400 Degreez Full Album

[Timothee Cazares]

500Degreez debuted at number six on the US Billboard 200 chart, selling 141,000 copies in the first week.[10] This became Wayne's second US top-ten debut.[11] The album also debuted at number one on the US Top R&B/Hip-Hop Albums chart, becoming Wayne's second number-one album on that chart.[12] In its second week, the album dropped to number ten on the chart.[13] As of September 3, 2002, the album was certified gold by the Recording Industry Association of America (RIAA) for sales of over 500,000 copies in the United States.[14]

400 Degreez is the commercial debut and overall third studio album by American rapper Juvenile. The album was released on November 3, 1998,[2] by Universal Records and Bryan "Baby" Williams' Cash Money Records. It remains Juvenile's best-selling album of his solo career, with six million copies sold as of 2021.[3] The album received quadruple platinum certification by the Recording Industry Association of America (RIAA) on December 19, 2000.[4]

Its two preceding singles, "Ha" and "Back That Azz Up" (censored as "Back That Thang Up") peaked at numbers 68 and 19 on the Billboard Hot 100, respectively. The album peaked at number nine on the Billboard 200 and number two on Billboard's Top R&B/Hip Hop Albums; it peaked atop the latter chart for its Year-End list of 1999. The album also features the remix of the single "Ha" with New York rapper Jay-Z, its only guest appearance from outside the Cash Money roster and the first time a rapper from the label worked with an East Coast rapper on a song. The album won the Billboard Music Award for Top R&B Album in 1999. The explicit version of the album was not totally uncensored; lines such as "do a (homicide) with me" on "Gone Ride with Me" and "put a (pistol) in his face" can be heard in "Welcome 2 tha Nolia".[5]

In 2020, Rolling Stone ranked the album number 470 on their list of the 500 Greatest Albums of All Time.[6] Consequence in 2023 and Billboard in 2024 ranked 400 Degreez 38 and 44 in their respective all-time best hip hop album lists.[7][8] In 2017, The Ringer ranked it as the third-best Southern hip hop album of all time.[1] HipHopDX named it among 18 of the best hip hop and R&B albums of 1998.[9]

November 3rd, 1998 voodoo in audio from out the Magnolia Project struck the planet and moved the earth off its axis. For 25 years 400 Degreez has been a staple not only around New Orleans, not only Southern Hip Hop but tied to the lore of hip hop in general. At this moment in time, 400 Degreez is as American as a bowl of gumbo. To highlight the 25th anniversary I was able to speak to some fans of the album who will be attending the concert at The Howard Theatre in Washington, DC. I will include their testimonies throughout the piece.

On Tuesday (March 26), the New Orleans, LA legend added to the festivities by unveiling a music video for the pivotal album's title track, which was directed by Diesel Films and began with a message to viewers.

"On Nov. 3, 1998, Juvenile released his third studio album, 400 Degreez. The album went on to be certified four-times platinum, having sold four million copies," the opener read. "The groundbreaking album remains Juvenile's best-selling project of his solo career."

In the four-minute clip, shots of Juvie performing were interspersed with various scenes that brought the song's subject matter to life. Mannie Fresh, who produced the iconic cut, was also featured prominently throughout.

In a nostalgic reunion, Juvenile reconnects with former Cash Money collaborator Mannie Fresh, the mastermind behind the 400 Degreez album, as two video vixens flex their skills in the kitchen, crafting a birthday cake for the iconic record. The video intertwines throwback footage from the 90s era with recent scenes of Juvenile and Mannie Fresh igniting the stage with their timeless energy.

Of course, it takes more than a beautiful, evocative, and mysterious cover to get into the hallowed halls of the Newbury St. Collection. It takes great songs, excellent performances and a dash of innovation to achieve the highest honor in the music industry. And lucky for us, Boz delivers on all counts.

I never really thought much about Boz beyond his cool name, the few songs that I knew and the real or imagined memory that Johnny Fever wore a Boz Scaggs t-shirt on WKRP in Cincinnati. So, I was kind of excited when Mitch threw Silk Degrees at us last week.

What can I say? These jokers have broken this heart of mine but you can Cadillac walk over to the comments section and give us the dirty lowdown on Silk Degrees. You can have me anytime, but will you love Boz tomorrow?

Please join us next week as Ken writes a pitch about a strange young man called Dylan, with a voice like sand and glue, whose words had truthful vengeance that could pin us to the floor, with a little album called Blood on the Tracks.

Nice review and sentiments, an album I love and still listen to on vinyl. For what it's worth, CJ, I saw Boz open for Stevie Nicks in 1998 at the now-demolished Universal Amphitheater and he did not play Lido to the dismay of the crowd!

My first reaction when I saw the subject line in my inbox was "Man, this better make the cut!" I came to this record late, but probably at the right time. I can remember Chris Berman & co. working "Lido" into their Sportscenter schtick, and I seem to recall Rita Coolidge's version of "We're All Alone" getting some airtime in the car, but that was about it.

"What Can I say" is fantastic (can middle-aged guys use the term "banger?"). I'm also a sucker for a good outro, and the one on "Georgia" might be my favorite part of the entire record. Boring? I think not!

Like most kids, I was taught not to judge a book by it\u2019s cover, and like most kids, I took that advice quite literally: I bought, sold, and read many books with terrible covers and never once did I judge a book by its cover (although CJ and I definitely judged shoppers at the old Waldenbooks in Needham for their terrible purchases!)

However, no one ever said anything about judging record albums by their cover, and I picked a ton of records (and avoided many others) based purely on their graphic design. I remember the first time I saw the cover to The Byrds\u2019 Greatest Hits and was hypnotized by Crosby\u2019s walrus mustache and crazy fur hat. I first fell in love with the Dead because I adored the ice cream kid from Europe \u201872. And my Dad\u2019s copy of Herb Alpert & The Tijuana Brass\u2019 Whipped Cream and Other Delights made me a man long before my Bar Mitzvah.

Surprisingly, it was Boz Scaggs\u2019 album covers that beguiled me the most. Boz always looked so cool and sophisticated, dressed in suits and tuxedos, often with a mysterious woman barely in frame. Somehow, me, a guy who pioneered the \u201Cwork short\u201D and cries at the very thought of wearing pants that require a belt, was smitten by Boz\u2019s sartorial splendor, which ultimately led me down the path to being one of Boz\u2019s loudest and proudest superfans.

The first time I saw Boz Scaggs live, after years of anticipation, I was out of my mind with excitement. After the usual pregaming (fair warning: there\u2019s not much of a shakedown scene outside of Boz shows) we went into Harbor Lights just as the show was starting. I started hooting and hollering like a lunatic until I realized that I was quite literally the only person in the crowd who was: a) standing; b) screaming; c) not wearing Dockers; and d) under 70. I like to think that Boz appreciated my youthful enthusiasm, even if my new concert buddies didn\u2019t.

For a time there in the late \u201870s, it seemed like everyone was doing it. Freshening up their sound by embracing choppy basslines, scratchy guitars, and lots of hi-hats to create a danceable beat. Whether these aging rockers were genuinely inspired or cynically cashing in on the popularity of disco, things definitely got a little more funky. It was fun while it lasted, but it was just a fad.

But Boz was different. Where others merely added disco elements to their music, Boz completely reinvented his sound and created something truly unique by combining the slick, sexy appeal of disco with his deep love and respect for rhythm & blues and soul. Harnessing his incredible vocal control and range and leaning on the deft musical chops of the guys from Toto (they\u2019re back again!) Silk Degrees was both a revelation and a natural progression in his career.

Gentlemen, not to cast aspersions, but over the last few weeks we\u2019ve let some dodgy characters into Newbury St. I think it\u2019s time we class up the joint a bit. How about we add a nicely tailored suit to all of the leather pants and codpieces?

Without studying the track list, I hit play and settled in for an hour of Boz. Three songs in, I began to doubt that I had the right album because so far it, uh, sucked. Like maybe I had inadvertently dialed up Foz Baggs or Coz Slaggs. I double checked and, sure enough, I was listening to Boz blurble his way through \u201CJump Street\u201D, \u201CWhat Do You Want The Girl To Do?\u201D and \u201CHarbor Lights\u201D. I was once again reminded of songs that felt like they were used for \u201870s TV theme music. A bit bummed out, I fired off a text to Mitch and Ken.

Side Note: If you\u2019re ever invited to a fancy Bar Mitzvah party with a sit-down dinner, DO NOT miss the cocktail hour. Pass arounds usually include lamb chop lollipops, pigs in a blanket, potato latkes and, if you\u2019re lucky, vegetarian egg rolls. It totally blows the sit-down part away.

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