Why Capone-N-Noreaga's 'The War Report' is Timeless
Twenty-five years removed from its release—we look back on one of the most beloved New York rap CDs of yesteryear.
Has any partnership embodied hip-hop's essence more than Capone-N-Noreaga? Two dudes from Queens who met each other while incarcerated took on infamous mobster/drug-lord stage names and produced one of the seminal albums in East Coast hip-hop history: The War Report.
In 1996, the hip-hop scene and its viral smelling salts had the masses in an audio trance. Lauryn Hill and Fugees became "Cowboys", Outkast beamed down from space and taught humanity about ATLiens, and Tupac was being…well, Tupac.
I say all of this to say, back in the era of Tower Records, $20 compact discs and BET's Rap City—musicians had to fight for airtime amongst their fandom. In 1997, Jäy-Z and Nas were one year removed from their debut and sophomore records and were not deemed legends (just yet). As a result, it was open season for the rap crown jewels.
Rapping compadres Capone and Noreaga (later N.O.R.E) stook their claim for the hip-hop monarchy and, in doing so, helped solidify one of rap's most trailblazing, street-centric sub-genres.
Noreaga has always been a personal favourite of mine. His herky-jerky delivery over tight Neptunes production (shoutout to "Superthug") had me hooked early. I had never really explored his wider discography alongside Capone, often grouped under the mafioso rap umbrella; when I did, though, my ears rejoiced.
The War Report showcases that same unorthodox delivery combined with Capone's sturdy, strongman delivery accompanied by the gritty, driving production of Charlemagne (not the one you're thinking of), DJ Clark Kent, 6 July, Buckwild, EZ Elpee, Havoc, Lord Finesse, Tragedy Khadafi and more. Their unique flows melt together effortlessly. It feels almost conversational as if you're riding along with them through Queens in the backseat.
The 1997 album came at a crucial moment in music, joining Mobb Deep's The Infamous and Raekwon's Only Built 4 Cuban Linx tapes as the standard bearers of the "mafioso" sound. On the other hand, Sean "Puff Daddy" Combs and Bad Boy Records shifted the mainstream hip-hop sound towards pop, R&B, and new jack swing. Furthermore, the embers of the East Coast/West Coast rap feud were still floating through the atmosphere.
With the death of Biggie and Tupac five and nine months prior, it's remarkable how well The War Report stood its ground during a barrage of weighty rap headlines. The album helped sustain the underground's momentum, allowing others like DMX, Jadakiss, and M.O.P. to enjoy positive underground (and eventual mainstream) successes.
The War Report is aptly named, as the duo uses their music as an outlet to depict the reality of their experiences growing up poor, Black, and in the prison system. The constant allusions to active warzones like Iraq and Kuwait speak to just how nasty, brutish, and short life could and still can be in Black communities hounded by years of deliberate neglect: much like Queens.
It obviously sounds excellent, and you can tell that Capone-N-Noreaga means precisely what the fuck they say when talking about moving weight, robbing, shooting, and sticking niggas. At the same time, a deeper look at the patterns within mafioso rap reveals a cycle of urban blight that produces raw, authentic art such as this.
An easy standout in the tracklist is the Tragedy-fronted track "Thug Paradise". A late addition to the album on subsequent pressings, the song takes its foundations from Rhythm Heritage's funky "Theme from S.W.A.T”. The cut sees the emcees converse about their lofty aspirations over a vintage soundscape; the record static on the track is pretty nice too.
Equally, "L.A, L.A" is a star-studded response record to Tha Dogg Pound, DJ Pooh and Snoop Dogg's "New York, New York"—a song lambasted for allegedly disrespecting the East Coast rap alliance. "L.A, L.A" saw C-N-N and Mobb Deep tag team the Marley Marl-constructed beat to deliver their mantra of Teflon resolve in the rap civil war.
While C-N-N was never truly able to replicate the success of The War Report—primarily because of legal issues—their grapple with the current rap landscape is evident. Westside Gunn, Benny the Butcher, and the rest of Griselda are their apparent musical spawn. Noreaga himself has shouted out Griselda and had Conway the Machine on his show Drink Champs, which is probably what Noreaga is known best for currently.
Unbeknownst to some, The War Report had notable absences from its tracklist. Joints entitled "Married to Marijuana" and "Calm Down" with Nas and Tragedy were omitted from the album’s final sequence. A hidden gem in the truest form, the latter track found a home on Tragedy’s 2006 project The Kuwait Tapes, while the former was cherry-picked for DJ Clue's 1998 mixtape Clue for President: Vote Clumanatti.
Before the record's 20th anniversary in 2016, NY streetwear brand Supreme released a capsule around The War Report, which saw the now-iconic album art plastered onto numerous tees and sweatshirts. Unlike many corporate attempts at brand synergy, the Supreme collab did wonders for The War Report's legacy, introducing the album to a new generation of listeners.
I'm not one to engage in the "real hip hop is dead" arguments because I think southern rap is a more than legitimate form of (very) Black music. Still, it's undeniable that Capone-N-Noreaga has become an example of what "real hip-hop" is supposed to be. Lyricism, well-placed soul samples, chemistry, and most importantly, authenticity. With that being said, some of our favourites from the album we didn't mention are "Blood Money", "Stick You", and "Live on Live Long". Peace.
Stream The War Report below: