Live & In Colour: Mobb Deep - Infinite

The oldheads have really been eating recently. I mean, when was the last time so many '90s hip-hop legends released albums in such a short amount of time, and when was the last time they were all generally considered quite good? Ever since the year 2000 hip-hop has been moving on from these acts, and until recently they've been shells of their former selves, dropping mediocrity and occasionally straight rubbish. But take a look at 2025 (and 2024 as well) - we have new records from Raekwon, Ghostface Killah, Slick Rick, LL Cool J, the Wu-Tang as a group, Redman, Clipse, and now a (sort of) posthumous album from Mobb Deep; and the kicker is, all of them have been well received. Of course, it's the greatest of all time himself who's responsible for like half of these - Nas' record label Mass Appeal has been running a series recently called "Legend Has It...", and it's doing very well for a lot of artists, whom most people had presumed to be well past the point of making anything that might be considered enjoyable (I mean, did you hear Ghostface Killah's Set the Tone album?). I'll try to get to all of these at some point, but for now I'll be discussing the latest, as it's probably the one I'm most intrigued by. 

After Albert "Prodigy" Johnson's tragic passing in 2017, I think many people assumed that was the end of Mobb Deep - they'd only released one album within the last 10 years anyway, and how could they possibly move without their star rhymer, the man who had once spit some of the greatest verses of all time on albums such as The Infamous and Hell On Earth? Well, turns out that his partner in rhyme Havoc, who even since Mobb Deep slowed down has never really let up with his output as a solo act, had quite a few unreleased P verses in the vault, enough to make a 15 track project with anyway. And I can't front, I'm very excited for this. Mobb Deep as a duo haven't released a truly great project for a very long time, but seeing all these other older artists rise up and create their best music in decades is giving me quite a bit of hope that this effort might be a truly great send off for one of the greatest duos of all time. 

And hey, worst comes to worst, at least there's some new Nas verses on here for me to enjoy. I'll never get sick of those. 

1. Against The World (prod. Havoc)

I understand that about three quarters of this record is produced by Havoc, with the rest given to The Alchemist - I'm surprised that man had the time to help out, what with the million other projects he's doing this year. Jesus Alc has a crazy work effort. As for this track though, it's all down to Hav, and already things are looking up, because this instrumental is absolutely lovely, sounding decidedly non-threatening, but smooth and beautiful instead, giving the pair a slower tempo to rock their rhymes over - the track feels like a far more mature take on the Mobb Deep formula, and in 2025 that's a very good thing. Arguably my favourite part of the track, however, is the refrain, where P threatens us for no apparent reason, just like the good old days. I almost got a tear in my eye listening to this - Prodigy is always sorely missed. Dope stuff. 

2. Gunfire (prod. The Alchemist)

A much more in character moment for the group comes on track 2, where Alchemist's aggressive and brilliant instrumental (teamed with some record scratches, which are always appreciated) forces Hav and P to perform their tough guy raps, which they do so amicably. This one is short, sweet, and exactly the sort of thing I would want from Mobb Deep at this point in their career. Nice!

3. Easy Bruh (prod. Havoc)

Probably the weakest track so far, but it still isn't bad. Sure, the hook is pretty dreadful, and random misogyny isn't exactly what I'm looking for from these two in their elder years, but other than that there's not much to dislike. "Straight from the bottom of the barrel / now I'm sitting pretty like the king and pharaoh" aren't exactly "Shook Ones" level bars, but the rapping here is entertaining enough, and it's clear the pair are both still skilled at their trade (where they weren't in 2001, or whenever that terrible Infamy album came out) - P being the standout vocalist on this track. The beat is also pretty good, sounding like something from an early Wu album, only hollower and colder if that's possible. Not bad, lads, not bad at all. 

4. Look At Me (feat. Clipse) (prod. Havoc)

Almost certainly the most anticipated track on this record, what with Clipse being one of the biggest hip-hop acts out right now (and deservedly so, given what they dropped this year). And this one lives up to the hype, being a collaboration that exhibits just how incredibly talented these 20+ year old duos still are at their craft. I'd probably have liked it even more if Hav and P did a back and forth just like the Clipse verse, and then both acts were on here for longer (perhaps only repeating the hook once), but that's just a small nitpick - this is as good as I expected and more, and Havoc's production continues to shine. This isn't "Right Back At You" by any means, but how close it comes to that classic certainly speaks volumes. Banger collaboration. 

5. The M. The O. The B. The B. (feat. Big Noyd) (prod. Havoc)

Yes, that really is what they named the song - and yes you'd better believe the gimmick carries into the horrible, horrible chorus on here that damn near threatens to ruin the entire track. Who's idea was that?? Thankfully, Havoc's beat is about ten times as menacing as anything else on here thus far, which is pretty good going, and while Big Noyd seems to forgoe rhyming during the first half of his verse, P and especially Havoc impress with their performances. Shame about that goddamn hook, then. 

6. Down For You (feat. Nas & Jorja Smith) (prod. Havoc)

Would it be a shock if I said this might be the best song on the album so far? Because this shit is seriously good. Havoc trades in the usual icy, thuggish instrumentals for a dramatic yet sensual concoction, that works wonders for Jorja Smith's vocals - and she absolutely kills this hook, with a beautiful performance that helps this track really stand out among the rest. Not to mention, Nas absolutely kills it, as is to be expected of him at this point. As for Havoc and P, they're pretty good too, although it should be clear at this point in the album that they haven't quite aged as gracefully on the mic as some of their contemporaries. Still, this one was great. 

7. Taj Mahal (prod. The Alchemist) 

One of the singles for this album, and you can see why, as this easily has one of the catchiest beats thus far - Alchemist really works the sample to perfection, creating a menacing yet very memorable atmosphere that sounds dope as fuck to put it lightly. Meanwhile, I reckon these are some of the best performances on the whole album from our hosts, with P impressing particularly on his verse, sounding as menacing as ever. This is another highlight - things seem to really be heating up at this point. 

8. Mr. Magik (prod. Havoc)

Another great track? This LP is only getting better and better. The first verse on this song is arguably the best P has delivered on the album up to this point, there's a back and forth segment on here which inevitably sounds great, and this instrumental is fantastic, being soft but eerie at the same time. What more could you possibly want? I'm loving this one. 

9. Score Points (prod. The Alchemist)

Surely I'm not the only one who slowly developed a big ass grin as the weird guitars at the beginning slowly transitioned into that dope ass piano loop. I should have known Alc wouldn't let me down. And aside from Havoc making a reference to Covid, something we as a collective human race should all be doing our best to forget, I really enjoyed the performances across this track as well, except for the hook, where P sounds like he's about to nod off in the booth. Still, I can't say many of these hooks have impressed me so far, so it's not like it was much of a disappointment. The lyrics on here were nice as fuck, and I find it incredible how, quite the opposite of their prime days in the mid '90s, Havoc and Prodigy have become some very calm and collected vocalists, who on the mic are more like crime bosses now, not mere street dudes trying to stay alive. They really did come a long way, and the calmness of each MC shows how confident they are with their position in the genre. I'm really loving this album so far, in case you couldn't tell. 

10. My Era (prod. The Alchemist)

However, I can't say I was as impressed by this one. Sure, Alchemist's skeletal beat is pretty good, and Prodigy doesn't do bad either, but the chorus that consists of naming '90s rappers and groups with no flow or direction isn't very well done, and Hav's verse is full of issues. "Body you on IG live / N***as soft for real, for real, like key lime pie" - oh dear; this verse is certainly not the man's finest hour. Still, I'd probably take this over anything off of Infamy, so that's certainly something. 

11. Pour The Henny (feat. Nas) (prod. Havoc)

Talk about a return to form. After a minor misstep in the last track, "Pour the Henny" is in strong contention for best song on the album, and it isn't the Nas feature that determines that (although he certainly does his thing on here). The main attraction on here is that P verse, which sounds as though it was written from beyond the grave, and is enough to make even the toughest thug cry, as Prodigy tells of how you shouldn't mourn him, as his life was as wonderful as can be - shit, by the time Nas starts rhyming you'll be too moved to even listen anymore. This is easily one of the best songs here, the perfect dedication to Prodigy and an incredibly powerful moment overall. Incredible. 

12. Clear Black Nights (feat. Raekwon & Ghostface Killah) (prod. Havoc)

Arguably the song I was most excited for going into this project is this collaboration with the two Wu-Tang members who seem to still be going strong on the solo tip to this day, with both of them having released projects already for this "Legend Has It..." series (surely a Run the Jewels album will come out of this as well). Havoc's beat here is simply beautiful, being a bit more loose with the variation compared with a lot of other beats on the record, especially when we get to Rae's verse, and unlike on "Right Back At You", both Rae and Ghost get to spit full verses of their own on this joint. This is just dope hip-hop made by legends of the game, and I'm all for it. Nice stuff. 

13. Discontinued (prod. Havoc)

On one of the more simplistic instrumentals of the evening, Prodigy takes the idea of "brag rapping" even further by talking about how even he is confused at just how his life managed to get so good, while Havoc drops another decent performance. There's a missed opportunity here to sample the classic line "if he doesn't discontinue his bullshit he might be dead" from their older track "Cradle to the Grave", but otherwise this was decent. Nothing to write home to about, but decent. 

14. Love The Way (Down For You PT2) (feat. Nas & H.E.R.) (prod. Havoc)

While the instrumental here seems to be the exact same as that on the original version of the song, the vocals are all completely different - well, except for the openings of Hav and Nas' verses, which started with the same exact lines, and then slowly blended into completely different passages, which I thought was an interesting and clever twist. Just like the original, this song stands out for having a fantastic hook, and just like the original, it feels very unique among all the other tracks surrounding it. I'm really feeling this one. 

15. We The Real Thing (prod. Havoc)

Really not a fan of this beat, which is a shame considering this'll likely be the final Mobb Deep track I ever hear. Still, it's not like the rest of the album doesn't make up for it - this has certainly been a great experience. 

While Infinite is not a perfect album, it's about as good of a send off as we could have asked for from one of the most important and legendary duos in hip-hop history. These are some of the best tracks these guys have made together in years, and given how most posthumous albums turn out that's quite the feat. Take The Infamous and Hell On Earth out of the equation, and this could be their best offering as a duo ever. Now, there are some things about this album that let it down - the choruses for example, about two of which on the whole record are bearable. Seriously, some of these hooks are nightmarish, especially on that track with Big Noyd that I can't be bothered to type out the name of - that one in particular really does ruin an otherwise stellar track. And the other thing is that Havoc and Prodigy do show some signs that they aren't young and hungry MCs on here, whether that be for better or for worse, and on some occasions it feels like their lyrical skills are dwindling - and when you compare the lyricism and deliveries on here to, say, those on one of the Nas x Hit-Boy tapes, it's clear that it is lacking at times. Just listen to Havoc's weirdly poor verse on "My Era" for proof. But I'm just nitpicking. On the positive side, these guys still sound pretty good - and my God are these beats nice. After Havoc's skills dwindled behind the boards on some of the collaborative records in the 2000s, it seems here that he's finally re-learned what he does best, and offers a selection of music that is reminiscent of the duo's prime work, while also sounding suitable in the modern era. Not to mention, whenever The Alchemist chimes in things inevitably heat up too. In general, this album is great, and if you're a fan of Mobb Deep I'd definitely give it a listen. It certainly isn't a modern classic, but for my money this exceeded any expectations that should have been placed on it, and is an incredibly fitting tribute to Prodigy's life, and Havoc's talents as well of course. Let's just hope this successfully washes the tastes of The Hegelian Dialectic 2: The Book Of Heroine firmly out of everyone's mouths. Thanks for reading!

Best Track: "Pour The Henny"

Worst Track: "We The Real Thing"

Check out other Mobb Deep write-ups here!

Mobb Deep - Hell On Earth

After releasing a classic album, an artist (or in this case, two artists) is faced with a pretty tough task of following it up. This is because there are pretty much two things you can do, both of which are guaranteed to have just as many naysayers as they have fans. You can either do something very similar to your classic, which could potentially be seen as repetitive and uncreative, or you can completely switch things up, and risk alienating the fanbase you created for yourself with that classic album. This is a position many artists in hip-hop have found themselves in, and perhaps none quite as much as Mobb Deep in 1996. After their alright debut Juvenile Hell, Havoc and Prodigy had released The Infamous in 1995, which in my opinion might be the quintessential '90s hip-hop album. The project not only had a brilliantly overarching message of animosity yet acceptance of the duo's violent lives in the streets, but it was also filled with some of the most haunting and intense instrumentals of the decade, and some of the most quotable and well-written verses too, especially from Prodigy, one of the scariest figures of the time in the genre. And who could forget the indisputable classics it produced - "Shook Ones Pt. II", "Survival Of the Fittest", "Give Up the Goods (Just Step)", "Hey Luv (Anything)" (wait no). The album was phenomenal, and left Mobb Deep wondering just what the hell they could potentially do to even match it, let alone top it. 

Well, what they did was take a look at the two options I mentioned above, and decided that with the correct calculations, they might just be able to pull off both of these simultaneously with just the one album. And so, in 1996, Mobb Deep released Hell On Earth, and... wow. 

All songs produced by Mobb Deep. 

1. Animal Instinct (feat. Ty Knitty & Gambino)

Immediately on Hell on Earth, Havoc lets us know that Mobb Deep aren't going to be doing too much switching up on this record - not only through his actual admitting that this album was going to be them making The Infamous again, but also through his instrumental and opening verse, the former of which is gritty yet cinematic, and the latter being violent, confrontational, and memorable, all in equal measure. I mean, Havoc's opening lines here could get stuck in your head for days. And it's not like these other chaps are slackers either, as they all continue the theme of violence and machismo, letting the listener know just what the fuck they are about to get themselves into. The structure of this song isn't the most interesting, and the instrumental isn't my favourite on the album, but as a whole package this is still a pretty damn effective way to open your album. But if you didn't like the almost classical sounding strings, I wouldn't worry - this song does sound quite different to a lot of the other tracks here. "Crime pay - but for how long 'til you reach your downfall??"

2. Drop a Gem On 'Em

The Mobb's infamous (get it?) retaliation to 2Pac's name-dropping them on "Hit Em Up", complete with one of the dopest and most iconic instrumentals of the entire '90s decade. I mean, have you heard this beat? The haunting pianos, the loud and in-your-face percussion, the ghostly female vocal samples that come in and out... shit, if I was Pac I would have been shook to my skin before the first verse started! And since it's Havoc and P in their primes here, you can expect the verses to be even more scathing, and that they are. Unlike on the first song, I do think Prodigy outshines Havoc quite a bit here, with one of the best verses on the entire record, but that isn't to say Havoc's performance is weak, because he held his own in there too. It's just that while Havoc gave the beat a firm talking to, Prodigy brutally slaughtered it, and it's mother too for good measure. His flow, his lyrics and his vocal delivery are all a significant improvement over those on the opening track, and probably over an amount of stuff on The Infamous too for that matter.  It's verses like that that make me never want to even try to rap again, since I'll inevitably never match it. In conclusion - this song is fucking incredible. 

3. Bloodsport

Easily one of the more underrated tracks on the album, this song very nearly matches the previous one in my opinion when it comes to haunting intensity. I mean, sure there's much less energy in this beat, but that can be a good thing - imagine this shit in your headphones while walking through the woods at night. Of course, you might go from dead scared to bursting out laughing when it comes to Prodigy's verse - I'm sorry, but some of the blatant homophobia in '90s hip-hop is just hilarious nowadays when listening in the world today. P's line "nigga get down, queer, stay down" is probably my favourite for sheer humour. Other than that, the rest of the lyrics on here are pretty damn great - once again, it sounds like they're dissing someone, and that someone could be one of many given the amount of disagreements Mobb Deep got into in this era. 2Pac? Keith Murray? It could be anyone. Still, I see it as one of those "if you think it's about you it probably is" situations, and it works well - this is another banger. I do wish they didn't repeat that final hook though, as that was a bit of overkill.

4. Extortion (feat. Johnny Blaze a.k.a Method Man)

Possibly my favourite song yet, thanks to the presence of the ever charismatic and incredible Method Man, who just does not miss on his guest appearances. Seriously, how the hell does he come up with this stuff? I'd say that so far, he has the second best verse on the album, after P's on "Drop a Gem On Em", and even then it's damn close. The instrumental on this one also helps with my positive feelings towards it, as it's funkier than some of the previous beats, with a dope-ass bassline and some ghoulish synths moving around over the drums in keeping with the spooky sound of this album. Havoc and P make light work of the instrumental, but it's Meth that really sends this one over the edge, with his wonderful flow and humorous lyrics that are actually a nice relief from the cold blooded threats of our two hosts. This is one of Mobb Deep's best deep cuts, and a classic that I wish more people knew about. 

5. More Trife Life

Following up one of my favourite joints from The Infamous, Havoc goes it alone to tell a most likely fictional but still very entertaining story about being set up by an ex-girlfriend he went to meet with. I won't spoil more of the story for anyone who hasn't heard it, but I will say that this is a really nice switch in subject matter, and this track feels much more directioned and focused than some of the other songs we've heard up to this point. Not to mention, the instrumental is also incredible, mixing intensive percussion similar to that on "Drop a Gem On Em" with the haunting instrumentation that reminds me more of "Bloodsport". While I don't quite enjoy this as much as the original "Trife Life", it does come close, and that tells you all you need to know about the quality of this one. 

6. Man Down (feat. Big Noyd)

This song is most notable for it's multiple shots aimed at Def Squad, with references to the group's "spaced out shit", and also to Redman's classic "Time 4 Sumaksion". Of course, P had addressed them before on The Infamous, but this is the first time he (and Big Noyd too) made it clear exactly who they were talking to, and also the first time the disses were in actual song form. As a big, big Redman fan I'm not as keen on these disses, but otherwise this is yet another top class Mobb Deep song, with one of the more loud beats on the album that once again feels straight out of a horror film - only this time perhaps more of a comedy one. The rhymes on here are some of the most memorable on the whole album too, and Big Noyd once again proves himself as easily the best Mobb Deep affiliate with a fantastic, very quotable final verse. This is another brilliant song. 

7. Can't Get Enough Of It (feat. General G)

Completely diverting from the harsh sounds of all of the previous tracks, Havoc's beat here sounds more sentimental and sorrowful, like the sort of thing you would see on those "Dead Homies" joints that rappers always feel the need to do. Oddly, however, the Mobb don't appear to switch things up much lyrically here, offering similar aggressive content to every other track - the difference here being that their vocals are given a sad and depressing air thanks to the instrumental. General G's feature on here is pretty fun, as his voice certainly stands out, and I enjoy the verses from our hosts plenty... but this is the first flawed song on the album, less because of the strange atmosphere of the beat, and more because of Prodigy's terrible sung chorus, which makes absolutely no sense on the song, and sounds corny as hell. Make no mistake, I still enjoy this song a lot... but don't ask me what they were thinking with that. 

8. Nighttime Vultures (feat. Lex Diamonds a.k.a Raekwon)

Isn't it amazing how so many instrumentals can have almost exactly the same feel, and yet all sound so brilliant and diverse? This track makes up for earlier's "More Trife Life", as while Havoc provides the hook, he has no verse, and instead leaves his spot for the second Wu-Tang member to appear, Raekwon. While his verse here is nowhere near as incredible as Meth's on "Extortion", I still like it a lot, and Prodigy does even better, with a verse that was surely a big inspiration behind Eminem's song "3 a.m.". There's not really too much to say on this one - it's just yet another really great song. 

9. G.O.D. Pt. III

Probably the scariest song in the entire Mobb Deep catalogue. Over the theme tune from Scarface and some phenomenally intense drums, the pair rip shit up with aggressive verses that fit just perfectly with this beat - I almost feel like this is the quintessential beat for Mobb Deep, despite the fact that "Shook Ones Pt. II" and "Drop a Gem On Em" exist. Perhaps my favourite part of the entire song is the drop in after the ridiculous skit at the start - those synths exude menace and paranoia, and almost make me want to run screaming for the hills as I hear them come in, that's how horrifying they are. Sure, the effect isn't as strong once you get about halfway through the song, but even then it never really loses its oomph, and the rapping always keeps things afloat - "horror tales in braille for the vision impaired" is a personal favourite line. Overall, this is easily one of the best songs here, and one of the best Mobb Deep songs full stop. What a banger. 

10. Get Dealt With

Dare I say it, one of the more chilled out tracks on this album, even if the rhymes typically will occasionally make you take a glance over your shoulder if you're bumping this in the street. One thing I think The Infamous has over this album is that it's not quite as one-dimensional - this album always felt a little too much in the same vein to me, and there are points where it feels like it's rehashing it's old ideas. Thankfully, this song keeps things fresh by having a more relaxed mood to it, and it works as a great shorter track in-between some of the more intense moments on the record. It's a dope one. 

11. Shook Ones Pt. I

There are many positives to living in the UK and not the US. Free healthcare, incredibly strict gun laws, no chance of being massacred by a bear, and so on. But perhaps the best advantage for us is that our Hell On Earth CDs came packaged with this gem, the original version of Mobb Deep's most notorious song. Of course, I'm talking about "Shook Ones Pt. I", which would probably be regarded as one of the best tracks of the '90s if it weren't overshadowed by its sequel. Whilst the chorus and Havoc's verse (the last third of which is performed by Prodigy here) are basically the same, Prodigy's opening verse is very different, as is the instrumental, which is more atmospheric and wavy, but at the same time just as gritty, as the original. Seriously, if you haven't heard this I'd check it out ASAP, as it's a worthy companion to Pt. II. What a track.

12. Hell On Earth (Front Lines)

The most notorious song on the entire album, and I guess you could say the emotional climax too, as this is the most somber and saddening track on the album - it's also utterly phenomenal. Let's talk about the beat first, which is a masterpiece. The drums are fast paced, but calmer than a lot of the others throughout this record, and keep a sense of urgency while still maintaining the depressing and bleak feel of the track. Then, we have the instruments on top playing the bassline and the melody, which come together to create a simultaneously relaxing and haunting musical backdrop for the MCs. This beat is masterful, and what's even more incredible is that the pair manage to do it justice, with some fantastic verses, and one of the more memorable hooks of the whole album. Inevitably, it's P who is the MVP of this one - his opening verse is enough to send you flailing off your chairs in astonishment, and when he comes back in for another verse at the end, you'll probably flail off again, cartoon-style. This man was truly a monster on the mic, and it's songs like these that prove this to full effect. R.I.P. Prodigy, man... . I cannot stress enough how much of a classic this track is - I envy those that will get to hear it for the first time. Damn this shit is dope!!

13. Give It Up Fast (feat. Nas & Big Noyd)

You know what could make this album even better than it already was? Nas. And that's exactly who they got, for this track that sonically sounds kind of like the first song, with it's cinematic instrumental that implements some orchestral strings (or at least I think that's what they are). Nas actually starts this one off (following the sound of a plane landing to tie into the story), and he does an excellent job as you'd expect from the greatest rapper of all time (in my humble opinion) - everyone else does their best to match his performance, with Prodigy coming out on top. Seriously, I think P may well have been the best rapper in the world in '96 - either him or Andre 3000. This isn't one of my favourite instrumentals on the album, and this track certainly isn't hugely memorable, but when you're listening to it it's as entertaining as could be. Great stuff. 

14. Still Shinin'

That title reminds me of another fantastic rapper from this year, Busta Rhymes, who had released a song with almost this exact same title months before this Mobb Deep record came out. I remember not really caring too much about this song when I was first getting into this album, probably because the beat is more soulful than menacing, which doesn't really fit the Mobb Deep sound in my opinion. Upon relistening today, however, I've gained a newfound appreciation for this song, which sees a more positive side to this duo, and seems more of a celebratory track than anything on this album or their previous effort. This song is a small island of positivity and happiness in a sea of murder and violence, and I very much appreciate it for that. I really wasn't expecting to enjoy that so much this time. 

15. Apostle's Warning

The final song on this album sees Havoc using a female vocal sample similar to on the last track, only this song fits more conventionally within this record sonically. Havoc's vocal presence on this track is barely notable though, as Prodigy's verse is far longer, and also goes into some areas which he hasn't explored yet on this album, such as the paranoia that he won't be able to see his child grow up as he'll be killed on the streets while his kid is still a baby. He makes you feel his words on this one, and it's one of the more powerful moments on the album - of course, this wouldn't be a Mobb Deep track without the murderous and violent moments, and there's plenty of that too ("I won't snap at you, I'm going for throats" comes to mind). This was probably the perfect way to finish the record off, with a nice balance of typical Mobb Deep with more introspective stuff. It's yet another brilliant tune.

Some pressings of this album came with a bonus track titled "In the Long Run", but sadly I don't own that particular version. Once I've located this track, I'll come back here and review it. 

Coming off of Mobb Deep's previous record, this album had some pretty planet-sized boots to fill, and while I personally prefer The Infamous, since it's a little more diverse and quotable (and also obviously more innovative), I would completely understand someone saying that they preferred this - that's how incredible of a follow up it is. On this album, Havoc took the sound of The Infamous, muted any jazzy and funky inspiration that album took (whilst throwing Q-Tip out of the studio like Jazzy Jeff), and then turned the horrorcore right the fuck up, making for an even darker and bleaker listen that is ideally played whilst sitting on a rock in the middle of Venus during the summer months, when all the lava is bubbling up around you. Not just because this album feels like that, but also because that would help match the paranoia and fear that this album succeeds in expressing to the listener, in a similar way to The Infamous. I do feel that this record fails in bringing across the violence as a bad thing, which is very clear to me on The Infamous, but that's alright - this record works as a perfect companion to that album as an insight into the minds of killers in their darker moments, when they really do feel the motivation to kill and torture. Sure, the album is called Hell On Earth, but a lot of the time Havoc and Prodigy make their surroundings sound more like their personal heaven, with the amount of passion that goes into their diatribes here. And how could I possibly end this review without talking about Prodigy, who ups his game here even further than on The Infamous. Havoc is perhaps less essential on this album, but the best Prodigy verses here are his best full stop, and there's a couple that could legitimately stand as top ten rap verses of all time. This album isn't just the follow up to The Infamous - it's an incredible piece in its own right, one that aims to delve even further into the mind of a gang member on the streets, and does this successfully through some incredible rapping, and some similarly incredible production. Don't ask me how Mobb Deep managed it, but with Hell on Earth they actually created a worthy follow up to The Infamous. And if that doesn't set them firmly in place as hip-hop legends, then I don't know what the hell could. Thanks for reading!

Best Tracks: Drop a Gem On 'Em, Bloodsport, Extortion, More Trife Life, G.O.D. Pt. III, Hell On Earth (Front Lines), Apostle's Warning

Worst Tracks: Can't Get Enough Of It

Catch up on more Mobb Deep write-ups over here!

Mobb Deep - The Infamous

After unleashing their okay but rather forgettable debut album Juvenile Hell into the world of hip-hop, Queens duo Mobb Deep were promptly dropped from their label (4th & Broadway) due to them making absolutely no money whatsoever. Now, most acts would probably take this as a sign, and split apart to pursue other endeavours - perhaps baking or knitting - but not Havoc and Prodigy, who instead decided that, as a big "fuck you" to their ex-label, they were going to record and release arguably the greatest hip-hop album of all time, a project heralded by many as a legendary moment in the history of the genre, containing some of the most celebrated songs the art form had ever seen. They had a producer, and they had two rappers (Havoc counts for both, of course), and so all they needed now was a platform to release their new music on, and that's when Loud Records came into the picture. 

Having seen success with their first group Wu-Tang Clan, Loud thought it was worth taking the gamble on another group, and Mobb Deep were the act they selected. The Mobb recorded a single for the label almost immediately, releasing "Shook Ones" mostly to the crickets, but nonetheless receiving positive reception from the small group of people who did hear the track. Since people seemed to like their new, slower-paced, darker, grittier sound, Havoc and Prodigy set about recording an album of songs to sound just like that, with a bit of help from members of the aforementioned Wu - Raekwon and Ghostface Killah - , fellow Queensbridge artist Nas, legendary producer/rapper Q-Tip, and the inevitable weed carrier, Big Noyd. The blueprint was set then, but would this set up end up working as well in the real world as it did on paper?

Well, when The Infamous was released in April of 1995, people (especially those who heard Juvenile Hell) were stunned. These two Queensbridge chaps who most people had never heard of before had come out and created a masterpiece, an album that redefined the sound of the genre, and managed to stand out on top in a year when we got classics from Pac, GZA, Raekwon, The Roots, AZ and more. From Havoc's atmospheric and haunting production to Prodigy's airy and sinister vocals, everything about this disc was nothing short of absolute perfection. I mean, is there even any use introducing this thing? Everyone knows this album! And, if you don't mind me spoiling the finale of this review, there's a very good reason for that.

It's incredible.

All tracks produced by Mobb Deep (or rather just Havoc), except where noted.

1. The Start Of Your Ending (41st Side)

Not only does this have arguably the best song title of all time, but it may well be the best opening track in hip-hop history (well, top five - "The Message" and "Time 4 Sum Aksion" would have to be ahead for me). Wisely deciding to leave out the spoken rap album intro, Havoc and P get straight to the rhymes, and any doubts you may have had about this album going into it are immediately washed away, to be replaced with a haunting wonder that comes from the terrifying instrumental, and brilliantly aggressive lyrics. You know those rappers that couldn't sound convincingly aggressive if they held a glock to your eyeball? Yeah, that's not these guys. "You better off buckin' yourself, you need to stop frontin'" is my favourite line, but there are countless others that you could take from this song that will still implement fear and horror into you via a tremble through your spine. This song is absolutely fantastic, and the fact that it isn't even the best song here shows just how great the music we're about to get into really is.

2. [The Infamous Prelude]

Ahhhhh, they almost did it. Seems like the duo did succumb to making a rap album intro, but they put a whole song before it to soften the blow. Prodigy disses Keith Murray and Redman on here, which I don't like, but still at least he's self aware - "I'm a little skinny motherfucker".

3. Survival Of the Fittest

One of two songs from this album to be featured in the film 8 Mile, but trust me, there's a lot more to it than just that. "There's a war going on outside no-one is safe from" is easily one of the most iconic opening lines in hip-hop history, and from then on we get one of the songs that just makes Mobb Deep what it is. Bleak and haunting instrumental, teamed with the hopeless, dark and violent inner thoughts of men who have succumbed to life in the ghetto. This might seem like a recipe for some depressing and uncomfortable music, but trust me, it's not - this is one of the darkest hip-hop songs you'll hear, and the fact that the label released it as a single is representative of how great Loud Records were back in the day. "Survival of the fit, only the strong survive!"

4. Eye For a Eye (Your Beef Is Mines) (feat. Nas & Raekwon the Chef)

Prodigy, Havoc, Nas and Raekwon rapping together on a track in 1995. Just let that sink in for a second. We got four of the greatest MCs of all time in their primes rapping together on a track. And what makes it even better is that this song is everything we could have hoped for and more. Havoc provides a beat that could have been painstakingly extracted out of an ancient granite cliff it's so tough, and all of the MCs deliver some of the hardest, most aggressive verses of their entire careers. In my opinion, the best verse here belongs to Nasir Jones, who really exaggerates his Nas Escobar persona on here with some brutal rhymes that would have probably had the Illmatic Nas shot up just for setting foot in his neighbourhood. That said, there isn't a single verse on here that wouldn't land in a list of "best verses of the '90s" - it's that good. This track is fantastic.

5. [Just Step Prelude]

Big Noyd and Prodigy provide some acapella freestyles that are surprisingly entertaining for what they are. Who said rap songs needed a beat to sound interesting? Also, Big Noyd actually kills this one. 

6. Give Up the Goods (Just Step) (feat. Big Noyd) (prod. The Abstract)

While this might well be a disturbingly scorching take (it could also be perfectly normal - I don't really know), this song right here is my favourite on the whole album. Q-Tip (under pseudonym The Abstract) hands our hosts the first of three instrumentals he'll eventually provide, and it's easily the best of them, providing incredibly upbeat energy that makes for a much more positive listen than the bleak and disturbing atmosphere of the previous tracks. Of course, Prodigy and Havoc don't do much to switch up their lyrical content here, but they do deliver some of their thoughts and musings on how they go about robbing motherfuckers in a more excitable way. If I'm perfectly honest, though, the best verse on here belongs to guest star Big Noyd, who manages to steal the show with his incredibly memorable delivery and fun bars - "Don't make me buck ya, 'cause I'm a wild motherfucker" being one of my favourites. I also love the incredibly catchy hook towards the end (and the beat switch up that goes along with it) on here, and the outro with just Prodigy rapping over drums also made for an interesting touch. This song is an undisputable classic. 

7. Temperature's Rising (feat. Crystal Nicole) (prod. The Abstract, co-prod. Mobb Deep)

Q-Tip provides another percussion heavy instrumental that's pretty different from Havoc's work at the beginning of this album, and it's used as a basis for P and Havoc to rap all about the snitches that be fuckin' up their plans, in the form of a letter that turns this into a sort of darker, more direct version of Nas' "One Love" - coincidence that Q-Tip produced both? I think not. Anyway, Q-Tip's beat on here is wonderfully atmospheric, and both Prodigy and Havoc keep me engaged throughout the song's runtime through their narrations on what has happened while their fugitive friend (whom this song is directed to) has been on the run. I'm not a humongous fan of that chorus, but otherwise, this song is an excellent piece.

8. Up North Trip

Havoc finally gets back behind the boards, only to make an instrumental that has exactly the same vibe as Q-Tip's work on here - not that I'm complaining, as it just makes the transition between the two producers a lot less jarring. "Up North Trip" is a song about doin' yo' dirt in the street without getting caught by the police - "up north" refers to the fact that most New York State prisons are located North of the city. The song, despite the production being fun and groovy, has a rather paranoid nature to it, as Prodigy and Havoc speak on how they fear constantly for their lives, and Prodigy's final verse is especially brutal and depressing. Sure, the beat isn't as incredible as the others, but these incredible lyrics absolutely make up for it.

9. Trife Life

Asides from the iconic song that everyone knows appearing later on, this is, in my opinion, the best beat on the whole entire album. That bassline is nicer than a hot sunny day in England, and the haunting sound effects throughout just make the atmosphere so heavenly and wonderful. And while the flows are a little less calculated and more formulaic on here compared with the rest of the album, the content is actually really interesting. Prodigy spends his verse talking about a potential set up that the girl he's meeting up with is about to lead him to, meanwhile Havoc plays his role as a Queensbridge resident who will be the guy to set you up - "the side where niggas don't give a fuck. The side where if you come through fronting, kid, you gettin' bucked!!" This song was so good that it even warranted a sequel that appeared on their next record - this might well be the best non-single on the whole album. 

10. Q.U.-Hectic

This track is most famous for using the same metallic screeching sound from "Shook Ones Pt. II" in its chorus, but if justice counted for anything then this would be just as known as that infamous (get it?) track. "Q.U.-Hectic" doesn't stand out on first listen as much as most of the other tracks on this record, but on subsequent listens this song slowly but surely grows on you until you love it just as much as the other fantastic songs on here. After the sounds of random people chatting away plays out for a while (seriously, why does it seem that all mid '90s rap albums do that?), Havoc's lowkey and vibey production enters, and it is fantastic, especially when the jazzy horns come in. The rapping, meanwhile, is about on the level of quality you can expect and demand by this point in the album. Dope stuff.

11. Right Back At You (feat. Ghostface Killer, Raekwon the Chef & Big Noyd) (prod. Mobb Deep, co-prod. Schott Free)

A peaceful and reflective moment where the rappers reflect on how they are looking forward to getting back home to their loving wives after a long and tiring month of charity work. Oh, wait, hold on a minute. This song is actually one of the most aggressive and brutal on the entire disc, with Prodigy dropping a harsh, aggressive verse that Havoc follows up with similar content, only more profanity. My favourite verse, however, is the third, in which Ghost and Rae go back and forth with a chemistry to rival David Mitchell and Robert Webb on their best day. Big Noyd's contribution at the end was alright, but everything else here (including Havoc's haunting instrumental) is perfection. 

12. [The Grave Prelude]

The only interlude on the album that feels a bit unnecessary - this probably could have been chucked on the front of the next track. Still, the extended build up does increase the hype, meaning this has some kind of purpose - more than can be said for most skits (looking at you, Redman).

13. Cradle to the Grave

Finally, P and Havoc decide to go back and forth on the verses, rather than taking a whole one each for themselves, and the results are (as we, let's be honest, should expect) utterly fantastic. The first long verse tells a story of P and Havoc attempting to escape from the police after a murder, and the second verse illustrates the inner workings of their mind having realised one of their friends double crossed them and snitched. Cynical listeners would probably hear the lyrics of this one and retch at the violence and profanity, but when I listen to it, I only hear horror, paranoia, and a clear message within the pair's tales that what they are doing is absolutely not the right way to live. It's a horrifying song, and Havoc's beat (which features a crackly record sound effect) fits the lyrics by being the darkest on this whole entire LP. I absolutely love this song.

14. Drink Away the Pain (Situations) (feat. Q-Tip) (prod. The Abstract, co-prod. Mobb Deep)

Q-Tip is back, and this time for a jazzy affair that he actually bothers to rap over, so that's good. Unfortunately, this song does sound kinda out of place on this album, being that this instrumental just sounds so happy, and Prodigy and Havoc's love raps come across as pretty mean spirited all in all. Funny how on its own, this song is bloody great, but when put into context with the rest of the album it's the worst song. Just goes to show how phenomenal the rest of this record is. 

15. Shook Ones Pt. II

Fuck TikTok.

I don't care if it's overplayed, I don't care that it was in 8 Mile, and I most certainly don't care that it's a fucking TikTok song. This is one of the best hip-hop songs of all time, with arguably the best instrumental I have ever heard, and it being used on the shittiest app there is isn't going to stop me from bumping this masterpiece to high heaven. Everything about this song is perfect. The memorable hook. The haunting and mesmerising instrumental. The verses packed with one liners. "The next rhyme I write might be about you". There isn't much more about this song that hasn't already been said, and if you somehow haven't heard this track, then please go and listen to it now. But not before you uninstall TikTok. Seriously, fuck that bullshit.

16. Party Over (feat. Big Noyd) (prod. Mobb Deep, co-prod. Matt Life)

For some reason I feel like people think this is the worst song on the album, and while it does seem a slightly anticlimactic and bleak way to finish things off, that doesn't mean it's bad - in fact, it's a unique and interesting way to end the record. The calm following the storm, if you will. Havoc's percussion heavy beat on here is head noddin' all the way through, and the three rappers illustrate themselves as dope ass MCs to the fullest here - Big Noyd also redeems himself after his merely okay performance on "Right Back At You". This is a pretty great closer if you ask me.

The word "perfection" gets thrown around a lot these days, but when it comes to The Infamous, I think the term just about fits in nicely. This album is the simple, unfiltered perfect rap album. Nowadays, whenever I read something that mentions or discusses the genre of hip-hop without bringing up names, I think of Mobb Deep, and specifically the music on this album. Every moment of this record is a simply a wonder to behold, and there's so little I would change that it's actually astonishing - it's like this was made for me. Let's start off with the production, which is not only incredibly varied, but uniformly phenomenal. Every single beat on here does exactly what it intends, whether it's the grimy and haunting "The Start Of Your Ending", the upbeat "Give Up the Goods" or the depressing and mesmerising "Cradle to the Grave" - I could go on. Each one of the beats brings a different feel, and yet the album feels so cohesive, and flows so well through the different moods. Havoc really proved himself as one of if not the best producer in the game at the time, and Q-Tip's work was also incredibly potent. Now onto the features. We could have expected Tip, Nas, Rae and Ghost to be as excellent as they were, but Big Noyd? He absolutely murders three of his four verses on here, and his performance on "Give Up the Goods" surely cements him as one of the top weed carriers of all time. Really, though, this is about Prodigy and Havoc, and what they did on this album should really be taught to every single person who thinks rap is purely about glorifying violence and misogyny. Throughout this record, violence and street life are the main themes, but not once do Prodigy and Havoc come close to making that sort of life sound appealing - they consistently show through paranoia and manically aggressive outbursts that the lives they lead are awful, and their example should not be followed to any extent. Of course, I could highlight the fantastic one-liners, or the brilliant lyricism, but I think the standout about this whole thing is just how it manages to turn the listener away from lives of drugs and crime, and manages to, amongst the misery and brutality, unearth a positive message to be taken from it - don't do this. Don't get into this life. It's not worth it. This is not only a classic rap album, but it is one of the strongest and most impactful pieces of media ever released, and serves to make all those hip-hop haters eat their own words like so many vegan sandwiches. Should you give it a listen? I'll let you work that one out for yourself.

Best Tracks: Every. Single. One.

Worst Tracks: No. Just no.

More Mobb Deep to be found over here

Mobb Deep - Juvenile Hell

In the early '90s, as the West Coast was still dominating the hip-hop scene thanks to constant classic records from the likes of Ice Cube, Snoop Dogg, Dr. Dre and others, the East Coast was beginning to come together in the depths of the underground to make an attempt to regain the hip-hop throne that they built in the first place. Artists such as Wu-Tang Clan, The Notorious B.I.G., Nas and Redman were all rising up out of New York to battle for hip-hop stardom with incredible and highly impressive records, a theoretical battle that would of course become very real as 2Pac and The Notorious B.I.G. decided to have a very intense and in the end very tragic public feud. The mid '90s were about to become what are unanimously considered the best years in hip-hop history, as everyone was making sure to make the absolute best music they could to help their coast to the top. And one of the defining East Coast artists from this era would be legendary Queensbridge duo Mobb Deep.

Unlike Nas and Biggie, however, it would take the Mobb, who consisted of rapper/producer Havoc and rapper Prodigy (R.I.P.), until their second album to get the props they were desperately searching for from the hip-hop world. Their first effort, the 4th & Broadway release Juvenile Hell, went as undetected as a cricket in the centre of a wheat field, and those that did hear the effort tended to see the album as a promising start from two MCs who still had a long, long way to go before they reached legendary status. The project itself was pretty generic as an early '90s East Coast release - it had a lot of simplistic bassy and/or jazzy beats, call-and-response hooks and incredibly elementary rhymes from P and Hav, MCs who would go on to be considered some of the best to ever hold a mic, especially the former of those two. The thing differentiating it was the surprisingly violent lyrical content, which could have probably been predicted by the aggressive cover art. 

The album was largely produced by Havoc, who was still making those generic beats at this time, and hadn't yet reached his status of being one of the best producers in the game. However, we did also have some more well-known names in the shape of DJ Premier and Large Professor, both of whom contributed one instrumental each, and then there were some other chaps on here too that didn't bother to think up of a producer alias. As for features, though, there was only one, "the infamous..." Big Noyd, ironic as no-one outside of Mobb Deep fans have actually heard of him. The album was fairly short though, so I guess more guests than that would have been overkill. Still, a Q-Tip or Busta Rhymes feature would have been nice, but you can't have everything.

So, is this project worth checking out, or does it deserve to be left in the pile of "irrelevant debut albums" along with Words From the Genius and Infinite? Let's have a look.

Side note: tracks credited as being produced by Mobb Deep are most likely done entirely by Havoc, as Prodigy isn't a producer, and doesn't claim to be.

1. Intro (prod. Mobb Deep)

Fans of The Infamous and Hell On Earth will already be turned off by this spoken intro, something missing from those two classic efforts, but still, at least there's a nice instrumental in the background.

2. Me & My Crew (prod. Keith Spencer & Dale Hogan)

I have to say that this is definitely one of the better songs on this album. The bassline and jazzy sound effects in this instrumental (provided by Keith Spencer and Dale Hogan - c'mon guys, you can be more creative with the names than that) are pretty nice, and both Havoc and Prodigy deliver some excellent verses on this one, with great lines including "I catch wreck with the Einstein's intellect, and get stupid like a Stimulated Dummies mix". I'm not a fan of the hook at all, and the song's a little too long, but still not a bad way to open the album.

3. Locked In Spofford (prod. Paul Shabazz & Kerwin "Sleek" Young)

This one is a lot slower-paced than the previous track, and has a much more boom-bap sound, which I definitely appreciate a lot. Also, I find it interesting how they're locked in Spofford, which is a juvenile detention centre and not a prison - they were really young when they made this. While I found "Me & My Crew" more engaging on initial listens to this LP, I now tend to find this the better track, that fits with the Mobb Deep sound to a much better extent. P's verse is also one of his best on here.

4. Peer Pressure (prod. D.J. Premier)

The aforementioned DJ Premier beat, and it's pretty damned good, if not astonishing like one might expect. These lyrics also sound completely different from the messages presented throughout the rest of this thing, and also more like they were written in '83, not '93. Still, I do think this one stands out quite a bit from the rest of this album, and the production is still great - just not Preemo great. Also, I believe P's verses on here were written by Havoc, which is funny as they're actually better than the ones Hav spits here, especially the final one, which is actually pretty damned dark. "I'm glad it's finally over and I'm finally dead!!" (emphasis on the final word there also makes it that much worse, as it sounds so fun, but the lyrics are dark as hell).

5. Skit #1 (prod. Mobb Deep)

Absolutely no idea what's going on here.

6. Hold Down The Fort (prod. Mobb Deep)

Probably the best instrumental presented on this album so far - the drums are the same as they have been on previous cuts, but that bassline is just nice. P and Hav both have some incredibly smooth flows over this one too, which sound a lot better than their flows on "Peer Pressure". Unfortunately, the lyrics themselves are pretty generic, and the hook is as annoying as being in a tent with someone snoring, and let me tell you: that's pretty fucking annoying. There are some nice bars here though - "my name is Prodigy and I'm known to cause Havoc!"

7. Bitch Ass Nigga (prod. Paul Shabazz & Kerwin "Sleek" Young)

Apparently serves as inspiration for Prince William's famous catchphrase. Hopefully that joke entertained you more than this song entertains me, because if not, then maybe it's time for me to give up. This shit is dull.

8. Hit It From The Back (prod. Mobb Deep)

This surprisingly explicit song also became the most popular single from this whole album, and I would say that it definitely aged better than most of this thing, at least production-wise. The flows on this one are a lot more Wu-Tang than The Fresh Prince thankfully too, but unfortunately the explicit lyrics do kind of bring this one down, as well as the fact that the first verse is repeated in its entirety at the end of the song. Still, this one is very well produced, and the flows are nice, so I'll give it the pass.

9. Skit #2 (prod. Mobb Deep)

Not so much a skit as a musical interlude, in which Prodigy appears to hype up and introduce a verse that never actually gets spit. Random.

10. Stomp Em Out (feat. Big Noid) (prod. Mobb Deep)

I guess Big Noyd used to be spelt "Big Noid"? Anyway, this was actually my least favourite cut on the album upon first listen due to the overly positive horns that keep coming in (and the repetitive hook, but then again that's been par for the course throughout this whole album), however I now find it to be a pretty great track. It doesn't stand out that much, and the weird reggae breakdown in the middle was as unnecessary as adding a hunk of raw rotten meat to your meticulously crafted lobster dish, but then again this one has a nice bassline and a brilliant Big Noyd verse that washes into the depths of the sea those from Prodigy and Havoc on this song. What a performance.

11. Skit #3 (prod. Mobb Deep)

Instrumental interlude, and the only skit here that I found necessary.

12. Peer Pressure (The Large Professor Remix) (prod. The Large Professor)

Shouldn't this remix with the exact same lyrics as the original be a bonus track? Whatever, this is still fairly enjoyable, even though I personally prefer the original version.

13. Project Hallways (prod. Paul Shabazz & Kerwin "Sleek" Young)

Similar to "Bitch Ass Nigga" from earlier, this Havoc solo track (the only solo cut on this album) is dreadfully boring, and does absolutely nothing to stand out except for having a hook that's as corny as a corn on the cob (and no, I can't be bothered to think of a better metaphor).

14. Flavor For The Non Believes (prod. Paul Shabazz & Kerwin "Sleek" Young)

Nope, I have not misspelt that title - it truly is that nonsensical. Thankfully, this song brings the momentum back to this album, with a nice-ass bassline, some great flows and a hook that doesn't annoy the shit out of me like the rest of them on this album do (I don't know why that is, as it's just as repetitive). There are some nice lines on this one too, such as "'Cause I'm flippin' like pages in a Word Up! Magazine" and others. Honestly a very solid way to close out this record.

While this album has a lot of tracks that I do find enjoyable, it's still very clear that Mobb Deep were a work in progress at this time, as this effort barely stands out amongst a crowd of early '90s hip-hop records. Both Prodigy and Havoc sounded pretty similar on here, and their voices certainly aren't that engaging, meanwhile the lyrics themselves are always pretty boring and derivative, aside from the storytelling on "Peer Pressure". The best thing about the pair of them are their flows, which sound real nice over these instrumentals a lot of the time, but once again it's not something that makes them stand out very much at all. The hooks on this album are consistently godawful too, seemingly always consisting of the song title being shouted out repeatedly until my ears are bleeding and falling off. The production on here fairs a little better, as the bassy beats that fill most of this LP up are always pretty nice, even if the drums seem to sound exactly the same each time. There are a couple of really dull and forgettable beats on here for sure, but for the most part it seems Havoc, Kerwin Young, Paul Shabazz and the others had their act together for this one behind the boards, so that's a good thing. However, I don't know if this really requires a full listen unless you're a big Mobb fan who wants to know what they sounded like when they first started up - this definitely should not be your first Mobb Deep album, as it'll give you completely the wrong impression of what they're about. Still, I find this to be a fairly solid effort, and if you're into old-school stuff, then check out some of the best tracks for sure. While not groundbreaking or one of their best, this is still a solid debut album.

Best Tracks: Me & My Crew, Locked In Spofford, Peer Pressure, Hold Down the Fort, Stomp Em Out, Flavor For The Non Believes

Worst Tracks: Bitch Ass Nigga, Project Hallways

I haven't discussed any other Mobb Deep efforts yet, so here's some Nas, as the two seem to go well together.

All images taken from Discogs