The poetry he spit on The Infamous and Hell On Earth (I don't look at Juvenile Hell, because he was like, what, ten at the time?) placed him on a rather high plateau, one which would be impossible for any rapper to sustain, so it's possible that, at this point in his career, he was coasting. You see, Prodigy's lyrical prowess had been taking a beating ever since the release of the Mobb's fourth opus, Murda Musik. What those numbers don't tell you, though, is how many fans actually sold their copies of H.N.I.C. was met with mild critical acclaim and sold over five hundred thousand copies in a little more than a month, proving that the audience was out there.
(which I don't really need to spell out for my two readers, do I?), which hit stores just in time to be enjoyed with your Thanksgiving turkey and your inevitable awkward family situations. He didn't have to look far for his guest appearance budget to be spent, though all of the usual suspects appear on his first solo album, H.N.I.C. He utilized this opportunity to work with beatsmiths that would normally have no place on a Mobb Deep album, if only because Havoc's beats at the time would have put them all to shame. He secured a solo deal with the almighty Loud Records and set out to create an identity as an individual, as opposed to one of many cogs in an Infamous machine. In 2000, Prodigy took a break from running alongside (his Mobb Deep cohort) Havoc into hip hop obscurity to release the solo album he had been tantalizing fans with ever since The Infamous dropped.
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