Smoking Section’s 98 Week had me reminiscin’. But it kinda left me thinkin, “What about ‘99? They gonna do a ‘99 Week next year? That was the resurrection of LA!” This of course got me bustin out an old cd. That which i consider the essential L.A. “Gangsta Rap” CD. No it’s not by Dre or Tupac or even Snoop. It’s by Snoop’s lil homie.
To Me, Kurupt’s music always reminds me of L.A., and vice versa. I think the first time I ever went down there, “We Can Freak It” was hot and it kinda set the mood for the laid back (except for the traffic) weekend i was about to endure. Sure there’s other songs that remind me of SoCal, WC’s “The Streets,” Snoop’s “Bitch
Please,” even Kausion’s “What U Wanna Do?,” but no rapper ever quite defined the L.A. sound, in my opinion, quite like Tha DPG’s biggest secret.
And yes, he had other classic songs. Many with Daz. But his second joint, not the first Dogg Pound album, was his pinnacle. Yes we all miss the original Dogg Pound, just like we all miss Death Row. But that’s not the point…..exactly. Well it sort of is.
When Kurupt left Death Row in early ‘98, along with Dre, Snoop, Rage, and everyone, Daz stayed. He made a criminally overlooed album of his own, and had the triumphant first single, “In California.” He even kept some old Kurupt vocals and some old 2Pac vocals, and made the song “Initiated.” Kurupt put out a double album later in the year, and pushed it with a massive radio smash (at least west of the Mississippi), “We Can Freak It.” But the album itself was very hit-or-miss. The “West Coast CD” was altogether solid, but the East Coast Disc was lacking.
But Daz eventually got his mind right and left Death Row to do the bulk of the production on Kurupt’s second joint, Tha Streetz Iz A Mutha. Released along with, and cross-promoted with two bigger albums by bigger names, Warren G’s I Want It All and Dr. Dre’s Chronic 2001, it may have been easy to miss Kurupt’s joint. But Warren’s effort was only so-so, and as great as Dre’s second album was – I still prefer Kurupt’s shit anyday of the week.
Another thing that should be mentioned since it was addressed on the album. 1998’s Kuruption found Kurupt reaching for the NY-audience. Partly with his relationship with Foxy brown, partly because the West as a whole had never been respected out there, and partly because of Kurupt’s rep as the best MC in California, Kurupt sort of stepped out of his own body for a minute. But with his breakup with Fox, we found Kurupt at his rawest and truest.
Coming across as some sort of hybrid between Snoop and Pac, but my handy with the wordplay than either of them, and coming hungry off an album full Battlecat-attempts-to-sound-like-Daz tracks, Kurupt-dogg slays the 5 Daz tracks and 4 Soopafly tracks. Daz appears on 7 of the 18 tracks, Soopafly 4 times, Xzibit 3 times, and Snoop and Nate twice each, giving the album more of a DPG-feel. But make no mistake, no one outshines Kurupt. Not on the west coast. Even Crooked I, who pops up twice, can’t dim Kurupt’s shine.
The album kicks off with the Organized Noize-produced “I Call Shots,” which sort of triumphs his path to the top. He ain’t in Snoop’s shadow no more. He’s lookin for his props. And he actually brings along his lil bro Roscoe, to play his old role to Snoop. The Fred Wreck-produced “Who Ride Wit Us” was another radio hit for the DPG’s as Kurupt and Daz go back and forth proclaiming their honor to the crew. Bink Dogg’s “Trylogy” was off the chain with the classical sample. Kurupt just murders the track and can be seen c-walkin in the video. Bink Dogg’s other track on this album, the Nate Dogg-assisted “Girls All Pause,” was the biggest radio hit from the set. It also laid the groundwork for Kurupt and Nate to be on every LA radio song for the next 3 years. Dre stops by to offer an altered version of “Ho’s A Housewife” from the version on Dre’s album. Despite the bad feedback sounding like the track wasn’t finished being mixed, the song still bangs as hard as anything on this album. “I Ain’t Shit Without My Homeboys” was almost a Tupac-esque ode to the crew with Kurupt, Daz. Crooked I, Soopafly, and Baby S all reppin hard. “Live On The Mic” had Kurupt trading bars with the Blastmaster KRS One, and proved his skill to the doubting NY-heads. “Calling Out Names” was of course, his diss record to DMX and anyone close to him for his allegedly bangin Fox while she was still with Kurupt.
But the title track is the centerpiece. It’s an epic trip through the streets with Daz as the co-pilot and Big Pimpin Detemond was resurrected to be the narrator. It’s not your typical gangsta rap cliche either. It’s a feeling of despair and hopelessness that runs through the track.
As a whole, Tha Streets Iz A Mutha is a tribute record. It’s a tribute to LA hip hop, the DPG-crew, the streets, and the two bigger names who inspired Kurupt – Pac and Snoop. And it is, front to back, the best album of its’ genre.



