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.

1.) Murder feat. Master P, Big Ed: Over a pounding instrumental, that starts off with a volt of shock, Silkk’s rowdy style comes into play. Master P croons the hook in his signature Ice Cream Man tone, as Big Ed (R.I.P.) provides a noteworthy guest appearence. Murder is obviously the main theme, as Silkk details the many ways he likes to see it done. Good track.

2.) I Ain’t Takin No Shorts feat. Master P: This track has a funky Bay Area feel, and is very reminiscent of TRU’s “Mobbin Thru Da Hood.” Silkk’s lyrics and rowdy offtempo flow actually work the production well, as Master P provides adlibs for his younger brother. Although the hook isn’t anything special, Silkk provides another above average song.

3.) I Represent: One of my personal favorites on the album, this track features Silkk representing for his hometown of the Calliope Projects. Production is g-funk at it’s finest, as Silkk croons the thick southern instrumental with more tales of murder and crime. Great track, and definately one of the best on the album.

4.) The Shocker feat. Master P: This track was featured as the album’s lead single and was followed by a video soon after. The song itself however is a No Limit classic. Silkk even goes as far as to compare his knowledge on the dope game to learning his ABC’s. Master P follows with a subpar verse, but this is clearly Silkk’s song. Good track.

5.) No Limit Party feat. Master P, Mia X: Before Soulja Slim’s “NL Party”, three of the tank’s original members let haters know they’re ‘aint no party like a No Limit party.’ Unfortunately this song is filled with tired chanting and below average verses. You’ve heard the same Master P verse before, as the only highlight is Silkk’s verse (which is surprisingly spit over 2Pac’s “Ambitionz Az A Ridah”), which is still only a portion of this mess of a track.

6.) Free Loaders feat. Mo B. Dick: Over more funkdified loops, No Limit’s resident singer – Mo B. Dick provides a smooth hook, as Silkk lets loose on these free loading hoes. Although lyrics are again a bit simple, Silkk finds a way to make the track enjoyable, and different from the average No Limit formula.

7.) 1 Mornin: This song clocks in at only 1:30, and production is unfortunately the only thing worth listening to. Silkk’s verse is noticabely offbeat, and the hook is terrible. Skip.

8.) How We Mobb feat. Master P: After listening to the first 8 tracks of this album, it’s apparent this album was still geared to the West Coast market. Master P provides the song with more tales of slangin ice cream, over what sounds like a sequel to “Mobbin Thru Da Hood.” Silkk’s verse isn’t anything special, but production and a great hook make for a good song.

9.) It’s On: After more threats, Silkk displays his lyricism with some suprisingly good punchlines (“…I done took more cash from niggas, than gold diggers”), with consistent production to back him up. Good track.

10.) Ain’t Nothing: Although this track features smooth and mellow production, Silkk’s verse and offtempo delivery make this track about hoes a miss. The hook is bland, and it feels like a song that’s been done over and over again. Skip it.

11.) Ghetto Tears feat. Master P: This song features a more instrospective side of Silkk The Shocker. Much like Master P’s “Ghetto Heroes”, Silkk details the bad side of the dope game. Growing up poor obviously had an effect on the Miller brothers, and it’s displayed on this track, with Silkk questioning how children are mistreated and abused. Production is equally as fitting, making for one of the album’s deeper songs.

12.) Mr. feat. Master P: Silkk debuts his alias (an alias he used in his later years on No Limit) over this hard hitting track. Call him what the ***** you want, just make sure “Mr.’s” in front. Good track.

13.) It’s Time To Ride feat. Master P: Production is really a factor in the making of this song. Silkk’s generic-as-ever hook, combined with Master P’s recycled themes end up dragging it down in the long run, but it’s more evident than ever that KLC and Beats By The Pound’s smooth production carry this lackluster effort.

14.) If My 9 Could Talk: Much like “Murder” or “It’s On”, this track contains more of a hardcore theme, which surprisingly works very well for Silkk. Considering his lyricism wasn’t anything exceptional to begin with, this track showcases more of Silkk’s delivery; which is what makes the song as good as it is. The beat occasionally drops, adding to the anticipation of the next verse. Good song.

15.) Commercial One feat. Skull Duggery: Although billed as a commercial, this song is in no way a skit. Master P sets off the minute long teaser by introducing one of the newest soldiers signed to the tank – Skull Duggery. Over dark production, courtesy of Beats By The Pound, Skull shows love to his hoodlums across New Orleans. A longer runtime is the only thing that could’ve made this track better.

16.) Got Em Fiending feat. Master P, Big Ed: This song starts off with a sing-a-long chorus provided by Master P, and quickly turns into what sounds like house music. While the hook lacks, Silkk’s verse is on par and actually suits the beat well. Big Ed is also featured on this track and provides his signature ‘assassin’ sound, and Bay Area style. Decent song.

17.) My Car feat. Mo B. Dick, Pure Passion: Mo B. Dick makes another appearence on the album over this relaxing beat. While Silkk obviously remains the premier artist, it’s Mo B. Dick’s smooth melodies (backed up by Pure Passion) that makes this track worth listening to. Although the theme is different, it works the track well, making for another above average effort.

18.) Ghetto 211 feat. Master P: While it seems this album has it’s weak moments, Silkk continuously turns out unapologetic gangsta music. Over another funk driven sample, Silkk’s slightly offbeat flow croon the production well, while Master P provides another generic hook. It’s almost guarenteed that you’ve heard these rhymes on his previous efforts (especially considering his album, “The Ice Cream Man”, dropped in April of the same year). Average song at best.

19.) Why My Homie feat. C-Murder, Master P: After an entire album without a TRU feature, the three Miller boys finally show up for one of their first dedications to the deceased. Undoubtedly the best song on the album, this track features smooth jazz melodies, TRU delivers three exceptional verses dedicated to their brother – Kevin Miller. While Silkk and Master P provide noteworthy appearences, C-Murder clearly steals the show with his polished flow and delivery. Great way to end the album.

So, in conclusion, it isn’t Silkk’s skill as an MC that make this album worth listening to, but rather his ability to make good songs over even better production. After relocating to New Orleans in 1997 to further expand his No Limit empire, Master P manages to churn out No Limit’s last great Bay Area release in the form of Silkk The Shocker’s debut album. Unfortunately this release remains overlooked in not only No Limit’s catelogue, but Silkk’s catelogue as well, when it’s actually one of the better releases the tank had to offer.

Overall Rating: 3.5/5

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.

1.) Don’t Hate Me

Anybody that knows anything about Cash Money knows that The Big Tymers always set an album off with an intro. Mannie Fresh’s smooth production make for a melodic way while gaming haters and non sayers.

2.) What U Want Do

The first real track from B.G. is the uptempo “What U Want Do.” While B.G. manages to properly ride the beat, his lyrics are noticabley amateur. However, his delivery, combined with Fresh’s production, makes for a good track.

3.) Get Your Shine On feat. Big Tymers

Before Cash Money blew with Juvenile’s “Ha” and “Back That Azz Up”, B.G. gave labels a reason to sign them with his New Orleans anthem “Get Your Shine On.” Over very soothing production, both B.G. and The Big Tymers deliver a classic song.

4.) Livin’ Legend

My personal favorite on the album, B.G. (even at the age of 17) spends this song declaring his status as a ‘livin legend’. 6 years before the release of his album of the same name, and only 4 albums into his career, B.G. provides proof he was already a legend in the game. Great song, with even better production by Mannie Fresh.

5.) Hot Boys 226 feat. Hot Boys

B.G.’s delivery on this song is noticabley strong, keeping up with Fresh’s upbeat bassline driven production. Lil Wayne makes for a strong guest appearence, as does Juvenile making for an above average song by the Hot Boys.

6.) Ride Or Die feat. Hot Boys

Using the same sample Lil Kim used for one of her earliest singles, B.G. and Lil Wayne trade verses, with sharp flows, over this mellow track. Juvenile adds another guest appearence at the end of a track, before B.G. steals the show at the end of the song.

7.) Plan Went Sour

Over another mellow beat, courtesy of Mannie Fresh, B.G. attempts at telling the story of a heist that went wrong. Lyrics are once again a drawback, but a good hook and delivery make for a listenable song, on a New Orleans classic.

8.) Clean Up Man

The Baby Gangsta gets violent on this track, explaining his role as the “clean up man” with a “K in his hand”, ready to clean up any mess. This is one of those tracks where B.G.’s laid back southern drawl works with the production extremely well. Good song.

9.) I’m Try’n feat. Juvenile, Lil Wayne

B.G. expresses his attempt at abandoning the gangsta lifestyle, but how it keeps callin him. A teenage heroin addict, B.G. has obviously had his share of what he calls “that monkey on my back.” Juvenile assists with the hook (as does Lil Wayne with a forgettable verse), giving the hook a lil Hot Boy flavor, over Mannie’s funk driven bassline.

10.) ‘U’ All ‘N’

This is one of the only tracks on the disc that the album could do without. Production sounds stale, and B.G.’s vocals are noticabley low, along with lyrics that aren’t up to par with the rest of the album. Skip.

11.) 6 Figure feat. Hot Boys

This is more of what I expect out of a B.G. song. Over dark Mannie Fresh production, Gizzle’s altered vocals blend perfectly with the beat, as he describes his need for 6 figures. Lil Wayne and Turk follow his verse up with recognizable flows, but the song is undoubtedly stolen by Juvenile, who serves up the songs best verse. Great track, and clearly one of the album’s best.

12.) Stay N Line Hoe

To close the album out, B.G. chooses to express his hate for those ‘dog ass hoes’. Production is very simplistic, as is B.G.’s verse, making this track a very dissapointing way to close out a near flawless album.

In conclusion, even at the age of 17, B.G. serves up some of his best work on this Cash Money classic. Far better than the original “Chopper City” and “It’s All On U”, this album proved that Cash Money was more than just a regional success, and legitimized B.G.’s career (this was the last album before “Bling Bling” was released to the masses on Gizzle’s follow up ‘Chopper City In The Ghetto’).

Overall Rating: 4/5

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.

1. Bathtub

The initial album intro takes us into the pimp’d out lifestyle of Snoop Doggy Dogg. While getting bathed by a sultry sounding woman, the doorbell rings. In true pimp fashion Snoop sends his girl to ‘handle that’. As she opens it, bursting through the door are legions of plastic well wishers all trying to get a word with the big dogg. After a brief conversation with Warren G, who puts Snoop’s new baller status life into perspective, the show begins!

2. G Funk Intro

True to its name, the G Funk Intro ushers in the overture to Doggystyle in perfect G-Funk fashion. However, the first voice to be heard rapping on the album is not Snoop. The lyrical gangbanger herself, The Lady of Rage, tears up the intro with an aggressive and on point set. Following Rage’s impressive drop Snoop hits us with a small Two-bar taste of things to come. The beat to the intro takes cue from Dr. Dre’s fascination with the Parliament Funkadelic era of funk music as a definite homage’s to “(Not Just) Knee Deep” can be heard.

3 Gin And Juice

Perhaps one of the most recognizable tracks in Snoop Dogg’s career, Gin and Juice could possibly be credited to Snoop’s ascension from popular newcomer to music superstar icon. The Grammy nominated second single off the album became an overnight radio/club/party smash hit and was released itself as a single, earning a gold certification. The lyrics to the song come out strong and catchy. More specifically the hook to the song has been so influential in Hip-Hop culture that it has been the subject of re-use by such artists as 2Pac, Jay-Z, and 50 Cent. The beat itself contains heavy samples of George McRae’s “I Get Lifted” which compliments Dr. Dre’s energetically potent production. Gin and Juice is the quintessential early 90’s club banger.

4. Tha Shiznit

This is one of the best seemingly freestyled tracks on the whole album. Dr. Dre’s fast paced, yet oh so rhythmic beat is perfect behind Snoop’s ridiculously smooth flow centering on the flyest subject Snoop can speak on – himself. The bass guitar licks have an almost calming effect, while the funky jazz flute part of the melody leaves a lasting impression on the audience. Definitely not to be skipped over.

5. Lodi Dodi

This eerily slow and catchy homage to the 1985 Slick Rick and Doug E. Fresh classic “La Di Da Di” is the first underground hit of the album. Snoop recites almost word-for-word the original song in this G-Funk’d remake, which ironically to this day is ritualistically recited word-for-word by true Hip-Hop heads. Dr. Dre, true to his style at the time, provides a chilling and unnerving beat.

6. Murder Was The Case [DeathAfterVisualizingEternity]

The original version to the more popular hit remix is Snoop’s first attempt (and success) at a bonified concept song. Murder Was The Case could just as well be the narration to a masterfully executed horror novel or film, but is ironically a concept theme to an 18 minute short film of the same name directed by Dr. Dre and starring Snoop. The song starts out with Snoop dying in an emergency room after being shot repeatedly, when at the last minute he makes a deal with the devil. The scene then switches to Snoop surviving and living a baller lifestyle just as Satan promised him. Snoop gets more and more greedy, yet never is able to satisfy his growing appetites. At this point his greed becomes too great and his caught up in a prison sentence complete with all the horrors and realities of time to be served. Although the remix has a more cinematic style beat, the original does not fail to have conveyed an aura of tragic dread and dark spiritualism.

7. Serial Killa

It’s time for the Death Row camp to shine all around, as Snoop is joined by then fellow inmates Tha Dogg Pound, RBX and a post car-accident D.O.C. Tha Dogg Pound’s Dat Nigga Daz provides an uncredited co-production on this cold and remorseless hit of murda. Kurupt starts out the track with his trademark savage verbal hits that we have not heard since his impressive debut on Dr. Dre’s The Chronic. Daz then takes the mic dropping his O.G. style verse that then smoothes over to Snoop who lays down a clear warning as to what it is to ***** with the Dogg Pound crew. RBX finishes out the track which also serves as the last time we are to hear him on a new Death Row project.

8. Who Am I (What’s My Name)?

This song served as the first single to Doggystyle. The significance of the song is that like so many other artists who have achieved classic album status Snoop uses his own name as a song premise. Also to be noted is that Snoop Doggy Dogg was one of the first in Hip-Hop to set this trend, which would be followed in later years by such artists as The Notorious B.I.G., Jay-Z, and DMX. Lyrically this was the archetypical hit song of the 90’s with Snoop dropping some of the most memorable, catchiest, and cool lyrics of the time. He even pays homage to his own classic catch phrases from The Chronic’s “Rat-Tat-Tat-Tat” (“Because I never hesitate to put a nigga on his back”) and “Deep Cover (187)” (“Cuz it’s 187 on a motha*****in cop”). Dre pays homage’s of his own to Parliament Funkadelic with samples from “Atomic Dog”, “(Not Just) Knee Deep”, and “Give Up the Funk”. The song was released as a single in late 1993 and eventually earned a gold plaque.

9. For All My Niggaz & My *****es

Definitely the “Coming soon from Death Row Records” advertisement song as Tha Dogg Pound and The Lady Of Rage were given the opportunity to show the world what they could do. Most importantly they would do it without the help of the big boss dogg. Kurupt starts off the track with a lethally potent slow verse which lays the tempo for next couple of verses. What’s to note here more then anything else is the first signs of obvious chemistry between Kurupt and Daz. The two smoothly play off each other, giving us a taste of things to come; which would come out in the smash hit “What Would U Do?” and the entire Dogg Food album two years later. Rage closes out the song with short yet strong verse. Co-production props should go to Daz, who was uncredited for his work on the song.

10. Ain’t No Fun (If The Homies Can’t Have None)

Guess whose back in the motha*****in house! Snoop and his Dogg Pound homies serve up yet another classic joint centering on bustin hoes and passing to the homies. The song that gave Nate Dogg his pre-Regulate popularity is probably one of the most fun tracks off the LP. Nate starts off the track with a short tale about a flip that is so catchy you can’t help but sing along. Kurupt and Snoop both drop entertaining verses, closing out with Warren G dropping his verse and the most hilarious line of the whole album – “So back up ***** because I’m struggling. Just get on your knees and then start jugglin”. The violin and bass heavy instrumental, which contains a sample of Lyn Collins “Think (about it)”, rounds out the song.

11. Doggy Dogg World

Snoop is once again joined by Tha Dogg Pound, but more unexpectedly by 70’s Soul group The Dramatics. The beat is one of the most crispy-clean sounds of the time, let alone the album, taking direct inspiration from Richard Fields’ “If It Ain’t One Thing, It’s Another”. Snoop starts Doggystyle’s third single by addressing the cheap Snoop Dogg imitators that were floating around at the time. Kurupt however steals the show with an impressive display of lyrical talent that would only be rivaled by his own verse on “Stranded On Death Row”, released only a year earlier. Although Daz does not have the lyrical stamina of Snoop or Kurupt, he more then makes up for it with his performing presence and slick rhyming savvy. Doggy Dogg World is uncharacteristically smoother then any of other tracks on the album but definitely ensures its niche.

12. Gz And Hustlaz

This track is without a doubt the single greatest freestyled track in Death Row Records history. Snoop’s unscripted endurance trial flows bar for bar in an almost flawless fashion, and does not skimp on the albums trend of smoothly executed, catchy, and memorable phrases such as “If you want some, get some, bad enough, take some”. The beat itself was taken entirely from Bernard Wright’s “Haboglabotribin”, with some slight modifications, and reworked with Snoop taking advantage in every way possible concerning the beat. It is as if Snoop’s unique and smooth flow was made to be performed over this type of instrumental. Although not a hit, Gz And Hustlaz is quality material.

13. Pump Pump

Doggystyle comes to a close with the albums most hardcore and intense song. The beat itself is the high point of the song. Its sound would be at home in the goriest scene of the sickest slasher film. This would definitely be Dre’s cherry on the top to a dramatically intense themed album, which could be considered the epitome of a hardcore rap album. Snoop drops his first two cold and remorseless verses right before introducing the final guest to the album – a very young Hershey Loc who too spits with a cold and vicious demeanor. All in all the song serves as a climatic end to an epic album.

The final score? A well deserved 5 out of 5 classic. If The Chronic changed the sound of Hip-Hop, Doggystyle cemented the sound and ensured its reign for the next decade. Everything about this time in Snoop’s life took its toll on the album and is the reason why it is the best known and most classically treasured projects of Snoop Doggy Dogg’s career. In a few years he would be known as: one of Amerikaz most wanted alongside his lable-mate Tupac, The Doggfather, and eventually the Big Boss Dogg, but the majority of his fans will always remember Snoop as the young pimp who was doin up the game Doggystyle.

If you were a fan of hip hop during the 90’s chances are you we’re bumping almost anything Master P put his platinum touch on. While a lot of fans condemned them for biting and over saturation, no one can deny that No Limit Records put forth one of the greatest runs in hip hop history. In the midst of their 22 albums released in 1998, most were unfortunatley overlooked. One of these included the solo debut of the talented MC – Mac, formerly of the Psychoward click. This was released in June 1998.

1.) Boss Chick feat. Mia X: Released as the first single (complete with video), this is more out of Mac’s comfort zone. The beat is typical Beats By The Pound, and features Mac rapping about his “boss *****”, which in this case is “Unlady Like” diva – Mia X. Decent song at best, and only features one verse from each rapper.

2.) Be All You Can Be feat. Fiend, Silkk The Shocker: The first great song on the album features fellow No Limit soldiers – Fiend and Silkk The Shocker. Fiend starts the track off with an amazing hook, and commendable verse. Mac jumps on the second verse, describing his struggles and curiosity as to why the streets are the way the way they are. Silkk drags the track down slightly, with his offbeat flow. Great song, however.

3.) Soldier Party feat. Master P: Both artists underachieve extremely on this track. The beat is nothing exceptional, but the hook is abysmal, and Master P’s constant “Unnngghhh’s” grow old after the first minute of the song. Mac comes through with a decent first verse, but it unfortunatley doesn’t make the song any better.

4.) Murda, Murda, Kill, Kill feat. Mystikal: Although this song only clocks in at 2:25, this is a “soldier” song all the way through. Mac sets off the army influenced instrumental, with memorable lyrics “If I die in battle, tell my folks I was no joke when I blasted/Wrap me up in camoulflage and put that tank on my casket.” Then Mystikal comes through and completely WRECKS the beat. His quick punchlines and impecable flow easily make for one of the best records on the entire album. Definatley recommended.

5.) Tank Dogs feat. C-Murder, Fiend: Anybody that remembers No Limit remembers their constant advertising for upcoming albums. One of those albums at the time was the group debut of the “Tank Doggs”, which featured C-Murder a.k.a. “50 Dollaz”, Fiend a.k.a. “Sleepy Eyed Jones”, and Mac a.k.a. “The Camoulflaged Assassin.” This song features a pounding drum and bass loop. Great song featuring three of No Limit’s finest MC’s.

6.) Slow Ya Roll: Mac’s first solo song is a hip hop classic. Over a very solumn instrumental, Mac details the come up of a young nigga trying to make noise in the game of life. His storytelling ability really shines as this 4 minute track showcases why Mac deserves to be mentioned with the greats. Classic track in every aspect.

7.) We Don’t Love ‘Em: A very plain beat is provided by Beats By The Pound, as Mac tries (and fails) to explain why none of his soldiers “love them hoes.” At just over 3 minutes long, the hook sounds unusually awkward, and Mac is cut off during his third verse. Average song at best.

8.) Wooo feat. Kane & Abel, Mr. Serv-On, Big Ed, Snoop Dogg, Mia X: A pounding beat is served up for Mac and the No Limit family to get busy to. Starting off with a hard hitting verse (“No Limit black sheep, played the backseat for months/Stayed away from the tangueray, *****es, and blunts”), Mac’s flawless verse is followed by Kane & Abel, who do decent at best. Mr. Serv-On’s fast paced flow suits the beat well, while Snoop is still obviously trying to get comfortable over southern production. Great song none the less, and definatley recommended to the average No Limit fan.

9.) Can I Ball feat. Soulja Slim: A true gem on this classic album, this track features deceased New Orleans legend – Soulja Slim, just after the release of his national debut and incarceration. Mac and Slim trade verses on coming up in the game, and balling while sporting diamonds. Slim’s verse is flawless, as is Mac’s making for an all around classic song.

10.) Money Gets feat. Master P: A dissapointing track, in comparison to the two songs before it. This is nothing more then the same old “keep yo eyes on yo enemiessssss” track, with Master P’s monotonous flow becoming a little too repetitive. Not even Mac can save this song, with his above average verse over the subpar beat.

11.) The Game: A lyrical exercise of some sorts, Mac rocks this KLC produced track with memorable lines (“I’ll transform into Liu Kang and finish ya”), as he roams through the beat with three classic verses. Great song, up and down, although it’s only 3 minutes long.

12.) Callin Me: Unlike “Boss Chick”, this song showcases Mac’s ability to spit game the proper way. Over a soothing instrumental courtesy of Mo B. Dick, Mac explains how the ***** keeps callin him, although he needs to be spending his time in the studio or on the set. One of the better tracks on the album, and out of No Limit’s usual “gangsta” depiction.

13.) Memories feat. C-Murder: This song features two of No Limit’s better artists going back and forth over a pounding piano about their memories growing up in the game. C-Murder’s prescense on the beat alone makes his verse noteworthy, but Mac steals the show by far with a classic verse. Great song, proving that Mac and C-Murder were a deadly combination on the mic.

14.) Meet Me At The Hotel feat. Mr. Serv-On, Magic, Mia X: A more uptempo version of “Callin Me” this song features Mac running game once again. This time Mr. Serv-On, Magic, and Mia X appear for forgettable guest spots. Although this song is good, it’d be better suited for Mac; and Mac alone.

15.) Shell Shocked feat. Fiend: At first listen, the beat will bore you. It’s another unrecognizable BBTP instrumental. However, the Tank Dogg combination on the track is undeniable. At just under 3 minutes, Mac and Fiend deliver very hard verses, making the title track slightly better then most would’ve thought. Good song.

16.) Paranoid feat. Silkk The Shocker: There are two reasons that this song is one of the best on the album. First off, it’s another one of Mac’s storytelling songs, and a very good one at that (Mac, while engaging in gunfire, accidentally shoots his brother). Secondly, while this song says it features Silkk The Shocker, he is only on the hook, giving Mac the time he needs to shine, and get his point across. The chorus lacks unbelievably, but this track is recommended for Mac’s verses and delivery alone.

17.) Nobody Make A Sound feat. 2-4-1, Magic, Fiend: Quite possibly the worst track on a near flawless album. While 5 MC’s are listed to appear on the track, the song is only 2:33 long. 2-4-1 (who thankfully never released an album) are awful, and Mac dissapoints with this subpar verse. Fiend and Magic don’t do much better, making for a terrible song.

18.) Beef: This is another one of Mac’s solo storytelling songs. While he’s depicted young thugs coming up in the game, and the war in the streets, this one is strictly about beef. Here, Mac describes a day at the mall when somebody steps to him. An outstanding hook, backed with an entertaing and upbeat instrumental, make for a track easily up there with the best.

19.) Camoulflage Love feat. Storm: Featuring Mac’s “Psychoward” comrade – Storm, this is a fairly short song, about each other’s urge to *****. “I enter your body just like a shotti/I keep your heart pumpin and thumpin, that Lodi Dodi” just about sums it up. Decent track at best, but won’t stand out, and only features one verse from Mac.

20.) Empire: Another solo song from Mac, features what sounds like 32 bars from No Limit’s premiere lyricist. More of a battle track in some sorts, Mac sends a warning shot to anybody *****ing with the Tank. “So the next nigga talkin ’bout we country and weak…/I hope his mama catch cancer and die in her sleep” ends the track about as aggressivley as possible. Great, great song.

21.) My Brother: The deepest track on the album by far, features Mac ending the album in the best way possible. Telling another story. This one is about his brother. Mac cleverly details that although they’ve had their differences, they’re still thug brothers and praises him while he’s alive, rather then wait ’til he’s dead and gone. All this is done over a smooth, captivating beat. Great song, and my personal favorite on the album.

22.) Shell Shocked (Outro): An acapella chant from Mac in true soldier fashion. Nothing more, nothing less.

After listening to the majority of the tracks, one comes to understand that the game has really lost one of it’s finest lyricists and story tellers. Painting vivid visions of the game, the struggle, and the luxuries, Mac was easily the best artist (in the truest sense of the word) No Limit has ever seen. My advice: Go out and buy this album, pick up “World War III” (which is surprisingly better and more introspective then this album), and pray for Mac.

Overall Rating: 5/5

By late 1997, in a post-Tupac rap climate where fans were fiending for anything Makaveli related, No Limit Records had stepped in to fill that void. From “the don” image Master P perfected, to many of No Limit’s artists sounding like ‘Pac, No Limit put the south on the map with it’s funky basslines combined with hard hitting cliche gangsta rap. C-Murder was no exception. The younger brother of Master P, released his debut album “Life Or Death” in March 1998, at the peak of No Limit’s popularity.

1.) Intro: A short instrumental is being played for a little less then a minute total. Skip it.

2.) A 2nd Chance feat. Master P, Silkk The Shocker: Over a very simple Beats By The Pound production, the 3 brothers trade verses on getting a second chance at life. This was the first, and only single, released for the album. Although the song’s content is decent, both P and C have a notable ‘Pac similarity in their styles.

3.) Akickdoe! feat. Pimp C, Bun B, Master P: Perfect southern song. Almost 10 years after it’s release, any fan of dirty south music, will still have this song in rotation. Master P’s adlibs drag the track down slightly, but Pimp C provides a memorable hook, and everyone comes correct. Great song.

4.) Constantly ‘N Danger feat. Mia X: Decent song, over another simple BBTP production. Mia X’s feature isn’t very memorable, but C provides two noteworthy verses, although the track is short. Decent at best.

5.) Don’t Play No Games feat. Mystikal, Silkk The Shocker: Great song from beginning to end. C-Murder kicks it off with a hard hitting verse, and Mystikal follows it up with his unpredictable New Orleans flavor. Silkk closes it out with the energy he provided throughout most of 1998, that has since dissapeared. Overall, a classic track.

6.) Show Me Luv feat. Mac, Mr. Serv-On: C chooses to go a different route with this track, as he details (with the help of New Orleans legend – Mac, and former NL Soldier – Mr. Serv-On) his experiences at shows, concerts, and across the country. A very smooth bassline is provided courtesy of BBTP, making for a very relaxing, good track.

7.) Picture Me feat. Magic: Anybody that has heard Magic lately, or even in the past 5 years will be surprised at what he used to sound like. Appearing as the first artist signed to C’s “TRU Records” imprint, Magic trades verses with his CEO over a very steady instrumental. The only downfall is the fact he tries too hard to sound like 2Pac, and lacks any originality. C-Murder comes decent. Average track.

8.) On The Run feat. Soulja Slim, Da Hound: Very upbeat, energetic track about runnin from the police. Soulja Slim’s verse is solid, as is C’s verse and chorus. Da Hound, however, is a complete waste on the mic. Great track, just skip the end of the song.

9.) Get N Paid feat. Silkk The Shocker: 9 songs into the album and C-Murder still hasn’t had a solo track. This song, is no different, and features Silkk and C exchanging a verse each, over a funky bassline. Very short song however, which ends up dragging it down.

10.) Only The Strong Survive feat. Master P: NL’s head Colonel in charge appears on this very short song. C-Murder starts off the track with a very energetic verse about getting paid and surviving in this game, and Master P follows it up with a monotonous verse very reminiscent of Tupac in his prime. Good song none the less, as production is top notch.

11.) TRUest Shit I Ever Said: After 10 songs, C-Murder finally is allowed time to shine on his own. And although the song is only 2 1/2 minutes at best, C takes a break from uptempo gangsta to mellow. Great, great, laidback track.

12.) Makin Moves feat. Master P, Mo B. Dick: Overall, not a very good track. While Mo B. Dick croons the hook in a way only he could do, and the piano keys hit hard, this song is another short song that lacks any substance or believeable raps. Master P really needs to let C just shine on his own.

13.) Feel My Pain: The album clearly starts to pick up here, as C-Murder crafts 2 memorable verses, and an impecable hook, over a very solumn instrumental. Deep track. Definatley recommended.

14.) Soldiers feat. Silkk The Shocker, Fiend, Big Ed, Mac, Kane & Abel, Master P, Mia X, Mystikal: One of No Limit’s trademarks is their ‘soldier’ songs. This is basically taking No Limit’s finest, and throwing them all on one song to represent that “soulja shit.” This song is above the average soldier song however, as the beat pounds all the way through. Good anthem.

15.) Cluckers feat. Fiend: A remake of Ice T’s “Colors”, this song is about settin up shop and selling the goods. While the beat hasn’t really changed from the original, C-Murder lazily flows, and serves up two below average verses. Fiend does the hook, but this track is a dissapointment, as he sounds unusually out of place.

16.) Life Or Death: The title track is C-Murder’s third solo track, and does not dissapoint. Although the topics have been discussed many times before, this is a deep, introspective song, that C flows very, very well over. Great track, and definatley up there, in comparison, with any other song on the album.

17.) Where I’m From feat. Prime Suspects: If you haven’t previously heard this track, and are a fan of C-Murder, I don’t know where you’ve been. Over a clever piano loop, C-Murder describes his experiences in the Calliope, as the Prime Suspects come through to lace their first guest appearence on the album. Classic track in every aspect.

18.) G’s & Macks feat. Soulja Slim, Silkk The Shocker: Looking at the features on this song, you think it’d be better then it actually is. While C-Murder and Soulja Slim collaborations hardly ever go wrong, the beat drags down the entire track. This combined with Silkk’s offbeat repetitive flow make for a somewhat boring track.

19.) Commercial feat. QB: This “song” is only a minute long and features new No Limit soldier at the time – QB. He drops 16 average bars, but C-Murder obviously thinks he’s better then he really is, and finishes the cut by telling P to “sign that nigga and bring the weed”. Decent song none the less.

20.) Riders: Much like “G’s & Macks”, this song is lacking something. The production is not on par, and C comes across as lazy throughout this short song. Not really recommended.

21.) Watch Yo Enemies feat. Magic: TRU Records artist Magic shows up and brings his 2Pac biting to another level. While the beat is solid, and C-Murder delivers, in my opinion, a classic verse, Magic only comes across as fake, making for a decent track.

22.) Duck & Run feat. Fiend: Great, great song. Although only 2 1/2 minutes in length, KLC (of BBTP) serves C-Murder with a beat that contains gunshots for the high hat, and snares. C comes suprisingly energetic on this song, and gives the beat the energy nobody else on the tank could carry. Fiend compliments the chorus nicely, and the track ends with an explosion.

23.) Ghetto Ties feat. Soulja Slim, Da Hound: Easily the best song on the entire album, C-Murder perfectly describes his ties to the game, although he’s made it out the hood. Soulja Slim offers the best feature on the entire album with his impecable flow and memorable verse. The beat is very laidback, and paints the perfect theme for the song’s concept. The only downfall is Da Hound (Full Blooded), who once again shows that he never deserved to be taken seriously on the mic, as he clumsily mutters his whole verse.

24.) Survival Of The Fittest feat. Gotti: Not one to discriminate, as the album winds down, C-Murder lets several of the lesser known No Limit Army appear on tracks. This is no different, as Gotti from the Gambino Family exchanges verses with No Limit’s finest. The two go back and forth over a slow pounding instrumental, making for a suprisingly great track. Definatley recommended.

25.) Dreams feat. Big Ed: Although this song is only a minute long, the beat provided by KLC is much like “Where I’m From”, with the excessive piano loops. C spits a hot 16, with a memorable hook to close out the album (“I wish that life was a dream, cause sometimes I wake up and just want to scream”). Great way to end the album.

26.) Outro: Same instrumental used in the intro, just a little bit longer.

So, at the height of No Limit’s popularity, did C-Murder serve up a classic album? Not exactly. However, this album solidified the least known Miller brother, and put him directly into the spotlight. And although the topics and concept of the album, has been done over and over again, C-Murder puts his own New Orleans twist on it, and gives the world one of the best No Limit albums of 1998.

Overall Rating: 4/5

Mac’s one of those rare rappers from the south, with a complete East Coast delivery. The clarity in his voice, and his concepts alone, make him appealing to backpackers and MC’s alike. Starting his career off with 1998’s “Shell Shocked”, Mac returned with the completely opposite “World War III” in 1999. Even through the backlash of No Limit Records at the time, this album stands as a landmark in No Limit history, and unfortunatley the last album from Mac.

1.) Intro: Nothing more then a woman talking about Mac’s future plans to help the community, and declaring that it’s World War.

2.) War Party feat. D.I.G., Magic: The only single from the album is unfortunatley nothing more then a typical No Limit track. Soulja stories are traded here, over a subpar beat. Average at best.

3.) Best Friends: Classic track about friends turned enemies. The melodic beat ensensuates the storytelling ability of Mac, as he shares his depression on losing a friend. Excellent track.

4.) Like Before: A typical track directed toward the ladies, Mac smoothly spits 2 verses explaining the need to make it right with his girl. Good track, although a little boring after a couple listens.

5.) We Deadly feat. Master P, Silkk The Shocker: Mac spits one of his most aggressive verses, along with Master P, who does surprisingly decent on this track. Silkk just talks at the end, and somewhat ruins the credibility of the track. Good song.

6.) Bloody feat. Magic: This is one of the better tracks on the album. Sticking to the soulja formula No Limit is known for, Magic and Mac spit two very fast paced verses, with a perfectly laced hook. Some notable lines from Mac include “You might be the next to rip, get shot get stab you get cut up strip/ You boxed up in a ship, thinking niggas on some retaliation tip”.

7.) You Never Know feat. Mia X: A pounding beat is used to describe another tale of friends turned enemies. Both MC’s give arguably their best performance together, as Mac and Mia trade verses about the situation of friend turned foe. Excellent track.

8.) Just Another Thug feat. C-Murder, Ms. Peaches: Finally another C-Murder/Mac collaboration, leaving us to wonder how classic the anticipated “Tank Doggs” album could’ve been. This track, although short, is laced with a very smooth beat, explaining how Mac & C are “just another thug nigga”.

9.) Battle Cry (Tomorrow): One of the deepest songs on the entire album, Mac describes the pain of growing up, and the hope for a better tomorrow. Great song with memorable lines (“But never no love, i witnessed the sickness of unprotected lust/So many children born just because the rubbers bust”). Classic track.

10.) If It’s Cool feat. Ms. Peaches: A lighter song on an album filled with aggressive stories, this track cleverly samples Tupac’s “How Do You Want It” and makes for a smooth tale on Mac trying to game a *****, while stating “I don’t wanna be ya man/I wanna tap something if it’s cool (it’s cool)/But if you not ask your girl what i asked you”. Great song, and completely unexpected.

11.) Cops & Robbers: Re-spitting the classic first verse from “Niggaz N Trouble”, this sympathetic beat, helps Mac describe how life is nothing more then a deadly game of cops and robbers. Above average track.

12.) Lockdown (Remix): Quite possibly the best track on the album, this ended up describing Mac’s life. Detailing an accusation of murder that ends him up in prison, Mac contemplates on the thought of 25-Life, and sadly ends up living it. Classic track.

13.) Paradise feat. Popeye, Samm: Great song, featuring No Limit newcomers Popeye and Samm. Mac’s verse is saved for last, and rightfully so, as he steals the entire song. Great job by Popeye on the hook.

14.) That’s Hip Hop: One of the purest tracks on the album, Mac states the problems of this generations rappers. The bling, the cars, and the “*****es jumpin in the pool”, over a classic hip hop sample. Great song.

15.) Can You Love Me? (Eyes Of A Killer): Classic track. In every sense of the word, this song is nothing less then classic. Another deep song, Mac explains the troubles of a mother loving her son, who has the eyes of a killer. Great beat, and great verses from a great MC.

16.) Genocide Skit: Skit leading into the next song, with children being asked what genocide is.

17.) Genocide feat. Ms. Peaches: Another deep song (which is the perfect way to end an album), Mac details more stories of his past, by stating “if you ride on me, ima ride on you (it’s genocide)”.

18.) Father’s Day: A perfect Tupac-esque track, about lacking any real male influence growing up. Smooth beat, with a great hook, make for another classic track.

19.) Still Callin Me feat. Ms. Peaches, Sons Of Funk: The sequal to “Callin Me” off Shell Shocked, is just an extention of the need to get that girl. Good song, but not on the level of the others.

20.) Assassin Nation feat. Storm: Perfect haunting beat, make for a more aggressive track to end the album on. Good war song.

21.) Outro: Nothing more then that; an outro.

So while the album could’ve used a little less skits, take them out, and you have nothing less then a perfect album. Mac’s growth is shown here, and is sad considering what could’ve been, if he hadn’t have caught that murder case only months after this album’s release. While not denting the Soundscan Charts (The album only sold around 230K), it’s heralded as a classic to many hip hop fans, not just from the south. Free Mac.

Overall Rating: 5/5

First, let me start the review off by saying that Soulja Slim, next to C-Murder and Mac, is my favorite southern my favorite artist of all time. I love down south rap, and he is what down south rap represents. This album came out amidst 21 other CDs from No Limit in 1998. Somehow though, maybe because the sound was still fresh (this album dropped in May of 98) or because Slim’s delivery was so raw, it stood out amongst other albums from that year like Full Blooded, Skull Duggery, etc. That being said, on to the review:

1) From What I Was Told: 

Slim kicks off the album with a bass guitar influenced joint about his debut on No Limit. This song was also used for the ‘I Got the Hookup! Soundtrack’ released a month earlier, and was made into a video. The song’s hook is what makes it stand out with lines like ‘Niggas say Ima hit No Limit, like Pac hit Deathrow’. Truly a stand out cut.

2) Street Life feat. Master P, Silkk the Shocker: 

Another bass heavy track featuring P giving his signature ‘Uhhhhh!!!’ and Silkk’s stuttering, but standout flow runs a little too long, but Slim’s verse stands out the mostand doesn’t dissapoint. An above average song.

3) Wright Me: 

This cd is full of piano loops and bass guitar rifts, and this song is no different. The theme is Slim being locked down and his girl holding it down for him, even though he knows she’s out doing shit she aint supposed to be doing. Slim delivers three hard verses on this solo track, and doesn’t dissapoint.

4) At The Same Time feat. Snoop Dogg: 

One of the best joints on the album…period. Not because of the beat, but because of the subject matter and the flawless flow of Snoop and Slim. The hook, the verses, everything is almost perfect. Snoop and Slim trade verses on hitting No Limit at the exact same time while Snoop tries to find his flow over No Limit produced tracks and Slim gives hard hittin lines.

5) Only Real Niggas: 

Another solo track for Soulja Slim ( which is rare considering No Limit’s tendency to put at least 3 other soldiers on every song ) is an average track to me. I don’t hate it, but it’s not one of my favorites. The hook gets old after hearing it twice, and the verses are the only thing that stand out. People complain about Slim’s flow, but after hearing him on a certain amount of tracks, it becomes more of an art then a choppy flow, unlike Silkk the Shocker. Average track though.

6) Pray For Your Baby feat. Master P, Trenitty: 

P’s 2Pac influenced monotone rhymes set the stage for this song, as it goes through your average gangsta subjects and themes. P delivers lines like “Mama I love ya cause ya made me, but this ghetto got me crazy, so pray for yo baby!”. Trenitty (of Slim’s Cutthroat Committy click) has a decent verse, and Slim shines once again with his flow and ability to make his lyrics visual to the listener.

7) Head Buster feat. Big Ed, Mr. Serv-On: 

Definatley a stand out joint, with hard ass verses from Slim and Big Ed. The beat is sick, everything’s good. Then Serv-On hits the cut with the last verse, and rips it. Serv’s style had changed, and for the better. Easily one of the best songs on the album.

8) Me and My Cousin feat. Full Blooded: 

Not a bad song, the idea of the song though was even better. Slim’s real cousin – Hound ( Full Blooded ) appears on the song and they go back and forth in what a good collaboration should sound like. The only problem is Hound….he can’t rap. I never thought he could. He’s not even raw on the mic or intense. He slurs his words and sounds like a mess on almost every track he’s on. Slim though once again proves that he deserves to be respected as one of the best MC’s in the game.

9) You Got It (II) feat. Mia X: 

You Got It (II) is an underated track. And the reason it’s a part II, is because it was off one of Slim’s CD’s from Parkway Pumpin Records (originally owned by KLC). It was also featured on Down South Hustlers compilation, the first version that is. The second one is basically the same thing, with better recording quality and a slight change in the hook. It is a good track, until Mia comes on. I dont mind Mia X, but she didnt do shit for this song. She wasn’t on the original, and didn’t deserve to be on the 2nd one. Good track, but skip when Mama Mia drops her verse.

10) You Ain’t Never Seen feat. Master P: 

Despite saying it features Master P, he doesn’t rap and doesn’t even give his signature “Uhhhh!!!”. It’s strictly Soulja Slim. This song is most definatley one of the best I’ve heard from any label in a long time. The chorus is sick wit lines like “You aint neva seen what I seen, or been through what I been through that’s why I got a *****ed up mental!”. Slim delivers bomb ass verses, and this track is definatley a stand out cut. The beat, the lyrics, everything is perfect.

11) Anything feat. Mia X: 

Slim don’t even shine on this one. It’s aint worth hearin,cause the beat and the lines get very repetitive. One of the only skippable tracks on the entire album. Not recommended.

12) Imagine feat. Mac, C-Murder: 

One of my favorite tracks of all time. Definatley the best on the album, with hard street verses from Mac, Slim, and C-Murder. They all rip it, the verses, the lyrics, everything is on point. The beat is also one of the reasons to listen to this song, the piano with the bass, is pure perfection. If you like Slim, down south rap, or rap period listen to this classic.

13) Takin Hits feat. Master P: 

Another song where Master P has just a short cameo at the beginning and Slim spits his shit. This is more of a bounce track, with a bouncing bass in the background. The beat has to grow on you, but it is definatley a hard hitting track. Slim paints the picture of him being a hired hittman with his lyrics. Definatley recommended and in the top 5 joints on the album.

14) Wootay: 

Another solo track from Slim ( which is very good ), doesn’t dissapoint. To me, the album picks up around the second half of the CD, and this song is no exception. After Cash Money blew up usin words like Wootay, nobody realized Slim’s been usin that word. The beat is hot, the lyrics are on point, with Slim addressing his haterz and being Soulja hated. Good song.

15) Get High Wit Me feat. Trenitty, Mystikal: 

A tight ass track bout gettin high, and being down to ride in any situation. Slim delivers a slow, smooth, verse that outshines everybody else on the track. Trenitty’s verse is too short and not that great, and Mystikal does his usual thing. Bottom line though, another great track off an album full of great tracks, definatley recommended for the weed smokerz.

16) Law Breakaz: 

Starts off with a 30 second skit, and then really picks up. Probably my 3rd or 4th favorite song off the album. The beat is real uptempo, and so are the lyrics, almost to the point where you can’t understand what Slim’s saying. Nevertheless, the hook (“This is for the law breakaz, kidnappaz, murdererz, and burglarerz”), and all three verses are lyrical masterpieces from one of the most respected artists in the game.

17) What’s Up, What’s Happnin: 

A somewhat short song, but Slim made the most of it. My favorite song off the album, Slim delivers two hardcore verses for what he claims is his “last bounce shit”, and he doesn’t dissapoint. He gives shoutouts to every ward in New Orleans and dead rappers like Kilo G, Pimp Daddy, etc. Definatley a hot track.

18) Hustlin is a Habit feat. Steady Mobb’n: 

This song is straight, but it’s not all that great. The beat has bells incorporated with bass, that No Limit would use much during the end of 1998. Soulja Slim once again has the best verse, with bay area veterans Steady Mobb’n comin average. Average song, nothin more.

19) Gettin Real feat. Silkk the Shocker, Full Blooded, Fiend: 

Rowdy track featuring a number of No Limit soldiers including Slim’s cousin – Hound. Slim’s verse is the best behind Fiend’s who steals the track. Silkk supplies the hook, and nothin more. Good track though.

20) N.L. Party feat. Master P, Silkk the Shocker, Trenitty, Big Ed, Mac, Gambino Family, Prime Suspects, Snoop Dogg, Magic, Kane & Abel: 

This song looks like a soulja song No Limit is known for giving us. Unfortunatley itdoesn’t come down to that. From each rapper, you get about 2 bars, and is most definatley a poor filler track. The beat sounds like some Sega Genesis game, and NOBODY can save this track…weak attempt to end the album.

Well, despite 2 or 3 tracks that aren’t anything to listen to…this album is perfect. Production from Beats By The Pound was never better, and my favorite artist of all time delivers arguably his best shit ever.Despite appearances and being incarcerated during it’s release, Slim manages to shine all on his own, let’s it be known it’s his debut, and manages to sell over 82,000 copies it’s first week. If not for the prison time, Slim, I’m sure, would’ve gone gold, cause the album itself is nothin less then platinum. R.I.P. Soulja Slim.

Overall: 4/5

In the midst of Tupac Shakur’s very crowded catelog of albums (most of which were released after his death), there is some very classic material that no one seems to ever mention alongside commercially acclaimed albums like ‘All Eyez On Me’ or ‘Makaveli The Don: The 7 Day Theory’; including earlier gems such as ‘THUG LIFE Vol. 1’. This album was released in Sept. 94 and offers maybe the last glimpse (with the exception of Me Against The World) of a truly introspective artist at his politically themed peak. THUG LIFE, 2Pac’s first group to release an album, consisted of Big Syke, Macadoshis, Rated R, and cousin Mopreme Shakur. On to the review:

1.) Bury Me A G feat. 2Pac, Mopreme, Macadoshis, Rated R, Big Syke: 

This song features the entire THUG LIFE click and samples an Isley brothers classic. The perfect blend of street life and 70s funk is apparent here, as all members spit introspective verses on growing up in the streets. A very underated song that deserves more recognition.

2.) Don’t Get It Twisted feat. Mopreme, Macadoshis, Rated R: 

1 of 2 songs without group leader 2Pac, three other unknown members at the time get a chance to shine over another funk driven beat…a decent track none the less, with Mopreme’s verse hitting the hardest. Average track, and is lacking a 2Pac verse.

3.) Shit Don’t Stop feat. 2Pac, Macadoshis, Rated R, Mopreme, Big Syke, Y.N.V.:

Released as a single, ‘Shit Don’t Stop’ is a George Clinton sampled song featuring Y.N.V. and is easily the most funk influenced song on the album. With all members delivering good verses over this Bay Area beat, it makes this song another classic among classics.

4.) Pour Out A Lil Liquor feat. 2Pac: 

A very smooth laid back song with guitar rifts finds Pac reminiscing on past friends that have died in the struggle. Also featured during the feature film ‘Above The Rim’ this song is one of Pac’s 2 solo’s and doesnt dissapoint in the least. Yet another classic.

5.) Stay True feat. 2Pac, Stretch, Mopreme: 

Possibly my personal favorite track on the album, 2Pac, Preme, and Stretch trade verses about living the Thug Life and staying tru 2 da game. West Coast influenced production suits the vocals perfectly, and make for another great song.

6.) How Long Will They Mourn Me? feat. 2Pac, Nate Dogg, Big Syke, Rated R: 

One of Pac’s first experiences detailing his own death while reminiscing yet again on dead friends, flows perfectly over the Nate Dogg assisted track. While dragged down by verses from Syke and Rated R, ‘How Long…’ is still a great track that has a tremendous amount of repeat value…making it very introspective.

7.) Under Pressure feat. 2Pac, Stretch: 

A very dark beat on an album filled with party cuts and street themes…this track shows the good collaborations between Randy “Stretch” Walker and 2Pac. Before their falling out, they made many songs together..some of them near classic; this being one of them. The song describes their pain and pressures of growing up in the ghettos and need to clutch a 9 for protection. Great song.

8.) Street Fame feat. Macadoshis, Big Syke, Rated R: 

Terrible outdated production and bad verses make this song a huge letdown on a classic album. A completely skippable track…after one listen.

9.) Cradle 2 The Grave feat. 2Pac, Thug Life:

Another single, this song is an all around classic. Detaling the struggles literally from the cradle to the grave, Pac recollects on his past as does other Thug Life members. Solid production and smooth vocals for a nice hook make this quite possibly the best song on the entire album.

10.) Str8 Ballin feat. 2Pac: 

Pac’s other solo on the cd closes the album out in true hustla fashion. Similar to the later released ‘I’m Gettin Money’..Pac spits four hard verses on this 5 minute track about his hate for the police and need to make money. While no particular verses stand out, the overall theme of the song and sample along with hook make it a classic cut.

In conclusion, this album, although being one or two songs short of an EP release, is an absolute classic that overshadows Pac’s other work in terms of quality. With all but 1 song being near perfect, every Pac fan and hip hop fan in general should own this acclaimed cd. With questionable cd’s like ‘Loyal 2 The Game’ destroying Pac’s legacy, pick this up and remember where it started.

Overall: 5/5

1. Candyland

Very dark beat by Phonk Beta, it has a Loaded style to it. Mic-C’s style is really slow, it’s like he’s rapping on Unisom. Really good song here, if you like that Sac-Town style. Good

2. Nonbelievers

Nice bouncy beat here, first it starts off slow then it kicks in once Mic-C starts rapping. Mic does a good job on this track rapping about the people who didn’t believe in him. Good

3. One More Day

I don’t like the slow piano sounds on this track, it’s supposed to create an eerie vibe but it just doesn’t work. Mic-C did ok though. Average

4. Too Much Stress(Feat Hollow Tip & Young Ridah)

No this is not the Ridah from the Mob Figaz. I don’t like the beat here, it’s way too generic for my taste. Hollow does a good job and the rest are just “meh”. Wack

5. Nasty Nights

Pretty good beat here, nice and sleazy sounding. Of course this track is about “ho’s” and “Pimping”. Mic does a good job, but really the beat carries this one. Good

6. Money Talks

Nice bouncy track here. Mic raps about money and how he needs it. Well that’s something everyone can relate to. Good

7. Die Hard(Feat J-Mack)

Decent beat here, it’s pretty basic. J-Mack is awful and really ruins the whole track. I can’t listen to this crap anymore. Wack

8. Don’t Take This Lightly

Slower paced beat, I like it, it has a nice No-Cal vibe to it. This style of beat fits Mic’s style really well as opposed to some seizure inducing crunk beat. Good track. Good

9. Can You Handle(Feat Ballin A$$ Dame)

The beat sounds like that one Vegas level on Sonic 2, same sound and everything. The chorus is mindnumbingly stupid and overall just a weak track. Wack

10. Ghetto Police(Feat Hollow Tip)

Decent piano here with some weird synth type bass, that’s a bit of a styles clash of beat styles there. Hollow shines here. Good(For Hollow’s work)

11. Northside Ridahs(Feat J-Mack, Hollow Tip, & *Kappone)

The beat is just boring, I really can’t listen to it without falling asleep. Just skip this, though Hollow’s first verse is pretty good. Wack

12. Game Over

Some weird poorly done Latin type guitar beat is on this track over some boring backdrop. Is this the best you can do? Pathetic. Wack

13. I Don’t Stop(Feat Slim Loc 1 & Lunaticc)

Really dope track, and a nice way to end the album. Mic-C does a good job here with the first verse. Slim Loc 1 is none other than C-Lim and he does a decent job even though he has a voice that shouldn’t belong in rap. Good track. Good

All in all I’m going to give this an Average rating. There were some positives here(No skits, no intro’s, no outro’s, etc etc) and then there were some negatives(Formulaic beats, weak rapping, J-Mack, etc etc). Listen to this first before buying.

Alright Cypress Hill has made themselves famous by talking about getting stoned. about 70% of their songs are about it. I picked up this album a very long time ago when i only just about heard of them being a beginner in rap. They were the first famous latino Hip-hoppers. this was their second album.

1. I Wanna Get high 

To begin with this song reminds me of sirens you hear in movies when enemy intercepts the enemy place. The drums and nice bass hits and makes this quite a nice quite slow beat. Then B-real delivers a very simple yet catchy hook.The first thing you notice is his voice is very nasal and unique compared to anyone else. He flows well but it aint that hard for a beat like that but thats not a bad thing tho. If you havent guessed what it is about yet put down the Cd!

2. I ain’t going out ike that 

I feel the intro is way to long but after a while the beat hits you. Made of a drum loop, nice bass and some screeching type of thing, It’s great and originality. They flows really well to a uptempo beat. Again the hook is really catchy, Like the last one if you haven’t guessed what the lyrics are about then put this Cd down!

3. Insane in the brain 

This is their most famous song ever, i think everyone intrested in hip hop has heard it. To begin with it has some latino dude saying something which made me smile. The beat, like most of these songs are new sounding due to the latino involement,near the end it changes a little. The hook is catchy as hell but cna be seen as annoying. They flow really well. The lyrics are what i believe them going crazy over cops taking their stuff.

4. When the shit goes down 

This track has a real cam and mellow. This is B-real by himself, The hook is alright on this one.B-real flows well. The lyrics are really about how ‘loco’ they are you better always be ready.

5.Lick a shot 

This is great. to begin with we hear a really nice bass and skreiking type of effect,but then this very uptempo drum loop is added and makes this even better. B-real flows very well . No hook really. Again the title really gives away the topic.

6. ***** the hammer 

A nicely produced track again. The Bass and the drums fitted nicely together what catches my ears on this track. The track is really quite simple. The 1st verse isnt really flowed that well. He does take an approach at saying how he going to sort out his enemy like his weed. Then this bloke comes up and brings a smile to my face. Then B-real starts and spits some better stuff and flows much better and a punchline which brings a smile “up in that ass like a dildo”

7. Lockdown 

Some sort of interlude thing. Nice beat.

8. 3 Lil’ Puto 

The bass is more quite is on this one but the drums are very cool which gets me listening. The beat is pretty simple. the lyrics are pretty good and B-real flows nice but the last verse is what really makes me appericiate him.

9. Legalize 

Some sort of skit and you can tell whats it about,

10. Hits from the bong 

As you can see by the name it is obvoius what this song is about. The beat is a really mellow track with one of the most simplist drums I’ve ever heard with a sample of Dusty Springfield’s “Son of a Preacher Man” as the backdrop. Flows well and like most of the hooks on this album very catchy yet simple.

11. What comes around goes around, kid 

Like most of Cypress hill’s songs the titles are obvious what the song entitles.The beat i havent really got much to say but it is good. There is sampling from their song How i could kill a man. Flows well. The hook is simple but yet it is addictive and catchy.

12. A to the K 

The hook starts this and very simple but very catchy. I like the bass alot on this. The drums are simple and some weird thing being played in the background. Flows well. The title is a big clue what is involves in this song.

13. Hand on the glock. 

The title gives this away like 90% of the song titles of this album. The beat is hard to explain but it keeps upto the standards. Flows well. I dont think there is a hook.

14. Break ’em off some. 

I dont know what is about this beat but it is similiar to another song i’ve heard before. I like the piano i think they are(very quiet version i got) in the background.Flows well. The title gives this away. This is a great way to finish of the album.

Overall this album gets a 5/5

This is a great album. There is no beats below a 4 and lyrically this is great. It also gets the full 5 as they opened up alot of things for people to expand with. The beats brang up a new sub-genre of Hip-hop. The voices are new and pretty cool. Cypress hill still remain one of my favourite groups in hip-hop.

Recommendation: BUY THIS ALBUM!!!!!