25 years ago Bad Boy and Arista Records released the first posthumous album for The Notorious B.I.G., Born Again, on December 7, 1999. The project built around early recordings with revamped production and guest contributions, debuted at #1 on the Billboard 200, selling 485,000 copies in its first week. By January 2000, it was certified 2× Platinum, with over 2.35 million copies sold in the U.S., as hip hop was beginning to see its golden years that year.
The project features an array of collaborators, from Eminem’s searing verse on “Dead Wrong” to high-energy contributions from Lil’ Kim, Snoop Dogg, and Busta Rhymes. Tracks like “Rap Phenomenon” and “Dangerous MC’s” showcased a blend of raw energy and refined production. Samples from artists like Al Green and Barry White infused the album with rich musical influences, aligning with Biggie’s established knack for storytelling over R&B classics.
Born Again peaked at #1 on both the Billboard 200 and Top R&B/Hip-Hop Albums charts. It charted in Canada, Germany, and the UK at No. 14, 47 and 70 respectively. Critics and fans alike debated whether the release honored Biggie’s artistry or merely commodified his legacy.
Pitchfork’s review of Born Again critiques the posthumous album as a mishandling of The Notorious B.I.G.’s legacy by Puff Daddy (Diddy), who heavily commercialized Biggie’s death. After Biggie’s passing, Puff exploited his protégé’s memory through projects like the maudlin tribute “I’ll Be Missing You” and The Lox’s “We’ll Always Love Big Poppa,” which showcased more of Puff’s dramatics than genuine grief.
Initially marketed as a deeply personal and rare collection of unreleased Biggie material, Born Again ultimately became a disjointed project featuring recycled verses and questionable collaborations. The album lacks Biggie’s dynamic artistry and vision, reducing his presence to a voice manipulated without his consent. Despite a few highlights like “Dead Wrong,” the album’s mismatched production and guest features reveal Diddy’s shifting priorities and commercial motivations rather than artistic fidelity.
The review compares Born Again to other exploitative posthumous projects, arguing that while Biggie’s living genius transcended gangsta rap archetypes, this album rendered him static—a diminished icon manipulated for profit, unable to reclaim his creative power or complexity.
