Category Archives: 1990

Above the Law – Livin’ Like Hustlers

Above the Law
Livin’ Like Hustlers
December 1989 (Promo cassette version)
February 22, 1990 (Full version)
Ruthless RecordsEpic RecordsSME
085/100
Above the Law - Livin' Like Hustlers
1. Murder Rap // 2. Untouchable // 3. Livin’ Like Hustlers // 4. Another Execution // 5. Menace to Society // 6. Just Kickin’ Lyrics // 7. Ballin’  // 8. Freedom of Speech // 9. Flow On (Move No Mountain) // 10. The Last Song (feat. Dr. Dre, Eazy-E & MC Ren)

Above the Law is an Pomona CA hip-hop group that originally consisted of rapper/ producers Cold 178um and KMG the Illustrator as well as DJ Total K-Oss and Go Mack, who presumably was a hype man. And when their debut album Livin’ Like Hustlers dropped the Ruthless Records franchise was on a roll. Albums by N.W.A, Eazy-E and the D.O.C. had all gone gold to platinum cementing the label’s status as the preeminent hip-hop label of the day. Not only that but they were also able to release an album that quite succesfully catered to the R&B market (back in 1990 hip-hop and R&B were two distinct genres that were just starting to cuddle up) by songstress Michel’le.

What all these albums had in common was wall-to-wall Dr. Dre production with the occasional help from DJ Yella and/or Laylaw. Now their latest signees Above the Law were producers as well as rappers, but Dre is credited as a co-producer on every track on here, as he was credited with producing every track on every track on every Ruthless Records album so far.

It should be noted that Livin’ Like Hustlers doesn’t sound like any Dre production so far, except maybe the song the Formula off the D.O.C.’s No One Can Do It Better. Everything else he had done so far had been a lot more fast-paced and funk/dance-influenced, whereas this album is more mellow, jazzy and classic soul oriented. This could be explained by the fact that on Straight Outta Compton and Eazy-Duz-It the Doctor was aided by DJ Yella, on No One Can Do It Better he was left to do the beats himself and here he co-produced it with the entirety of the group. Another possible explanation is that Dre had just worked on an actual R&B album with slow jams on it, and therefore was in another state of mind than he would have been coming out of an N.W.A recording session.

Anyway, the mellow paced jazz/ soul vibe, with the elaborate use of more melody than was usual in hip-hop at the time, combined with rappers Cold 178um and KMG the Illustrator’s archetypical gangster raps (the album’s title should provide ample warning to those who aren’t into that sort of thing) definitely make this a prototype for the G-funk sound that Dre would rule the airwaves with less than three years later. And whether Dre or ATL produced the lion’s share of the music  they were all at the cradle of some revolutionary stuff here.

Given that there’s some controversy over who did what here I tend to go with ATL as the main musical architects, not only because of how the music sounds and how contemporary Dre beats sound, but also because Dre prescriptions tended to come with bits of Dre backing vocals at this time, which he does do here, but only on the title track, Just Kickin’ ItFlow On and the Last Song so I assume the man didn’t have much input with the remaining six songs. In all likelihood Dre put in a beat or two while ATL made most of these tracks themselves and had Dre adding some finishing touches to what they came up with. (But like everyone else who isn’t Dre or an ATL member I’m only guessing here. It’s not like I was even born yet when they recorded the fucking album or anything.)

As for the vocals, KGM and Cold 187 (whom I shall henceforth call by his other rap nickname Big Hutch, because that sounds more like something one would actually call a person) are technically proficient behind the mic. They basically come across as less lyrical, less nimble, more gangster-oriented versions of their then recently muted labelmate the D.O.C., what with their mid range voices and their ease behind the mic, which is to say they sound just fine. Although they lack Ren’s understated menace, Cube’s grit and Eazy’s natural, over-the-top charisma, their average-guy-from-the-street personas help these raps about the gangster lifes sound a lot less like they’re glorifying violence, misogyny and what not, as opposed to the various members of the world’s most dangerous group, who usually come across as a bunch of happy-go-lucky, murderous, alcoholic, wife-beating, crack-selling, “walked into the store, said this is a robbery, don’t need the money, it’s just a hobby” cartoon characters of Afro-American stereotypes on their albums, whereas ATL keeps things, if not real than at the very least plausible. The ATL rappers sound as though they could blast your brains out in a back alley, though they wouldn’t do it unless they had no other choice, and even then they still wouldn’t get their kicks out of it.

Highlight include the the ominous Murder Rap and Another Execution, the horned-up Untouchable and Livin’ Like Hustlers, the anti-censorship Freedom of Speech as well as the mandatory Ruthless posse cut on the tail end of the album on which Ren and Eazy take the shine (and on which Ice Cube and the D.O.C. shine in absence, the former because he was the only one out of N.W.A who chose to not get bent over by Jerry Heller and took his business to Priority Records in stead, and the latter because he had his vocal chords slashed in two in a car crash and was unable to rap.)

There’s only one wack moment on here, that would be Ballin’, which is all about how down Above the Law are with N.W.A and the D.O.C., throws an unnecessary stab in the direction of every rapper on the East-Coast (so this East-West rap beef was already a thing, huh?) and has an instrumental too fruity for its own good.

But besides that one misstep Livin’ Like Hustlers features nine tracks of pure gangster rap gold, that unlike N.W.A may have been forgotten by a lot of today’s rap audiences  and may not sound a lot like Straight Outta Compton but is almost equally entertaining and has had a lot more influence than it is given credit for on the genre as a whole, being a stepping-stone in the direction of the Chronic. (and with everybody from DJ Quik to Lil’ Kim to 2pac borrowing beats from this album).

This album deserves to be revisited.

Best tracks
Murder Rap
Untouchable
Another Execution
Menace to Society
Freedom of Speech
The Last Song

Recommendations
Buy this album.


Digital Underground – Sex Packets

Digital Underground
Sex Packets
March 26, 1990
Tommy Boy Records/ Warner Bros. Records/ WMG
080/100
Digital Underground - Sex Packets
1. The Humpty Dance // 2. The Way We Swing // 3. Rhymin’ on the Funk // 4. The New Jazz (One) // 5. Underwater Rimes [Remix] // 6. Gutfest ’89 [Edit] // 7. The Danger Zone // 8. Freaks of the Industry // 9. Doowutchulike // 10. Packet Prelude // 11. Sex Packets // 12. Street Scene // 13. Packet Man // 14. Packet Reprise

Listening to Sex Packets it’s hard to believe that Digital Underground would go on to produce one of hip-hop’s biggest stars and most polarizing figures. It’s not just that there isn’t so much as a trace of 2pac’s actual haunting baritone on here, but stylistically Humpty Hump and his merry band of, um… well… band members don’t seem to be too preoccupied with writing pro feminist raps, tales of ghetto life and dissing the shit out of Bad Boy records. Although if we are to believe Wikipedia Digital Underground was initially supposed to be militant, political and spreading social awareness until Public Enemy chose to take possesion of that niche. Oh well.

If this story is true then it was Chuck D, Flava Flav and co. who freed the Underground’s hands to create a solid party record, owing more to George Clinton than they do to any hip-hop predecessor or contemporary. Digital Underground’s style is probably best described as the love child of George Clinton and Sir Mix-a-Lot. With Shock G being the schizofrenic ringleader, Money B being the second in command, DJ Fuze, Chopmaster J and a whole lot of others being regular players and so many people in the shifting stable of vocalists and musicians going in and out of the studio that it’s usually hard to figure out who’s present and who does what.

If you’re looking for enlightment, poetry or even well put-together flows Digital Underground isn’t for you. The album is filled with instructions of how to dance, party and have a good time in general as well as lots of goofy, surreal humor in the place of lyricism, not unlike what LMFAO does today. Shock G, the alpha male of the group oft resorts to the use of alternate personalities such as the nasally voiced goofball Humpty hump.

The intrumentals are also great throughout. Although within a couple of years after this album every rapper and his grandmother had spit over one or more of these Parliament-meets-Zapp beats one has to keep in mind that when Sex Packets came out it wasn’t yet as played out. Also Shock and his lieutenants don’t put in stale funk or lazy straightforward sampling.

If you are looking for a good natured party rap album that’s light and funky Sex Packets is definitely the way to go. Songs such as the Humpty DanceDoowutchalikeRhymin’ on the Funk and Underwater Rimes [Remix] are hella fun to listen to and overlooked hip-hop classics. And that more or less goes for the entirety of this consistently dope album. The good times are rollin’ and everyone is invited and advised to join in.

Best tracks
The Humpty Dance, Rhymin’ on the Funk, Underwater Rhimes [Remix], Doowutchyalike, Sex Packets

Recommendations
Buy this one.