“Blast Off (Intro)” is a short intro that sets things in motion. They are smoking (and coughing) on that “space boogie”.. and then…. Blast off! A very laid back and heartfelt-sounding narrator comes in and talks about a new place away from the guns and the noise. “…the music is different.. the vibrations were different.. not like planet Earth…..teleport the whole planet here.. through music… music….music…” It’s short enough that it doesn’t get boring. It’s a very different intro for a Gangsta-rap record.

“Space Boogie” featuring Nate Dogg, was produced Fred Wreck. The beat hits hard from the beat with a thick treble and sharp beeping melodies. There’s a thicker keyboard orchestra-influenced melody deep within the beat along with other rolling keyboard sounds. Kurupt sounds angry and determined as ever “…I'm like... fuck a bitch and fuck you too / It's so many different things that I’m gon' do / Switches all fucked up / Livin' in the '80's jackin' niggas for Nissan trucks / A quarter piece to flip /  It's me and Daz and two bitches / I never gave a fuck, nigga Daz and Kurupt / They say this ain't the way to get rich! / I might as well get me a bitch! / I don't get it, I take it / Put a glitch in the Matrix / Flip some bricks to strip ya bitch naked / 'Cause I just don't care, live from "G" square / Wit a vest and a cup to put in the air /Nigga... fuck a bitch and fuck you too / What a punk mothafucka like you gon' do? / ... I holla'd at Dr. Dre, hit up Bigg Snoop / Wit the candy cut-cut perfectly on fued / It's on one, nah he said it's on two / On fifteen shells, ducked and detailed, de-railed / All you to want do / Do what the fuck you want to do too / Get what ya got to get to get through / Light what ya wanna light to light fire / Big arsonist blew to white fire /  Blast through ya home or blast to hit doors / Crap like the crap table, Kane and Abel / I'm signed-out Sinatra, galactic Gallahgar / Metal physical, sixteen Calibur metallica / 'Sane asylum shanker, big and little banker / Punk mothafucka, mothafuck, mothafucka, yeah nigga  / We can go heads nigga / You bitches be hatin' nigga, heard what I said nigga / Lend me some bread nigga, keep ya chest bust like lead niggas / The fed nigga, Daz and Fred nigga / Kurupt Young Gotti, baby face Capone / We on Niastra, nigga on the microphone /  Never never have I ever gave a fuck  / Dat Nigga Daz Dillinger, Fred, Kurupt /  And we do what the fuck we want to do too / Get what we got to get to get through /  And we blast what we got blast to get ours / Life of a gangsta in a world of stars / Light what ya wanna light to light fire / Big arsonist blew to white fire / Do what the fuck you want to do too / Get what ya got to get to get through, through, through..…”  The song is basically one long verse and then Nate Dogg comes in to sing the hook (that is only sung at the end). As usual, Nate’s voice is silky smooth but has a very hardcore feel to it : “…All my niggas on the Northside, getcha money right away /All my niggas on the Southside, let 'em know that you don't play / And say them niggas on the Eastside, ain't some niggas you contest / Unless you stuck up in a time-warp, you all ready know about the West / They say them niggas on the Northside, keep tabs on they skrill /  All my niggas on the Southside, try to make anotha mil' /  All my niggas on the Eastside, make million dollar bills / All my niggas on the Westside, been doin' this fo' years /  Throw ya mothafuckin' hands up somebody / Throw ya mothafuckin' hood up somebody / What dem niggas do, they ride / What dem niggas do, they ride, ride / Throw ya mothafuckin' hands up somebody / Throw ya mothafuckin' hood up somebody /  What dem niggas do, they ride / What dem niggas do, they ride, ride …” Structurally, this is a very original song. Vibe-wise, lyric-wise and sound-wise, it’s pure West Coast new school Gangsta rap. Kurupt and Nate do it very well. It’s an excellent and hard-hitting song to kick the album off.

“Hate On Me” features Soopafly and Damani and was produced by Soopafly. The electronic beat sounds a little influenced by Timbaland but it does not sound like a bite. The mid-tempo keyboard sounds give it a slow, bouncy feel. Soopafly kicks the song off with the usual gangsta lyrics: “..…if rappin' was a bitch you'd have no pussy / Maybe tongue kissin', but still no pussy / Lookin' at me dumb I'll slap you so dizzy /Suppa so busy cockin' the 4 fizzy….” The hooks has this sinister whispering quality that is slightly sung/slighty spoken: “…Why do you hate on me /Cause I don't be trippin' off you / My image is stuck on "G" / Try to fuck with me this year...(scratched :"Get the 'F*ck' outta here!") / I'm so up on my shit / These bitches ain't gettin' my grip  / So I still remain a "G" /  But why do you hate on me....” Demani blends in fine with the song. He does a decent performance but does not stand out like the other guests. He fits in the song. Kurupt, of course, steals the show: “…Why do bitches blow dicks? / I don't know that but I can tell you dis, you simple trick / "Now you get it all you want." / We roll joints we don't fuck with blunts, fuck a blunt now /"Some niggas is worse than ho's"  / Holdin' somethin' on your chest let it go / I'll make a bitch blow balls like a ball and sing that  / song(echoes)...but naked / Most o' y'all niggas be break and hatin' records / The most hatin' done in 8.5 seconds / Why you hatin' Snoopy, you hate Nate and hate me Why you hatin' stupid and hatin' on Warren G /Why you hatin' Rasco, why you hate Damani / Cause he wanna fuck Armani and don't wear Armani /Hatin' Gondee and hatin' Tre-dee, Tre-dee is like fuck'em if they hatin the "G" / Fuck y'all...” Kurupt steals the song because of his fierce energy and delivery. His lyrics are ignorant as ever but his performance and delivery are what count in this song. It’s a cool track but not one of the album’s best.

“On The Grind” features Daz and was produced by Daz Dillinger too. This song was on Daz’s solo Lp “R.A.W.” I did not pay too much attention to the song until it was on this album. It’s a dope track. Personally, I like the title track “R.A.W.”  better but this is still a good track. Daz kicks the track of with his high-pitched falsetto voice singing. This track is like an anthem. The light piano pulses along as the beat has a double-time and almost southern feel. The true jewel of this beat is the slap bass. It is truly awesome and funky sounding. Daz handles the hook for this money-making anthem: “….We can't stop, can't rewind the time / Off of dollar bills nickels and dimes /On everything homeboy that I'm down for mine / Until we get we it be out here on de grind…” The Daz / Kurupt team has a chemistry that many duos do not possess. Both do an excellent job with their performances. Daz rhymes: “…I wake up with the birds, early as fuck / Stash my dope in the cut, serve the clucks / Lil' bitches around the way they know what's up /They wanna bust, wanna try to smoke a nigga weed up / It aint shit to flip a double up / And I love when I'm comin' up /I got thangs for these suckas when they runnin' up / Tellin' all y'all fools y'all aint one of us... nigga ..” Kurupt also complement’s Daz’s macked out gangsta style. Kurupt rips the mic with a similar intensity: “…Get a glimpse of a fact - plus that, Blaze / Move into the hood wiith all the O.G's / That help me get paid homie, we a unit / Doin it how a gangsta do it  / Run through it / And stampede the block like bitch / Your on the wrong side to be servin your shit (yeah) / Jack nigga, Daz and Kurupt the Kingpin / Back on the smash with heaters to reclaim the ass  …” Of course, I would prefer a new Daz / Kurupt song and not one that has been recycled from Daz’s solo lp. This track does work. I actually liked it more on this album for some reason. It goes with the flow and gives the Lp a very upbeat vibe.

“It’s Over” featuring Natina Reed (from Blaque) was produced by Darrin “Jeeky Man” Lockings & Christopher “Charm” Arms. This is the most blatant commercial attempt I have heard from Kurupt. Many die-hard G-funk lovers will hate this track for many reasons. First, the beat is very weak and silly. Second, the lyrics are dumb-downed and very simple. Third, Natina’s voice is annoying. Forth, the hooks use children in the same vein as “Hard Knock Life” by Jay-Z. Still, after all of those criticisms, I still find myself listening to it in its entirety. I do not turn it off and I find myself enjoying it much more than blatant crossover attempts from hardcore artists (i.e. “Closer” by Capone-N-Noreaga or “Keep Ya Head Up” by Jadakiss). Natina Reed is Kurupt’s new fiancée’ (Foxy Brown is obviously not in the picture any more). Here, Dave Hollister (who is not in the song) inspired Kurupt and Natina to write each other’s verses. It is extremely obvious that this is not G-funk or the normal Kurupt song. The beat is slow and bouncy and filled with cartoon-like whistles and dings. There are even little phone sound effects. The Nickelodeon theme song has the hook sung by children: “..It's over, it's over now, / Move over, it's my turn now, /  It's over, the game's shut down, / Sorry. ….”. (My nephew caught me listening to this track and he sings the hook… he loves the “sorry” part.) Kurupt’s lyrics and performance is so different to the usual gangsta-style he rocks. Kurupt raps, “…I went from canopies to boards, fans to no repoire (sorry) / You ain't got the Bentley with four doors / K-u-r-u-p-t, any, you just bring my bottle of Remy / Recognize a real hit when you hear one / Postin' up at the Playboy Mansion / I stomp like gortex, poetical vortex / Bouncing to Jigga in California...”  Even though Natina’s voice is annoying and her lyrics are not anything to dissected, she fits in with the song. She sounds (and looks) very, very young and finds a perfect place to fit into the song. Natina raps, “…It's the N-A, T-I, aww, you know the rest / Silly how frequently they contest / I done toured across the seas and been across the world / I done it for all y'all, my cats and my dogs / It's over, 'cause I'm bad to the bone / Leave a real diva to her own, alone / I drive in Jaguars, so many different cars /  Life as a pop star, shouldn't be this hard come on….” I cannot front… the song is a guilty pleasure. They know it’s a blatant commercial collaboration and Kurupt lets the listener know with the line: “.Kurupt runs gangster rap Natina be running pop…” This is the first of the “odd” collaborations on this album but the only one that is a blatant attempt for a commercial hit.

“Can’t Go Wrong” featuring DJ Quik and Butch Cassidy was produced by DJ Quik. This is one of the best songs on the LP. It’s so tight both musically and lyrically. More and more, DJ Quik has gained my respect as a producer. He’s not the best lyricist but he makes some very dope beats. This is the best beat I heard from him. The wah-wah guitar sounds extremely funky in the beginning as the horns blast their way in. The hand-claps and electro-funk hit extremely hard giving the song a thick West Coast gangsta-funk vibe. Kurupt kicks the song off with a rugged and energized verse: “…The reason that I'm here, I’m a drop 'til it's clear / Let all... G'z to front, middle and rear / Switches couldn't switch / Like these switches a day /  Just to sit and sipping' and dipping' all over the ways / That they ears and chairs, dis on this years /  Cokes dripping' off juice and gins /  As a matter of fact, takes math-ical fact /  And you can't de-grate, y'all get played like a sax /  Trumpet to trombone...  /  Too shotty Young Gotti, millennium bone /  If she raggedly, I'm sending' 'em home /  Putting' 10 in the chrome, letting' all killing' it's on /  It don't quit, it don't stop, let the beat knock /  Pull up at the spot, in a drop top /  Gettin' what I got, I just….” Butch Cassidy leaves a strong mark on the song’s sun hook. More and more, he is making a name for himself and not as a 2nd rate Nate Dogg. Sure, I prefer Nate Dogg but Butch Cassidy has a unique and silky smooth voice too that is all his own. He gives a smoothed out vibe to the hook: “…Can't go wrong, releasing' all my lost hood songs... /Don't give a damn on the real, I say just what I feel... / No matter whatchu say, I'll never stop my bust style way... / No time fo' da game, I do it my way…” The saxophone sounds perfect in the background as Butch sings the hook. This is one of the tightest tracks I have ever heard. It’s practically perfect. DJ Quik comes on the mic and gives a simple and silly verse. He could have done better but he’s not that bad. “…One- Two, fuck wit my crew / And we won't stop popping' 'til ya body turn blue / Three  - four -, look at that whore with the fat ass, but without the cash, hit the door / The reason that I'm here... Kurupt done bought the beer /  I’m a lush, looking' fo' the cush, looking' fo' the bush to push and mush / Back, I'll hump the ho if she ain't been needing' a Dusch bag / No, must've been the Gucci, wit hair that's pushed back / In a bun looking' fun / Gettin' silly, wit my celly from Billy /  Brought to you by way or two buns…” As simple and silly as DJ Quik is on the mic, he does not take anything away from the track because his verse is so short. He production on this song is so dope too. After this song is over and before the next track begins, Xzibit comes in on a hidden skit to get a little anger off of his chest. It’s short and sweet and a nice, little surprise.

“On, Onsite” featuring Lil ½ Dead, was produced by Fred Wreck. This is another track with excellent production. It is not as catchy as the previous track but Fred Wreck does his job well. The beat, at first, is raw and hits hard with a dope, thick keyboard bass line. The high-hat in the background also gives it a great energy. Then, a guitar sample comes in along with another keyboard melody. The layers of melody truly make the production of this track great. Kurupt’s verse is just as energetic as ever: “…Milli monotone, cyclone Stallone / Marone chaperone shiny chrome Capone / Smashin in a 80 two brand new grown /  Home sweet home nigga where the hoodstas roam / In gangstaville where we shoot to kill / Pop the pill, pop then drop the three-wheel / The tale of tales, fly high as a gazelle / The hell-hound came through and drown the whale / Pronounce, denounce, stripped in set sail / Soak in a could of smoke then inhale /  Hold it in never exhale / Smoke whoever nigga's zone I'm in, oh well / Fuck you and ya mama / Drama, holocaust through anaconda...” While the melodies in the beat have multi-parts, so does the hook. First, Kurupt rocks the hook with his usual energetic style when the guitar sample comes in: “…Nigga, I'm blasting on you, you -  -Your homeboy your whole hood - Fuck ya'll punk bitch made niggaz - On, onsite, let off on sight - Lettin off on the first thang in sight, fuck ya'll niggaz….” Then, Lil ½ Dead comes in and sings the hook: “…Niggaz act like they gon' get wit me when they see me onsite - But I don't give a shit you bitch cuz I'''m a gangsta for life…” Lil ½ Dead’s voice is not as cool sounding as Nate Dogg’s or Butch Cassidy’s voice but it’s good enough. It’s less smooth and silky and more shaky. Fred Wreck steps up the production one more time when he adds a harpsichord sample in the background during the later verses. This is a great surprise and a refreshing addition to the otherwise average track. It makes the track much better than just a filler track. Even though it’s not one of the best tracks on the album, it’s still real cool. That harpsichord (or clavichord) sample is just so dope!!!!

“Sunshine” featuring and produced by Jon B is the 2nd blatant commercial attempt. It is not as blatant as “It’s Over” but it is still blatant. This track is also one of the “odd” collaborations.  It is the first of a handful of collaborations with white artists on this album. I think this album has the most white artist collaborations ever. I never liked Jon B but his voice is nice and it does not disrupt the flow of the album. Jon B’s RnB style beat uses a wonderful sounding wah-wah guitar and mellow, rolling drum beats. Job B handles the hook with his velvety voice: “…Bouncing with my cutie pie – while everybody’s staring, she shining so fine – The summertime heat got ya feeling so right When she come out like sunshine – in the summertime – When she come out like sunshine..in the summertime…” It’s actually a nice sounding hook with a decent beat. It’s definitely not one of my favorites on the album but it’s not as bad as I thought it would be. Kurupt has much more energy on his performance here (as opposed to “It’s Over). He has more passion in his delivery while the lyrics are not gangsta-fied as the other tracks. Kurupt’s first verse sets the tone for the track: “…Did you ever pop in the spot / And your jaw just dropped / In the eight second spread, she all in your head / You’re about to touch the ground and damn near beg / Cuz she the one, like Lisa Left Eye Lopez/ …./ Hair to the middle of your back, looking just like that / I like short shorts and the tight jeans / And the summer dresses and the small feet / All petite / See that’s what little bomb mammas are made of …” This is a cool and mellow track dedicated to the ladies. Jon B also vamps out for the bridge. It’s actually a cool track. I did not think I would like it but it’s decent. I would not call it wack at all due to the tightness and Kurupt’s performance. Jon B does a good job too.

“The Hardest Mutha F*ckas” featuring Xzibit, Nate Dogg, and  MC Ren, was produced by Fred Wreck. This is the beginning of the smoothed-out and very gangsta part of the album. This and the next couple of songs all have a smooth and laid-back, riding flow but are not blatant crossover attempts. They are all true gangsta rap songs. This is one of the best tracks on the album. The mellow snare and rim shots sound sinister as the guitar sample adds another sinister level to the track. There’s also a sinister flute, which creates a fluidity to the track. Nate Dogg handles the hook but kicks the track off with an incredible pimped-out sung verse: “…Some try to repeat my flow / Others neva try cuz they know / I told ya that the game don't wait / I'm so tight that I can wait  for the game /  Just about as tight can be / That's why you never see 'em fuckin with me /  Get ya chance to bow out gracefully /  You standin face to face with defeat...” The hook is dope too. Although Nate sings the entire hook, there’s a slight call-response part of it: “…If you feel me say Nate (Nate!) -He be, the tightest mutha fucka in here -Dogg Pound Gangsta Gang - We be, the hardest mutha fuckaz in here - Some things never change -We be, the harrrrdest mutha fuckaz in here - Dogg Pound Gangsta Gang - We be, the hardest mutha fuckaz in here….” MC Ren kicks an extremely raw and rugged verse that grabs the listener, kicks him in the balls, slaps him across the face, and spits in his eye. It’s the hardest verse by a guest on the album. MC Ren raps: “…Bring yo bitch ass in, close the door / Now you wanna run and fetch me a hoe / Motha fucka tell yo mama tip-toe /When she pass my door / Kurupt, got this bitch about to toss this ho / And when we makin the nigga shit / Always makin the killin / I be hearin you bitches, there go the villain / Mad cuz your revenue stopped from drug dealin / Mad at me cuz I'm makin shit them thug's feelin /  Hold my dick nigga spit that verse / The hardest mutha fucka nigga love to curse / It get worse, once the vill' start to smoke / And this legendary dick start to soak in your throat / My nigga Young Gotti ‘bout to pull your coat /  Who are you bitch, you mutha fuckaz never exist ...” Xzibit also rips the mic on his verse. Hard as hell (though Ren is harder on the song), X to The Z does not hold back: “…So what you know about this West Coast monopoly / Enough animosity, to tear down democracy /  Anarchy, you wanna analyze and copy me /  But mutha fuck that stay off my god damn property  /Xzibit burn a couple ounces of that broccoli / Step into the function make the crowd bounce properly / Yeah I know about your little shit talkin mockery / Tryin to see and pour 6 feet of gravel on top of me / And all my playaz go to wakes so the next nigga can take my place / And try to invade my space / Make enemies search for God like Ma$e (Yeah) / You should avoid catchin 2 to the face, so I can avoid catchin a case / You'se just another mutha fuckin rat in a race / I explode and expose to this multi-platinum fan base  / Never seen before I kick in your door /  Ain't no time to run for them guns, just get on the floor...” Of course, Kurupt lets you know that this is his album. His last verse is just as dope and angry. Kurupt ends the song: “….Yeah, a penny for your thoughts in a hour glass of time / Surround sound beats for the Dogg Pound jeeps / Jump the volts up in each single switch / Stick somethin fat up in each single bitch / Bombshell, and for every dick apiece / That ain't from the hood driftin get 5 shells each / Split bustaz, no bustaz allowed /  No punk motha fuckaz allowed, loosen the crowd / Dogg Pound say it loud (Dogg Pound!) / Scream it at the top of your lungs / Tell these niggaz where we from / Say Kurupt...Kurupt (Kurupt!) / Yeah nigga the hardest mutha fucka in here /  I like  Hennessy and beer... / Remy, gin and juice, tequila, and grapefruit... / Chocolate thai, indigo sticks, and a thick bitch / Down and out, nah I'm up and in /  Down at the Dogg House with Dre, Cube, & Ren….” This is one of the best and tightest tracks on the album. Here, everything works. The production by Fred Wreck is flawless. Nate Dogg’s hook is perfect because it has the mystery of both being smoothed out and sinister at the same time. Finally, every emcee on the track does an excellent job. They each bring something to the table. Mc Ren brings the extremely angry hunger. Xzibit adds a fierce depth while Kurupt keeps it very gangsta. This track is incredible!

“Gangsta’s” features Daz Dillinger and was produced by him too.  Once again, the beat is smooth and has a sinister feel. The snares sound somewhat like mild hand-clap beats. There’s also a light string melody in the background along with a flute. Both emcees rock their normal G’d up flow but change into a Southern double-time flow for a little while. Then, they come right back. This shows their talent as emcees. Daz and Kurupt handle the hook while Daz handles most of it using the same melody from Pharcyde’s “Passing Me By” Kurupt starts the hook:  “…Yeah blasting' on these sucka niggas [Daz: "Gangsta" ]. Yeah homie fuck them niggas - Gangsta [Daz: "Gangsta" ]..” Then, Daz comes with the Pharcyde “Passing Me By” melody: “…You do not know me very well -  But you will know me if you trip on me -   You niggas cannot get wit me...…” Both emcees do an excellent job on the microphone. Daz kicks the first verse: “…Who are them two niggas  / that are changing' the game? (Daz and Kurupt)/  Fuckin' it up, using' our name up in vain (something Kurupt)/  So whatcha wanna do, let's ride, bang  / Up on these other-sided niggas... and ride on the game (There they go!) /  I retaliate, in the alley way, on a sunny day (Here we go!)  / Blast up on niggas for they tally way, let 'em on they way  / Boo-ya-ka, boo-ya-ka, you should've looked before you come out / Boo-ya-ka, boo-ya-ka, you should've looked before you run out (Nigga!)...” Kurupt then spares no expense on ripping the microphone too: “..Who them niggas that are squabblin'?, blast (Kurupt and Daz) / Quick to knock niggas square on they ass (You betta ask) /  Yeah them gangsta niggas back wit the smash, so quick, so fast /  Drinkin' straight gin outta the glass (Not if that ass) / Look at all them niggas thinkin' that I'm free joke or somethin' / Betta get the steppin' fo' the pump get to pumpin' and dumpin' / Runnin' shit, smashin' shit, reckless, blastin' shit / Dippin' in the cut, not givin' a fuck, you know Daz and Kurupt….” Later in the song, they go back and forth while using the high-pitched falsetto voice. It’s funky and wild but it maintains the smoothed out g’d up atmosphere. Even though this track is not as dope as the previous track, it’s still very dope.

“Bring Back That G Sh*t” featuring Snoop Doggy Dogg and Goldie Loc, was produced by  Fred Wreck. This sounds very Dr. Dre influenced. The beat is mellow and driving using both snare rim shots and hand claps for the beat. There’s also that g-funk keyboard melody that gets layered for the hook. Kurupt kicks the track off with a hardcore and hungry verse: “…This is the game you wanna spit to a nigga /Let a nigga know it's all right, cascades /  And G'z stomping' on niggas like parades / Escapades and charades played / When the stampede stopped / And it continuously Young Gotti / Seen so many bodies / Drop fours hop classics and drastic measures / Principle's a pleasure and penal endeavors / Whatever the case, whatever case, it's caught on a chase / When a chase, it began in the facial of race / Me and Fred, he make beats, I make rhymes / And Snoop, he controls and calculates / In pervious moves, the Pound Pentagon / Wit a pistols, I holla where the gangsters' at / Daz popping' his collar, nigga sweet and sour /  Pop Chucks and collars, rolling' through the streets in my '84 Impala…” Snoop comes in directly afterwards with his pimped-out gangsta flow. It’s a great appearance and unfortunately, his one appearance on the LP. Snoop pimps out on the mic: “…Holla, holla, if you wanna / We gon' run it from the co'na, it's the killa Califo'nia /Ya see, I do it to ya /  'Cause I know it screw ya, ya try up do us / But you can't 'cause you lovin' this beat  / Uh, uh... we dump, dump to make you pump, pump / We comin' wit the heat to make ya trunk bump / Freddy said he had a whole a gritty down to go steady / And stick up Eddie for his fedy and bring it all back to daddy / I want bread, cheese now put it on the patty / Knick Knack style, kick back and flip files / In the verge, on now listen now honey child / Bow Wow, do ya now, how ya like it doggystyle? /  Smile and grinning', sipping' on some gin'n /Roll wit a cap and ya all strapped in / Once ya back in, it's straight mackin' / I keep it cracking'…” The hook is a smoked out sounding joint that reminds me of “Light Speed” from Dr. Dre’s “2001” lp. Traci Nelson and Kokane sing the chorus: “…This is how we all get down -Bring back that "G" sh*t fo' me! - This is how we all get down - Bring back that "G" sh*t fo' me!…” It’s a great, smoked out gangsta track.  The formula is working so well with songs like these. Snoop comes in for another verse that is just as pimped out.. “…D-P-G-C'ology /I'm not talkin' 'bout chemistry or biology /  This "G"'ology…” Goldie Loc rocks a typical verse. He’s just as gangsta and just as pimped out as he is on the Eastsidaz’ LP.. he is getting better. Although Kurupt spits an incredible performance, Snoop truly steals the song on this track. It’s great to hear Snoop and Kurupt back together again and Fred Wreck made a perfect G’d up track for them. This is a great song to lay back and ride to… or smoke to.. or get “h” to… I’m sure you could figure something out.

“Lay It On Back” featuring Fred Durst & DJ Lethal from Limp Bizkit and Nate Dogg, was produced by Fred Wreck. This is another ebony and ivory collaboration that I was very skeptical about… but.. it’s not that bad. It’s not mind-blowing and it’s certainly not one of the best tracks on the album but there are some very dope things about this track. First, the beat by Wreck is dope as usual and ends the laid back flown to the LP. There’s a great high-hat beat along with an awesome sounding wah-wah guitar. Second, Kurupt rides the beat with his lyrics and gives a solid performance. Third, DJ Lethal adds some very nice scratching on the track. Again, Wreck’s beat has high-hats and wah-wah guitar but it does have a different sound than the previous track while maintaining a mellow atmosphere. Kurupt spits the usual rhymes about back in the days: “…I been through the full-court pressure stage /The homies gave me a nine / The first time I saw a gauge / The first time I put my feet... / Down solid mashin on top of concrete / Before all the ways of war / House and car doors felt the rays of war /  When life was simple as shit / And we didn't give a fuck about a bitch, 1986 / It's all about lic's, heat in the streets / Trucks with the beats /  Bitches with biker shorts worn all tight /  Tryin to get a pussy just worn all night / Plus you had to be a baller to get the baddest ho's  / Back in the days, 6-4 six trays / Back in the days, Elco's, S-S's /  The best is where the west is niggaz don't test us…” The hook is sung by an extremely mellow and low-voiced Fred Durst with song very dope scratching effects by Lethal: “…Just lay it on back (Hey) -Do you wanna ride? - Just lay it on back (Hey) -  Do you wanna ride?…”  Then, Fred Durst rhymes and sounds very out of place no matter how hard he tries to fit. Durst raps, “…Back in the days where them laces were thick /I was concerned with break dancin and layin some dick / For whatever it's worth, I'm still doin the smurf / And I'm walkin on this Earth, like I don't give a fuck / And now I'm rollin up in third gear / With 3 dollar bills, 3 more minutes to kill / 3 more seconds to snap, 3 more bottles of beer /  And corrupt's my lifestyle, so shut the f*ck up…” Luckily for us, his appearance is short enough and his voice is toned down enough not to get annoying. Nate Dogg saves the track and rips an incredible sung verse: “…I don't give a f*ck so fuck what they say / N*gga won't you pass, say pass the Bombay / N*ggaz they decide to ride and they ride / N*ggaz they decide to lie and they die /  I can bust a fleet of ho's with my skills / I can make them ho's bow down pay my bills / Can't think I can make them ho's convert to my will / Wanna bet I'll turn them ho's to my scrill' / If you love a bitch a bitch can drive you crazy / Anything a hooker do it won't amaze me / You better be up on your game homie cuz they be / They may talk a lot of shit but they can't fade me / If you hang around with suckaz then you may be... / Anotha type of brotha I don't want with me /  When you compensate with bustaz you confuse me /  Cuz I'm tryin to stay out the penitentiary…”  Just when I was not liking Durst’s performance, Nate Dogg comes in and saves the track. No hook, just a straight sung verse with an incredible flow. Nate Dogg truly gives a perfect performance.  As a whole, the song is not bad at all but Fred Durst should NOT be on any kind of album related to D.P.G. DJ Lethal, on the other hand, does a very good job on the turntables. The scratching gives a true hip-hop feel to the song. It’s a shame that many artists do not use the art of scratching on their songs. The song is good enough to listen to in its entirety and it does go along with the albums flow. Nate Dogg is a jewel towards the end of the track.

“Just Don’t Give A F*ck” features and was produced by DJ Lethal. In the beginning, a little answering machine message from Noreaga is played. The beat comes in with an up-beat tempo and light pianos and electro-bass. The hook jumps the song off and half of it is sung in that high-pitched falsetto voice.  The hook, sung and rapped by Kurupt, has a wild flow to it: “…Pull ya slates in 'fo we go post up at the Bates Inn, suckas -(See we just don't give a f*ck) - Eminem got a message to spread ‘Feel theee force of the  desert dust’ -(Cus we just don't give a f*ck) - Penitennntiary chances is a must - And in God we trust - So pop back, or you pop that - Stop and drop that - I'm in the front where the actions at for your soft cats - (Cus we just don't give a f*ck)…”  Kurupt truly does not care and the sentiments in the song  express that fact. With so much publicity on his beefs and his crew’s beef, he states he truly does not care: “…Don't say shit about Eminem or Snoop or Dre /Fell the fire this way, yeah / Ya got somethin to say about me say it / Cus I'm squattin this shit between me and DMX muthaf*cka / Fuck y'all niggas, All y'all niggas / Bounce or get bust on / Blind, The homies'll rush on 'em /  Drop of a dime, So get the fuck on…” This is a cool track that bounces along. It is too good to be filler but not good enough to be considered one of the albums best tracks.

“At It Again” produced by Damizza is the only so-called solo track on this solo album. I would not even say that because Fingazz sings the hook through the vocoder voice box. At first, the track sounds very commercial but it is an excellent track. The very up-tempo beat is filled with electronic handclaps and lighter wah-wah guitar. It’s a very feel-good  and happy sounding song but Kurupt keeps his lyrics Gangsta while showing that he knows how to have a good time. Kurupt and Fingazz sing the hook with the vocoder voice box that sounds very dope. “….I just got paid, it's Friday night -  The party's jumpin, I feel so high - Dogg Pound Gangstaz, we at it again -  Party's poppin, from beginnin to end…” It reminds me of “Represent Dat G.C.” from “Streetz Iz A Mutha”. Even though it’s not as incredible as that track, this song is extremely tight and very fun. The beat and Kurupt’s flow blend together perfectly. Kurupt knows how to party and displays it in both his lyrics and his flow his 2nd verse is especially dope: “…Ain't nothin else for me to do besides dip /Goin through it homie like it just ain't shhh / Now that I'm here, where you....at / Front to up, down, to back to front round the back / Okay let's say, you can do it your way /I'ma do it my way / Project to borough, today to tomorrow / Escapade to parade, expressway to highway / The freeway to tristate, 101045 / Turn to 95, this side ride / Saturday's always the best of me /  Cuz the whole day ain't nothin but rest to me / I got ladies hittin me cuz they just wanna chill / Perfect requirements in a safe environment / Like what's that poppin at the top of the hill  / Where it's always poppin like hits and villes…” Now this may not be the most hardcore track on the album but it’s certainly one of the tightest. This is the way commercial tracks should be done. There’s nothing corny about it…. It’s a dope beat, dope rhymes and dope performances wrapped together with a banging and uplifting, party-loving hook. Why can’t commercial attempts sound more like this? Although it’s not the hardest, it’s one of the tightest tracks on the album.

“Kuruption” featuring Everlast, was produced by Fred Wreck. This was another surprising track. I do not like Everlast at all. I was also surprised that Kurupt would work with him while still being cool with Dr. Dre and Eminem (who both are NOT on the LP). But, I guess “Just Don’t Give A F*ck” addressed that concern). This is actually a very good song and probably the best ebony and ivory (black/white) collaboration on the album. Everlast made a fool out himself in my eyes in his House Of Pain days and then went acoustic folk (with a hip-hop influence) when he went solo with his “Whitey Ford Sings The Blues” & “Eat At Whitey’s” LPs.  Here, Everlast brings his acoustic guitar with him and sings the hook along with some children in the background. It reminds me a little bit of his collaboration with Santana in a weird way. Everlast and the children sing the hook: “…Government's corrupt -Police force corrupt - Education's corruppt - It's all f*cked upp - Government's corrupt-  Police force corrupt - - Education's corrupt - It's all f*cked up…” The beat it very sinister and somewhat has a double-time southern feel. The acoustic guitar adds a sinister and windy atmosphere to the track.  Kurupt’s verse is good but it does sound forced because he usually does not do socially conscience tracks. Still, Kurupt gives a strong energy to the track due to his delivery: “…Step two paces.... /Turn and entrapped in the middle of the frontline where the action's at / Head straight to the scope, it's like hangin on the edge, of a ledge / I play my part, piece to the puzzle / Heat's with a muzzle, a YG always in trouble / Cuz of what he know, cuz of what he knew / How he grew, up and, what he grew up to / And what he gon' grow up to be / It's nuttin wrong but homie don't grow up to be like me / Temptation to touch, a terrible thing / A placement in your palm an unbearable thing  / The street has many wars, infiltries, many ways / Lives lost, many K's, full size and mini K's / Comin in many arrays  / Many shapes, sizes, and shades /  Cuz boys in blue they just might get you…”  I never thought I would say it but Everlast does a very good job with his verse that is placed directly in the middle of the track. Everlast raps in an almost nursery rhyme flow: “…Now Bobby and Susy were unhappily wed /So Bobby shot Susy in the back of the head / Bobby got taken to the county jail / He put up his house and he walked on bail / Now Bobby's on the streets he's free as the breeze / He saved up his loot for his legal fees / He spent his whole bank quote on attorneys /  Who got the case dropped on technicalities ….” Even though his lyrics and flow are very simple, he is direct and gets his point across. He also does not go off-topic in anyway like Kurupt seems to do.  As forced as this collaboration seems, it works in an odd way. The last 30 seconds could have been cut short while Kurupt is yelling “.. we need help too!…” Still, the song as a whole works and is a pleasant surprise that could have been tragic.

“F*ck Da World” features and was produced by Daz Dillinger. This is typical D.P.G. stuff. The driving beat is filled with that G-funk keyboard effects. I can hear how Daz is heavily influenced by Dr. Dre’s new sound from “2001”. Daz’s beat has high-hats and an upbeat creeping organ that slightly pounds away as the beat drives on. Kurupt steals the show on this one. Kurupt rocks the microphone on his first verse with wild wordplay and rhymes about chemicals. Kurupt goes way out there and truly looses you when he lyrically (and delivery-wise) goes to a point where you cannot keep up with him: “.… Melodical molecules / Strategy and logic / Enable oppositions and pinpoints positions / Onsite and evil / Deep in the distance, for instance / Unknown to science and forensics…” The hook is very catchy as holds the main attitude of D.P.G. Kurupt rocks the hook with intensity: “…This is it! – F*ck the world! – I’ma be the first n*gga to f*ck the world – Converse of power – Inspired – Five – Fly out the barrel –  Fly out the barrel..baby!…” Kurupt continues to go off as Daz adds his two cents while giving the track a tremendous energy when he says: “It’s on tonight!..” He also adds some lines during Kurupt’s verses. This is all Kurupt’s song with Daz being more of a hype man and a dope beat maker. Daz takes us out and ad-libs while the track ends with Traci Nelson singing “F*ck the world! F*ck the world!..” It’s almost surreal. The violins give the beat a somewhat apocalyptic atmosphere to it. It’s a tight and wild way to end the album. Like an explosion of some kind.. back to basics.. Daz and Kurupt with the sentiments of “F*ck the World!”.. How Gangsta can you get? This cannot be considered filler because it’s too dope for a label like that but it’s not one of the extremely dope tracks on the album. Still, it’s a great way to finish a very tight album.

The BEATS on this album are very tight for the most part. A majority of the beats bang and construct a new style commercially accessible gangsta soundtrack. The only weak beats are the blatent commercial attempts like “It’s Over” and “Sunshine” but even those beats have a unique quality to them. “It’s Over” uses very silly sounding and odd noises to make a Nickelodeon-style theme song. “Sunshine” has some tight production with it’s extremely light R&B beat. For an r&b song, it’s very good but as a hardcore rap song, it’s a blatant commercial attempt.  “At It Again” is a commercial attempt with a stereotypical vocoder voicebox effect that works in a wonderful way. It’s proof that Gangstas like Kurupt can make some dope party joints without sounding too shallow. The best beats are done by DJ Quik on “Can’t Go Wrong” and the other Fred Wreck beats. The smooth, macked out / pimped out gangsta themes make this a great soundtrack to smoking that ‘space boogie’. Fred Wreck and DJ Quik steal the show when it comes to PRODUCTION. Most of the production on the album sounds very expensive and well-mixed. It is evident that money was put into the recording and mixing of this project. Daz, who has made some of the best Westcoast gangsta beats (right under Dr. Dre) has be left in Fred Wreck’s shadow. Here, Daz seems a little lazy because he only produces 2 tracks (one of them being on his album.) Still, his 2 tracks (“On The Grind” & “ Gangsta’s”) are very dope. His beats sound better with this collection of songs that they do on his own solo LP “R.A.W.” There were some surprises in the production of this LP too. DJ Lethal produced the surprisingly cool “Just Don’t Give A F*ck” and the Jon B produced joint was not as bad as I was expecting it to be. While his debut lp “Kuruption” had some very weak production and “Streetz Iz A Mutha” had dope production,  Kurupt’s “Space Boogie : Smoke Oddessey” is a very slick produced West Coast Gansgta album. It is missing Dr. Dre. This is the first Kurupt solo Lp that is missing Dr. Dre. If he produced a track or two on this LP, Kurupt and his team could have boogied far out into the universe.

LYRICS: Although Kurupt is known as a more lyrical emcee than the typical Gangsta rappers, he is a gangsta rapper and this is a gangsta album. This is not a Horseman album and fans know this. A majority of the album’s sentiments are about pimping “b*tches”, making money and “not giving a f*ck”. While he attempts to handle topics of curruption (“Kuruption”), love (“Sunshine”),  jealousy (on “Hate On Me”) and beef (“Just Don’t Give A F*ck”), most of the songs are either about being a gangsta, partying (or rocking a party), or pure apathy. The pure gangsta sentiments are displayed in “Gangsta’s”, “Bring Back That G Sh*t”, and “The Hardest Mutha F*ckas”. The partying sentiments are displayed in “It’s Over” and “At It Again”. The pure apathy sentiments are displayed in “Just Don’t Give A F*ck”, “F*ck The World” and “Space Boogie”.  Lyrically, Kurupt has incredible potential to have very witty punchlines and one-liners but very often he just goes for the pure anger or the psycho-babble as he just spits rhymes about  various chemicals or whatever else. Through lyrics, he does have the power to make the listener completely understand what he’s talking about at times but have no idea what he’s saying at other times. This is very useful in creating an enigma. “Kuruption” is an example of how he goes off topic. The song seems forced at times. Everlast has the most simple and direct verse.  While Kurupt is all over the place (while still giving a decent performance), Everlast has made his point. For the most part, Kurupt manages to get back on topic and he uses not only his performance but his lyrics to separate each song from the next.

This is not the most ORIGINAL or CREATIVE hip-hop album but it is a very bold, original, and creative GANGSTA rap album. Most very creative and original hip hop LPs have a myriad of topics, guests, themes and producers.  On “Space Boogie”, all of the themes and sentiments have been done before and a majority of the beats fit the typical Gangsta mold even though they are dope. What is innovative and orginal about this album are the couple of risks that Kurupt are taking as well as the approach of the typical themes. First, Kurupt takes a risk by NOT having Dr. Dre on his album. Second, he takes a risk by only having Daz produce 2 songs (he does appear on others as an emcee). Third, Kurupt tries to balance blatant commercial crossover songs with hardcore gangsta tracks. Forth, this is a Gangsta rap album that is filled with WHITE PEOPLE on the mic and/or behind the boards.  3 out of the 15 actual songs have a white emcee/singer on the track. The wild thing about it… it actually works. Even though “Kuruption” sounds somewhat forced, it gives variety to the album. As much as I do not like Fred Durst from Limp Bizkit, “Lay It On Back” has Durst surrounded by incredible performances by both Kurupt and Nate Dogg. Although Durst sticks out like a turd in a punchbole, the song is still dope enough to listen in its entirety. Kurupt attempts to bring orgininality and creativity to gangsta-rap and he succeeds. From “Space Boogie” to the childlike anthem of “It’s Over”, Kurupt fits in a many different styles of Gangsta rap while creating new styles for Gangstas to rap over. From “Sunshine” to “Lay It On Back” and back to “Kuruption”, Kurupt displays that he can rock with the white boys and maintain his Gangsta status.  Fred Wreck is very innovative in the smoothed-out section in the middle of the album. By layering different melodies, I am sure he is making many producers run back to the lab.  This is not the most original or creative hip hop record but it is one of the most creative and original Gangsta LPs I have heard. It breaks new ground for Gangsta-rap (taking a step back sometimes and a step forward at other times) while maintaining the West Coast G-funk many fans have grown to love.

Smooth beats, correct sequencing, odd collaborations, and variety are the four main things that make this ALBUM FLOW with ease. First, the majority of the beats have a smoothed out pimp/gangsta feel. Even though “Space Boogie” hits hard as the album begins, Nate Dogg gives it that smooth West Coast F-funk vibe. The smooth beats provided by Fred Wreck are complimented by the smooth vocal styles of Nate Dogg and Butch Cassidy. Kurupt’s voice has some range. Sometimes, he is angry beyond belief and other times, he’s singing in a very high falsetto tone. A majority of the times, his voice is smooth too.  7 out of the 15 actual songs have a smoothed out tone. The songs are also sequenced correctly. “Space Boogie” is the perfect opener because it’s smooth yet upbeat. It sets the tone for the entire album. The blatant crossover attempts (“It’s Over” and “Sunshine” are spaced out too. The middle section of the Lp gets very smooth as song after song glides this album along. The odd collaborations give the album variety and that makes it a very interesting listen. As Kurupt’s debut lp “Kuruption” was hard to listen to all the way through due to boring production and songs that were too long, “Space Boogie : Smoke Oddessey” is extremely tight. Every song is an interesting listen and never bores. While each song on “Kuruption” was about 1-2 minutes longer than they should be, almost all of the songs on “Space Boogie” LP are the perfect length. (“Kuruption” is the only one that could have been shortened a bit.) The expensive production, care, and mixing also make this LP flow since none of the beats sound cheap. This is the ‘tightest’ Kurupt solo Lp he ever made and that’s the main reason the album flows with grace and without lulls.

Kurupt is a HARDCORE “Gangsta” emcee. The true emphasis is on “Gangsta”. Before a rapper, he’s a gangsta. It’s his love. It is his lifestyle. At first, fans may be skeptical with the odd title and the eccentric “Blast Off” intro. They will realize that it’s the same old Kurupt with his first line on the LP: “I'm like... fuck a bitch and fuck you too..” You cannot misinterpret that. The hardcore tracks do have more of a glossy feel to them as opposed to classic hardcore Kurupt tracks like “Loose Cannons”, “Streetz Iz A Mutha”, “Game”, and “Calling Out Names”. The blatant commercial tracks like “Sunshine” and “It’s Over” do not help convince hardcore fans either. Looking back at all of Kurupt’s songs, there always were R&B singers doing hooks, smooth beats, and odd collaborations (i.e. Noreaga on “We Can Freak It (remix)” or Buckshot on “Light Sh*t Up”). Through all of those songs, Kurupt has always maintained his Gangsta status and never truly changed lyrically or hardcore-wise. The only suspect things about hardcore value of this album are “It’s Over” and the collaborations with white emcees. “It’s Over” featuring Natina is so blatant that many fans were turned off. All the lyrics to that song have been dumb-downed or have been less aggressive. It’s not an aggressive song. It’s an obvious attempt at a hit. That does not sit well. If it were not by Kurupt, I think many people would not even give it a chance. Personally, I actually can get into the track. I do like it but I think it is so odd for a Kurupt LP or a DPG collaboration. Like Kurupt said, he’s running rap and Natina “running pop”. It’s a fusion of hardcore rap and pop music. Both styles are compromised. It is weird because on the wonderful commercial sounding track “At It Again”, Kurupt uses a very party-loving beat and the stereotypical vocoder voice box and still creates a banging song that is dope from start to finish. There are too many dope songs on the album to get hung up on this one. Kurupt was never afraid to experiment. His first lp had 2 discs (one for each coast) where each had their own style. The sophomore effort was extremely hardcore and a very tight structure where he was allowed to get very loose. Songs like “Trylogy” and “Step Up” with Krs-One had him doing some very unique stuff. Even the single “Girls All Pause” sounded unique. On “Space Boogie”, the loose quality is gone but the experimentation still exists. The true experimentation comes in the collaborations with white emcees. Another hardcore question comes into the balls this emcee has sharing the mic with Fred Durst, DJ Lethal, Everlast, and Jon B.  Kurupt is practically in Dr. Dre’s crew who is tight with Eminem… who has some serious beef with Everlast, Lethal, and Durst (check out “Girls” by Eminem on the D-12 album). The four ebony and ivory collaborations are another obvious attempt to gain crossover appeal or sell more records. I’m sure die-hard Limp Bizkit fans are interested to hear “Lay It On Back”. These apparent attempts lessen the hardcore value a bit but not too much because… the songs actually work. The first. “Sunshine” with Jon B is more like an R&B track but it goes along with the smooth flow of the album. Jon B’s voice does not even sound like a stereotypical white boy who is trying to sing like an R&B singer. He actually does a decent job and provides a decent beat for Kurupt to rock the microphone. “Lay It On Back” has a very weak performance from Fred Durst but it is surrounded by incredible performances by Kurupt, Nate Dogg and Lethal. The scratches by DJ Lethal give the song (and the album) a breath of fresh air. Then, Lethal’s production on “Just Don’t Give A…” is different enough to stand-alone but decent enough to blend in with the others. The true surprise is in “Kuruption” with Everlast. His guitar, hook, and simple rhyme actually work very well. It gives variety to the album and literally forces Kurupt to do something different. As a hardcore emcee, Kurupt is not ‘calling out names’ like he did on his previous album. He seems to be squashing beef (i.e. on “Just Don’t Give A F*ck”, he raps “I'm squatting this shit between me and DMX muthaf*cka..”). Even though his hardcore appeal is compromised on “It’s Over” and choice of collaborations, Kurupt remains (and always will remain) a Dogg Pound Gangsta representing Los Angeles Crips. The Crip imagery is not evident on this lp (like it was on “Streetz”) but he spares no expense using his lyrics to go out pimping, make money, destroy weak emcees and just C-walk. Obviously, the weakest tracks are “It’s Over” and “Sunshine”. The hardest songs are “The Hardest Mutha F*ckaz”, “Just Don’t Give A F*ck”, and “F*ck Da World”. The hardcore tracks outnumber and outweigh the lighter tracks.

Kurupt has made the tighest solo album to date. It is not as hard as "Streetz Iz A Mutha" due to the singles and the collaborations but it is a quality release. Definitely better than his debut "Kuruption", "Space Boogie : Smoke Oddessey" is more than just a typical D.P.G. album. The beats, especially by Fred Wreck, are produced extremely well. Kurupt also tries to display diversity while maintaining his Gangsta status. Of course, I would have loved to hear one or more tracks produced by Dr. Dre but this album can stand alone, and stand strong.  My personal favorite tracks are the following: "The Hardest Mutha F*ckas", "On,Onsite", "At It Again", "Space Boogie", "Can't Go Wrong" and "Bring Back That G Sh*t". The only somewhat bad songs are "It's Over" and "Sunshine" and they are actually decent in many ways. They are like guilty pleasures. I do not love them but I will not turn them off.  Kurupt has done an excellent job of broadening his horizons while remaining a gangsta. Some of the beats are a littler glossier than usual and some collaborations are odd but as a whole, "Space Boogie" is an extremely tight album. Kurupt's star has been rising for some time and he's only going higher. I look forward to his next album which is suppose to have Fred Wreck on a majority of the production. This album will win some new fans while maintaining the true DPG heads. (They have to get over the "It's Over" single and listen to the entire album to give it a fair chance). Even though many songs have a sparse anger, Kurupt seems the most content on this album than ever before. It's not only an enjoyable listen but an interesting listen as well. So roll on up, put that driver's seat way back, bump this album and ride along. Kurupt's new album is a true "Smoke Odyseey" that is well worth the journey.

Beats: 8.5/10.
Production: 8.5/10.
Lyrics: 8.5/10.
Creativity/Originality: 8.5/10.
Album Flow: 9.5/10.
Hardcore Rating: 8.5/10.
[ Overall Rating: 8.7 / 10 ]

For the Official Kurupt website goto : http://www.kurupt-online.com