reviews, with many critics noting DMX sounding uninspired at times.
Nonetheless, the album still contained glimpses of vintage DMX, especially on grittier tracks like "A’Yo Kato" and "The Rain". It ultimately served as the closing chapter in DMX’s career before his hiatus, showcasing his versatility and evolution.
Undisputed (2012)
After a six-year hiatus from releasing studio albums, DMX made his official comeback with Undisputed in 2012. The album marked a period of reflection for DMX, as he took time during his break from music to deal with personal struggles and focus on his spirituality.
Undisputed showcases DMX’s reflections on life and the wisdom he gained from his experiences. The album has an overall theme of redemption, with DMX rapping about making amends for past mistakes. Tracks like "Slippin’ Again" directly reference his previous iconic song "Slippin’," showing how he has matured.
Spirituality is a major theme throughout Undisputed. DMX embraces religious topics more fully, rapping about his renewed faith on songs like "Amen" and "Hallelujah." His rapping is introspective, displaying a vulnerability that his hardcore persona typically avoided.
While Undisputed was not DMX’s biggest commercial success, it marked an important evolution in his artistry. After years of turmoil, DMX channeled his energy into creating a redemptive album. Undisputed shows DMX’s growth into a more spiritually centered artist with valuable life lessons to share. Though gritty at times, the album ultimately has an uplifting tone. For fans, it was a welcome return to form showcasing DMX’s resilience.
Redemption of the Beast (2015)
Redemption of the Beast was DMX’s eighth and final studio album released during his lifetime. After being signed to major labels for most of his career, DMX took an independent route for this project, releasing it on his own Seven Arts Music imprint. This allowed DMX full creative control to deliver an album with no filters, staying true to his raw, hardcore roots.
Sonically, Redemption of the Beast marked a return to the gritty, unpolished production style of DMX’s earlier work. The beats hit hard with dark, menacing textures that complemented DMX’s aggressive delivery. His rhyme patterns were as fierce and dexterous as ever, showcasing that even later in his career, DMX still possessed elite lyrical skills.
The content found DMX unleashing the unfiltered, uncensored perspectives fans came to expect from him. Songs like "3’s Up" featured DMX’s trademark braggadocio raps about his status as a hip-hop legend. On tracks like "Same S**t", DMX got personal, reflecting on the struggles of his past and how he persevered through all the adversity.
Redemption of the Beast stood as a bookend to DMX’s catalog, bringing his career full circle. It showed that even after all the fame, DMX stayed grounded in the same hardcore ethos that launched his career. For fans, the album provided a dose of vintage DMX, underscoring his legacy as a pioneer who never compromised his art.