When you think of Shaquille O’Neal, the first thing that comes to mind is likely his storied career in the National Basketball Association. Beyond that, if Shaq’s name is mentioned, you may think of him as a colorful analyst for the highly successful television program “Inside the NBA” or even as an actor whose distinct build and popularity has made him one of the most recognizable figures on screen.
But people often forget that O’Neal began to dabble with music production during the 1990s and continues to release music to this day. It may not be his calling card, but in 1993, Jive Records released his first studio album “Shaq Diesel.” The album was released to mixed reviews, but reached as high as no. 25 on the US Billboard 200 top albums list, eventually becoming platinum-certified for selling over 1 million copies.
I recently gave “Shaq Diesel” a listen and to my surprise and satisfaction, it holds up pretty well. In fact, I would be inclined to say that I actually enjoyed the time that I spent listening to “Diesel.” No, it’s not an earth-shattering album and O’Neal really doesn’t do much that strays too far away from the book, but that doesn’t mean the album doesn’t have its highlights.
The main theme that I came to take away from Shaq’s first studio album is that his lyrics aren’t groundbreaking, but he throws his beats over catchy riffs in what amounts to a still-appealing barrage of music. Many songs on this album resemble the West Coast-style of rap that became popular in the 1990s, implementing electronic sounds that add funk to each song’s rhythm. I wouldn’t quite say the album is quite stylistic enough to fall under the G-funk genre, though there is some resemblance between O’Neal’s tracks and ones that would become popular in the future such as the tracks that make up Dr. Dre’s immensely popular second studio album “2001” (1999).
The album kicks off with an intro that will pull you in before O’Neal drops his first bar on the song “(I Know I Got) Skillz” featuring Def Jef. It’s a catchy riff that lays out the West Coast-style that the rest of the album has to offer. If you had any questions of whether O’Neal’s skills would translate from the court to the recording studio, he quickly squashes them with this first track. He and Def Jef combine for two gravelly voices over a head-bumping bassline that keeps the song engaging from start to finish. The next song, “I’m Outstanding,” is when it becomes clear that O’Neal may not possess the lyrical prowess of the best rappers of the time, but he definitely knows how to throw together a catchy hook. It’s this album’s version of a self-confidence anthem, as he declares how outstanding he is while the funky beat strings together verses seamlessly. You can tell that O’Neal is just having a good time in the recording studio.
Both of his collaborations with Phife Dawg are successes on this album. The first one, “Where Ya at” features a simple saxophone riff that creates a surprisingly engaging hook. O’Neal and Phife Dawg exchange verses with a smooth transition occurring as the other artist picks up the mic and will leave you wondering “where are they at?” The other, “Giggin’ on ‘Em” is another example of O’Neal not possessing the most impressive lyrical skills but still managing to put together a catchy beat. O’Neal sings about the various people that he’s “gigged on” over a unique riff that resembles a screaming noise. While I’m not exactly sure what he means here and I’m sure you’re not, either, the point remains that O’Neal’s beats can be engaging even if the lyrics lack any deep meaning. Unlike the first song the two collabed on, O’Neal does most of the heavy lifting on this track and proves that he’s capable of anchoring the mic.
“I Hate 2 Brag” is perhaps the most surprising stylistic track on the album. O’Neal incorporates an organ to establish the hook in proper East Coast-style, while his vocals in the chorus sound similar to those of the highly influential Notorious B.I.G. It’s a smooth track above all else with his deep vocal and the high pitch of the organ complimenting each other in a satisfying blend of sound. O’Neal ends the album with a bang for his final song. On “What’s Up Doc? (Can We Rock)” featuring FU-Schnickens, O’Neal puts together his fastest-paced track on the album. Sure, FU-Schnickens does most of the heavy lifting on the song with his quick and seamless rhymes, but it’s still O’Neal who is the first on the mic and holding together the chorus. The mesmerizing drums and bass make the song a win.
Thirty years after it was initially released, “Shaq Diesel” manages to hold up surprisingly well. I would be lying if I said that I didn’t begin the album without my skepticism; with his other-wordly personality who prioritized basketball above anything else, I just couldn’t imagine O’Neal’s musical work being anything more than an attempt to keep himself in the public eye. It turns out that O’Neal may have been on to something. Maybe if that whole basketball thing didn’t work out, we’d be celebrating him for his work in the recording studio instead.