Even casual rap-hatin’ music fans have probably heard the story of Death Row Records. Co-founded by Andre (Dr. Dre) Young and Suge Knight in 1991, the label enjoyed a string of hits through most of the ’90s. Artists like Snoop Dogg, Warren G., Nate Dogg and The Dogg Pound made their breakthrough while still affiliated with the notorious label. In 1996, Death Row released All Eyez on Me, Tupac’s seminal double-CD, and the future couldn’t have been brighter…and then Tupac died.
Since then, Death Row’s epitaph has been written and re-written a hundred times over. They tried to build around Snoop Dogg’s Doggfather album, but it was considered a flop. After Snoop left in early ’98, Suge decided to hitch his saddle to the unproven solo career of Daz Dillinger. That idea fell flat, as well. The following year, Suge Knight announced a new “Death Row 2000” roster that included a Tupac sound alike (The Realest), a Snoop Dogg clone (Top Dogg) and the recycled catalog of all their artists that have left the label (or died). I’m as shocked as y’all that all that “talent” couldn’t lift Death Row outta the coffin.
It’s 2003 now and Death Row is telling everyone that they’re back, once again. Suge Knight has been outta jail for almost two years, yet this is the first Row release that features original material (and doesn’t involve Tupac or Snoop Dogg) since 1999. The label has developed something of a running joke with all of the soundtracks and compilations they’ve released. However, for once they’ve put together a soundtrack that actually serves as a companion to the movie…almost.
If you blinked, then you missed Eddie Griffin’s comedy stand-up/biopic Dysfunktional Family. It had a very poor opening weekend and should be out on video by the time you read this. The soundtrack, however, opens more promisingly. Longtime underground sensation, Crooked I absolutely blows the hell up on Still Tha Row. It’s because of cats like this that the rewind button was invented. He takes covert jabs at Snoop, Dre, Eminem and others and spits a series of rapid fire lines like: “10 million albums sold?/maybe if I look like Paul McCartney/but I’m dark as Dark Baccardi/dark as Marcus Garvey”.
Suge Knight is putting the future of his once-great empire on Crooked I’s skills and, believe it or not, lightning might strike twice. Crook keeps the posturing dialed up on Get Off Tha Block, but still can drop a clever line (“Suge’s the real Simon/So F#ck American Idol”). Crooked I does appear on a few mediocre tracks, such as the well-intentioned but simple-minded movie title theme and Who Wants to F Tonight, a played-out concept that Death Row mastered 10 years ago.
Another promising young rapper, Eastwood, also gets a chance to shine. His work on We Ballin’ is pure fire (with help from another Crooked I cameo) and the production staff laces him with one of the best beats on the album. Unfortunately, he turns a 180 on the predictable and flaccid diss track Tha Row (Y’all Hoes). Seriously, how many times can we be told that they hate Snoop? We get it, now move the hell on. It doesn’t help that two more unknowns, Spider and Ganxsta Ridd, join Eastwood on this cut. Do they all have a legit beef with Snoop Dogg or are they just following their master’s orders? We all know the answer.
As with most hip hop soundtracks and compilations, the quality varies wildly from one end of the spectrum to the other. In a day most Death Row fans thought they’d never see, longtime foe Jay-Z pops in with a remix of Hovi Baby. Never mind that it’s just Jigga’s payback to Suge Knight for allowing him the privilege to pay for the rights to Tupac’s Me and My Girlfriend sample. It’s actually a very good joint and a significant upgrade over the original. Be sure to listen out for his line about “missin’ a murder”.
There’s just way too much filler to give this effort a strong recommendation, however. Ashanti continues her third-rate Brandy/Monica imitation on All My. 1980’s pop R&B star Mi’chele climbs out of the basement in yet another sure-to-fail attempt to jumpstart her miserable career on I Know Where I’m Going. On the rap side, the same old gangsta themes fail to ignite tracks like On Tha Radio and 1 Call.
Three final points need to be made. First, the Death Row specialty of mining a dead artist’s catalog is in full effect as Lisa “Left Eye” Lopes has an appearance here under the name of N.I.N.A. Too Street for TV is a decent track, but the label should scrap plans to release her full-length album, she’s just doesn’t have enough game. Second, what’s up with the Ja Rule cameo on Who Wants to F Tonight? It sounds like it was recorded on a transistor radio and tacked on at the last second. Finally, the comedic star of Dysfunktional Family, Eddie Griffin, has a pair of guest spots and actually raps…and he’s not horrible, either.
