Serial Killers "This Thing Of Ours" (2026)

As far as classic rappers past their prime goes, This Thing Of Ours has been reasonably entertaining. Consisting of Cypress Hill's B-Real, MTV famed Xzibit and later entry to the Rap game Demrick. The LA based trio's third outing together catches a spark. Fine beat production provides classic vibes with a sharp snappy edge for the three to exchange verses. There is little lyrical revelation to astonish or challenge anyone seasoned to their tastes. X even revives some of his classic cadences and personal verbage with a wink and nod. Its endearing, fun, showing they can still spit their styles confidently. Levels puts in a cohesive effort to drive a lyrical theme but many of the songs here serve as simple platforms for lyrical braggadocio. Chuck D of Public Enemy gets featured a handful of times, sampling his timeless voice. As well as recycling LL Cool J's classic Mama Said Knock You Out. Other than that, its a group of seasoned heads putting together a fair set of tracks to entertain the old crowd. If you like the mid 90s to early 00s Rap sound, then you'll find a couple of tracks here.

 Rating: 5/10

The Firm "The Album" (1997)

 

Why did The Firm flop? Led by Dr. Dre's evolving production, this Rap super-group failed to garner merit from fans and critics alike. With three decades of distance amassed, not even nostalgia for classic 90s Hip Hop elevates its status, a mostly forgotten and overlook East-West collaboration with aims to end the rivalry.

Firmly rooted in concept and execution, The Album delves hard into Mafiaso Rap, a subgenre then in its prime. Chemistry between artists isn't its downfall. The concepts explored perhaps lack depth but my gut tells me they leaned to far into this Mafia lifestyle inspired motif. Its better tracks share something in common, a narrative. The best lyrical strides come through occasional story telling, leaving the bulk of the album recycling lifestyle braggadocio picture painting rhymes as its main thematic reflection.

The Album does give one a curious window into Dre's evolution. These beats pop off with snappy percussive drums, slick suggestive instruments, assembled tight and precise. For keen ears one can heard the aesthetic foundation for his classic 2001. Five Minutes To Flush slaps with a hard gated reverb bass kick. It recycles the synthetic vocal tricks heard on California Love. Firm Family share a spirit with Jay-Z and Memphis Bleek's Coming Of Age. I love hearing these links in Hip Hop records.

At the time, the star studded cast probably cast a big shadow of expectation. Revisiting this decades on with out any presumptions, a fair and competent record emerges. Armed with a diversity of beats for one to pick favorites, it ultimately lacks substance and depth in lyrics content, painting gangster portraits with predictable rhymes. As suggested earlier, it leans to hard on a single concept, lacking hooks and concepts to back it up. If you're not a fan of Mafiso Rap, this will be a tough sell.

Rating: 5/10

2Pac "Me Against The World" (1995)

Some might praise this an instant classic. With an incarcerated 2Pac sailing to the top of the charts, increasing controversies in the public spotlight only fueled its stature. Time has served Me Against The World well. Thirty years on, it plays as a brilliantly articulated slice of life, a moment in time reflecting the duality of man. Caught between a thoughtful, poetic soft-side and hardened realities of a fraught world unfolding around him, our enigmatic artist walks a tightrope, delving into the details of these juxtaposed sides. Understanding the broader context around this record is practically futile given how well his timeless cadence effortlessly walks you through particulars.

 

Songs run as a play by play of dark events, exposing his character and passionate, empathic political views. Tracks individually cut direct into a concept, expressing inspired and coherent without a wasted breathe. Upbeat G-Funk oriented production echoing shades of 70s R&B and Soul music breathes life into the lean, attitude driven vibes. Joining the emerging crisp and clean production style of this era, Shock G and his crew leave loops and samples in the dust. Melodies and beats come tightly arranged through sequencers composing snappy percussion and memorable tunes to stick with you for a lifetime. One will find plenty of favorite cuts among its fifteen.

 

 The album flows superbly. Intro samples snippets of news reporters remarks to firmly establish the setting. If I Die 2Nite kicks off a string of bangers, leading up to the mellowed soulful classic, Dear Mama, a beautiful timeless love letter to his distanced mother. The next couple of songs lean on this smoother temperament, a calm spot before Old School perks the ears with its appraisal of 80s Hip Hop. It plays like a checklist of shout outs. For a young me, this was a treasure trove of names to explore.

Fuck The World and Death Around The Corner have a fearful 2Pac dialing up aggression, turning to a darker side, foreshadowing his paranoid temperament heard loud on the next records. His anger seems righteous but the cracks in his duality start to fray. These songs contrast the overall upbeat mood. The closing track Outlaw serves as an introduction to the Outlaws crew, a concept he would go on to grow. This direction plays a mild blemish on an otherwise superb record, never failing to woo.

What I've always adored about Tupac is his ability to illuminate the problems of crime, poverty and racism from a perspective often ignored. Retrospectively, Me Against The World is the boiling point before his embellishment of Thug Life loses its potency under the pressures of Death Row records. Given the drama and controversy around him at the time, the stakes are raised. He meets it with his words. Me Against The World is undoubtedly a classic, his most consistent and concise record. A must hear.

Rating: 10/10

Ice-T "O.G. Original Gangster" (1991)

 

Godfather of Gangster Rap and front man for the cop killing Body Count, Ice-T courts controversy with an unfiltered, unapologetic rawness. A subversive force of intellect, Ice masks deeper realities trough his gritty portrayal of street life in LA. Original Gangster affirms his authority on the matter whilst ringing off a long list of social portrayals and systemic grievances. Direct yet difficult, his lyricism runs crude and humorous, blurring lines between tongue in cheek and reality. At times he flows firm and plain yet in a moment can delve into wordplay. Wherever his cadence leads, Ice rarely deviates, sticking to his themes, which each track delivers with focused intent.

Clocking in at a lengthy seventy two minutes, the twenty four tracks chop by with snarky interludes between softened noisy Bomb Squad style sampling. It banging beats rock with late 80s drum loops, keeping energy high. Overall the aesthetic style sounds a year or two behind the cutting edge but its substance triumphs in the face of an ever changing scene. Midnight marks a shift in tone, sampling Led Zeppelin and Black Sabbath a dark, grizzly, eerie Rap horror show emerges. This lays foundations for Ice-T to show his metallic edge, as the record also houses a Body Count track to cross pollinate his audience, something completely unheard of for the time.

These tone shifts shake up the second half another, The Tower, reusing John Carpenter's Halloween theme to chilling, haunting effect. It does blemish the flow considering how tight these upgraded, authentic post-N.W.A gangster raps are. It's been decades since I last spun this classic. It holds up well. A powerful listen by a master rhymer who can hold your attention with his direct penmanship. Classic!

Rating: 8/10

Snoop Dogg "Missionary" (2024)

 

 

Thirty one years on from the iconic Doggystyle, a beloved West Coast duo return for an inspired set of songs reveling in the twilight years of their careers. I'd summarize Missionary as two veterans bringing the very best out of one another. Dr. Dre's production forges fine beats focused on aesthetic class. Lacking potent melodies, these tracks assemble gorgeous sounding instruments in rhythmic arrangements, striking with clarity to indulge on. Complex with subtle details and intricacies yet easily digested on the firm foundations of Hip Hop groove. Moods sway fun and plentiful, from bouncing LA vibes to introspective atmospheres, Dre covers a fair span of instruments to expand cultural horizons and keep this record flowing fresh.

Snoop has the unenviable position of spinning his tried and true rhyme themes over again. Despite an exhaustive output over the decades, he seems as vibrant as ever, giving every song a firm concept. With steady flow, his mannerisms entertain, refreshing yet familiar, finding a handful of cunning rhymes between his casual delivery. The burden is lightened with a guest on practically every track. Only on a couple of collaborations did I get a sense of elevation through presence. Last Dance with Tom Petty and Jelly Roll, Another Part Of Me with String, two fantastic songs bridging genres, complementing well for unique numbers to remember.

On first listen, the handful of classic Hip Hop interpolations and nostalgic call backs perked my ears. You could call it a false impression. These references swiftly faded behind the bright lights of all new this duo has to offer. Only Gangsta Pose had a whiff of Doggystyle chemistry. Listen carefully, its subdued baseline plays like a G-Funk throwback. I had initially expected the pair to do more of this. The past is the past, I'm thankful they didn't resurrect old ideals as clearly there was freshness here to explore.

Rating: 7/10

Kendrick Lamar "GNX" (2024)

Hot off the heels of a remarkable rap beef, Kendrick's momentum flattens out into a comfortable record. Feeling out fresher styles between classic tones, GNX coasts by lacking the conceptual heights of To Pimp A Butterfly or impactful attitude of DAMN. The past sets a high bar, presenting an unenviable challenge of surprising the audience. That freshness alluded to resides in Kendrick's embrace of a hard lipped persona. Spitting in deepened spoken tone, he lines up the meanest rhymes, aimed like a sniper. Threatening and self assured, Its not quite to my liking and slips away on tracks like Peekaboo where his "hey hey hey hey" hook falls flat as a pancake.

Despite this faltered direction, classic Kendrick crops up in the tracks between. Man At The Garden revels in a sombre slow paced atmosphere, writing up blessings through the lens of deserving. His emotional delivery and contrast with the instrumental illuminates a questioning turmoil within over his many accolades and achievements. Reincarnated casually drops in one of the slickest piano licks, conjuring vibes reminiscent of a handful of West Coast classics. Its another story telling, introspective track where Kendrick routinely shines. Reclaiming the title from Drake, Heart Part 6 mellows with reflective lyrics themed around the humility of his rise to fame.

I can tell that lyrically, a lot of events and dramas are addressed on his meaner tracks. I'm out of the loop and haven't dug into any analysis. I'm not sure that I care to either. On the surface, these slick gangster anthems like Squabble Up feel mild in contrast to the songs mentioned above. They require no knowledge, instead, Kendrick wraps you up in his meaningful thoughts and deep reflections, the side I have always been drawn too most. I'm grateful for that handful of tracks but they will likely be my only reason to return to GNX on occasion.

Rating: 7/10

Ice Cube "Man Down" (2024)

 

Some critics remark on aging rappers losing vitality and relevancy. I'm more open minded. With age comes maturity and the opportunity to grow. With many 90s icons now entering their fifties, Ice Cube, one of the most important and influential to do it, enters the club. His last outing, Everythang's Corrupt, had bite, a political venom and fiery anger that held well. I still venture back to a handful of those tracks alongside Cube's best songs. That moment has passed, his motivations to return seem routine.

 Despite bringing a studded cast of his 90s contemporaries, Man Down is a stinker. Beats sound tight yet frequently spin short loops that end up droning on. Upfront, Cube raps with his firm flow, fine tuned aggression and smooth, easy to follow, cadence. Its his lyrical content that falters, dropping auto pilot verses lacking creativity to impact. So many lines drop with predictable rhymes, lingering on them for four or more sentences. Many lines seem to fill space just to serve the rhyme. With next to no stories told, this approach is quite disappointing in the shadow of his greatness.

 Early on the moods emulate his classic Today Was A Good Day laid back G Funk vibes. Its a smooth and breezy ride, easy listening. Heading into the midsection, things pivot with 5150. The mood sours with its misogynist leaning rhymes. Then beats go harder, darker but miss the mark. After a few cuts, the variety flows, jumping between sounds emulating his styles but mostly suffer the fate of droning on.

Especially You perks the ears, an Electro-Funk throwback to early 80s Hip Hop. Cube goes for a flow fit of the era but the rhymes are just hollow. Later comes Scary Movie, trying to house a bunch of references to his cinematic career. It houses some of the worst lyrical flops. The album ends on a better note with the reasonable Ego Maniacs but cant save the project. Sadly, this record just lacked purpose.

Rating: 2/10

Vince Staples "Dark Times" (2024)

 

Dark Times had me reflect upon Vince's past. The bassy House and percussive Latino influences felt on Big Fish Theory and FM!, in retrospect, were exciting, fresh and distinct. Hard edged and gangster, yet fun and catchy too, a keenly crafted sound time has served well. In 2024, Staples arrives soft and subdued, his casual wordy raps sullen, ruminate on the pains of balancing fame friends and family among other hurts.

With glum spirit and dreary tone, he flows over slow burdensome beats. Downtrodden tunes drift by dreamy and haunting, utilizing soft hazy synths, shadowy pianos and ambiguous plucked melodies. Its musical themes and flavor lingers in the past. Echos of 90s Gangster Rap Funk influences linger among the jazzy soulful East Coast counterpart. Snappy percussion mostly shapes it to the current era of Hip Hop.

Vince offers a very honest expression, vulnerable, direct and tender, unambiguously sharing his troubled state of mind to be reflected through its moody instrumental direction. These songs feel individually crafted with intention and meaning in mind. Engulfing, yet when flirting with darkness, if the music doesn't offer reprisal and catharsis from that difficult mindset it can be encumbering upon the listener.

Sadly, that was my big takeaway from Dark Times, feeling Vince's troubles dragging down the mood. That's not to dunk on the record, its a fair piece of art but without moments for sunlight to peak through the clouds, it plays a downer. Impressive in its honesty, however I find myself unable to vibe with its brooding intensity right now.

Rating: 6/10

Paris "Guerilla Funk" (1994)

 

Discovering the likes of Paris years back, left me wondering why this talented rappers career never took off. Guerilla Funk highlights what I didn't hear back then. The similarities to Rakim and Public Enemy where of the time, as is this records parallels to the currently emerging G-Funk sound. Gurerilla Funk can be distilled to aesthetic and musical blueprint of Doggystyle, paired with the lyrical aggression of Ice Cube. Bordering plagiarism, Paris picks up all defining characteristics of the style. Cadence and flow runs in step with topicality and phrases, emulating the sound so well it emphasis its tropes and cliches. He is clearly all to keen to step into others sound.

I don't take issue with that but it highlights an issue. Whenever Paris tries to step off this trendy sound's topics, his politically charged rhymes stand in disparity. In retrospection, I see how he didn't exactly define himself among the crowd first time of asking. Two records later, this dramatic shift in tone leaves his own expressions weak, without a definitive style to embrace. Almost every track and flow emulates others.

Critiques aside, Paris is a competent performer, a pleasure to listen too and a talent. Perhaps one lacking his own flavor. Despite its lack of originality, if your into this era the production team put together cuts to compete with the classics. Outta My Life catches an ear for its instrumental, akin to Life's A Bitch on Illmatic but given that dropped months earlier, can't help but feel its a lift. Anyways, point made, a good spin if your into 90s Hip Hop and the G-Funk sound Dr. Dre and Snoop pioneered.

Rating: 5/10

Cypress Hill "Back In Black" (2022)

 

Has it really been four years since Elephants On Acid? Having been underwhelmed by Cypress Hill's long awaited return, I found myself rightly cautious about its follow up. Back In Black lacks the input of DJ Muggs and it hurts the group. With Black Milk handling the production, a rather subdued atmosphere arises from steady and cautious percussive arrangements. Its accompanied by darkly urban sampling that rarely leaps of the page, always residing with a soft temperament where the danger is far away. The lean baselines bring some redemption with classy aesthetics, its far from a saving grace. The drum grooves sound weak and thinned out lacking, urgency or a sense of imposition. I think subtlety and craft were the aim here yet its slow tempos and lack of bombast leave the general tone a dull and lackluster one. 

Sadly, both B-Real and Sen Dog seem to be on autopilot. All their verses flow with the same cautious pace. Its rock steady yet rigid. The immediacy and enthusiasm of words are lost in the monotony. Even the better word plays and rhyme schemes lull into this complacency. The records lyrical themes signify a return to roots. Gritty and mean, the pair delve back into gangster oriented tales of urban life in the city. Perspectives are offered, stories and braggadocio as to be expected. B-Real and Sen Dog also reflect on their roll in legalization and a change in cannabis cultures reception in the social fabric. These could be landmark chapters given Cypress Hill's history but this points too falls blunted like much of the record impact.

Every song has the same structure with instrumentals on loop, just going through the motions. Where are the hooks and choruses? Not even a break or beat switch. Sure, each song a hook line in its chorus but it all flows with the same cadence and the verses before it. No song has a memorable spice and a couple attempt to recycle their own or other classic hooks. Black In Back's merits are lonely, just the experience of its two voices to carry a bulk of mediocrity to its conclusion without being offensive, off color or cringey. I have no reasons to return to these songs again. Cypress have announced the next record will be their last and that it will be with DJ Muggs. I hope they find a way to go out with a bang cause this was a soft whimper.

Rating: 3/10

Cypress Hill "Demo Tape" (1989)

Decades into this wonderful internet experiment, one can easily find rare tracks, b-sides, outtakes and demo tapes that used to be privy to a handful of ears. With another nostalgic plunge, I looked up Cypress Hill's demo tape. Its somewhat disputed what year its from but 1989, a year after their formation, seems to be the best guess. What a fantastic idea, this six track tape is a remarkable insight into where the group started and what evolution took place in the years leading to their debut self titled.

Its remarkable how much of Hill's trademark sound is present from the get go. The four tracks that would carry over to the album have their core samples all in place, the unique flavor is bold and obvious, the stylish identity firmly established. They all carry a little extra percussion and layering that got stripped back. Refining his beats, Muggs polished up the occasionally crowded jabs, stabs and redundant vinyl scratches in the end. These elements do have strong ties to the 80s Hip Hop sound and characteristics, with that these demos create a cultural bridge between the two eras.

 

The one track that didn't get carried on is Caliente. Its a stage for Sen Dog who raps entirely in Spanish. The beat is jive, the classic Amen Brother break loop on sharp repeat. The sparse sampling ushers in a calmer hypnotic flow for Sen's bilingual ability to sway in this listeners discern. Instrumentally it harbors much of the aforementioned 80s tropes, one can hear why it was ditched, there is however no doubt that Sen shines in the spotlight but its the only time we really get to here him go for it.

As the groups main MC, B-Real dominates the verses with much of his flows and style figured out. A large portion of the verses start with the same lines but quickly derail into less refined collections of rhymes loosely linked. Although my memorization of his lines immortalizes them, it genuinely feels like he puts the best at the front, later on fleshing the rest out with better ideas. On occasions his voice drops off the navel inflection and in a few lines he sounds much more regular.

The demo tape is a fascinating insight into a group who have mostly figured out their sound. In comparison to what else was around at the end of the eighties, the Hill must of sounded special landing on the desk of some record executive. Or possibly not? I don't know much of their origin story at this point but it would be fascinating to find out. Making records was a longer process back then, two years on paper can technically be thirteen months and with it known they recorded some of the record in 1990, they could of been snapped up after this demo! Its fun to speculate.

 

Rating: 6/10

Funkdoobiest "Which Doobie U B?" (1993)

With a recent dive into House Of Pain, I found myself poking around into the production history of DJ Lethal and DJ Muggs, leading me to this West Coast stoner trio with an uncanny resemblance to Cypress Hill, the epitome of treading in their footsteps. Obviously his hand on the instrumentals would lend itself, however lead rhymer Son Doobie, a name I've heard in rap verses before, brings a strong navel inflection and similar set of funky oriented rhymes to the likes of B-Real. Similarities and influences are fine, I was mostly excited to unearth a scene extension of the Hill's dynamic sound. Funkdoobiest have it nailed down, colorful Bomb Squad beats and lyrics constantly referencing the Mary Jane. It's been a fun nostalgia trip listening to Cypress Hill's cousin from round the way.

Although Muggs handles only a couple tracks, DJ Raplh M and T-Ray pick up the slack where Muggs laid down the foundation. Imitating his style, bombastic percussion, bold double-bass lines and stacks of samples making for a madhouse of funk and groove playing from front to back as if he did the whole project. Its complimentary, however a couple tracks are all to similar to Hill classics. Distinction wont come on the lyrical front either, Son Doobie's measured flow, stacking of quirky rhymes and delivery all have a similar cadence that fails distinction. His partner on the mic, Tomahawk Funk, is distinctly reminiscent of Main Source. Having absorbed so much Hip Hop over the years its hard for either them to stand apart.

Not to dwell on the parallels, Which Doobie U B? has a loose theme with recurring references to the doobie question. The topicality feels a shade hollow with braggadocio and stance affirming angles recycled track by track. A read of the track list alone gives you an idea of what to expect. This was never meant to be a serious record though. Its all about the fun rhyme schemes, stringing witty snaps and cultural references to much effect in its best tracks, Bow Wow Wow, Freak Mode and Wopbabalubop. At first its fun and exciting but as the verses become familiar a lot of bold boisterous rhymes fade in interest. Its of the time and somewhat dated but a really good listen as a fan of the era.

Rating: 5/10

Cypress Hill "Cypress Hill" (1991)

 

 As a precursor to another record I'll talk on tomorrow, it felt essential to lay a little groundwork with Cypress Hill's dynamite debut from 1991. Nothing quite like this sound had existed beforehand. The Hill blew minds with funky Latino vibrations and a bold advocation for the use of marijuana at the forefront of their music. Unlike a lot of other acts in Hip Hop, the trio would go on to have a decorated career beyond the debut with a string of creative and commercially successful albums, birthing songs known the world over like Rap or Rock Superstar and Insane In The Brain.

Firstly a disclaimer, this group were one of my first "favorites", who as a young teen I bonded with immensely... these beats and rhymes are practically baked into my brain. I can't tell you how many times I've spun this one. Giving it another go as I right, I am reminded of how well crafted these instrumentals are. Yet to lean on slamming percussion, DJ Muggs flavors his grooves with bold, funky samples. It has a little Bomb Squad flair for obnoxious noises and stabs among the guitars, horns and trumpets. It mostly has a keen psychedelic edge, resisting conventional melodies and arranging his loops to flow in succinct persuading repetitions.

I often forget how uplifting and warm the Hill once where. By album three, Temples Of Doom, they were deep in the darkness. Despite having devious classics like "How I Could Just Kill A Man" and "Hole In The Head", Muggs keeps spirits up with a spicy measure of groove and funk weighed up in a string of classic beats. However the lyrics are mixed in with rugged street talk and violence, swaying between more fun topicality. Variety comes with laid back grooves, busying instrumentals pushing the noise and a playful helping  of Latino flair. In the records end stretch, the guitar sample on Tres Equis illuminates brightly, doing all the work for Muggs as Sen Dog raps in Spanish. A niche touch to give the record more uniqueness.

B-Real is a phenomenal talent, all too overlooked as one of the greatests in my opinion. He establishes himself with a youthful flair but his rhymes are so concise, the flows mesmerizing and with that strong navel inflection, inspired by the Beastie Boys, he proves himself on round one. So many of his distinguished particular cadences and catered rhythms are established on this one. Flows and rhyme groupings that get recycled and referenced in later records are in abundance here at the inception. Lets not forget the hooks, this record is loaded with them. Hand On The Pump has one of the best with its lala lala conclusion and Sen delivering the hype between.

Every track as something to offer and a write up can't go by with out mentioning Stoned Is The Way Of The Walk. An absolute banging sleazy spaced out beat with B-Real rhyming through the percussive breakdowns without pause. Its timeless, despite having a distinctly "of the time" feel, everything stands up. With knowledge of whats to come, Real Estate seems a step ahead. It has the harder drum loop and focused attention on its main sample and pumped up baselines. That's another point, the music is laced with bold lines in the low end that glues much of it all together.

This record never lost its charms on me over the decades and right now it's pleasures are so vivid. That is when I enjoy writing the most. What's the point other than to feel the music as much as you can? I can barely think of a bad word to say on this record, its a brilliant debut statement. Stylistically stunning and sharp, flavored with a spice not heard before in Hip Hop. Barely a weak spot, although everyone will find their favorites among these sixteen cuts. A classic!

Rating: 10/10

Xzibit "Full Circle" (2006)

 

It feels like its time to close the lid on this fun dive into the Xzibit's records. It seems notable that the West Coast rapper just doesn't have the production on his side. Similar to Weapons Of Mass Destruction, Full Circle feels defined by its unremarkable production. Mediocrity is tiring and X's rock steady flow and arsenal of rhymes doesn't carry the music far enough. Topically its not as sharp and socially oriented as before. The stance affirming braggadocio vibes don't really pop with these combinations of rhyme and beats. Flipping between quirky sampling and safe glossy beats the songs roll on in a drone without a hook or feature to carry it anywhere special at all.

Experimenting with a pitched down voice and slower flow X inhabits the mind of a corrupt cop to shift perspectives on Ram Part Division. Its a moment that stands out purely for being somewhat different in a sea of mediocrity. Although X dives into a few topics of importance through the runtime, they generally have little impact with both his word play and food for thought seeming dulled in the shadow of his former, sharper self. Struggling for words to further my thoughts, I'll end on the note that It feels so run of the mill, without thought direction or ambition to define what the record is as a whole. It has therefore become just a collection of not so interesting songs.

Rating: 3/10

Xzibit "Weapons Of Mass Destruction" (2004)

As an applause from a crowd dissipates, eerie synths glow in the backdrop as former president Bush's voice gives a chilling speech of his nefarious plans and ill intent. It grabbed my attention by the neck, a fine piece of work stitching his many hours of recorded voice together. Listening casually, it almost sounds legit, on closer inspection the details can be examined with a keen ear. I'm not sure I've heard a manipulation that good before! It certainly set the stage for Xzibit to kick off the record with firm fiery raps and a big stage beat on the album's second track L.A.X.

Unfortunately its a swift downhill trend from here. The production team bring this over assertive musicality to the project. Tracks are scarred by sung hooks deploying overt melodies and the instrumentals follow. A dense use of music theory that lacks the ear for what works. Even Xzibit gets in on these gaudy hooks by singing, which doesn't work. Its mostly jovial, upbeat and cheery. The vibe doesn't mix and there is a lot of repetition for an approach that wants to load in melody and layers. Its a better setting for something with a little Jazz Fusion yet this musicality is packaged into stiff loops.

X actually drops a fair amount of decent lyrics. At times he is tight, on point with a lot to say. Cold World sticks to the albums theme with a Middle Eastern perspective that is hard hitting. When not at his best, the loud droning beats tend to take over attention. Without his usual entourage the shift in tone and style fails to yield much that is memorable and produces more of whats mostly on the irritating side. The project is obnoxious, aiming for a more musical, tuneful Hip Hop record that could grab the Pop audience in the record sales charts. Its execution however is deaf to what makes that work. Its sub-par and at an hour in length its over bloated and hard to get through.

Favorite Tracks: State Of The Union, LAX, Cold World

Rating: 3/10

Xzibit "Man VS Machine" (2002)

Following up on the mixed bag that was Restless, Xzibit brings a surprising amount of coherence to his forth album. Man VS Machine has a similar tone and entourage with Dr. Dre, Snoop and Eminem returning among others, as well as new collaborates DJ Premier and M.O.P. Kicking off with a typical self affirming braggadocio track, the substance then starts with Release Date, a tale of being released from jail and building a mentality for the transition. Its a moment where his rhymes grab your attention and handle a narrative. It happens rather frequently on the albums journey.

Man VS Machine is not without its tarnish, some features feel routine, a few stale overproduced beats and a couple of trashy raunchy songs in the mix but this streak of substance in X's rhymes stand out. He is still firmly rough and tough on the mic, his delivery hard and concise with a firm flow, typical X but between his hard hitting lines, socially conscious leaning verses pack some weight, food for thought in the mix. Its far from profound but as the tracks play these moments frequently pop up.

Heart Of Man remixes Toto's Africa, which might sound like a recipe for disaster and although X is a little harsh for the mood, it somehow serves as a highlight on the record, a rather uplifting track with a solid message of taking life seriously and putting in hard work to who you are and your ambitions. He reflects on his journey and how others and fallen behind, the way of expressing his work ethic is refreshing. It stands out against the overall tone, a lot of spiffing clean virtual instrument beats with enough variety and experimentation to provide something for everyone.

My Name is a fantastic tune, Eminem lends his voice and production for another track that could slip into his own discography. Nate Dogg's voice in the chorus hook really pulls together the vibe of the era. The inclusion of Eddie Griffin on a skit, akin to one on 2001, once again really expands this sounds universe. I was so fond of in my youth, much fun to discover more of it. Going into this I wasn't expecting much giving the historical response but their is plenty here to dig. With a little trim removing some of the fluff tracks it would be one solid record!

Favorite Tracks: Release Date, Symphony In X Major, Heart Of Man, My Name, Missin U
Rating: 6/10

Xzibit "Restless" (2000)

Xzibit's third record, Restless, unites the West Coast rapper with legendary producer Dr. Dre who brings his Aftermath entourage. Eminem, Snoop Dogg, Mel-Man & Nate Dogg all participate in the product. Their worlds collide, what seemed an inevitability giving the influential tone of 40 Dayz & 40 Nightz. This record was like unearthing a lost memory, the beats, hooks and features had the temperament of an era I knew fondly growing up with Em and Dre dominating MTV day in and out. His hit single X is the one song I remember from its airplay on the music channel.

After many spins, my take away is mostly disappointment. I'm sure I'd love it if I heard it at the time but the music mostly feels second hand to the style of production. The tone and temperament, flows and hooks echo of 2001 and his aforementioned guests dominate attention with their styles of the era. Don't Approach Me with Eminem is a fantastic track but as the two exchange verses and Em sings the chorus its practically a Marshall Mathers b-side as the songs weight is clearly on one of their shoulders.

 A couple tracks sour with weak hooks or trashy lyrics. Snoop on D.N.A is just ridiculous, made me reflect on how mean and vicious his attitude was at this point in his career. Its not all bad. X brings on other legends like Erick Sermon and KRS-One who put together two fantastic tracks, the loose yet sharp, goofy beat Alkaholik and Kenny Parker Show an old school banger bringing back the classic echos on rhymes.

What about X himself? I felt like he had less to say overall. The immediacy and thirst lacking a little which seems to be a common thread in Hip Hop once success is reached. His rhymes are solid and flow aggressive and rugged but a lot of the lyrical topics were mainly self affirming and defensive of his ability on the mic. Its the most common theme but unless bringing the sharpest arrangement of words its wont stick.

One track, Sorry I'm Away So Much, stands out as a thoughtful song about being a father from his the perspective of X's lifestyle but its a lone track of reflection among a lot of typical hard headed rhyming. Restless is a curious record, a project with a lot of hands on deck, bringing many sounds together that tend to cloud its focus where quality is sparsely found between mediocrity.

Favorite Tracks: Alkaholik, Kenny Parker Show, Double Time, Don't Approach Me, Rimz & Tirez, Get Your Walk On

Rating: 5/10

Xzibit "40 Dayz & 40 Nightz" (1998)

Ive seen this sophomore record of the famed West Coast rapper Xzibit often hailed as his best work. My adventure into these eighteen tracks has been both fun and insightful. It would seem there is a significant tone heard in mood and production style that would be a precursor to Dr. Dre's masterful 2001 and Eminem's generation defining Marshall Mathers LP. Released a year earlier there is a undeniable stylistic similarity. 3 Card Moly would slip easily into 2001without the blink of an eye!

The only apparent link is Mel-Man who handles production on Los Angeles Times, a stand out track with a crunking groove and sparse bassline for X to bounce his rhymes off. Sir Jinz, Xzibit himself and a few others put together the rest of the songs. Given their worlds would collide over the next few years, I'd never thought it was mister X to the Z with the apparent weight of influence on that era that helped define my youth.

Onto the album itself, X is far more pronounced and assertive than his previous effort. His aggressive energy is channeled into his flow well, making for explosive strings of rhymes that click with the beat. Nobody Sounds Like Me's opening verse a great example of stars aligning. Bringing on a helping of guests keeps the records pace interesting but its not all gold. A disappointing feature from Method Man on Pussy Pop pulls together a disposable track with a flimsy hook from the Wu-Tang legend.

Xzibit can't help but let a little of his humorous nature through. Ironic rhymes, amusing interludes and bizarre tracks like Shroomz crop up for relief in places. He also has a very serious side too, not shy of addressing topics often challenged in conscious Hip Hop music. His story telling is elevated too, Inside Job is a brilliant word by word ride of a high stakes incident playing out through his swift rhyming. Vivid song!

One of my favorite track has to be Let It Rain, bringing together again his liquid crew for everyone to run through with a series of solid verses. Its got such a fun groove and vibe to it and summarizes my overall experience, its a really fun record that doesn't get too deep into any of the variety it offers. The main surprise was the similarity with musical landmarks yet too come. Xzibit is a talent but even on his "classic" work I don't feel like we see the best of him.

Favorite Tracks: 3 Card Molly, What U See Is What U Get, Nobody Sound Like Me, Focus, Los Angeles Times, Inside Job, Let It Rain

Rating: 7/10

Xzibit "At The Speed Of Life" (1996)

Seemingly always in the mood for 90s Hip Hop, It occurred to me Xzibit would be a great artist to dive into. I've always been fond of the famed MTV Pimp My Ride rapper, his features with Dr. Dre and Eminem were fantastic back in the day. At The Speed Of Life is the West Coast artists debut and one I actually got into a decade or so ago when really binging into the scene. The single hit Paparazzi holds up well over time but its not much of a surprise that the rest of the record doesn't have the same stick.

Xzibit has a very firm grip on the mic. Aggressive, coherent and articulate, he stands boldly. His vocal tone has a little flavor similar to the looseness of East Coast rappers Redman and Eric Sermon but he stays firmly on track with his rhymes. A steady flow with plenty of sensible word play he almost lacks a spark or flair of sorts. In the wake of weaker lyrics he can be unremarkable but for the most part the story telling and train of through is powerful enough to affirm himself with some serious credibility.

All these years later his more personal oriented rhymes really stuck in the mind but where the record falls short is production. Often gloomy and urban toned beats, swaying between some more rugged bouncy tracks, are all a tough thin and stiff. Somewhere in its composition a little oomph is missing. The ideas are great, the atmospheres forged make much sense but it can't help but feel sparse. The into and interludes also bloat the records pace with a lack of purpose or conception.

This debut record is a good platform to get moving as an artist, he shows his promise, puts together plenty of solid story telling as his explains his life journey to this point. The features are a little varied, he lets a handful of compadres on the mic and they often make for duller moments in the albums flow. Hurricane G on the other hand brings a lot of excitable energy that compliments X well. Its enjoyable, a fun handful of listens can be had but lacks a spark to make it memorable.

Favorite Tracks: At The Speed Of Life, Paparazzi, Carry The Weight

Rating: 5/10

Ice Cube "Everythang's Corrupt" (2018)

Its been a long time awaiting. Legendary rapper Ice Cube of N.W.A is back after a six year delay since the release of the albums lead single and title track. I'm unaware of what took so long to finish the project but to be fair, I wasn't anticipating much. Its decades since the West Coast rapper's hay day but approaching fifty years of age Cube can still deliver tight rhymes with his strong persona on the mic. Between a fair amount of braggadocio he gets into the state of affairs, addressing the American president, the latest statures of political correctness and events like Charlottesville.

Everythang's Corrupt is topical and current, Cube can deliver coherent verses, reasonable hooks and choruses over a distinct production style marked by electronic bursts resembling trumpets and horns that form the key melodies and tunes. A fair amount of Trap drum aesthetics and patterns creep into the percussive construct. Lots of synthetic instruments bring textural tones for the looping melodies that make its crispy clean production sounds sterile at times. Through the sixteen songs everyone is bound to find a selection of preferred cuts however Ain't Got No Haters and That New Funkadelic stand out as a break from the norm with Cube's classic laid back G-Funk vibes being resurrecting for shadows of his best work like Today Was A Good Day.

There is a lot to digest lyrically. Fifty five minutes of verses all of which are pretty coherent to follow dive into various topics and Cube's prominence on the microphone makes for no weak links however he resides firmly in the realm of expectation and thus not to many rhymes schemes leap out at you. He does try out a couple of slower paced, short line flows but not to much effect. Essentially this is a very established rhyme style however the last couple of tracks end on a high. The title track has an amazing energy thanks to the electric instrumental and it rolls into Good Cop Bad Cop which has Cube flowing with a little spice and passion in his voice that hails back to the immediacy of his youth, Its got some of the records best rhymes on it.

This record might be written off by some as an old timer coming back with a routine record for fans but I think Ice Cube's skill as an MC holds up. The instrumentals are infectious with repetition and perhaps some curation condensing this record to its best would of made for a tighter listening experience as their is plenty to enjoy here. Ive liked it more with every listen and I think I will continue to enjoy it until that steam runs out. When trying to hold together some objectivity listening I find that Cube has such an amazing persona on the mic that I always feel lured into whats going on.

Favorite Tracks: Chase Down The Bully, Ain't Got No Haters, That New Funkadelic, One For The Money, Everythangs Corrupt, Good Cop Bad Cop

Rating: 6/10