The Invisible Man

In 2004, M-Cue, well on his way through the ‘adventure’ of college, released The Invisible Man. The title holds true even today. Cue has always thought of himself as an invisible; always hidden behind his production, or behind the artists that he produces. He prefers the shadows, just out of reach of the limelight. Around this time he was producing for many artists in his college and had become known as a heavy hitting producer in the surrounding areas. Whether it was hip hop production, reggae and RnB mixing or ‘featuring’ spots on other artists’ records, Cue was deep in the scene, but still invisible to the mainstream and even to those who may have heard a track or 2 that he had featured on.

He pretty much lays his thought process out for the listener on album opener, “The Invisible Man”. He speaks of watching the city change and move around him, while he lays in the cut like a ghost, manipulating things from a distance. During these years, Cue started noticing things about the world that he didn’t like: the glorification and force feeding of the gangsta persona to youth during the early 2000’s, which he rails on “You Ain’t Gangsta”; the promiscuity of society and the lack of clean will, which he reviews on “Ride Out” and goes into almost gross detail on “Fuck A Bitch (P.U.S.S.Y.4.I part2)”.

Cue also recalls his past and growth on “Eyes On That Prize”, exclaiming on how far he’s come since his simple beginnings in Trinidad, and is found musing on his love for hip hop on “Passion”.

The Invisible man is the next evolutionary phase of M-Cue since his musical youth, and his plunge into artistic maturity (we use that word loosely ;P). His production had improved, he had reached out to more guest artists, and his voice had become more brazen; more braggadocio. The trini soldier was no longer in bootcamp, he had become infantry.