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Released: 2002

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North West Ridin'

Mr. D.O.G. is a Tacoma rap artist who made his debut in 1997 with his EP Gettin Paid. Similar to E-40, D.O.G.’s style bounces the tone of his delivery from low to falsetto, all over the vocal register. Then in 1998 his first full album Wet was released, featuring the hit “Aquaman.” 2000 saw Mr. D.O.G.’s first vinyl release on a split twelve-inch single with Playboy Bleek. His label was called Bow Wow Records, and in 2002, D.O.G. and partner BWR 2000 put together this CD compilation of various hip hop artists from Seattle, Tacoma, and Portland.

“Aquaman II” by Mr. D.O.G. is the first song on North West Ridin’, and the beat is a slinky, g-funk interpolation of “Bad” by LL Cool J. Smooth-voiced rapper K-Swiss keeps the tempo lazy and the content mellow and light with “Just Hustlin.” Portland’s Cool Nutz joins on “NW Game,” with lyrics about hustling and thugging. “I never could take seeing my bread rise slow,” is a nice metaphor from Cool Nutz. My ear found the peppery guitar picking in the “U Aint Done Shit” beat to be quite enjoyable. “I Gets Paper (Remix)” features California rap legend Ras Kass on a verse. Samples from the movie Boyz In The Hood sprinkled throughout “Blow Ya Brainz” by Mak Mahd enhance the violent mood of the track.

My favorite song on North West Ridin’ is “I Ain’t Feeling That,” by Funk Daddy and E-Dawg. It contains a line that sounds dated but was actually quite futuristic, “You wanna battle? I really don’t have time. How bout I jump in a limo, grab the laptop, and we do it online.” Remember, Myspace didn’t launch until 2003, and Facebook appeared in 2004. North West Ridin’ is a good look at some turn-of-the-millennium rap from the upper West Coast. At the end of “We G’z” the MC asks, “Who said there wasn’t no gangsters up north?” Who indeed? Written by Novocaine132

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You Need A Thug / We Are

Seattle’s Sportn’ Life Records publicly launched in 2002 with this historic twelve-inch release. Trivia fact, the undulating Sportn’ Life logo was designed by none other than Bean One. This is a monster record! The two songs are top notch, which is no surprise because both beats here come courtesy of Seattle legend Vitamin D.

Side A is “We Are” by Last Men Standin. The group consisted of two rappers, Fleeta Partee, and Jamal “Hectik” Henderson. “From a G to a key, it’s about to get to cracking as soon as I count to three,” begins this hot track. Hectik is a little more laid back in his delivery, while Fleeta’s voice is higher and his lines are served with a little more heat. The two MCs complement each other well, seamlessly combining two different vibes. Unfortunately this was the only single released by Last Men Standin, but fans can still follow Hectik and Fleeta in their solo work.

“You Need A Thug,” by Danger is the B-side. Under the song title, his alternate name “D.black” is printed in parentheses. D Black’s dad is Captain Crunch from Emerald Street Boys, one of the first rap groups in Seattle. “You Need A Thug” is basic yet effective, and even at a very young age, D Black had an uncanny grasp of how to put a catchy verse together. He seems like he is just hanging out with you in a car or on the couch, but the wordplay and delivery is all professional stagecraft.

The year after this single, the label dropped The Sport-N-Life Compilation Vol 1 with classic tracks from stars like Fatal Lucciauno, Silent Lambs, Candidt, Narcotik, and many others. Both members of Last Men Standin had cuts on the 2003 compilation, Hectik gave us “Haters,” and Partee dropped “Sincerely Yours.” In the years that followed, Sportn’ Life became one of the most successful Seattle rap record labels ever, truly a force to be reckoned with. Written by Novocaine132

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Numerology

At the Bandcamp music website, users can add their reviews. In 2022, Seattle hip-hop artist Wizdumb wrote a very flattering post about the twentieth anniversary re-release of Numerology by Specs One: “(Numerology) formulated my approach to hip hop. It showed me that it doesn’t need to be a clean slate, it can be dusty, the mic distorted, there can be imperfections, that the rule book could be thrown out the window.” I have to agree with his assessment of Specs One’s music on this complicated and beautiful album.

Numerology starts with a ten minute track called “Morning Hustle,” which is a triptych of three successive instrumental beats. “S.F.R.” (Swiss Family Robinson) is the first track displaying Specs One’s very distinctive, fuzzy, lo-fi rap style. As far as content goes, Specs is neither gangsta nor conscious. His raps are word puzzles, concise phrases that match together. “Your beats are like Rover. Fetch! Y’all don’t know what the fuck’s next. Putting young bucks to rest,” is a nice line from “Over Wit.” “Give me a mic onstage, it’s all over wit,” goes the chorus, drawn from the Lord Finesse track “Bad Mutha.” Since the word “wit” means “inventiveness” and “humor,” this track title takes on double or triple meaning.

“Night Hustle” is instrumental just like “Morning Hustle,” and it’s a good example of the Specs production style. Things usually start with a looped beat which then goes through permutations and subtle rearrangements until you feel like you have looked at it from every angle. If you don’t pay attention things will sound repetitive, but there is much happening below the surface of every Specs One beat. Other times he will flip a 180 and run the same sample over and over ad nauseam until it becomes hypnotic.

I think my favorite on the album is “Genosha.” It’s four minutes long, a full track, as opposed to fragments like “The Call,” or “Smoke Break.” The dense lyrics of “Genosha” flow fast and furious. “You’re crying boo hoo, wasn’t hip to the voodoo,” he mocks. The simple melody in the beat is confoundingly addictive, my ear can’t decide if it’s dissonant or harmonious. I should also give a quick shout out to the excellent “Eastward Glance” and its long recited list of Seattle hip-hop luminaries. Specs One aka Specswizard has had one of the longest-running careers in Seattle rap history, and he is still active in the rap scene. If you want to get hip to Specs, 2002’s Numerology is a perfect place to start. Written by Novocaine132

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Knock Out Kings

The 253 area code, or ‘5-Trey’ for short, was introduced in 1997 when rapid growth in the region prompted the NANP to split up the 206 code. Today the 5-Trey covers a wide zone including Tacoma, Kent, Auburn, and Federal Way. One rap trio from Federal Way was Black Diamonds, featuring Tryfe, Rion, and Q-Dot aka Quality. In 2002, Tryfe recruited some heat from the South End and he executive produced a rap mixtape/compilation titled Knock Out Kings. Many aspiring artists were added to the card, including producer J. Hen and his 219 Productions family. The list of bruisers on Knock Out Kings included Kuddie Mack, Stretch, K.J., Eclipse, Slim, G. Digga, and many more.

The cover image shows the three members of Black Diamonds joined by Rocka, the host of the compilation. Impressive artist K.J. is a dual threat, displaying earnest rhyming and singing on her ode to a dumped boyfriend, “U Messed Up.” There are two cuts by Black Diamonds, the peppy party starter “How It Get Pt. 2,” and the more serious slow burner “I Feel.” Kuddie Mack produces and raps on one track, the whispery, ASMR-inducing “Runnin Wit Us.” I’m always a fan of inspirational messages, and there’s a darn good one on “Darlin” by Eclipse. “I finally got past it, I’m feeling better now. I’m back on my feet, light as a feather now,” goes a catchy line from the song.

As a side note, two clique members, Eclipse and Stretch teamed up to form a duo called Parker Brothaz. According to Larry Mizell in the Stranger, “The two spitters are in a classic NW vein, combining West Coast savagery with an East Coast punch-line savvy.” Knock Out Kings displays some real South End talent, be sure to check it out. Written by Novocaine132

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Madd Demos

Immaculate Flave Records is a Seattle rap label responsible for a handful of releases over the last twenty years. Immaculate Flave arrived in 2000 with releases by Freeze, Dank P, and Metaphoric. A fourth release that year was a tape called Bangable from rapper X-Kid, who had formerly been part of the duo Players On Wax. Two years later, X-Kid put out his second solo project, called Madd Demos. According to the credits, he produced, programmed and performed every aspect of this album.

There are six songs on Madd Demos. Opener “The Program” is a solid track which touches on social issues. “But I’m still in the streets, hot in every spot, from the Central to the South End’s a big boiling pot,” he ominously warns. Vivid imagery in “Red Apache” takes your ear on a historical journey, “The Oklahoma bomber head to head with Jeffery Dahmer, nuking Hiroshima, Nagasaki, and Okinawa.”

“You & Me” and “Good Livin” are more about chasing women and living the player life. “You & Me” features Dank P rapping, and lovely vocals from Kasi Jones. Actually, “Good Livin” is probably my favorite cut on the CD. X-Kid’s delivery here is top notch, showing breath control and verse construction. “Futuristic when I plug in the mic, and then ignite the spark, the club’s packed, and the lights is dark, we got the queens and the gods and my thugs with heart,” goes a nice line.

The album’s beats are somewhat experimental, with many elements combined together. This works well at creating an interesting soundscape as a backdrop. However, sometimes the noisy music competes with X-Kid’s lyrics in that mid-level EQ range, for example “Souljah Field” could use a more minimal production approach in my opinion. Professional mastering can usually alleviate issues like this. X-Kid continued releasing albums throughout the 2000s. His crew 817 Inc dropped a compilation project in 2017 called The Legacy Continues. Indeed it does. Written by Novocaine132

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Ear Protection

Rebelz are three members, Justin Murta, Christopher Webb, and Darius “Professor Icee” Green. The group’s debut Ear Protection in 2002 is an earnest effort to tackle current events, politics, youthful angst, and the myriad issues facing society. For instance, “But I gotta protest that which I detest, I might just ask why the f*** should I be righteous,” from “Shame Train.”

“Til The World Endz” begins with a soundbite from a paranoid Islamophobic preacher, and the lyrics relate to Armageddon and the end of the world. “Solar flares, meteors track and impact the surface, continually bombarding souls, four horsemen riding on innocent fools.” Rebelz take it to the Land of the Rising Sun on the Japanese-language track “Kinjisuten” which Google clumsily tells me is a phrase meaning “approximate stainless.” This must be a case of something getting lost in the translation. “Limited Senses” continues the earnest themes of the album. “I don’t need guns or flames to convert all the peoples, in the eyes of Jah we are all equal.”

My favorite cut on the album is “Rebelz Are Back.” Many of the tracks on Ear Protection get lost in their self-seriousness and pedantry. This is not necessarily a bad thing as I’m all for intellectual explorations, but rap needs to be fun too, not just a classroom experience. “Rebelz Are Back” takes a break from the self awareness, and because it does it’s an excellent track. The twangy beat is addictive from the first few seconds, and the lyrics let you turn off your brain. “First class Unabomber style with the word blast, ya heard that? Throw up your fists I’ll throw a bird back.” There’s even another verse in Japanese to chew on. Did I mention that the album is earnest? Written by Novocaine132

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Nocturnal Rage

Seattle’s notorious rain clouds set the backdrop for the thunderous reign of Nocturnal Rage. These three colorful emcees emerge from hip-hop’s gray area, much like a fiery sunrise in a dampened sky. Caligula, Pyro-Maniak, and Fo’ Feva are steppin’ out with their debut album and a perspective on what the rap game means to them. The group delivers hardcore hip-hop with a rock and funk twist combined with a live band. The album features legendary funk icon Rick James, bay area rapper Suga-T, and P-Funk guitarist Spaceman Patterson and many more. Music production includes Bosko, Mr. Roc’Phella, Philly Blunt, and Daddy-O of Stetsasonic.

The Source magazine says “Seattle’s own trio, Nocturnal Rage, packs more zest than a Starbucks menu.”

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Lockdown

“I ain’t moving nowhere to blow up, I’m doing it right here,” raps Li-Fee on the b-side song “Seattle Holla!” which namedrops a wide rollcall of Town talent: Kutfather, Silver Shadow D, Rebelz, Funk Daddy, Mr. D.O.G., Kutfather, and others.

I had never heard of Li-Fee before I found this single in a dusty stack somewhere, and I admit I was a little wary of an unknown artist with a song title like “Seattle Holla”, but I found my reservations were unfounded as soon as I listened. The two tracks on this 12″ (“Lockdown” on the A-side and “Seattle Holla!” on the B) are both great tracks, and Li-Fee’s flow dominates. His voice is akin to Guru (RIP) at times, but grittier and more intense, and his flow is quick and fervent as it skips and wraps itself around the beats. “Lockdown” is the song that sticks in the brain, with its smooth production and vocal hook provided by Crystal. “Seattle Holla” has a rigid, mechanical beat behind it with a grimy hook courtesy of Li-Fee himself, and acts as a nice foil to the smoother A-side. Apart from this 12″ the only music I can find from this guy is a Mr. Hill-produced track “They Don’t Know.” (This review originally appeared on the Bring That Beat Back blog and was written by Jack Devo.)

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When It Rains

Ryan “RC The Trackaholiq” Croone has been down since day one. His older brother James Croone was a member of Emerald Street Boys, one of the earliest rap groups in Seattle. As a young man, RC got into rap production, and in the mid-1990s he teamed up with rhymer Squeek Nutty Bug. They went in the studio and subsequently dropped Really Cheat’n, one of the all-time, five-star Seattle rap albums.

There are more than two dozen different rappers on RC’s 2002 compilation When It Rains, it’s a prodigious project. Loosegroove put out 14 Fathoms Deep in 1996, and as a theoretic successor, When It Rains could reasonably be nicknamed “24 Fathoms Deep.” This is guileless rap, concentrating on reporting life experiences. Put it this way, you won’t find anyone here looking through the dictionary trying to find five rhymes for “illuminati.”

“They Never Knew,” by sibling team Twin-G and Skuntdunanna is excellent, “possibly the first song they ever did together,” remembers RC. “You’re a one hit wonder, like Young MC or Jody Watley,” says Twin-G mockingly. I especially appreciate the spacey half-minute instrumental flourish at the end. Actually, Twin shows up again on “Greedy Made,” this time joined by Chedder Hound, Culpepper, and “Drop Top” star E-Dawg. “Greedy Made” has unpredictable, punchy energy from the start of verse one. E-Dawg explains, “I bust a tight verse and make St. Helens erupt,” referencing the May 1980 ash cloud which blasted across the region.

The late Gangsta Nutt represents hard on the g-funk blazer “This Ain’t Livin,” which is a textbook example of true synergy between a producer and a rapper. Nutt’s cadence goes together with the Trackaholiq beat like Martin Scorsese and Robert De Niro. Another notable cut is the menacing “No Fabrikashun” by Crafty. Famous Seattle turntablist DV One does the scratches on the cut, and the beat creates drama and suspense. Meoshi drops a respectable verse on her edifying track “My Eyes.” “Some take the easy route, some take the pills to the head, because their problems overwhelm them y’all, they’d rather be dead,” she raps. But all is not lost, she reminds aspiring artists to, “strive to be the one immortalized from your hood.”

When It Rains is an ambitious project, it’s really a one stop shop to learn about the diversity of rap talent in Seattle. In 2022, RC celebrated the 20th anniversary of this release, and he recently told me that the compilation wouldn’t have been possible without the help of two key people, G Prez and DJ Kun Luv. G Prez ran Sea-Sick Records which put out the CD, and Kun Luv was the head of Seaspot Promotions, one of the largest media organizations for Seattle hip-hop culture. Thanks gentlemen! Written by Novocaine132

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Amerika 911

Amerika 911 was a Northwest compilation that dropped in 2002 in response to the increasing hostilities directed towards the Middle East by the US. It’s a brave, gutsy little anti-war testament; as it examines the U.S. motives for engaging in war, and dares to point fingers in directions other than at the obvious motives (i.e. September 11th and Osama Bin Laden). Listen to Kylea’s verse on the first track, “A Call To Arms” for an apt summation of this record’s contents.

If it had been widely distributed it probably would have caused quite a stir among all those of us blinded by pain, bigotry, patriotism, and nationalism. But of course, it didn’t, since it was an unpopular view from an unpopular (at the time) corner of the hip-hop map–and that’s too bad in my opinion.

This compilation is dope on many levels, musically, lyrically, politically, and consciously. Bottom line, we’re all fam. Don’t let any of the powers that be tell you differently. Many notable acts contribute, including Khazm, The Flood, Yirim Seck, Castro, Specs One, Gabriel Teodros, Khingz (back when he was still calling himself Khalil Crisis), Kylea of Beyond Reality, Vitamin D, H-Bomb, Silas Blak, WD4D, E-Real Asim of Black Anger, Surge Spitable, and El Saba, who provides the defining moment with “God Bless Humanity.”

The album is an interesting mix of 2nd and 3rd wave Seattle hip-hop and captures the sound of the Town during that state of evolution. Executive produced by Khazm and G. Teodros, released in part through MADK. (This review originally appeared on the Bring That Beat Back blog and was written by Jack Devo.)

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C.I.

Central Intelligence was a five MC hip-hop group from the 206 active at the turn of the millennium. Their sole album, C.I., was released in 2002. It’s bars upon bars upon bars, handing the mic between Citizen Cain, Dialect, Diopolis, LowKey, and SeaJay, backed with beats from Vitamin D and Bean One Everyone’s at the top of their game here. The track “Handle These Deeds” is a rapped autobiography, detailing how the group came together and how five opinionated emcees came to a consensus. “Dear Poppa” explores a child’s anger at an absentee father. “Real Estate” is a hidden track and a biting criticism of the gentrification of the Central District: “Watch the city rezone my hood and change its name—forced to sell the land we can’t afford to maintain… Waking up to the smell of a new Starbucks smack dab in the CD.” The whole C.I. record is one of powerful opinions, and an urgent call to action, like on “Call It As I See It,” that confronts the history taught in school, voicing that “blacks are often left without a past to trace.” With five emcees trading verses, there’s a lot to digest here. Vita and Bean keep the beats simple so the bars can shine. But it’s also not all life lessons. As the group spits on one track, “When you need that ass droppin’, the beats hard-knockin’, you’re left with one option. Who do you call? C.I.!” The song “Move!” with guitars from H-Bomb is particularly poppin’.

Here’s another take:

Criminally overlooked, Central Intelligence was among the greatest Seattle hip hop acts in the ’90s and early ’00s. Similar in sound and style to Black Anger, Source Of Labor, and Narcotik, these five emcees spit knowledge in styles that were concrete, definitive, and mature. The subject matter on this self-titled album from 2002 ranges from the personal to the political, spoken in 5 distinct, articulate voices. With like-minded beats from two of the major architects of the sound, Vitamin D and Bean One, this album is a hidden classic of the Tribal era. Besides this album, CI also contributed to the crucial Sportn’Life Compilation from 2003. They also were reputed to put on a mean live set. A slim but 100% quality legacy. (This review originally appeared on the Bring That Beat Back blog and was written by Jack Devo.)

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