TOWN LOVE is an online art museum dedicated to celebrating the vibrant past and present of Northwest Hip-Hop. You can browse by artist or browse by year.

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Tag: Ryan “RC” Croone

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Cidewayz: Full Circle

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I Am Mark Womack

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The Cause & Effect

Today, I’m sharing the history of the 2006 G-Funk debut of D.Black, The Cause & Effect. It dropped descended from a line of hip-hop royalty: The son of James Croone (aka Captain Crunch J Croone) of Emerald Street Boys and Mia Black from Emerald Street Girls. As a youth, D.Black was mentored by Vitamin D, then co-managed by Sir Mix-A-Lot’s manager Ricardo Frazer and Source of Labor’s J. Moore (RIP).

At age 16, he was a co-founder of legendary Sportn’ Life Records alongside Devon Manier, and a driving force behind one of our town’s most important hip-hop artifacts, the 2003 Sportin’ Life compilation featuring Oldominion, Narcotik, Silent Lambs Project, Frame, and others. The label also launched the careers of Fatal Lucciauno and Spac3eman.

So in the middle of this tornado, 19-year-old D.Black released The Cause & Effect, a debate-ending anvil from a talented prodigy. It features production from hip-hop heavyweights: Bean One, Jake One, Supreme La Rock (as part of The Conmen), Fearce, and Ryan Croone (famous for the funky gangsta sound of Squeek Butty Bug’s excellent Really Cheatin’ from 1997). A bunch of cuts were produced by D.Black himself. Every track oozes confidence and certainty. There are so many gems here.

Like most mid-00 CDs, 19 tracks fill the full 72-minute capacity, and there are features galore from Fatal, Choklate, J. Pinder, Dyme Def, and The Parker Brothaz. This a true Seattle classic available on Spotify and Bandcamp. Go listen today.

Here’s a curious twist to the story: Shortly after releasing this record, D.Black abandoned his gangsta roots and cut ties with this project. Years later, he finally returned to the mic under a new name, Nissim, and a new identity as a black Orthodox Jewish hip-hop artist based in Israel.

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The Rebirth

Gangsta Nutt dropped his first album Save Me in 1999. “Criminal Life,” and “My Micasa,” are two Save Me highlights, spinning gangsta tales of Nutt’s life experience growing up in West Seattle’s High Point housing project. Then his second CD Crown Royale came out in 2003, with tracks such as “Changes,” and my personal favorite, “Mo To Grab.” By 2004 Gangsta Nutt was on a major roll and he put out two albums that year, the flashier Checkmate featuring many guest stars, and the more subtle effort of the two, The Rebirth.

The Rebirth is a solid album with 12 sizzlers coming at you. “Can’t Stand Me” is a fun interpolation of 1986’s “Candy” by Cameo. “Haters can’t stand me,” he sings. Things really heat up with the excellent “Losin My Mind.” This lovely, expansive beat by RC The Trackaholiq is perfection, the cut just rides. Next is the more contained “Holla At Me,” also produced by RC. Both of these two songs really use the space wisely, it’s hard to explain. Wherever there should be a Nutt line, there is, wherever there should be a snare or bass hit, there is. It’s like looking at a painting where every inch of the canvas is being incorporated, and not every rapper/producer team realizes how key this is when making a hit song.

“Highpoint 44” has rowdy bluster from the very start of the track. Nutt reminisces about the wild days of being young, “Nights in the arcade, finger f***ing at the gym on the backstage.” The stark Neptunes beat for “Grindin” dominated mixtapes throughout ’02 and ’03, and Nutt does his own riff on the theme with “Rhymin.” The album ends with the honest and heartfelt “To My Momma,” which documents the hardships that his mother faced while raising him. Compared to Checkmate, this album is subdued and contains a more singular view into Nutt’s philosophy and verbal style. The Rebirth shows a rap artist who is justifiably proud of the status he has earned in the 206. Written by Novocaine132

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Checkmate

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Hollow Point Lyrics

Dividenz is a rap duo consisting of C.O.L.A. and Notes. Their first album is called Hollow Point Lyrics, and it came out in 2003 on D-Sane’s Street Level Records. Notes brandishes a bullet on the album cover artwork, while C.O.L.A. holds an umbrella. Skuntdunanna helps to fire up the party, dropping a punchline-filled verse on the album’s first cut, “It’s All Official.” “Too Much” featuring Bullet is one of my favorites on the album for its simple, gangstery beat and Nate Dogg-ish vocals on the hook sung by Jazz.

“Million $ Mouthpiece” features Seattle rap legend Byrdie, who had dropped his solo debut Poetic Epidemic two years prior in 2001, also on Street Level. Although the beat is catchy and smooth, the lyrics fall into the rap-about-rap trap, which limits the content of the track to solipsistic musing about being an MC. There are happy exceptions however, “I’m rollin by señoritas, yelling mama mia, they dream like they got shot with anesthesia,” raps Byrdie.

Fans of Hall & Oates may appreciate “We Don’t…” which interpolates H&O’s 1981 classic “I Can’t Go For That.” “I never been a sucker, I’m just a young hustler trying to have the world spinning in my hand,” goes a nice line from “We Don’t…” Overall, Hollow Point Lyrics is a solid debut. Six years later in 2009, the group would drop a second Street Level album, 10% Rap 90% Hustle. Written by Novocaine132

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The Streetz Iz Enough

Skuntdunanna dropped his CD, Trapped In Da Hatrixx, on Sea Sick Records in 1998. By the time his next album The Streetz Iz Enough came out in 2003, Skunt had joined D-Sane’s Street Level Records, home to Syko, IK, Byrdie, and the label’s marquee group F.T.S. The Streetz Iz Enough is a tour de force from one of the slickest rappers to ever emerge from Seattle. Spending all his time and effort in the studio paid off, allowing Skunt to develop a unique personality and character on the mic in real time, and the listener can hear him shifting gears between gangsta, hustler, pimp, comedian, and stone cold MC.

To me, one of the best things about Skunt’s material is the steady flow of truly hilarious punchlines. “Must have got help from the Post Office, because they turned thug overnight,” is one that always makes me chuckle. He makes joke after joke, using wordplay and insults, generally staying three or four steps ahead of the listener. Because his flow is so asymmetrical, there’s no way to know what he’s going to say next. Guest appearances enhance many of the tracks here. Wanz sings the groovy hook on “All I Got,” rap veteran Silver Shadow D lends some ragga chanting to “Soundproof,” and golden-voiced Byrdie drops a delectable verse on “Shake It.”

My favorite cut on this album is the title track, “The Streetz Iz Enough,” featuring underground Seattle rap hero Framework. This song goes so hard with lines like, “Memories of childhood days, but now instead of playing ball, I’m dropping flowers on graves.” Another hot track on this CD is simply titled, “Skuntdunanna.” “Pronounce the f***ing name right, dog,” he exhorts the listener. “Crazy Life Pt. 2” is an autobiographical piece which tells Skunt’s story of coming up in the Seattle rap game. There are even a couple of skits, “Rap Right Commercial,” and “Rejection Hotline,” which add to the entertaining vibe of the album. The cover artwork says this is the first official Skuntdunanna album, and the musical partnership between Skuntdunanna and D-Sane continued to grow throughout the 2000s and 2010s. Written by Novocaine132

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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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A Hustlaz Livin Hell

Self Tightld put out their first album Hustlin-N-Hell in 1998. On tracks like “Pleasure Pouches,” “Watch That B/N,” and “Growth And Development,” the five MCs showed their talent at the rap game. 1998 was a bittersweet year for the group, according to group member Maine 1’s Soundcloud page, which explains that the group lost member Rob Doe that year when he passed away. In 2000 the remaining four members, Maine 1, Popsykle, 2Elevn, and Sikface released their sophomore album, A Hustlaz Livin Hell. Many of the beats are handled by RC The Trackaholiq, with others by Beezie and Wingo. Star guest appearances include Mac Dre, Yukmouth, and B-Legit.

“Work” is interesting, and stands out for its bouncy, unusual style. “Guaranteed Profits,” produced by Seattle legend Mafia aka Skuntdunanna, has lots of open space for the Self Tightld rappers to do their jobs. Other highlights include celebratory track “Da Hustle Continues,” and the stark warning, “Don’t Enter My Domain.” One of the standout tracks on Hustlin-N-Hell, “Pleasure Pouches” featuring the aforementioned B-Legit, is also featured here on A Hustlaz Livin Hell.

This would be the second and last album for Self Tightld. Maine 1 has been a conscious MC since 2005 with the murder of his big brother, and now tries to educate people about the dangers of gang life. His recent tracks such as “Silent War,” Fake Love,” and “I Can’t Breathe,” are worth checking out. Rappers 2Elevn and Sikface also remain active in the scene. RIP to Popsykle, who passed away in 2018. Written By Novocaine132

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The Playoffs

In 1994, DMS dropped a short six-song album called Takin’ Ends on D-Shot Records which established them as serious players in the 206 rap game. Two years later, their spiky track “Keep Da Change” was featured on Loosegroove’s 14 Fathoms Deep rap compilation. By 1999 they left D-Shot Records and dropped their sophomore album titled The Playoffs, which came out on Clear Head Entertainment.

“Hytymez” and “Jonzin'” document the weed-smoking lifestyle which is so familiar in rap music, you already know. “Drunk Words…Sober Thoughts” talks about struggles with alcohol abuse. “206 N’It” includes shout outs to other Seattle and Tacoma rap artists, and also a list of some local landmarks like the Pike Place Market, Mt. Rainier, and the Space Needle. Most of the album lyrics relate to everyday life, their pride in our city, and their identity as rappers in Seattle. The genre is squarely in the reality rap camp, with less wordplay and concepts and more newspaper style reporting of daily events in the neighborhood.

Highlights on The Playoffs include a slow burner titled “Freak Show,” which is an interpolation of “And The Beat Goes On” by The Whispers. “My World Too” is a moving sequel to “My World” from Takin’ Ends, and this track written solo by group member Moe-B is filled with frank and honest lyrics concerning fear of failure and his own personal struggles. “Outro” names every track on the album in a clever twist. The best thing about The Playoffs is the level of lyrical and philosophical growth compared to the songs on Takin’ Ends. One minor complaint I have about this album is that the songs are all extremely long, and sometimes overstay their welcome. Sometimes a tight three minute track can say more than one that rambles for five or six minutes.

DMS were in a large club of Seattle rap groups and artists who were excellent at their game. They had the breath control which is so important for balanced verses, plus their vocal tones were varied and compelling. The beats were tight, conforming to the highest standards, and the aesthetic was 100% hip-hop. They had the dope style and the swagger to fit the description. If a group like DMS checked all the boxes, then why didn’t they become millionaires? The answer is what some people like to call the ‘X Factor.’ The X Factor means there is something magic or supernatural about your music that is undeniably unique, and thus your content instantly differentiates itself from that of other artists. Without the X Factor, DMS didn’t have one definable quality which could set them apart from the thousands of other rap groups in the 1990s. Therefore, even though they solidly represented their art form, this was their last album according to Discogs. Written by Novocaine132

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Save Me

Seattle’s Point Side Records entered the hip-hop game in 1998 with the release of Self Tightld’s Hustlin-N-Hell album on cassette and CD. A promising West Seattle raised MC named Gangsta Nutt guested on two Hustlin-N-Hell songs, “Problems,” and “Negatives.” Nutt had the fire in his gut, and he recorded his own solo album Save Me on Point Side the following year in 1999. Save Me is all about gangster life and hustling. According to Nutt’s ReverbNation page, “Even though Gangsta Nutt’s “ghetto experience” has seen its share of adversity, he says he doesn’t regret any of its negative elements, because it has made him the Man, the Father, as well as the MC that he has become.”

Some of the cuts on Save Me don’t quite come together. For instance, opener “The Twist” is muddled by the persistent beeping sound of a truck backing up. “Letter To The Pen” features a distracting off-key melody in the chorus that pulled me out of the vibe. Despite small missteps, the album on the whole is a strong debut. Gangsta Nutt is a practiced rapper who knows how to tell a story and get his point across. “Love Clutch” and “Don’t Stop” tackle the subject of women and relationships. “Last Word” and title track “Save Me” both illustrate the bleak choices that many young people face growing up in America. I have to admit that I like the multiple meanings of the album title. Does he mean save his soul for Jesus? Save him from a life of crime? Save this album to my iTunes list?

Highlights include track five, “Criminal Life,” with a slinky beat produced by RC The Trackaholiq. “Criminal Life” features singing by Francci and raps by legendary Los Angeles veteran King T. Another strong cut is the sentimental “My Micasa,” which is a look back at how Nutt fell into a life of hustling. After a long and successful rap career, Gangsta Nutt passed away in June of 2021, rest in peace to an OG. Written by Novocaine132

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Come Fi Love

One could say that 1996 was a good year for Silver Shadow D. He produced “Keep Da Change” for DMS, which appeared on the 14 Fathoms Deep compilation. Then he helped Southend rap duo 46th St. put out a promo single titled “On Tha Run.” In addition to these accomplishments, he completed his debut solo CD and cassette titled Sleepless “Tha Brickkks” on his new label with Gene Dexter called Lost & Found Recordings.

This ragga twelve-inch single “Come Fi Love” from Silver also dropped in 1996, but the track doesn’t appear on the Sleepless album. Silver Shadow was heavily influenced by Jamaican dancehall and ragga style music during the mid-1990s, and this Patois-filled song is living proof. “Come Fi Love” is a sexy track and the beat is produced by RC The Trackaholiq, one of the hardest working producers in the Seattle rap game. The B-side is Silver’s self-produced mixtape cut “None Want Test,” which is also not found on his full album.

In 2007, RC included “Come Fi Love” on his Hood Classics Vol. 2 compilation, giving the song a new audience. Spin it today and get a dose of Silver Shadow D. Written by Novocaine132

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Really Cheat'n

Here are some car-stereo-shaking Central District tales of murder, violence, romance, and good weed: Released in 1995, Really Cheat’n from Squeek Nutty Bug is grooving G-Funk at its finest.

After spending his early years in the Midwest—and in jail—Squeek made a big splash on the Seattle scene in the mid-‘90s, named so because of his distinctive high-pitched vocal delivery. He released a catchy first single called “ILL HETCHA HY”—you should sound this out. The song also appears on this full-length, this all-too-short, nine-track Really Cheat’n. The whole album is funky hop fantastic with live instrumentation courtesy of producer Ryan “RC” Croone, who, after this project, launched a production empire. Together, he and Squeek are bringing that “hydroponic do-do-funk type shit” as he says in the opener. Squeek himself saw his verses as education, once saying to the Seattle Times, “I’m takin’ hip-hop to the vegetables and the vitamins.” The closing track “Outro” is almost three full minutes of thanks to town talent and favorites delivered in a most amusing style. Overall, this is a hella fun record, reminiscent at times of Gifted Gab, who’s one of the main players who turned me onto it. Really Cheat’n was also one of the first releases from CD Raised Records, a Central District record label started by Captain Crunch, a member of the once mythological Seattle hip-hop group the Emerald Street Boys, and father of D.Black/Nissim. That fact, plus one that Squeek was a headliner on Nasty Nes’s “Best of Northwest Hip-Hop” stage at Folklife Fest that year, connects this record to a host of this town’s amazing first generation of hip-hop legends. Dee.aLe from DMS is featured, as are Young K, Lil Mafia (AKA Skuntdunanna), ROK, BG Bari, & Kevin Gardner.

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