Compilation organized by the founder of No Limit Master P, which features Bay Area artists, especially emerging ones: the performers are Herm, JT the Bigga Figga, Seff the Gaffla, Brotha Moe, The Dangla, San Quinn, Rack Skerz, Master P, RBL, Delinquents, DT, 4-Tay, Totally Insane, Dre Dog, Pee, Dangerous Dame, TRU, Ray Luv, Tha Link, C-Bo, Cougniut, Lil Ric, Mr. Brainy, Young Cellski, UNLV, King George, Keylo, EZSD and West Coast Bad Boyz, in a final posse with some of the artists already mentioned above in added to Toby T, The Perk, Erase E and Keylo. The production is provided by different guys, including Master P, JT the Bigga Figga, Dangerous Dame, Lil Ric, Mike D, Keylo, Young Cellski, Cyrus Esteban, Fanky J, TC, Kie, Young Biz, Silk, Larry Dee and Mobboss.
Boom bap with dry thumping drum, relaxed sample, relaxed vibes, relaxed and spoken delivery by Herm in the intro. "What We Known Fo" is a great posse by Get Low Playaz: tight and cheap drum pounding, good sample lyrics, meager amateur and frantic delivery of performers. Master P offers gangsta bars with a relaxed style in the third cut with RBL, on a boom bap mobb with thumping drum and relaxed sample.
The fourth joint features annoying cheap synths that builds a mediocre beat on which performers deliver bars with an amateur rapping style. Track number five is a 4-Tay solo on quick and mediocre boom bap. Totally Insane, Dre Dog and Pee spit on a slow beat near the ballad in the following song. "Another Level" is a solo from Dangerous Dame: his production is cheap, with a poor drum and a decent sample, he delivers amateurish, but it's all pretty decided by a weak mix.
In track number eight the TRU unleash on a slow musical carpet, performing with a mediocre style despite the good lyrical intentions. "Born Hustlaz" has annoying synths and a weak rhythm that doesn't reward the lyrical efforts of Ray Luv and Tha Link. Master P returns to offer support to C-Bo and Cougnut in their respective cuts, however, it's still the poor production that sinks the individual songs: the Sacramento-based rapper finds himself on an annoying sample with cheap g-funk synths, while Cougnut has a weak amateur rhythm.
The soundscape on this compilation doesn't get any better with the arrival of Lil Ric, spitting bars on a bad amateur beat, with poor g-funk synths. Young Cellski shines on this CD with the best production of the tape: splendid sample of strings left to breathe, messy drum machine, almost good boom bap, confident delivery inspired by slow and flowing Cellski who eats the rhythm. UNLV brings energy to the cut, then Young Cellski kills the song again. Between production and execution, he's the best of the edition.
The next musical carpet is meager and cheap as ever: King George offers amateur and raw bars, Master P, uncredited, performs best on g-funk synths that support the hook. Keylo has a solo cut on gaunt boom bap with slow and cheap drum machine, soulful female hook and poor g-funk synths: he delivers hardcore, slow and confident, but it's not a strong track. "Puttin' in Work" features a ballad beat with weak samples as a background for these guys' amateur delivery.
Finally, posse of four minutes with fifteen performers, more or less: JT the Bigga Figga, Master P, TRU, King George, Ray Luv, Dangerous Dame, Lil Ric, Mac Sppon, 4-Tay, Delinquents, Toby T, The Perk, Erase E and Keylo. If I commit myself, I recognize JT and Master P. I don't know who the others are, when they are, and I don't even care. On a cheap production with tight and poor drum, tearing and bad sample, these dudes spit generic bars for four minutes with a weak and sluggish delivery style.
This No Limit compilation had little success at the time of its original release in 1994, when No Limit wasn't yet dominating the market with a series of irregular and meaningless releases. Master P has the brilliant idea of releasing it again in 1997, when his label is dominating: in a similar way to solo artist albums, this record is erratic, bloated and exhausting, reaching 69 round minutes spread across 17 songs by twenty or so artists you may never have heard. The compilation is a showcase for many unknown Bay Area rappers and is probably also an acceptable listen for fans of the scene, however, it's at the same time difficult listening for everyone else. The production is grumpy and mean most of the time, while the rapping doesn't tell you anything. Not recommended.
Rating: 5/10.
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