[A] Article

The New School Hip Hop Revolution

By Jung Kyu Rhee (2000)


Introduction

Since its birth in the 1970s, the musical form of hip hop has evolved drastically. (Afrika Bambaataa, Davey D's Hip Hop Corner). What used to be about simplistic lyrics and beats based on Jamaican toasting has been revolutionized into a complex art form. (Davey D, Davey D's Hip Hop Corner). Due to experimentation and innovation, it is not only the lyrics and beats of today's artists that are more sophisticated than their predecessors'. The conceptual expressions and images and the variations and combinations that arise from these ideas have greatly expanded as well.

Two intriguing conceptual styles in hip hop music worth examining are Mafioso rap and West Coast underground hip hop. The potential brilliance of Mafioso rap has often been undermined by hip hop purists who claim that the form is not relevant to hip hop. They often dismiss the form as materialism and fantasy. However, Mafioso rap can, at its best, be a truly worthy form of hip hop, and its potential artistic merits deserve serious analysis.

West Coast underground hip hop deserves to be exposed in a positive light as well. Overshadowed by "gangsta" rap that is prevalent in the region, West Coast underground hip hop is not well known to the mainstream. It is a truly creative breed of hip hop whose qualities must be examined for a wider audience.
 

The Mafioso Influence

"Mafioso" rap, which boomed in the mid-1990s, is an extension of East Coast "thug" rap as well as West Coast "gangsta" rap. Whereas gangsta and thug rappers tell tales of life on the ghetto streets, Mafioso rappers spin imaginary fantasies of rappers as Mafiosis, drug kingpins, and organized crime figures. This new subgenre does not just draw from its predecessors, it takes those concepts to a higher level.

Perhaps the most striking difference between Mafioso and gangsta/thug rap is the difference in which the way these hip hop subgenres are influenced. Usually, artists who perform gangsta/thug rap are byproducts of the ghetto life that they portray. If they didn't experience such issues as violence firsthand, they were constantly surrounded by them as they grew up (All Music Guide). Therefore, the subgenre is based partially on reality.

On the other hand, Mafioso rap is based virtually on pure fantasy and interpretation. These rappers did not grow up surrounded by organized crime or the Mafia. They certainly are not part of, nor affiliated with, any crime family. What influences these artists are the high profile gangsters and events in the history and (at the time) current events of the Mafia. High profile federal cases against John Gotti, the Don (boss) of the Gambino crime family, and La Cosa Nostra (the Sicilian Mafia), the acts of legendary gangsters such as Al Capone, Lucky Luciano, and Frank Costello, provide the basis for the artists' work. In addition to Mafia events, Latin American drug cartel-related news (most notably, the saga of Colombian drug kingpin and terrorist Pablo Escobar) also influence these new breed of rappers.

Even more so than drawing from real life organized crime events, the Mafioso rappers draw from gangster films. Such films include American and foreign classics like The Godfather, Goodfellas, Casino, Scarface, A Better Tomorrow, and The Killer. Tales told on record by these artists are often adapted versions of events that happen in these films. The rappers often adapt monikers from the names of characters in the films. They liberally insert segments of their favorite gangster film dialogue into their albums as skits or interludes. In some cases, they even "act" out their own gangster skits and imagine themselves as mobsters.

The rappers' love for gangster films is well exemplified by AZ's lyrics off of his 1995 debut album Doe or Die's title song. He professes his fascination with glamorized mob culture:

And ever since I was a tarface baby, watchin' Scarface

I dreamed of guns and tons of coke on a car chase

A fat connect with a kingpin Colombian

Plus props from crooked cops, payin' him tops not to run me in

Keepin my toaster in a shoulder holster

Havin hoes playin me closer, sexin on a silk sofa

Livin the life of the rich and trife

Rugged but sharp like a kitchen knife

Without stress from some bitchin wife

What a life, that's why I be on what I be on

Always ready to war for a score that's sure to put me on.

The artist that very first started this new breed of rap is Kool G Rap (b. Nathaniel Wilson, 1968), short for "Kool Genius of Rap," though the middle initial "G" could very well stand for "Gangster." (All Music Guide). Though Mafioso rap is heavily criticized by hip hop purists as materialistic and unrealistic, Kool G Rap's unusual and unique flow, delivery, and ability to paint vivid imagery with his rhymes make him the Godfather of Mafioso rap.

What Kool G Rap possess over his Mafioso-rapping peers is unparalleled credibility. Though he has never experienced true commercial success, there has been no shortage of critical acclaim that he has garnered. Matt Conaway of All Music Guide writes:

Somehow, G Rap has become an undeserving victim in a nationwide conspiracy designed to keep him from Platinum plates. Portraying vivid images of streetlife, the man from the planet of Queens became world-renown for his cinematic approach to the art of emceeing. G Rap's bursts of verbal aggression, intertwined with his trademark of the hook lisp, is a major reason why he is widely regarded as an emcee's emcee by true fans and peers. (Conaway, All Music Guide). From the beginning, Kool G Rap embraced the Mafioso influence into his craft. In the title track of his 1989 debut album Road to the Riches, G Rap showcases some rhymes about the "glamorous life": Gettin' richer and richer, the police took my picture

But I still supplied, some people I knew died

Murders and homicides for bottles of suicide

Money, jewelry, livin' like a star

And I wasn't too far from a Jaguar car

In a small-time casino, the town's Al Pacino

For all of the girls, the pretty boy Valentino

I shot up stores and I kicked down doors

Collecting scars from little neighborhood wars

Many legs I broke, many necks I choked

And if provoked I let the pistol smoke

Eyes of hate and their hearts get colder

Some young male put in jail

His lawyer so good his bail is on sale

Lookin' at the hourglass, how long can this power last?

Longer than my song but he already fell

He likes to eat hardy, party

Be like John Gotti, and drive a Maserati.

From 1989 to 1992, Kool G Rap further developed his craft. From bragging about the glamorous life, he moved on to weave intricate and hauntingly graphic gangster stories. "On the Run" from his 1992 Live and Let Die album reflects this progress: I got a job with the mob, makin' G's

Doin' some pickups, deliveries and transportin' keys

Yeah they got me like a flunkie

I'm ridin' around with ten kilos inside my trunk G

And I'm holdin' the suitcase

with a half a million dollars right in my motherfuckin' face

And I'm tryin' to ignore it

But sometimes I get tempted to make a motherfuckin' run for it

The thought alone makes me shiver, damn

What if I get caught? They'll find me floatin' in the Hudson river

But if I escape, I'll be in shape for my life

but they might, get my kid and my wife

I took 'em all out, but I caught one in the stomach

Now I'm lookin' for survivors

So I ran up on the side of the car, and hit the driver

And then I laid low

The only motherfucker left was Don Luciano

So I snuck up the sucker

Put my gun to his head, "Whassup, now motherfucker?"

He said, "Wait, I want to talk"

*five gunshots* I put his brains on the sidewalk

Another life I had to waste

He fell on his back, and then I spit right in his guinea face

He saw the barrel of the devil's gun

Now I'm no longer on the motherfuckin' run.

While Kool G Rap is the man who initially pioneered the Mafioso movement in hip hop, other artists propelled mob-influenced hip hop's full growth. One such artist is the previously mentioned Nas. Nas has both remarkable similarities and differences to Kool G Rap. Like how Kool G Rap established his credibility with macho hardcore raps, Nas fully established himself in reality-based hip hop with his 1994 Illmatic debut. Nas is perfectly suited to become a Mafioso rapper. He has the uncanny ability to paint lifelike imagery and present truly cinematic stories with his lyricism.

However, Nas' demeanor differs from Kool G Rap's. Nas' usually calm, relaxed, and subtle persona contrasts with Kool G Rap's macho aggression. He tells street tales in a street reporter's perspective while Kool G Rap brags about the bloody "crimes" he had committed. Even though both Nas and Kool G Rap almost always rap perfectly on beat, Nas' delivers his words in more subtlety and monotony than Kool G Rap's grating harshness. In the world of Mafioso rap, Nas' demeanor translates into an artist better suited to play the role of a slick, refined gangster film character such as Michael Corleone (from The Godfather trilogy, played by Al Pacino) than Kool G Rap ever was.

Nas first showcased his Mafioso raps in cameos on other artists' songs. These songs are Mobb Deep's "Eye for an Eye" (1995), AZ's "Mo Money, Mo Murder (Homicide)" (1995), and Raekwon's "Verbal Intercourse" (1995). Of these three, "Mo Money, Mo Murder" best displays Nas' ability to construct cinematic gangster lyricism. His second verse from the song goes:

Scent of a rose on the graveyard for real now

The stakes is up a half a mil now

I tried to grab him with his shield down

Four walked in, they're crazy paid up

Sharp but straight up

Gators from Barbados, never seen nobody play those

Lay-Low's what they called him, his head baldin'

Sippin' cappuccino, spilled on his silk suits, was scaldin'

Laugh was vulgar, canvas paintings of the Isatollah

And on his arm he wore a priceless vulture

Tobacco pipe smoker, Escobar your life is over

Justify the righteous nova

Bullets flew out his right shoulder

Corpse leavin' a foul odor, The Firm Volume 1 adjourned

Bring it to a closure.

Two albums that Nas makes guest appearances on, AZ's Doe or Die and Raekwon's Only Built 4 Cuban Linx (1995), are perhaps the two most important pieces of work in Mafioso hip hop. Those albums pioneered the subgenre: They are greatly built albums that were the first to actually revolve around the Mafioso theme, rather than dabble in it. They solidified Mafioso rap's presence in hip hop and set the standard for future works to come.

Doe or Die, AZ's debut album, is the prototypical Mafioso hip hop album. The CD's cover, back, and liner notes reflect the mentality. The cover has AZ as part of a lavish mob funeral. A stylish portrait of his takes center stage, surrounded by flowers, and he is buried in a casket full of money. The back of the CD features AZ holding a glass of fine white wine and a cigar. The liner notes contain various photographs of AZ counting money, drinking wine, and holding a car.

As the man who boldly declared on Nas' song "Life's a Bitch" (1994) that "a person's status depends on salary," AZ expands on his philosophy on Doe or Die. "Sugar Hill" is an intricately woven fantasy of the glamorous life in which AZ is surrounded by luxury cars, beautiful women, and beautiful scenery. He imagines himself vacationing in the Caribbean, living in world class hotels, riding yachts, and enjoying a highly lavish life. Female vocals and producer L.E.S.'s use of bell samples creates the appropriate mood AZ's raps.

Of course, Mafioso rap involves more than just rhyming about living privileged lives and AZ makes sure he covers other aspects of Mafioso rap. "Doe or Die" spins a tale of the less glorious side of living a life of organized crime. It details the struggles of the "mobsters" rise to power and of the fight against the law from bringing them down. In "Mo Money, Mo Murder (Homicide)," AZ and Nas exchange verses and create a cinematic murder story about assassinating a big time mobster. In these songs, the producers make great use of synthesizers to recreate the mood of a gangster movie.

What is even more impressive is the companion epilogue song to "Mo Money" called "Born Alone, Die Alone." In "Born Alone," AZ, as a very old man and retired mobster, reminisces about his earlier life. He is tormented by the sins he committed and the memories of his dead cohorts. The lyrics are quite reminiscent of the end of the film The Godfather Part III. At end of the movie, Michael Corleone, now an old man long retired as a mobster and in the twilight of his life, reflects on himself and the evil that he committed during his tenure. As he thinks of the loved ones that he lost, he passes away.

Only Built 4 Cuban Linx, the solo debut album of Wu-Tang Clan member Raekwon, is the epic masterpiece of Mafioso hip hop. Filled with appropriately placed samples from Scarface and The Killer, haunting soundscapes created by Wu-Tang producer The RZA, hard-hitting rhymes and tales of mob drama, the album is a fascinating listen. Adam Heimlich of CDNow describes the impact and artistry of Cuban Linx:

For several years afterward you couldn't find a rap thug who wasn't "politicking," slinging cut-up gangland narratives like a ghetto John Woo or Martin Scorsese, doling out guest appearances to his crew like loot from a job, and striving all the while to keep it as raw yet richly detailed as Rae did.

Though the CD's 18 tracks present a series of episodes instead of a unified dramatic sweep, Raekwon's storytelling evokes senses of rapid motion, kamikaze faith, loyalty, and focus in the midst of high-stakes tumult that, together, convey more about his mindstate than any straight autobiography could have. RZA wanted Cuban Linx's music to transport listeners into Rae's transcendent point of view, and he succeeded so spectacularly that thousands of rap fans --the ones who don't look to hip-hop for an out-of-body experience -- will never fully comprehend all the undying fuss about this album. (Heimlich, CDNow).

The songs "Criminology" and "Wu-Gambinos" are two representative works of the artistry of Raekwon's venture into Mafioso hip hop. "Criminology," which begins with an interlude from an intense moment in Scarface, is a hard-edged tale of Raekwon and Ghostface Killer's "life" as blue-collar gangsters. The intense interlude from Scarface prepares the listener for the raw energy that is about to be delivered by the emcees. The loud horn samples and the sparse but edgy piano loop provide a perfect soundscape for the song.

"Wu-Gambinos" features several Wu-Tang Clan members in addition to Raekwon: Ghostface Killer, Method Man, The RZA, and Master Killa. The collaboration results in a rugged but elaborate and visual demonstration of gangster bravado. After the fitting introduction interlude (from The Killer) and the artists' own gangster-imitating skit, each emcee takes turns flaunting their Mafioso lifestyles - guns, women, money, and drugs. The RZA, the producer of the track, does admirable work. Using carefully calculated placement of synthesizer music and piano loops, he creates an apt and masterful soundscape for the song.

Starting in the middle of 1996 and throughout 1997, Mafioso hip hop gradually lost its luster. Work produced by established artists became stale. The fact that imitators who made marginal music were emerging didn't help matters, either. Mafioso hip hop being released was becoming more and more generic: The concept was becoming overused and fresh ideas were slow to emerge. By 1998, Mafioso rap was all but dead.

However, Mafioso hip hop would not go out without a fight. The fight was put up by the Godfather of Mafioso rap, Kool G Rap, himself. After further developing his craft with 1995's 4, 5, 6, Kool G Rap released an ultimate work of lyrical mobsterism with 1998's Roots of Evil. Everything about the album screams Mafioso, starting from the album cover. The cover is an adaptation of the video cover of the film Scarface. Instead of the Cuban refugee turned wealthy drug kingpin Tony Montana (the lead character played by Al Pacino) and the summary of his saga, it features Kool G Rap and the summary of his career.

Lyrically and musically, Roots of Evil fully epitomizes Mafioso rap. Different standout tracks such as "One Dark Night," "Tekilla Sunrise," "Mobstas," and "Thug's Love Story (Chapter I, II, III)" are all demonstrations of Kool G Rap's versatility. "One Dark Night," a bass-heavy track, is a short but intense tale of a shootout. "Tekilla Sunrise," with its Latin guitar samples, is a song that "makes you want to see G Rap and Antonia Banderas busting off clips at each other in an action flick." (Juon, RapReviews). "Mobstas," backed by fluctuating synthesizer play, is an intricately pieced mosaic in which Kool G Rap paints a dream. He meets legendary mobsters and vigilantes (including Al Capone, Frank Costello, Lucky Luciano, Bugsy Siegel, Baby Face Nelson, Machine Gun Kelly, John Dillinger). "Thug's Life Story" is a "9-minute excursion into the underworld, finding G Rap at unparalleled echelons." (Conaway, All Music Guide).

Ultimately, despite his greatness, Kool G Rap could not resuscitate Mob-influenced hip hop. The state of the music had long been a shell of its former self and one man's effort, no matter how great he was, could not bring the music back to life. But through his last efforts, Kool G Rap made sure Mafioso rap went out with a big bang.
 

The West Coast Underground Explosion

To the mainstream audience, West Coast hip hop was synonymous with "gangsta" rap. Starting with the success of N.W.A. in the late 1980's and then the solo careers of members Ice Cube and Dr. Dre, gangsta rap was enormously successful commercially as well as gaining attention (controversy being a major part) from the mainstream media. In addition, other artists from Death Row Records (which Suge Knight and Dr. Dre co-owned), such as Snoop Doggy Dogg and Tupac Shakur (2Pac), made gangsta rap a household name.

While gangsta rap was getting heavy exposure in the mainstream, there was hip hop in the West Coast that was little known. Beneath the spotlight, the Los Angeles region and the San Francisco/Oakland Bay Area had thriving underground scenes. Between 1991 and 1994, the LA Underground was "a burgeoning Mecca of hip hop innovation, possessing a kinetic musical energy and a flare for progressive beats and styles." (official Jurassic 5 website). From open-mic spaces such as the Good Life Café, in the heart of South Central Los Angeles' old jazz district prominent underground hip hop groups such as Freestyle Fellowship, The Pharcyde, and Jurassic 5 emerged. (official Jurassic 5 website).

One of the earliest groups to make known the presence of the West Coast underground sound was The Pharcyde. Their first album Bizarre Ride II the Pharcyde goes beyond the gangsta concept that permeates a large part of the hip hop of the West Coast. An album that adds a California twist (laid back flows and funky melodies) to traditional old school hip hop (solid beats and lyrical proficiency), Bizarre Ride is a monumental work that put non-mainstream West Coast rap on the map.

The four members of The Pharcyde - Fatlip, Slim Kid Tre, Imani Wilcox, and Booty Brown - all have distinct rapping styles. What results is a varied structure and fresh spontaneity throughout the album. This variation is especially helping The Pharcyde communicate their range of emotional topics, ranging from unrequited love to having wacky fun. The result is genuine and down-to-earth expression of sentiment.

"Passin' Me By" and "Ya Mama" are demonstrative of The Pharcyde's expressive abilities. "Passin' Me By" is a song of unrequited love and the heartbreak that results from it. What is intriguing is how the group communicates the same topic in different method. Bootie Brown, with his high-pitched voice is expressively consistent with his verse, which suggests a child-like innocence:

Now in my younger days I used to sport a shag

When I went to school I carried lunch in a bag

With an apple for my teacher 'cause I knew I'd get a kiss

Always got mad when the class was dismissed

But when it was in session, I always had a question

I would raise my hand to make her stagger to my desk and

help me with my problem, it was never much

Just a trick, to smell her scent and try to sneak a touch.

Fatlip, with a deeper tenor voice, raps about unrequited love from a more mature perspective: When I dream of fairytales I think of me and Shelly

See she's my type of hype and I can't stand when brothers tell me

That I should quit chasin' and look for something better

But the smile that she shows makes me a go-getter

I haven't gone as far as asking if I could get with her

I just play it by ear and hope she gets the picture

I'm shootin' for her heart, got my finger on the trigger

She could be my broad, and I could be her (nigga)

But, all I can do is stare...

Back as kids we used to kiss when we played truth or dare

Now she's more sophisticated, highly edu-ma-cated

not at all over-rated, I think I need a prayer

to get in her boots and it looks rather dry

I guess a twinkle in her eye is just a twinkle in her eye

Although she's crazy steppin', I'll try to stop her stride

Cause I won't have no more of this passin' me by.

The varying methods of expression converge in the vocal hook (repetitions of the passionate line "She keeps on passing me by."). The sum of the parts create a powerful whole climatic sentiment. Throughout the song, such mood and tone, with the help of the production that includes melodic samples of sounds of the organic bass, organ, and saxophone, is captured flawlessly.

"Ya Mama" is an example of The Pharcyde's happy emotions. In the song, the members crack jokes about other people's mothers. Again, different styles merge to create an excellent product. The song is well written, and the chemistry that exists between the members is obvious. The track is backed by a rich, laid-back, organ-driven sound that highlights the playful intent of the group.

While the verses are showcases of each member's skill and style, the concept of the song and the chemistry between the emcees are most apparent in the ending of the song. The rapping has stopped and the emcees take turn cracking "ya mama" one-liner jokes:

Ya mama got snake skin teeth

Ya mama wears coat hangers for earrings , dude she looks like.... hehehe

Ya mama was making sex threats to Ricky Bell and shit

Ya mama jacked the Kool-aid man for a sip, nigga

Ya mama was walking down on Sunset with a 99 cent sign on her back

It is clear that members are enjoying the presence of each other and what they are doing. The mellow production adds to the heartwarming feeling of the ending.

Another group of artists that was influential in the development of West Coast underground hip hop in the early- to mid-1990's was an Oakland-based collective known as the Hieroglyphics, which includes acclaimed artists such as Del the Funkyhomosapien, Souls of Mischief, and Casual. Like The Pharcyde, the Hieroglyphics produced high quality West Coast underground rap music. Their rhymes and concepts were fresh and innovative, as well as being proficiently written; their members had unique deliveries and flows that blended well together; their music was rich and textured with obscure funk and jazz samples. Above all, they were instrumental in defining the first generation West Coast underground sound. Their rhythms had hard-sounding, simple drum beats reminiscent of New York hip hop, yet were backed by mellow melodies and the overall creation was a separate, Californian sound.

Even though the Hieroglyphics members combined to release numerous albums, including a collective "family" album, Del the Funkyhomosapien's I Wish My Brother George Was Here (1991) and No Need for Alarm (1993), and Souls of Mischief's 93 'til Infinity by far the best-made and most influential albums to be released by the crew. KALX (Berkeley, Calif.) radio hip hop show "Ozone" host, DJ, and prominent hip hop scholar Oliver Wang writes the an extremely fitting review of Del's first album:

Del gave it up for the P-funk -- the "George" in this album's title is a reference to Parliament Funkadelic ringleader George Clinton, born July 22, 1940 -- but he was also one of the first on the West to start plugging into other sonic sources: soul-jazz artists like Donald Byrd and Eddie Harris plus old-school funkateers like the Meters and James Brown. As a lyricist, Del's intervention wasn't so much what he didn't rhyme about (gang-banging, drug-slanging, pimping, etc.), but about what he did.

Songs like his first single, "Sleeping on My Couch," and "Pissin' on My Steps" reflected the daily trials and tribulations of living in the struggling middle-class confines of East Oakland. In a sense, Del was a reality rapper, too, but his reality was defined by deadbeat friends ("Sleeping ...") and the dangers of public transportation ("The Wacky World of Rapid Transit"). Beyond that, Del was also a lyricist who helped change the East Coast's impression of the Left as a bunch of no-flow gangsta rappers, dropping crazy rhyme schemes on tracks like "Sunny Meadowz," "Dr. Bombay," and the George b-side, "Ahonetwo, Ahonetwo." (Wang, CDNow).

With No Need for Alarm, which is not as topically diverse as I Wish My Brother George Was Here, Del takes hip hop back to its roots - hard-hitting beats and rhymes. No Need for Alarm is a 14-song collection of Del's lyrical battling prowess and humor in full force. The rich and refreshing music is filled with thumping drum tracks, a variety of basslines, sliced and diced samples, and piano and keyboard work.

"Wack M.C.'s" is a fine example of the album's overall build and tone. In the song, Del relentlessly unleashes his lyrical skill and fury on an imaginary emcee. His ability and humor are evident in witty punchlines (e.g. "Unbearable, terrible, you sound like you're sharing flows with Treach"). He is backed by multi-layered production (done by none other than Del himself) that features a thick, organic bassline and sparse horn samples. The raw energy explodes in the chorus. The chorus is an exciting mix of horn samples, Del's passionate expressions ("I cannot stand no wack M.C.!"), and a voice sample of rapper Lord Finesse.

With their debut 93 'til Infinity, Souls of Mischief received critical acclaim and love from the hip hop underground as immensely talented emcees. Through the album, the four man crew of A-Plus, Tajai, Phesto and Opio showcase wordplay expertise, inventive rhyming schemes, original rapping styles, and conceptual versatility. Christopher Witt writes:

Though barely out of high school, the four Oakland M.C.'s bring an energy and consistency far beyond their years. They cast themselves as bemused observers, relating tales of urban violence, girls, and sucka M.C.'s with cleverness and exuberance. The production features sample piled upon sample, creating a sun-soaked funk more lively and eclectic than the West Coast's usual P-Funk-styled beats but without the gloom of East Coast hip-hop. (Witt, All Music Guide). The talents of Souls of Mischief can be evaluated in three songs of three different subject matters. The first song is called "Live and Let Live," a sullen chronicle of violence in their hometown of Oakland, California. With a subtle bassline alternating with hallucinating piano sequences and the brooding saxophone play, the mood is established for the grim nature of the topic. Phesto raps: Damn I wish, that I can have bliss, daily

Lately I try to speak my piece but words fail me

I'm dwelling in the halls of appalling sights of evil

I got to sweat the devil plus I got to sweat my people

Do I gotta blow them brains out to get them chains out

your head, the mackin' mentally offends to be dead.

The second song, "That's When Ya Lost" is pure braggadocio - unyielding lyrical ferocity and battling. The sound track - consisting of a pounding drum beat, a deep, heavy bassline and a very simple organ sample - appropriately complements the raw energy of the Souls. The experience is enhanced by the fact that members accomplish the art of battling with a sophistication all of their own: I, proliferator, quickly fade to niggas vigorous

Figure I kick stunts, I punch twice that nigga that's dissin' at me

Attach 'em to bats, latchin', and matchin' my cataclism

I give 'em a (skism),

I (stroke to croak her, I broke her)

Chokin' up on my syntax, as I bend backs by impacts (impacts)

then I give a concusssion in your NUTS when I'm bustin'

(Heads) Dead with my lead graff

I cloth thee, I (swing) off-beat, off the cerebellum, swellin' nimrods

Ten brains couldn't parallel this,

(ha) I'm carouselling kids while they wallow and swallow hallow tips (yep)

You follow and slippin'

I'm rippin' mics nice twice like (dicin' kids in fractions)

Yo, (figure, I tax men).

The title track "93 'til Infinity" is a mellow song, based on a smooth bassline and a fading horn sequence. The members talk about the slower side of life, things such as relaxing and admiring women, with an emphasis on the latter. The song is a means of release from the faster aspects of life Tajai sums up the side of the Souls the listener will experience through their music: "We handlin' from East Oakland, California and, um, sometimes it gets a little hectic out there. But right now, yo, we gonna up you on how we just chill." The admiration of women is very well done, with lines such as "Feel the vibrations/ so many females, so much inspiration." It is an impressive piece of work, presenting the listener with yet another dimension of the Souls' versatility.

Tha Alkaholiks brought another twist to the West Coast underground. Like The Pharcyde and the Hieroglyphics, Tha Alkaholiks placed a high importance on rhyming skills and the use of great beats for their music. However, they differed in several ways. They rhymed about fewer topics than their predecessors, but they were supreme specialists in the art of lyrical battling, braggadocio and simply rocking the party. They took hip hop back to its roots with a vengeance. Also, they brought an attitude that was reminiscent of gangsta rappers: They simply did not give a f**k. They drank malt liquor, smoked marijuana, talked s**t, and partied. Nathan Rabin of All Music Guide writes:

With the punch lines and comic timing of comedians and undeniable skills and killer delivery of topnotch MCs, rappers J-Ro and Tash have more than enough talent and energy to back up their endlessly clever boasting. Producer, DJ, and occasional MC, E-Swift is the group's secret weapon, an unjustly underrated beatsmith whose rubbery grooves and infectious production help make Tha Alkaholiks perhaps the greatest party group in hip-hop history. (All Music Guide). With their first two albums - 21 & Over (1993) and Coast II Coast (1995) - Tha Alkaholiks would leave an indelible mark on hip hop. These two albums, are much similar to each other. Despite being relatively short albums (each have just 10 and 11 songs, respectively), they are like great parties - explosive and extremely fun. They are filled with songs that make fun of sucker emcees, are of drinking liquor and smoking weed, and partying. They are filled with funky California beats that will require a listener to visit the chiropractor due to extreme head bopping. These albums are "so irreverent, infectious, and just plain fun that their booze-loving shtick never gets old." (Rabin, All Music Guide).

Songs like "Only When I'm Drunk" (from 21 & Over) and "DAAAM!" (from Coast II Coast) are products of the Liks' most basic form of their flair and skill. With rhymes like "When I get drunk, I might act uncouth/ But when I get drunk, I always tell the truth" (from "Only When I'm Drunk") and "I told chief to start no beef/ He tried to shoot me with his gun, I caught the bullet with my teeth" (from "DAAAM!"), the Liks drink and wittily punchline their way to making great party music.

Though dealing with similar topics, the Liks display a more sophisticated side of rhyming on songs like "Mary Jane" (from 21 & Over) and "2014" (from Coast II Coast). "Mary Jane" is an extended metaphor dedicated to marijuana. Tash's verse goes:

Mary Mary, why you got me buggin'?

Look what the homies done drug in... (Mary Jane)

Prettier than any model

I met her at a house party sippin' on a bottle

Her dress has got a nice fit I'm locked like a vise grip

She's the type I'd like to spend the rest of my life with

I would if I could but I know I can't support her

Can't take her on vacation, wouldn't make it past the border

When she ain't around I get the feeling that I need her

Mary Jane be acting white but I ain't caught the jungle fever

But she be so thin that I could slip her in my pocket

I lick her then I knock it till I'm higher than a rocket

Whenever she's in the same room with my friends

They all trip because she's dope and she don't want me for my ends

So just to make 'em jealous when she walks up to me

I reach out and grab her by the booty, Mary Jane.

"2014" is a futuristic fantasy with an optimistic J-Ro imagining the state of Tha Alkaholiks and hip hop in the year 2014, after nuclear destruction: He took me to the spot, dig deep underground

Where I can hear the sound of the big bass pound

I wasn't really sure, but I swore we smelled blunt smoke

No joke loc, well can I get a toke?

He took me to his pops and he handed me a spliff

And out behind the wall came Tash and E-Swift

They took me to a freestyle session it was on

I knew hip-hop would never be gone

Five hundred hip-hop deep

Yo we cool in 2014, Alkaholiks still rulin'.

The DJ-ed vocal hook of KRS-One line "Back in the day I knew that rap would never die" adds powerful support to J-Ro optimism. The song's greatness is completely achieved with matching futuristic music.

If Tha Alkaholiks were simply having some fun like they cared about nothing else, emcees like Ras Kass and Xzibit spewed anger as part of their attitude. These two artists from the Los Angeles area represented, at the time, a new breed of emcee on the West Coast. While the Liks were only reminiscent of gangsta rappers, Ras Kass and Xzibit carried the core of them. Like gangsta rappers, they were rage-filled young men from the streets, totally unafraid of controversy. Like N.W.A. and Ice Cube, these two spoke out on controversial social and political issues. They were versatile. Through their music, they also discussed issues in hip hop; bragged of their lyrical and sexual prowess, talked about guns, drugs, and alcohol - all at the highest levels. Whatever topic they touched on, they did it at an elite level. They were that good.

In a way, Ras Kass' career has been a disappointment. After a string of classic singles, the Carson, Calif. emcee released his debut album Soul on Ice in 1996. This album, while a lyrical masterpiece, is severely lacking in the beats department. Therefore, it never achieved true classic status it could have reached. His 1998 follow-up, Rassassination, has no redeeming qualities about it, save for a few songs such as "H2Oproof" and "Interview With a Vampire." RapReviews.com reviewer SoulzOnIce (a Ras Kass fan) calls the album a "sorry excuse of an effort." (SoulzOnIce, RapReviews).

Despite his shortcomings with his albums, Ras Kass' career cannot be ignored. He simply has released too many great non-album underground classics and has written too many great lyrics. His first-rate combination of attitude, versatility, insight, and sheer rapping ability is extremely rare.

From the beginning, Ras Kass seemed invincible. "High I.Q." (1994) displays Ras' braggadocio in fine form. With "Remain AnonymouS" (1994), Ras Kass speaks out, on the behalf of all unknown yet skilled emcees (especially ones from the West Coast), against the politics involved in an artist getting a record. "Won't Catch Me Runnin'" (1995) deals with the consequences of pride on his life ("Our self-image depends on the next man's scrimmage so I sin."). "Jack Frost" (1996) deals Ras Kass' Scrooge-like disdain for Christmas, and in the greater scheme of things, religion (especially Christianity), as Ras calls Santa Claus "that overweight queer with the red and white sleeping apparel."

Soul on Ice, despite its shortcomings musically, is impeccable lyrically. Various subject matters, including capitalism, religion, race, politics, sex, hip hop, braggadocio, are treated with Ras' signature cynical and sarcastic twist. Because of his unusual distrustful attitude and his street intellectuality, Ras Kass' gripping commentaries became serious food for debate in hip hop circles.

In "Anything Goes," with lines such as "It's only illegal if you get caught/ Thought you knew 'cause the DEA do it, too/ Keep separate books for the Internal Revenue," Ras points out the hypocrisy of capitalism. "If/Then" and "Etc." are braggadocio songs done in a way only Ras Kass can. These songs contain punchline after punchline of references, similes, metaphors, and double entendres - all done with Ras' nasty attitude.

Songs that Ras' wrote with regards to religion and race are the most powerful, however. "Soul on Ice" is a cross section view of hypocrisy in the issues of race, politics, money, and sex. Often, he raps about both in one song. In "The Evil That Men Do," Ras sees reflects on himself and laments the fact that he is just another example of an angry, deprived young black male who has went through the worst life has to offer. These include fatherlessness (I had a father who only stayed to see me grown/ Once I was twelve he was gone/ Alone, without a role model"); alcoholism and domestic violence ("I used to watch my Granddaddy and uncle hit the bottle - and then hit each other"); and teenage pregnancy ("I never used jims so I left a seed in the Earth"). His controversial dealings with race and religion are evident as well as he raps:

In eighty-one I remember the night

I covered myself with baby powder, so my black ass could be light

'Cause God is white, and Bo Derek is a ten

I hate my black skin, it's just a sin to be a nigga

Then again, I'm like the Frenchman, cause Granny's Creole

And therefore, we're black French people

So I think it's best if I go to Catholic school

And study under nuns and then I'll be a Catholic fool

Cause none of these cults want none of us up

and don't none want to see none of us live to be adults, sheeit

No wonder brothers take lives for red and blue

It's the evil that men do.

The most controversial song, however, is the near 8-minute epic "Nature of the Threat." It is scary, because the extent of Ras' hatred for white people is revealed in this effort. It is evident that he conducted massive research to support his views on this angry hateful hip hop essay. While his use of the information he gathered from his research is skewed and biased, the work cannot be overlooked. It is simply too powerful, speaking of issues as ancient history, discovery of the New World, slavery, and the state of race relations in the contemporary times. A small sample of the song goes: Now around this time, Whites started callings us Negroes

That's Spanish for black object meaning we're not really people

but profit, and the triangle trade begins - they seize us

Queen Elizabeth sends the first slaves on a ship named Jesus

Stealin' land from the indigenous natives

Gave them alcohol to keep the Red Man intoxicated

Whites claim they had to civilize these pagan animals

But up until 1848 there's documented cases

of whites bein' the savage cannibals, eatin' Indians

In 1992, it's Jeffery Dahmer

They slaughtered a whole race with guns

Drugs, priests and nuns

1763, the first demonic tactic of biological warfare

As tokens of peace, Sir Jeffery Amherst

passed out clothing and blankets to the Indian community

Infested with small pox, knowin' they had no immunity

Today it's AIDS, you best believe it's man made

'Cause ain't a damn thing changed.

After the release of his Soul on Ice, Ras Kass continued to high quality songs, mostly as singles. Again, these songs bridge various issues. Most of these issues have been covered before: On "Soul on Ice (Diamond D Remix)," Ras rips on "fake" rappers who talk about the lavish life they do not have. "Uni-4-orm" (from the Rhyme and Reason soundtrack - "Jews run it; niggas run around in it") and "The Music of Business" ("Business? You don't get what you deserve. You negotiate/ And everything is renegotiable based on the sales you generate.") again deal with the hypocrisy of the rap music industry, with a different twist.

"West Coast Mentality" is an anthem for Los Angeles pride. "Arch Angels," "Understandable Smooth," "H20proof" (from Rassassination), and "Oral Sex" are classic Ras Kass braggadocio. "Interview With a Vampire" (from Rassassination) is similar to "Nature of the Threat" in subject matter and scale. It is an almost 7-minute long epic that involves Ras' controversial treatment of race and religion. The structure, however, differs: It is staged as a three way conversation between Ras Kass, Satan, and God.

The new topics Ras Kass explores are female R&B singers and professional wrestling. "Where My Bitches At?" is an updated version of The Notorious B.I.G.'s underground classic "Dreams." Ras Kass expresses his sexual desire towards attractive contemporary female R&B singers. "Game (Triple H Theme)" is Ras' tribute to the WWF, something he apparently enjoys watching.

Likwit Crew member Xzibit, while similar to Ras Kass, is different in that he is more of a "tweener" than a true master. He does many things well, but is not master of anything. While he certainly is very skilled, insightful, and real, he lacks the sophistication of Ras Kass. He uses his distinct raspy voice and rough delivery to brag about his rapping prowess, speak out on social issues, and analyze controversial issues in hip hop with proficiency - just not with Ras Kass' uncanny complexity. However, Xzibit must not be overlooked as someone less important in the development of the West Coast underground spectrum. His unquestionable heart is reflected in every song of his: He communicates an honest and soulful perspective to the audience and thus personally connects with it. In that sense, he is every bit as good as Ras Kass, if not better. While Ras Kass shocks, Xzibit compels. This dimension elevates Xzibit's overall product from good to great. Oliver Wang analyzes Xzibit's emceeing from a more socio-political perspective:

Part reality-rapper, part hip-hop M.C., Xzibit embodies the twin personalities of the Los Angeles rap scene. Beginning with his debut, At the Speed of Light (1996), he's personified the scarred-'n'-streetwise gangsta image of L.A.'s badlands. But Xzibit's also an inventive songwriter who creates metaphors and rhyme-schemes as effortlessly as he writes lyrics about murder and rock-fiends.

One might claim that Xzibit is an heir to Ice Cube's legacy from his post-N.W.A, pre-Wessyde days, when Cube flexed the attitude of an O.G. (original gangsta) but the consciousness of an underground revolutionary. In particular, Xzibit reminds me of Ice Cube on his '92 album, The Predator, which was perhaps Cube's last gasp of insurgent rhetoric mixed with static-charged beats and street-level mentalities. Xzibit lacks Cube's penchant for politics, but his menacing vocals and brooding attitude carry a hint of Cube's snarl, bark and bite. The X-to-the-Z is neither pure gangsta nor super-lyrical M.C., but a convincing hybrid of the two. (Wang, SonicNet.com).

At the Speed of Life, Xzibit's underrated 1996 debut album, is a product of Xzibit's greatness. It is a multi-faceted album that features rock solid rhymes and very good production. On "Bird's Eye View" and "Plastic Surgery" are collaborations with Tha Alkaholiks and Ras Kass and Saafir, respectively, that take hip hop to its battling roots. While Xzibit drops solid rhymes bragging about his prowess and disses unoriginal emcees and establishes his presence with his commanding delivery, it is apparent that he is not on his guests' level in terms of utilizing witty punchlines. Nonetheless, these well-produced songs are gems and worthy of being on the classic album.

Xzibit's more powerful songs are ones that reflect on his state of mind. Tracks such as "At the Speed of Life," "Eyes May Shine," "Carry the Weight," and "Enemies & Friends" are all insightful and reflective songs that feature the crisp and deceptively simple, melancholic production that is general of the album. Xzibit brilliantly takes the listener through the trials and tribulations of and his views on life. Lyrics such as "I treat my enemies like friends/ So I can reach out and touch/ Leave 'em in the dust in the very end" and "Xzibit easily dispersed like crack cocaine/ See, I lent my shotgun to Kurt Cobain" (both from "Enemies & Friends") stay in the listener's conscience long after they have finished listening to the album.

The most memorable songs of the album, however, are the appropriately titled "Paparazzi" and "The Foundation." "Paparazzi" is Xzibit's heartfelt and furious, but controlled tirade against hip hoppers who forsake their artistic integrity for money and fame. Xzibit's high energy and heavy drum beat and the soothing classical orchestral Thayod Ausar-produced music make for an oddly matched, but great sounding combination. Xzibit's message is brutally sincere:

Sometimes I wonder if it's all worth my while

Xzibit stay versatile with million dollar lifestyle

And I could feel it as a child growing up

The niggas that was real and the niggas that was scared as fuck

That's why Xzibit only rolls with a chosen few

You ain't really real, I can tell when I look at you

So ease off the trigga talk, you ain't killin' shit

It's not affectin' me, or the niggas that I'm chillin' with

I don't believe the hype or buy wolf tickets, nigga

You make a gang of noise and never seem like a cricket

I guess that's why we never kick it

Alota rappers is soft and get tossed tryin' to fuck with the Likwit

So how many rappers do you know like this

Always claimin' that they ride but they really turn bitch

It don't make sense

Either you a soldier from the start or an actor with a record deal tryin' to play the part.

"Foundation" is Xzibit's touching message from a father to a son. A Billy Joel piano sample, true sounds of his son's cries at birth and a chorus sung by a boys choir make the message that more effective. Throughout the song, Xzibit offers fatherly advice regarding different issues in life: Self-defense ("Hit back when hit," "When your neck is on the line, stand ground and bust"); decision-making ("Son if you ever pull heat then use it/ But if you got a chance to walk away then do it"); friendships ("Beware of the serpent"); police brutality ("The police just arrest you, disrespect you, on occasion take life/ By the time you come of age, they'll probably blast on sight"); the importance of leadership and education ("Gotta live life to the fullest, never follow behind/ No man have your own plan, expand your mind"); filial piety ("Take care of your mother"); inheritance ("If the time ever comes that I meet my match/ Take control of my assets, fuck startin' from scratch"); and women ("All these bitches and women, son, please be selective" "To bring life, make sure it's the woman you gonna make your wife."). Of course, he raps to his son how much he loves him in lines such as "When I look you in your eyes, I can see my own/ Straight love manifested in flesh and bone/ You're a breath of fresh air in this world of shit" and offers the general advice to follow in life - "Total domination takes full concentration in all situations."

With his 1998 follow-up 40 Dayz & 40 Nightz, Xzibit grew as an emcee but not as a thinker. He greatly improved in his use of wit in punchlines and wrote more intricate rhymes, but with the exception of a few songs as "Los Angeles Times," Xzibit stayed away from the more serious, thought-provoking concepts. In his SonicNet.com review of the album, Wang immaculately describes the weaknesses and strengths of the album:

40 Dayz and 40 Nightz draws up short on concept. Allusions to legal injustice, police brutality and Biblical retribution in the intro skit go nowhere at all, leaving you to wonder why Xzibit bothered anyway. Likewise, the outro is a contrived attempt at relating a veteran's experience in Vietnam to Xzibit's street-soldier life, but it arrives DOA. Note to Xzibit: This ain't "Dead Presidents."

However, sandwiched between the two skits is an album that rarely fails to deliver funky beats and raucous rhymes. At his best, Xzibit drops vicious punch lines and clever metaphors with a fierce delivery. His gruff voice pounds like an aural assault-and-battery, yet flows with a finesse all its own. Moreover, unlike most projects that feature multiple producers, Xzibit's squad of beat-makers keep the rhythm moving without getting too stagnant. Sir Jinx is perhaps the laziest, sampling the Ohio Player's "Funky Worm" for the umpteenth time on "Shroomz," but the crazy, zany guitar licks sound good all the same, especially for a song about hallucinogens.

"What U See Is What U Get" is another standout. The song begins with Jesse West's smooth jazzy loop, which gives way suddenly to a terrifying track of stabbing horn hits and moody key chords. In contrast, "Nobody Sounds Like Me" (produced by A Kid Called Roots) is a subtle yet sublime mix of quirky guitar loops and amorphous sounds that echo in and out of the track.

The two best beats, though, confirm the belief that there is beauty in simplicity. The first is "Los Angeles Times," which works off nothing more than a simple two-note bassline, yet rolls thicker than a squad of lowriders on a Friday night cruise. And the last song, "Recycled Assassins," loops part of Bob James' well-sampled "Nautilus" and creates a sad, melancholy soundtrack that Xzibit and featured guest Montageone rhyme over.

While Xzibit can hold any track solo, there are a surprising number of cameos on the album. The obvious inclusions are Likwit Crew members such as Defari Herut on "Handle Your Business." But where Likwit massive really kicks it is on the superior "Let It Rain," which brings in King T and Tha Alkaholiks for a five-round posse jam that thumps along with authority. Xzibit is also part of the Golden State Warriors trio of himself, Ras Kass and Saafir, and the three of them churn out "3 Card Molly," a showcase of West Coast lyricism. (Wang, SonicNet.com).

Despite its shortcomings, the album as a whole is a truly good listening experience. While listeners miss out on Xzibit's rare conceptual proficiency, they can enjoy the Xzibit that is much improved in terms of bragging and battling prowess, cleverness, and party rocking.

Through the efforts The Pharcyde to the Hieroglyphics to Tha Alkaholiks to Ras Kass and Xzibit, West Coast hip hop reached its potential. While West Coast hip hop might still be stereotyped by the mainstream media as gangsta rap, artistically at least, West Coast rap escaped such stigma. Today, artists such as Jurassic 5 and the Dilated Peoples proudly carry on the creative legacy of the West Coast underground.
 

Conclusion

With the evolution of hip hop music, many different styles emerged. Some styles became more well-known, dominant, or well-liked than others. As a result, some artistic and innovative hip hop styles did not receive the credit they merited. Among those included the Mafioso and West Coast underground styles of hip hop.

Mafioso hip hop, even though it features cinematic stories and hypnotizing music, has been dismissed by hip hop elitists as a farce without artistic merit. To the contrary, scintillatingly creative West Coast underground hip hop, while being embraced by hip hop diehards, has been living virtually unknown to the mainstream. Both styles are byproducts of the vast development of hip hop and evidence of the adaptive and creative powers of hip hop. The hope is that disenfranchised and anonymous yet inventive hip hop styles such as these two will become more well known and respected, whether it be in hip hop circles or the mainstream.

Works Cited

1. Afrika Bambaataa. Afrika Bambaataa's Definition of Hip Hop. Sept. 23, 1996. Davey D's Hip Hop Corner. Accessed Dec. 12, 2000 <http://www.daveyd.com/whatisbam.html>.

2. All Music Guide. Gangsta Rap. All Music Guide. Accessed Nov. 24, 2000 <http://allmusic.com/cg/x.dll?p=amg&sql=C2686>.

3. Conaway, Matt. Roots of Evil. All Music Guide. Accessed Nov. 24, 2000 <http://allmusic.com/cg/x.dll?p=amg&sql=A381978>.

4. Davey D. What is Hip Hop? Sept. 1, 1984. Davey D's Hip Hop Corner. Accessed Dec. 12, 2000 <http://www.daveyd.com/whatishipdav.html>.

5. Heimlich, Adam. Raekwon: Only Built 4 Cuban Linx (Explicit). Dec. 14, 1999. CDNow. Accessed Nov. 24, 2000 <http://cdnow.com/cgi-bin/mserver/SID=1716701382/pagename=/RP/CDN/FIND/album.html/artistid=RAEKWON/itemid=329763>.

6. Juon, Steve. Kool G Rap: Roots of Evil. Sept. 1998. RapReviews.com. Accessed Nov. 24, 2000 <http://www.rapreviews.com/archive/1998_09_rootsofevil.html>.

7. Jurassic 5. Official website. Accessed Nov. 28, 2000 <http://www.jurassic5.com/story.html>.

8. Rabin, Nathan. 21 & Over. All Music Guide. Accessed Nov. 27, 2000 <http://allmusic.com/cg/x.dll?p=amg&sql=A184802>.

9. SoulzOnIce. Ras Kass: Rassassination. Sept. 1998. RapReviews.com. Accessed Nov. 27, 2000 <http://www.rapreviews.com/archive/1998_09_rasassination.html>.

10. Wang, Oliver. My Brother George is Here: George Clinton, Born July 22, 1940. May 15, 2000. CDNow. Accessed Nov. 27, 2000 <http://cdnow.com/cgi-bin/mserver/SID=1716701382/pagename=/RP/CDN/FIND/album.html/ArtistID=DEL+THA+FUNKEE+HOMOSAPIEN/ITEMID=321330>.

11. Wang, Oliver. Inventive L.A. Hip Hop From Xzibit. Sept. 3, 1998. SonicNet.com. Accessed Dec. 12, 2000 <http://www.sonicnet.com/artists/ai_album.jhtml?id=500980&ai_id=1165>.

12. Witt, Christopher. 93 'til Infinity. All Music Guide. Accessed Nov. 27, 2000 <http://allmusic.com/cg/x.dll?p=amg&sql=A184239>.


Recommended Discography

Kool G Rap & DJ Polo: Road to the Riches. Cold Chillin' 2-25820. 1989. CD.

Kool G Rap & DJ Polo: Wanted: Dead or Alive. Cold Chillin'2-26165. 1990. CD.

Kool G Rap & DJ Polo: Live and Let Die. Cold Chillin'5001. 1992.

Kool G Rap: 4, 5, 6. Cold Chillin' Epic Street 57808. 1995. CD.

Kool G Rap: Roots of Evil. K-Tel 6001. 1998.

Nas: Illmatic. Columbia CK 57684. 1994. CD.

AZ: Doe or Die. EMI 32631. 1995. CD.

Raekwon: Only Built 4 Cuban Linx. RCA 66663-2. 1995. CD.

The Pharcyde: Bizarre Ride II the Pharcyde. Delicious Vinyl 71803. 1992.

Del the Funkyhomosapien: I Wish My Brother George Was Here. Elektra. 1991.

Del the Funkyhomosapien: No Need for Alarm. Elektra 61529-2. 1993. CD

Souls of Mischief: 93 'til Infinity. Jive 41514-2. 1993. CD.

Ras Kass: Soul on Ice. Priority 50529. 1996.

Ras Kass: Rassassination. Priority 50739. 1998.

Xzibit: At the Speed of Life. RCA 66816. 1996. CD

Xzibit: 40 Dayz & 40 Nightz. RCA 67578. 1998. CD

Back to Top

Living Encyclopedia of Global African Music
Received October 2001
Posted 07/25/2002