Warren G - Regulate... G Funk Era (1994 - Def Jam Records)

Warren Griffin III, better known as Warren G, is a rapper, producer, actor, and half-brother of Dr. Dre from Long Beach, California, best known for coining the term G funk (but not the music itself; a number of West Coast emcees had been creating the art for a while).

Warren himself was never especially gifted at rapping, generally looking rather unimpressive compared to his peers at the time, such as Snoop Dogg & Kurupt. However, his potential was enough to get him signed to Def Jam records, where he promptly struck gold with the Above the Rim soundtrack, unleashing his Regulate track to the American public, which also gave more widespread exposure to Nate Dogg. Soon enough, the man's album was announced, which you had to wonder if the dude could keep up with an entire album especially given that he wasn't the most popular out of the Death Row camp, either.

Let's get this on, shall we?

1. REGULATE (FEAT. NATE DOGG) - You all know this track; it's so pervasive that it's probably required listening in California's education curriculum. Warren G, trying to come off as the badass gangsta we know he really isn't, describes a night in the L-B-C; he gets into trouble, only for Nate Dogg to come in, kick ass and the save the day. The lyrics are so damn goofy, but the humor here manages to shine; easily a classic track.

2. DO YOU SEE - The third single released from the album. The beat here can be best described as hazy; it's almost as if Warren Jeezy himself smoked a blunt while recording this track. As such, Warren raps about his past life before he became involved in this rapping business, and such, it's a pretty good track. Also, the music video is pretty damn amusing, just for that said hazy feeling.

3. GANGSTA SERMON - ...

4. RECOGNIZE (FEAT. THE TWINZ) - I have to be honest, The Twinz lyrics are like ADHD; not much focus or chorus, and just rapping whatever the hell is on their mind. It's the obligatory weed carrier track, one while not the best look for them, ended up pretty much getting them a record deal. Warren's beat here is smooth, peaceful, and actually pretty catchy, so this track was actually all right.

5. SUPER SOUL SIS (FEAT. JAH SKILLS) - Yet another weed carrier track here; mostly a braggadocio with a similar concept to our previous track; pure randomness. I have to admit, I have a soft spot for this track, mainly because when I played this album around the early 2000s this beat would always play; same sample of "Don't Stop (Ever Loving Me)" by One Way, used by Nelly in 2000. The beat is pretty much the epitome of California, blue as the summer skies and green as a Cali park. Jah Skills is probably the worst rapper on the entire album, but has more talent than rappers today. Also, her lyrics were seemingly designed to offend, mentioning AIDS, the JFK assassination, and the Israel-Palestine conflict in one song, and with that, I've said enough about this track.

6. 94 HO DRAFT - ...

7. SO MANY SKILLS (FEAT. WAYNIAC & LADY LEVI) - I thought this song was all right - Warren Jeezy's lyrics are pretty solid and the beat was catchy enough, although I found the hook to be annoying as all hell. Also released as a single, the music video for this track is incredibly lavish as well, especially for a track meant to be in sunny Cali.

8. THIS DJ (FEAT. O.G.L.B) - I love this song. From the peaceful, synthesizer-heavy blunted beat to the introspective childhood lyrics which are meant to provoke the good days, this track just kicks ass. It's perfect for cruising around, or having a barbecue. No wonder this was a single.

9. THIS IS THE SHACK (FEAT. THE DOVE SHACK) - I never cared much for this track. That's all I can say. Also, it seems Warren G calls himself the President, after that other Warren G. Huh.

10. WHAT'S NEXT (FEAT. MR. MALIK) - The same concept as Recognize, but much more well executed. Jeezy's beat just kicks ass here, with an incredibly booming bass line that wrecks your ear drum. Both of our performers here are on par for the course, and Warren mentions those hilarious School House Rock videos which we secretly enjoyed as a kid, making you wondering what the hell you were doing back then.

11. AND YA DON'T STOP - I also love this song. Sure, Warren's bragging of being a badass gangster aren't the most credible threats, especially since the man sounds so high and friendly as hell, but once again, the man's humor shines through; the beat, using Don Julian's "Janitzio" is so damn masterful, creating the feeling of being on a Cali beach in sunset. Overall, an amazing track.

12. RUNNIN' WIT NO BREAKS - Never paid much attention to this track either, although it's quite interesting anyway; the beat here was originally made for Doggystyle, a track called The Next Episode which got canned at the very last minute, but got rehashed on here. Of course, that track would finally be delivered as promised, on 2001.

B-SIDES TO TRACK DOWN
INDO SMOKE (MISTA GRIMM FEAT. NATE DOGG & NATE DOGG) - Released a year earlier on the Poetic Justice soundtrack was one of Griffin's first recordings in the music industry, and his first crack at mainstream audience. The beat, utilizing Blowfly, is funky and catchy as all hell, and Nate Dogg's chorus kills it here. It's a mostly forgotten track though, and it doesn't help that Mista Grimm promptly fell off a cliff after this was recorded, but you'' find a great weed anthem here.

FINAL WORD: Regulate... G Funk Era is a pretty kick ass album for what it's worth. For a 90s album it's actually aged quite well over the years, and some of these tracks are just timeless. Of course, this album isn't perfect, but it's definitely a solid listen you can ride to.

BUY OR BURN? - Definitely buy this one. It's been re-released as a special 2 disc set, so this one shouldn't be too hard to find.

BEST TRACKS - "This DJ", "Regulate", "And Ya Don't Stop", "Super Soul Sis", "Do You See"

B.G. Knocc Out & Dresta - Real Brothas (Def Jam/Outburst Records - August 15, 1995)

In the early 90s, hip hop had evolved from an innocent art form that was mostly either banal emcee shit-talking or serious conscious views on urban communities in the United States dealing with drugs and street violence, to more hardcore forms dealing with gangster topics such as homicide, petty crime, police brutality, drug use, and other issues that were directly affecting inner city communities; with that came the N.W.A. I assume that a lot of you know the story; they successfully released their opus, Straight Outta Compton in 1988 to strong success, and heavy controversy. Eventually, heavy infighting between the members lead to the group being disbanded over payment.

By 1992, beef was in full swing. Dr. Dre went full on after his former record, Ruthless, and made a complete mockery of his former bandmate Eazy-E on national television via the music video for "Fuck Wit Dre Day". Of course, Eazy-E responded with his own, even more visceral diss track, "Real Muthaphuckkin G's", which featured our soup of the day, B.G. Knocc Out & Dresta, who actually did a real good job at taking down Dr. Dre in that song.

As the years passed, and the New York hip hop scene saw a revival, as well as upcoming rap scenes from many other cities taking swing at the boon of hip hop, those said merry weed carriers got a record deal of their own, however this time on Def Jam, with Def Jam looking to rebuild itself, having successfully striking gold with Warren G, and signing another West Coast stalwart in Jayo Felony as well. In 1995, in response to some serious heat from Death Row, B.G. Knocc Out and Dresta released their first (and only) album as a duo. It went on to enjoy moderate success, although gets rather forgotten in a time period (1992-1996) which brought us some really, and I mean really, good albums. Is this underratedness justified, though? Let's find out.

1. EVERYDAY ALL DAY - Our voyage into the magnum opus known as Real Brothas starts off with Everyday All Day, a statement track which states the goals of our hosts. Our hosts waste no time when starting off; there are a number of disses towards the Death Row camp, and warnings about trying to step up to BG and Dresta. Our beat, curtosey of Madness 4 Real and Dr Jam, is fast paced, with the boogie elements used very well to create a catchy, knocking and energetic beat. Dresta's flow is very clean throughout, and absolutely rips shit throughout. Not a bad way to start off, not at all.

2. JEALOUSY (FEAT. MO) - BG and Dresta this time around rap about how their own homies seemingly can't respect what they've earned, and how every man, woman, and child on every corner turns into an enemy, hellbent on stealing our hosts wealth. Madness 4 Real and Doctor Jam collaborate again, this time for a synthesizer and bass heavy beat, which isn't anything too special or original, but for what it's worth, it's pretty good. Our hosts again are on point, and are able to ride out the beat throughout, and stay on point.

3. WHOSE THE G - This time around we have a BG-only track; I assume Dresta was stuck in the infamous SoCal traffic on his way to work, and therefore couldn't appear. Vic C goes behind the board this time, and the instrumental here again kicks fucking ass; the synth used just creeps through your ears, and sticks with you even after you're done, haunting you in your nightmares. Dresta's braggadocio of being the master gangster throughout the Compton hoods is straight through. Yet another strong track.

4. COMPTON SWANGING (FEAT. LA TEE) - I hate this track with a fiery passion. It's another track that blatantly and shamelessly jacks Kool and the Gang's "Hollywood Swinging", and honestly, I've never seen ANY song able to use this sample well; not Too $hort, not Mack 10, not anyone. It's just one of those songs that honestly can't really be sampled without being too obvious. Oh well, they can't all be winners.

5. LIFE'S A PUZZLE (FEAT. L.V. & LA TEE) - Our hosts step back from the usual Compton gang-banging and create a track that was probably an attempt to garner widespread airplay. Charlie B's beat is soft, and it sort of sounds like generic G-funk piffle. Our hosts rap about the enduring puzzles of life, and how unfairly, and cruelly, bad it gets, presumably something to do with the number 42. Overall, I thought this track was all right, but nothing incredibly special.

6. B.G. KNOCC OUT - Charlie B is behind the boards again and delivers a syntesizer-heavy beat; our proceedings here are predictably a tribute to B.G. K-O, a tribute that comes off as mostly meh. The lyrics honestly aren't anything I haven't heard, and I've heard better beats.

7. Compton Hoe - A song dedicated to prostitutes, swingers, sex parties, and men who whore themselves in order to get laid. No seriously, listen carefully to Dresta's first verse; hell, even in the second-verse, he calls himself a "bonafide hoe", so maybe this song is Dresta's aspiration to become like Casanova. BG Knocc Out is cockblocked to the chorus from this massive orgy, which samples The Honey Drippers' "Impeach the President", like that hasn't been done a million times before, though our beat lacks any sort of chipmunk; mind you, it's not a bad beat, either. Overall, a decent song.

8. Micc Checc - Madness 4 Real and Doctor Jam deliver another beat, one that is a pretty minimalist effort, with original guitar and bass done by Mike "Crazy Neck" Sims; as minimal as it is, it creates a strong earworm, a beat that just slowly builds in your mind with creepiness and grimness. Our hosts here talk about revenge killings in the CPT, in which Dresta takes time to talk about his deceased brother as well. Overall, another solid effort.

9. Compton & Watts - A Rhythum D production here; Dresta here actually take time to call out the phonies in their neighborhood, as well as claiming fake rep, presumably Dr. Dre and Snoop Doggy Dogg, although no one is ever called out by name. I assume BG was on his lunch break at Del Taco, and Dresta's 15 minutes of fame are pretty short anyway, without a whole lot of substance either way. Not awful, but not memorable.

10. 50/50 Luv - Another Rhythum D production which is actually quite smooth and clean. Our hosts rap about nostalgic days before gang violence became epidemic as it did, as well as reminiscing about simpler days without violence or gang rivalries. Our guests' verses actually manage to stay on point, and unlike many songs of this type, it actually keeps an organic Compton sound without appeasing to a wider audience. A great track, and understandably why this was released as the first single off the album.

11. Real Brothas - Fucking awesome. That's all. Wait, I have to write about the song? Let's start with the beat; Rhythum D drops another bomb here, which just infects your brain with the funk. The synthesizer is just so damn catchy that you just can't help but move to it. Both of our hosts deliver a hell of an emotional performance; rapping from deep feelings about the struggle to their hopes to become a successful rap duo. Hands down, this is the best song of the entire album. Why this wasn't released as a single is beyond me.

12. Do or Die - Charlie B is behind the boards again; even though he was responsible for the 3 weaker tracks on here, he redeems himself nicely again with a very tragic-sounding synthesizer heavy beat that just puts you into the South Central hoods at sunset. This time it's a BG Knocc Out solo, with Dresta relegated to the hook; Dresta tells a pretty entertaining story about keeping things under control in the hood, which eventually turns into a hit; a very solid track.

13. Take a Ride - Rhythum D is behind the boards again, and producers another funky hood banger; our hosts, likely done with the delirium of hood life featuring homicides, car jackings, studio gangstas and bad traffic, create a track that was instead meant to be banged at a house party, or for that song you play on your way to the prom in order to look cool. For what's it worth, it's pretty damn good as well.

14. Down Goes Another Nigga - Another Rhythum D beat, although honestly compared to his earlier beats this one really isn't as memorable; it feels as if this was created for some Halloween gangsta album that was canned but got rehashed on here. Honestly though, I wasn't really sure what our hosts were rapping about; perhaps our heroes are rapping about a succubus that got loose and killed their homies, and their attempts to eradicate it from their local Compton neighborhood.

15. D.P.G./K - We reach our closer, which was actually the last single released from the album. Our hosts get off some pretty rhymes off, calling out the entire Death Row roster, and accussing them of being phonies, liars, and cheats. Madness 4 Real and Doctor Jam again give us a beat, and a pretty hot track. Also, the music video for this track was hysterical. A good way to strike back against the Death Row camp (a beef that would eventually end up being moot), and a good way to close out our album, and with that, we are done with Real Brothas.

SUMMARY: Real Brothas is straight-up, no frills, authentic, gangsta rap and G-funk. Both Dresta and BG Knocc Out sound solid, crisp, and on-point throughout our whole proceedings; topic wise the album doesn't really have one clear direction; a few songs are about typical gangster rap with your usual hardcore lyrics about the thug life, guns, killings and sets, a few other songs have a softer, mellow approach, and a few aren't really meant to be taken too seriously at all. That's not to detract from the album; even with the various topics at hand, the album is actually a pretty consistent lyrics, thanks to some really kick ass producers behind the board, and actually quite impressive lyricism from our hosts. Even in 2016, this album is still quite an enjoyable listen, and is definitely a West Coast gem.

BUY OR BURN?: Is this even serious? Definitely buy this album! This is probably one of the best releases of 1995, and is constantly criminally underrated. A must-have for any hip hop head. Sadly, this album has almost gone out of print and brand new ones are incredibly expensive, although a quick iTunes purchase is convenient.

BEST TRACKS: "Real Brothas", "Do or Die", "Everyday Allday", "50/50 Luv", "Whose the 'G", "Jealousy"

RBL Posse - A Lesson To Be Learned (In-a-Minute Records, September 16, 1992)

So where do I start here...

The RBL Posse (short for Ruthless By Law; perhaps they declared anarchy) is a relatively underground gangsta rap group hailing from Hunter's Point, San Francisco, and are perhaps maybe the best known rappers from San Francisco, formed by Christian Matthews (Black C), and Kyle Church (Mr. Cee). Ricky Herd (Hitman) would not join until a later date in 1995, therefore fully creating the Three Amigos.

For a while from 1992 until 1995, RBL Posse were making quite a name for themselves in the West Coast; they were not nearly as well known as other famous West Coast stalwarts such as Ice Cube, the rookie of the year at the time Snoop Dogg, or famous worldwide player and ass-shaker Too $hort. However, indie sales regionally were quite impressive, enough to get a deal on Atlantic Records. The RBL Posse had a very distinct sound; it was dark and grimey, yet very distinctly West Coast. It seemed as if the RBL Posse were destined for a blow up nationwide. Unfortunately, this good will would not last long.

On New Year's Day 1996, Mr. Cee was murdered near his home in San Francisco, in an apparent gang beef. Throughout the 1990s and the early 2000s Hunter's Point, San Francisco would be plagued by a number of gang wars and retaliation murders; eventually this reached a boiling point with Hitman being murdered in 2003, leaving only Black C as the survivng member of the RBL Posse; to this day, Black C continues the legacy of the brand, still making solo projects, as well as some weed carrier projects.

I'll go on with the RBL Posse as I progress with their discography; first, let's tackle A Lesson to Be Learned, a gangsta rap album released just before the dawn of Dr. Dre's The Chronic.

1. INTRO (FEAT. HERM LEWIS) - To start off our proceedings, we are hit with a conscious message from apparent SF community leader Herm Lewis, with a "warning" of not letting the album influence one's actions, an apparent retort of N.W.A.'s earlier messages about gangsta rap. I usually wouldn't right so much about an intro, but this feels so unfortunately ironic and out-of place; I'd listen to a preachy album if I needed to. Anyway...

2. I AIN'T NO JOKE - Starts off with a Beastie Boys sample, interestingly enough. The actual beat is pretty simple, primarily utilizing a 80s funk sampled bass, which is pretty catchy, although admittedly sounds slightly dated. Our verses, rapping about the dangers of Hunter's Point and the RBL Posse's rep, are effective enough, if not pedestrian. Overall, a pretty solid way to begin the album.

3. MORE LIKE AN ORGY - As it was a 1990s West Coast album, of course we have a sex rap. At the very least, this is a good sex rap. Black C's beat, again infused with 80s funk bass, as well as a few vocal samples, is catchy as all hell, and you just want to move to it. Lyrically, the Posse is quite descriptive and vivid with an apparent late night party, which the goal of getting sweet, black pussy. In all seriousness, this was a fun listen.

4. DON'T GIVE ME NO BAMMER WEED - The first single off the album, peaking at #16 in the Hot Rap Singles chart. An ode to quality marijuana, Black C and Mr. Cee call out those that fail in giving out good joints, as well as the beautiful effects of cannabis, thus encouraging the use and sharing of quality marijuana throughout the populace. The beat is just smooth as all hell, yet so cheery and peaceful, as if the beat itself was smoking whatever Black C and Mr. Cee brought to work that day. The chorous is goofy as hell, but that's the point. 24 years later it still holds strong.

5. BITCHES ON THE DING DONG - The beat here begins with a drum kick, which kind of reminds me of Havoc's production circa 1993-2000, which would begin with that signature drum kick. But that's the best that can be said here; the beat isn't nearly as catchy as our previous 3 beats, and sort of feels a bit like a mess. The lyrics are mostly just a generic sex rap. Unlike More Like an Orgy, this feels rather forced, and incredibly corny, thus, our first true dud of the album. Also, I wonder if Hostess ever heard this song before.

6. A LESSON TO BE LEARNED - As a general rule, title tracks usually suck, and I'm not a fan of this one; the beat basically follows the trend that Ice Cube started in 1990 of directly jacking beats for songs, so this feels rather unoriginal. Lyrically, the Posse sounds all right; the song is mostly a diss track towards the SFPD, and calling them out for police brutality (which was just as bad of an issue back then, as it is now), and a warning to them about dealing with Hunter's Point's denizens. If this song were over an actual original beat, I probably would've liked this more, but this song feels pretty average.

7. G'S BY THE 1,2,3'S (FEAT. TOTALLY INSANE) - The obligatory weed carrier track; to their credit, Totally Insane (a name I probably won't be writing about too much) manage to hold their own with the rest of the Posse. Yet again we get a pretty simple, yet actually quite smooth and catchy beat. Lyrically, our performers aren't amazing, rapping about living the thug life in the SFC; howver, overall this is another pretty solid track.

8. REMIND ME - Another West Coast track that basically jacks Patrice Rushen's Remind Me, the Posse this time raps about being able to pick up so many girls based on the popularity of the music. While this song isn't the worse, this concept has been done before, and it's been done better. Like with A Lesson to Be Learned, the song follows the Ice Cube created trend of using 2 beats in one song; also, the term "Captain Save a Hoe" seems to have been used here before E-40 made an entire song about that concept, a song that blew up on the entire West Coast and lead to the term being popularized in general.

9. SORTA LIKE A PSYCHO - Both Black C and Mr. Cee vent their frustrations about life and society, and how much they want to go Grand Theft Auto on civilization, and their anger at the system; the song turns into a simple vent into a bit of a story, where our heroes end up shooting civilians out of rage, which is actually pretty seamless. Again, the beat, while simple, is pretty smooth and catchy, so this was an enjoyable listen.

10. A PART OF SURVIVAL - The Posse deliver a pretty serious song about how crime is seriously affecting their community; our hosts deliver some pretty vivid lyrics about what life is like in the Hunter's Point, and how the struggle is seriously affecting them and their community. The beat is a bit too happy and bouncy for the serious and dark subject matter, but it manages to kick ass anyway.

11. OUTRO - An outro dedicated to friends, family members, and those that helped with the creation of the album. And with that, we are done.

SUMMARY: For an underground gangsta rap album that actually did quite well for itself regionally, RBL Posse's A Lesson to Be Learned is actually pretty good, and is a nice West Coast gem. The beats sadly sound a bit dated, and lyrically RBL Posse aren't Geoffrey Chaucer. However, a lot of these tracks actually have a lot of charm to them, which shines through.

BUY OR BURN: You should definitely buy this. While this album is out of print and quite rare, you can find this on iTunes, and you can support the RBL Posse itself through their official website.

BEST TRACKS: "Don't Give Me No Bammer Weed", "More Like an Orgy", "Sorta Like a Psycho", "G's by the 1, 2, 3's"

Mack 10 - Mack 10 (Untitled) (Priority Records - June 20, 1995)

For those of you that don't know, Mack 10 (real name Dedrick D'Mon Rolison) is a rapper from Inglewood, California, who is mostly known for his participation in the Westside Connection group, which was formed by more well known West Coast stars Ice Cube (of NWA and Friday fame) and Texas-born WC (known for being part of Low Profile and The Maad Circle). Mack 10, being the obvious lesser known emcee, actually first appeared in 1994 on the Bootlegs and B-Sides album, which was an Ice Cube stopgap that provided fans easy access to Ice Cube's remixes and non-properly released tracks. Obviously, being the new merry weed carrier for Ice Cube, Mack 10 needed his proper debut album.

And so it would be. In 1995, Priority Records, attempting to milk out as much as it could from the hip hop boom (especially from the west coast), released Mack 10's first album, which was of course titled Mack 10, or presumably Untitled, but I'll just refer to it by the former. It was Mack 10's forage into the unforgiving and cold world of 1990s mainstream hip hop, one which would determine his future state of relevancy within the community. What would happen is a moderately successful (it only went gold) and lukewarmly-received album that would get Mack 10 to become one of the more better known West Coast emcees of the 90s.

But, is the album really any good? Let's dig in.

1. MICKY D'S LICK (INTRO) - A pretty meaningless satirical intro where our protagonist Mack 10 attempts to order McDonald's, only for the ordeal to go awfully wrong, starring our guest star (you'll hear that a lot) Ice Cube. Pretty banal and meaningless, like all other rap album intros.

2. FOE LIFE (FEAT. ICE CUBE) - The first single released from Mack 10, and quite a splendid single at that one. Ice Cube comes up with a pretty funky yet quite original-sounding beat where our host brags about the hood life, his emceeing skills, and his struggles to breakthrough into the rapping game. While Mack 10 isn't the most menacing gangsta rapper around, his humor shines quite well, probably because the beat doesn't take itself too seriously. The song also takes a shot at the East Coast, mocking Boogie Down Productions' "Remix for P is Free", adding only more fumes to the flames by this time.

3. WANTED DEAD - Another Ice Cube production, and again it goes pretty well. The beat is very synthesizer and bass heavy, and sounds like probably one of the most generic West sounding beats you'll ever hear, but the soundscape that is created is actually pretty fitting; Mack 10 here raps about how he's wanted by the 5-0 for "a 187 in 3 states", which presumably doesn't sit too well with the feds. Mack 10's storytelling is spot on throughout the song, and makes for a pretty engaging listen. Presumably, our hero escapes, where he has a conversation with our guest star Ice Cube, which you can't help but laugh at.

4. ON THEM THANGS - This song, being the second single, actually brings up a lot of good memories; I used to listen to this when driving home during senior year around the last 2 months of school, probably because I was glad enough I was able to get out of that hellhole on quite a high note. The beat itself, produced by The 88X Unit, jacks Rick James' "The Mary Jane Girls", and creates a very funky sounding, yet very peaceful sounding beat perfect for smoking joints to. Mack 10's lyrics, again this time about gangbanging, the hood life, and coming up in the rap game, are actually quite mellow, which fits the instrumental quite well. The hook actually features the original Mary Jane girls, who actually also appeared in the music video, riding around with Mack 10 through Inglewood. Overall, a very compelling and nostalgic listen.

5. PIGEON COUP - A skit where Mack 10 attempts to feed some pigeons, and actually imitates them, before Cube comes out to stop the tomfoolery. Given the word "coup" I have no idea whether this was some cheap attempt at criticizing the US government or some pointless filler to meet a minute limit.

6. CHICKEN HAWK - Another gangster rap braggadocio in which Mack 10 brags about how violent he is, how great of a gangster he is, and how you should be intimidated by him. Throughout the song though, his flow isn't really angry as compared to many of his other contemporaries, but again, the self-satire actually shines here, given that the beat is quite slow-moving with guitar funk, and Ice Cube sings a hook that is just as silly as one of those classic Spongebob episodes. Also, there's a hostage phone call that never really takes itself too seriously. All in all, a pretty decent song, although not nearly as memorable as On Them Thangs or Foe Life.

7. HERE COMES THE G - Using a heavy sample of Patrice Rushen's "Remind Me", Crazy Toones creates a pretty peaceful and somewhat somber sounding beat; fittingly, Mack 10's lyrics are more laidback and soft, this time rapping about how he's going to represent and put down Inglewood, and how he's made it as far as he has. Overall, this song is the same category as "Chicken Hawk"; it's above average, but not truly memorable. Oh well, it could have been worse.

8. WESTSIDE SLAUGHTERHOUSE (FEAT. ICE CUBE & WC) - Behold, perhaps the best song of the entire album. Over a hard-hitting Madness 4 Real Beat, which just knocks the shit out of your ride, and brings the vibe of a cold abattoir (as this song is called Westside Slaughterhouse), our 3 guests absolutely tear the beat to shreds, all sounding angry as hell, ready to strike havoc against the East. Throughout the song, a number of shots are taken towards Chicago poet/emcee/actor/ Common, mocking "I Used To Love H.E.R", which to some was interpreted as a diss towards the West (as well as some other subtle shots towards other non-West emcees). This song is very important for a few reasons; it was the first song that would essentially be under the Westside Connection moniker, going on to release two successful albums, and it also helped start the Common-Ice Cube beef, a short lived feud which would end with "The Bitch in Yoo", before Minister Louis Farrakhan had to give a sit-down with the two in the wake of the 2Pac and Biggie murders; it also helped WC and Mack 10 gain even more widespread exposure. Regardless, this song still knocks today, and you should blast it.

9. NIGGAS DOG SCRAPPING - Yet another pointless skit involving an argument about dogs and money. That's all I'll say.

10. ARMED & DANGEROUS - Behold, the first true dud of the album. A self-production this time around, Mack 10 raps about how dangerous and amazing of a gangster he is. By 1995 this beat sounds quite dated; there are far too many samples going on anyway and overall sounds very convoluted and busy. Not only that, but Mack 10's voice sounds as if this song may have been recorded on some earlier mixtape and was just added onto the proceedings as filler. What I'm trying to say is that this song sucks the big one, and should be promptly ignored.

11. H-O-E-K (FEAT K-DEE) - Another Ice Cube production, which doesn't sound too bad; using more funk samples and an occasional synthesizer, it creates another decent soundscape of the Cali hoods. However, lyrically, the song falls apart; this is a sex rap, which was pretty much mandatory for West Coast albums at the time. K-Dee does his job well enough, rapping about how good he is at macking hoes. Mack 10, our hero, however, sounds pretty uncomfortable in this role; it sort of sounds as if he's trying to imitate Too Short, but it comes off as pretty corny. Overall, while not as bad as the previous song, this honestly isn't a good song; simply put, Mack 10's not a sex rapper. Next!

12. 10 MILLION WAYS - Ice Cube creates another instrumental using more funk samples, although unlike some of the previous beats, this sounds plain smooth, perfect for a good ride. Lyrically, Mack 10 raps more about hustling, gang-banging, or more specifically, trying to make a living the hard way, such as robbing gas stations. While not the most original song, Mack 10 sounds more at home here, and all in all, the final product is quite solid.

13. MOZI-WOZI - Yet another sex rap, which includes an intro of Ice Cube warning the listener to use condoms, and encourages sex rap. It's another Ice Cube production, which sounds awkward; it sort of sounds like a mid-90s Bay Area-style beat, but the emphasis on using a horn (which sounds slightly creepy), and a pretty shitty R&B-style hook (assuming this was an attempt to gain widespread airplay), bring this song down. Of course, it doesn't help that Mack 10 isn't a sex rapper, and without any support, the song completely fails.

14. Mack 10's The Name - The 88X Unit drop a very strong and aggressive sounding G-funk beat, sounding akin to something that would be on Dogg Food. Unfortunately, Mack 10 sucks over this beat; his lyrics are pretty monotonous, and his flow doesn't really fit well with the pace of the instrumental. You can tell he struggles to adjust his typical slow, crooked flow to a more faster pace. Overall, a pretty low note to end the day's proceedings.

SUMMARY: In all honesty, Mack 10 is actually a pretty solid mid-90s gangsta rap album. While there aren't any revolutionary game-changing songs to be found here, or anything that will somehow inspire you to write an A+ college essay, for what it's worth, it does it's job pretty well. The beats are typical 1995-sounding funky West Coast instrumentals, which are mostly on-point. Surprisingly, the quality control is strong with this one; there are only a few duds here and there, but there is only one truly awful song (one that was probably a last minute addition anyway), and the subject matter is on-point for most of the day. Lyrically, Mack 10 isn't going to win the Pulitzer prize anytime soon, but he is interesting enough to want to listen to, and keeps listeners engaged.

BUY OR BURN?: If you can find this album for cheap, I suggest that you buy this. There are enough tracks here to keep you entertained, and will go nicely in a West Coast collection.

BEST TRACKS: "On Them Thangs"; "Wanted Dead"; "Foe Life"