“99 Ways To Die” was not only Master P’s fourth solo effort, but was also released in the golden era of California’s hip hop reign. The Bay Area was also the original home of P’s No Limit Records, as evidenced by 1995’s “99 Ways To Die.” The album was released after the success of P’s “West Coast Bad Boyz” and contains a completely different feel than P’s catelogue when No Limit obtained commercial success in New Orleans.
1.) Intro/17 Reasons: After paying homage to such Bay Area veterans as E-40, Rappin 4 Tay, Too Short, JT The Bigga Figga, and Spice 1 over Earth Wind & Fire’s “Reasons”, P flips the script over a funky loop about an attempted car jack with his brothers – C-Murder and Silkk The Shocker. Good way to open up the album.
2.) Commercial 1: Although the album’s first track was billed as an intro, this second track on the album, is just a commercial about P getting bit while getting head. Pointless skit, skip it.
3.) Dead Presidents: Before Jay-Z’s “Dead Presidents II” was heralded as an East Coast classic, Master P’s ode to currency recieves a West Coast treatment. While P’s rhymes aren’t anything spectacular (“I’m not Dr. Dre, but Richmond, California’s ‘Deathrow'”), funky Bay Area production, combined with P’s delivery make for a good track.
4.) Rollin Thru My Hood feat. Big Ed, King George, Lil Ric, Silkk: Over another bouncing instrumental, Master P describes a day rolling through his hood in Richmond, California. Backed up by later ‘No Limit Soldiers’ – Big Ed and Silkk The Shocker, P recieves a little help from some of his first recruits to the tank – Lil Ric and King George. While everybodies verses are on par, Silkk suprisingly steals the show with a smooth flow over an even smoother beat.
5.) Bullets Gots No Name feat. E-A-Ski, Rally Ral: Production on this song has a definite West Coast vibe, as all three artists do an excellent job at describing how ‘bullets gots no name’, so your best bet is to stay strapped. Great track up and down.
6.) When They Gone: After three previous uptempo songs, Master P dedicates this track to everyone dying in violence. From the average joe on the street to his brother Kevin Miller, P’s delivery and charisma carry this track, making for another great track, and possibly one of the album’s best.
7.) Playa Wit Game feat. King George, Silkk, Simply Dre: This song is one of my personal favorites, as P trades verses with his brother over a very funkdified instrumental, before King George laces the third verse. A great hook by Simply Dre, and even better production carry this song.
8.) Commercial 2: This commercial is entertaining for the simple fact it features Romeo (who was only about 5 years old at the time) asking his dad if he’s ever killed someone before. Otherwise, skip it.
9.) 99 Ways To Die: Easily the best track on the album, this is Master P just kicking rhymes Bay Area style, while detailing the West Coast hustle, and how the streets are indeed ‘survival of the fittest.’ Even though the hook is very simple, it’s Master P’s delivery and ability to make a good track that make this a West Coast classic.
10.) Rev. Do Wrong Commercial: After only one song seperating two skits, this is another dissapointing ‘commercial’ featuring “Rev. Do Wrong” who is preaching in a church about the 99 ways to die in the hood. Skip it.
11.) Hoe Games feat. C-Murder, King George, Silkk: This track is very different. It starts off with Master P portraying a radio host awarding the caller that can properly define a ‘busta.’ The beat is very basic and repetitive, and this song is worth listening to for the simple fact C-Murder makes a rare guest appearence. Otherwise, this is probably the weakest track on the album.
12.) 1-900-Master P: After the dissapointment of the last song, P and younger brother Silkk get funky over this dedication to the ‘late night creep.’ This track is another one of the album’s highlights as P’s flow and subject matter make for a great track. King George adlibs the hook.
13.) When They Gone (Radio): Not much to say about this track, except for the fact that the explicit version is already on the album, and the radio version isn’t that much different. Dissapointing way to close out an otherwise good release from Master P.
While not containing the polished beats and greatness of “Ghetto D”, this album offers fans a glimpse into what Master P was before he was, well – Master P. P’s Bay Area roots shine throughout the CD, and although some would bill this as an underground classic, an overabundance of skits and some weaker tracks end up dragging it down. This is still a good release none the less, and manages to still get respect to this day, being billed as one of P’s better albums.
Overall Rating: 3.7/5
Public Enemy aren’t hip and/or happening and they haven’t been since the zenith of their popularity back when Fear of a Black Planet had everyone wanting to Fight the Power. That hasn’t stopped PE from keeping things moving though, matter of fact since they split from Def Jam they’ve been on a creative roll and released several good-to-great albums along the way. Their new album, How do you sell Soul to a soulless people who sold their Soul?, continues that artistic momentum. Chuck couldn’t give a damn about the popularity contest that is mainstream music and he’ll keeping hitting you over the head with logic and political awareness, doesn’t matter if you like it or not. To quote Mistachuck himself I’m too old to be popular and at my age if I can’t teach, I shouldn’t even open my mouth and begin to speak. And with those words you know what to expect from the album, PE in full effect not minding if you consider them cool in the least, they’ve got more important things to worry about.
Before Master P’s No Limit empire blew up in the late 90’s and officially put New Orleans on the map, people seem to forget he spent his early career in the Bay Area (more specifically Richmond, CA). After making a slew of guest appearences on P’s solo albums (and three albums as a member of TRU), the youngest Miller brother, Silkk The Shocker released his debut album in August of ’96. This album features appearences from the entire No Limit roster, and production from Beats By The Pound.
Ronny Braunstein has come a long way since launching his own label late last millenium and releasing his debut album I Need Drugs on it. The lo-fi recording was a highly promising debut which garnered him a dedicated fanbase from jump and since then that promise seems to have come to fruition. From 2004 till 2005 Mr. Braunstein even went Master P on us by dropping solo albums by Ill Bill, Mr. Hyde, Goretex, Sabac and two of his own for good measure, his personal masterpiece The Pre-Fix for Death and the sleazy ode to pornography that was The Sexorcist.
Ok so I first now got my CD that I was waiting a long time for and when I got it, the CD cover was kind of low budget and I was like, man I paid $30 for this??? But anyway ***** all that, I popped the first CD in the CD Player and I was like daaaaaamn this shit is off the hook!!
Shawn Carter has done it again. After a mediocre and not-so-well recieved comeback album only a year earlier, Jay has returned with an album he says was inspired by the release of the film “American Gangster”, a film based on the life of notorious 70’s heroin kingpin – Frank Lucas. The album is described as Jay’s return to his hustling lure, and features production from the Neptunes, Diddy, and Jermaine Dupri among others, as well as guest spots from Nas, Beanie Sigel, and suprisingly Lil Wayne.
Back in 1997, before Cash Money’s prime and multimillion dollar deal with Universal, the label released a string of albums from their first marquee star – 17 year old B.G. After releasing the regional smash “Chopper City” in 1996, B.G. followed it up with the release of “It’s All On U Vol. 1” in early ’97. “Vol. 2” was put out later that same year.
When I heard Kanye West had another album coming like the rest of the world I was expecting high pitch sped-up samples with clever chops with the usual list of appearances. However, kanye has come back with a totally different sound for his newest offering. Sampling and chopping is still present but since his albums have progressed so has his creativeness.
In this industry everyone loves to claim that their debut album was a classic. But what truly makes a classic album? Let’s run down the list of prerequisites that are needed for an album to have the right to be called a classic. First and foremost it would need to have numerous chart topping smash hits. It would need to have a couple cult underground hits. Legendary tales surrounding its production is definitely a must. Then there’s the most important aspect – impact and influence for years to come. It has to revolutionize whatever genre it represents. All of said traits can be found in Snoop Doggy Dogg’s impressive 1993 debut album, Doggystyle. This 13 track masterpiece (18 on the original print since skits were on separate tracks) certified two things in its wake. One, Dr. Dre’s The Chronic would not be a one hit wonder for Death Row Records, and two, Snoop had established himself as a full blown superstar. With that in mind, feel free to dipp with us as we take a trip down memory lane.
Yet another 2Pac release. In all honesty, I think even the most hardcore of ‘Pac fans are losing track of albums circulating from the deceased rapper. This album is the official followup to 2003’s “Nu Mixx Classics”, and features more new production and features from (surprisingly) ‘Pac’s homeboys. The majority of this collection consists (much like “Nu Mixx Classics”) of ‘Pac’s Deathrow material.