Ice Cube – Death Certificate (1991) | Rap & hip hop
Name: Ice Cube – Death Certificate
Genre: Rap | Hip-Hop
Label: Priority Records
Featuring: Khalid Abdul Muhammad, Deadly Threat, Kam, the Maad Circle, King Tee and J-Dee
Producers: Sir Jinx, Ice Cube (also exec.) & Boogiemen
Format: mp3 | 320 kbps
Size: 137 Mb
01. The Funeral
02. The Wrong Nigga To Fuck Wit
03. My Summer Vacation
04. Steady Mobbin’
05. Robin Lench
06. Givin Up The Nappy Dug Out
07. Look Who’s Burnin’
08. A Bird In The Hand
09. Man’s Best Friend
10. Alive On Arrival
11. Death (featuring Khalid Abdul Muhammad)
12. The Birth
13. I Wanna Kill Sam
14. Horny Lil’ Devil
15. Black Korea
16. True To The Game
17. Color Blind (featuring Deadly Threat, Kam, the Maad Circle, King Tee and J-Dee)
18. Doing Dumb Shit
20. No Vaseline
21. How To Survive In South Central
Review about Albumm "Ice Cube – Death Certificate (1991)"
Death Certificate is Ice Cube’s most important (if not his best) album, and one of the most essential works in rap history.
Ice Cube left N.W.A. in late 1989 over a royalty dispute, a fairly mundane conclusion to his tenure as the intellectual force and chief lyricist for the self-proclaimed “World’s Most Dangerous Group” after only one proper album. Cube’s lyrics for “Fuck the Police” had triggered an F.B.I. response earlier that same year, but Cube was still living at home with his parents when Straight Outta Compton was rocketing toward platinum status. He was 20 years old, and he’d just turned down a $75,000 check because he didn’t trust Eazy-E and Jerry Heller, who ran the group’s label, Ruthless Records. Two years later, with the release of Death Certificate, he’d be the biggest and most controversial rapper in the world.
During the two years between Cube’s split in late 1989 and the release of Death Certificate, his sprawling, imperfect magnum opus in late 1991, rap music grew up in a hurry, experiencing its pop and punk moments simultaneously. Crossover acts like L.L. Cool J, M.C. Hammer, Vanilla Ice, Kid ‘N Play, DJ Jazzy Jeff and the Fresh Prince, and Digital Underground took rap to the top of the charts and into the heart of suburban multiplexes, while southern California gangsta rap continued to proliferate in N.W.A.’s wake via Above the Law, Compton’s Most Wanted and Cypress Hill. On the East Coast, Public Enemy’s Black Nationalist oratory and incisive media critiques, which inspired Straight Outta Compton, continued on 1990’s Fear of a Black Planet. The Geto Boys took their nightmarish vision of Houston’s Fifth Ward to the Hot 100 singles chart while Miami’s 2 Live Crew emerged as unlikely First Amendment pioneers, and regional rap scenes took shape around the country.
As rap continued to evolve and mutate during this two-year period, forces both internal and external worked to validate it as a cultural and economic power. By 1991, the quickly industrializing genre had spawned its own house organ, as The Source—the first magazine to cover rap in its fans’ vernacular, and a central node linking the disparate nationwide phenomenon together—was bringing in seven-figure ad revenues after moving to New York City from Boston in 1990. In March 1991, rap was legitimized in a different(and perhaps more significant) way: Billboard unveiled a radical (and long-overdue) change to its chart methodology. Instead of relying on self-reported sales numbers from retailers—which ignored many independent and “urban” outlets—the new SoundScan system used actual bar code data to determine sales. The impact for rap was felt immediately: N.W.A.’s independently-distributed Efil4zaggin debuted at #2 on the Billboard Top 200 chart behind Paula Abdul’s Spellbound, before climbing to the top spot in its second week. Six months later, Death Certificate, on which Priority spent $18,000 in marketing and which enjoyed no Top 40 airplay, outsold Hammer’s fourth album Too Legit to Quit (which Capitol spent a million dollars promoting) in both LPs’ first weeks in stores. Gangsta rap had won.
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