It’s truly rare when a rapper’s debut album is as hotly anticipated as 50 Cent’s has been. Thanks to his relentless self-promotion on underground mixtapes and a deal with Eminem’s Shady Records imprint, his album has given hip-hop fans the same feelings of eagerness that preceded Snoop’s Doggystyle. The big question lingered, however: could 50 deliver on the hype?

The answer is ultimately yes, despite a certain sense of deflation upon the first few spins of the record. The production is top notch, with Dr. Dre, Rockwilder, Eminem, and Sha Money XL all taking turns on the board, among others. 50’s tales of gun clapping, misogyny, and moral ambiguity might sound trite coming from another rapper, but knowing his history (he’s been stabbed and shot multiple times, and readily admits his crack dealing past), it’s easy to listen and imagine him ridin’ dirty in the hood.

No rapper since the Notorious B.I.G. has brought such a sense of authenticity to his writing- we know 50’s lived it.

50 evinces the same fascination with the grave as his deceased predecessors on several songs. The strongest of these is the pensive “Many Men (Wish Death),” with its Tupac/ Biggie-esque sung chorus, “Many men, many, many, many, many men/ Wish death upon me.” Other tracks dealing with death include “Gotta Make it to Heaven,” and “Life’s on the Line.” Another interest he shares with Messrs. Shakur and Wallace: guns. 50 mentions heaters so many times he’s likely to become Charlton Heston’s favorite rapper.

He’s no slouch lyrically, either. The song “Back Down” showcases 50 at his tightest as he goes after his favorite verbal pinata, Ja Rule, “I’m back in the game shorty, to rule and conquer/ You sing for hos and sound like the Cookie Monster.” Sorry Ja. “21 Questions” is strong as well, with the hilarious line, “I love you like a fat kid love cake.”

The reason for the slight letdown one feels upon hearing the album is twofold; 50 ain’t exactly breaking new ground here, and he doesn’t always show the hunger that’s palpable when he’s rapping for the underground. Some cuts on Get Rich… just tread familiar gangsta rap ground, and 50 Cent raps like he knows it: “High All the Time” is a dull ode to the sticky-icky that could easily have been left out. “P.I.M.P.” is paint by the numbers bitches and hos nonsense that’s saved by an excellent Caribbean flavored track. Maybe it’s just a matter of overkill- there’s 19 tracks on the record. The problem is that superb songs like “Many Men,” “Heat,” and “Don’t Push Me” are a reminder of the 50 Cent mixtape poison that’s lacking on a few songs. If only he could have held onto the fire for the whole record. Some moments just leave you wondering where the guy who recorded “How To Rob (an Industry Nigga)” has gone.

In spite of this, Get Rich or Die Trying is a great album. 50 mostly gives it his all. Aside from a few minor flaws, the record boasts excellent songs, production, and there are 2 excellent cameos from Eminem. He’s made the first great rap record of the year, and there’s no one on the immediate horizon that’ll be dropping a hotter one. Even if another artist does best him, one gets the sense 50 Cent will beat them next time around-or die trying.

Tom Donnelly