Two teen rappers from Queensbridge, New York were tossed to the wolves the previous year after their debut's sales went straight to the gutter. They somehow still wanted to pursue this path in the fickle industry of music. So, they regroup and do the impossible: The name became one of the most revered hip hop music acts in the art's history. All with the span of a single release., their sophomore album introduced a formula the duo came across out of necessity, for Kejuan Muchita, nicknamed Havoc by his boo-boo, had discovered he was quite apt at production. While his partner in rhyme Albert Johnson, nicknamed Prodigy by his baby son who couldn't speak at the time so it was a complete mystery as to how he managed that particular feat, (Don't ask me why. Do I look like a goddamn pediatrician to you?) found out that he had vast amounts of untapped potential as a hip hop poet.
- Mobb Deep Hell On Earth European Editions Zip
- Hell On Earth Lyrics
- Mobb Deep Hell On Earth Instrumental
The two shits used their newfound strengths to spectacular effect, earning the respect of hip hop pundits worldwide. A respect that continues to be given to them to this very day, all of it very well deserved. So, now our protagonists face an entirely different challenge: How the fuck do you follow up such a success? By learning from other people's mistakes, of course. The Mobb is frequently compared to a fellow QB hip hop act, one Nasir Jones. Something which Prodigy actually acknowledges as he mentions being inspired and stepping up his lyrical game after Nasir, or, dropped his debut album.
You might've heard of that album. A little piece of work called? Constantly brought up in fucking useless if not detrimental debates regarding the 'best hip hop album of all time'? Anyways, Nas faced a similar challenge when it was follow-up-album time and he opted to go the experimental route while channeling the mafioso rap subgenre, newly revamped and overhauled by the for team-member 's in his sophomore effort, an album that many Illmatic fans absolutely loathe. Buat akun twitter baru.
Which is absolute bullshit, because It Was Written, while slightly inferior to Illmatic, remains a quality piece of mafioso rap. Furthermore, it sold a fuckload of copies, launching Nas into the mainstream as a legitimate commercial force in hip hop music and gaining him all-new fans to recompensate for the very few fans he lost at the time, seeing as Illmatic had just went gold prior to It Was Written's gargantuan release. Mobb Deep, however, felt that they were more dependent on their now-core fanbase, since The Infamous did a hell of a lot better than Illmatic at both's beginning stages. So, they decided to choose the other path: Sticking to your guns. Which worked even better than they'd imagined.
For around that time, the Mobb's head weed carrier Tajuan Perry aka aka Noydy aka his Noydness aka Pizza Dude, who was an instant hit following his scene-stealing verse on Mobb Deep classic Give Up The Goods (Just Step), released an awesome EP, 95% of which was produced by Havoc. It would've helped even more had the EP not been released to the sound of crickets. But the few Mobb fans who did hear it were craving more of the Mobb sound, which was apparently relayed to said Mobb. So, galloping into familiar artistic territory they went.
That's not to say they didn't tweak the formula a bit. See, even Mobb Deep couldn't ignore the powerful surge of the mafioso rap subgenre spreading like an epidemic throughout the East Coast. The aforementioned Cuban Linx and It Was Written, alongside albums like Reasonable Doubt, Conspiracy and, were making a lot of headlines during that particular period, which definitely had some sort of influence on Mobb Deep's sound. So, Havoc, who was strengthened by his production experiences on The Infamous enough to produce the entirety of this entry, decided to dig into the Mobb's vast collection of classic gangster films to put himself into the right musical mindset, while Prodigy went to work on improving his rhymes even further than the massive overhaul he gave them on The Infamous, thereby fortifying his ability to write metaphorical street tales that much more. This album repeated the feat of its predecessor of selling five hundred thousand copies, which is even rarer than The Infamous's feat for two releases on an independent record label. Let's see how the end product lives up: ANIMAL INSTINCT (FEATURING TWIN GAMBINO AND TY NITTY) Havoc's opening statement sets some pretty high expectations already.
But, the Mobb seem ready to make good on his promise if this song is any indication. Short version: This shit rocks. This was the perfect introduction to Infamous Mobb's Twin Gambino, the collective's most skilled rapper, and Ty Nitty, its least skilled member. That is, if you were one of the hundreds of thousands who were completely unaware of Episodes Of A Hustla.
Havoc's beat samples The Trammps to brilliant effect. Note: Get used to Prodigy outshining each and every rapper who shares the mic with him on this album. DROP A GEM ON 'EM Ah yes, the infamous 2Pac diss (pun very much intended). Mobb Deep still have many a 2Pac fan (Quite a few of these people are some of the absolute worst fans in this genre's history, let me tell you) at their throats blaming them for this song remaining on the retail release of this album even after Lesane's murder. You should be directing your hate at Loud CEO Steve Rifkind, people.
He's the one who should've handled these matters back then. I'll bet he OK'd this whoring for more sales and shit.
As for the song, though? For what it was, it's a fucking smash. Havoc digs as much as his limited MC skills can into 2Pac, before Prodigy dishes out a verbal beating the likes of which is last seen on his duet with Cormega on the latter's Thun & Kicko, where he aims a venomous verse straight for a certain Shawn Carter.
The beat by Havoc is a masterpiece of a Whispers loop, punctuated by a perfectly chosen audio byte from R&B legend Aretha Franklin. Yeah, this song is awesome. BLOODSPORT I loathed this track when I first heard it, because of the loud-as-fuck drum breaks and the accompanying violins sampled in the beat in a manner that literally shows you how worms digest dead people. Now, those very factors are my favorite aspects about the beat, which I love for how it gets under my skin. Remember that note I wrote earlier on the first song?
Prodigy violates Havoc's beat, while Hav himself doesn't sound too bad. EXTORTION (FEATURING METHOD MAN) The Mobb scores a cameo from reluctant critical darling, who sounds really mad on here, as if he's pissed he won a Grammy. It's almost as if he regards it as a seal of wackness of sorts. Anyways, leave it to Havoc to turn a Jackson 5 sample into utter dread music. Prodigy spits with that soulless conviction that he's perfected on the previous album.
This song is my shit. MORE TRIFE LIFE Havoc felt insecure about Prodigy lyrically tearing through shit for the past four tracks and decided this pseudo-sequel was not going to feature his partner-in-rhyme, out of fear that people may completely disregard his MCing abilities.
Just you wait till 2008, 96-era Havoc. You'll get all the features that were meant for your partner because he was too much of a bonehead to manage his firearms business right. Anyways, the beat is trademark Havoc but the rhymes, while technically proficient, leave a lot more to be desired. Bottom line, I couldn't get into any Havoc solo song of any sort. Not then, not now. Moving along.
MAN DOWN (FEATURING BIG NOYD) Pizza Dude! Happy Release From Jail Day, and many happy returns!
Havoc's beat is more of a sequel to Party Over than it is to Give Up The Goods (Just Step), which works perfectly fine as the three MCs rip shit, though I have to say that Noydy pulls ahead of his hosts by a not-so-small margin. Havoc's hook is a fucking earsore, though. CAN'T GET ENOUGH OF IT (FEATURING ILLA GHEE) This song is one where Havoc becomes the second master producer in hip-hop to flip a straight classic out of the opening notes of Gary Burton's Las Vegas Tango, the first being Cypress Hill's very own DJ Muggs. (who never seems to get the credit he deserves.
Let's see if we can change that later.) I swear, those notes bring out a side of me that should be locked away in some zoo in South Africa. Kej bookends the song with two forgettable 16's, while Illa Ghee & Prodigy provide the cream filling. Especially Prodigy, who sounds like he's having the time of his fucking life spitting his quite-long verse in a monotone that sounds hype as hell. May I also add that the hook might have something to do with P's elation, as it's friggin' awesome. NIGHTTIME VULTURES (FEATURING RAEKWON) The Chef's second showing on a Mobb outing, where he's brought in to provide that extra lyrical oomph to the project and to add more flame to the fire of comparison between this album's mafioso material and the Purple Tape's. What Cheffy here wasn't counting on was that he was going up against a Prodigy who's form was simply unstoppable. Don't be too hard on yourself, Corey: You never really stood a chance.
Hav relents by sticking to the chorus, apparently giving up on lyrically competing with P at this point. His beat is where he truly shines, however, as he brings us a haunted loop that will stick in your head long after you finish the damn song.
III Mobb Deep's obsession with Scarface samples officially started on this song, their second single. The infernal looping of the sample by Hav brings out something in both Mobb halves that facilitates the direct transplant of their contributions into the back of your brain. Prodigy sets this off like a man possessed, taking his well-known threat game to an unheard level with imagery that forces you to view him as the monolithic MC he is. Said performance rubs off on Havoc, who cannot help but follow suit with a spirited performance by him as well. By now, this album is steamrolling its way into your favorite albums list.
GET DEALT WITH When will the onslaught of awesomeness end? This is the fifth song in a row that is seared into my subconsciousness, no lie. Leave it to Kejuan to bring us a simple piano loop and make it into an east coast classic. Albert's delivery of his thuggery here will sound as if he's really 'standin' all up in ya cornea' with immediacy that will send a chill down your spine. Havoc rambles off for a bit at the beginning of his verse, then gets it together with a solid performance. The assault continues.
HELL ON EARTH (FRONT LINES) Another ominous piano loop, this time for the lead single. First time I heard this, I confess I didn't like it. After listening the entire album again and again an infinite number of times, it gradually climbed into my favorite cuts from said album. This song most definitely contains a standout Prodigy verse. Not the first one, but the second one, as P bookends this song with Hav filling in the singular middle verse. Back to Prodigy: He unleashes a long-ass verse that ought to be etched in gold in my hip hop fall of fame, similar to ' verse on Purse Snatchaz, 's verse on Winter Warz, etc. Just you wait.
I'll build one, I tell ya. GIVE IT UP FAST (FEATURING NAS AND BIG NOYD) The mob movie sample onslaught continues with the heavily underrated Christopher Walken vehicle King Of New York (A much better movie than Scarface, in my humble opinion) now on the sample-chopping board. Nas continues his successful chemistry with the Mobb, backed by His Noydness, who frustratingly shares a verse with Havoc. I can only imagine how this would be as a Nas/Prodigy duet. It probably would be similar to the awesome Self Conscience on Nas' abysmal QB Finest.
But this one's hella good, too. STILL SHININ' Havoc's at it again with a magnificent Willie Hutch sample, again bookended by P with Hav filling the middle.
How the things have changed, eh Kej? Remember when you wrote rhymes for this dude? Remember when in the glory days of Juvenile Hell, you were the one bookending the songs? How does this abrupt change make you feel? I mean, really? Oh, nobody gives a shit because you don't put much thoughts in the lyrics anymore?
What a crazy world! Now you have the unmitigated gall to get pissed at Berty here because he slowed down after 2001 when you've stopped writing interesting rhymes since 1996 and your absolute garbage current production can be traced back to 97, long before your dear partner fell off? Mic Geronimo, Survival, ring a bell? Still Shinin' is brilliant, for those who wondered, with P turning a blazing performance again, and Hav providing some empty thuggery again. APOSTLE'S WARNING Well, Havoc hasn't run out of good production ideas by the time he made this, obviously. Michael Jackson's People Make The World Go Round was a good choice to look, although producer Minnesota flipped a much better sample from this song on Naughty By Nature's World Go Round. Anyways, Havoc gets his measly sixteen in and gets the fuck outta the way of a rampaging Prodigy who rhymes his ass off until the end of the damn song. This was the only way the album should've ended.
Alas, there's one more. Some versions of Hell On Earth came with Shook Ones Part 1, which I already reviewed, and one more: IN THE LONG RUN (FEATURING TY NITTY) This was even more of a dis track towards the Mobb's enemies at the time. More precisely, Prodigy's two enemies 2Pac and Keith Murray (who made amends with P as of this article's writing), as he's the only one doing the dissing, while Hav and Ty Nitty (who's ironically beefing with Prodigy now) provide miniscule contributions again.
This was a bonus track for a goddamn reason. FINAL THOUGHTS: Talk about proving doubters wrong. Mobb Deep cement their status as hip hop icons with this album.
Although a minor quibble by me is that I wish they went the Showbiz & AG route, with one of them hanging up the mic completely and sticking to producing, as Havoc's lyrical days are far behind him. Not the case for Prodigy, obviously, as the man transforms into a lyrical monster on this record. Every verse he delivers connects. Every fucking verse. Don't think Havoc ain't getting his props, though. For his wall-to-wall production on here is his finest hour behind the boards. For some reason, nobody remembers these Hell On Earth songs, which mystifies me, as the same ingredients that were on The Infamous are present here.
Not only that, but they produce even better results here most of the time, effectively landing this album alongside the OB4CLs, the Reasonable Doubts and the It Was Writtens of that time period. Hell, I haven't skipped a song since More Trife Life! This would be the last Mobb Deep album that would be released before the advent of the Internet bootleggers, who would massacre the next Mobb Deep album, for better or worse.
Mobb Deep should celebrate this work just as much as The Infamous, if not even more so. But that doesn't mean you can't. Own and enjoy this mafioso classic for what it is.
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TRACKS TO TRACK DOWN: BACK AT YOU Off the Sunset Park OST that came out before the start of this album's promotion. This song most definitely did not belong on a soundtrack of a film featuring another legendary rap group and yet this OST also contains 's Motherless Child, Dogg Pound's Just Doggin' among others. Had this been on Hell On Earth, we would've had another Survival Of The Fittest on our hands, as this song feels like the mafioso sequel to the more popular single's gritty hoodlum roots. Anyways, Havoc pulls another proverbial rabbit outta his hat with his sped-up loop of Isaac Hayes' Bumpy's Lament's first few seconds, transforming the notes into those of a high-energy mafioso theme, properly handled by both Havoc and Prodigy. I was amazed that Havoc represented himself well here, as he's still going for his. Prodigy, predictably, outclasses him by fucking light years, but hearing Hav actively trying to catch up with P on the same record, unlike that bitch shit he pulled on More Trife Life, brings me a warm and fuzzy feeling.
And the hook's perfect. This song fucking bangs. And we're done. Plenty of more to read here. It should be noted that The Abstract was no longer an assist in the production side of things. Havoc decides takes full control on the whole album, creating atmospheric beats whilst the lyrical prowess of Prodigy skyrockets even further. This shit is amazing.
Havoc actually only spits a fourteen-bar verse on Apostle's Warning whilst Prodigy spits a fourty-six-bar verse. And does he go IN on that verse. Still shinin' is also amazing.
I love this whole album but my two favourites are the last two tracks. A lot of people dont know 'Give it up Fast' is referring to the ladies, and I prefer the sample worked on 'Can't get Enough of It' a million times more on 'Illusions' by Cypress Hill. I'm very happy that Illa Ghee is still putting in work today; RIP Sean Price. The only thing that I could imagine about this album now is if 'Live Nigga Rap' was still on it. So, tell me if you heard this one before: This is a story about a rapper who was fucked over by the industry.
OK, so first there was this dude called Marley Marl. He was from Queensbridge. He rolled with a bunch of rappers from there.
To name a few: MC Shan, Craig G, MC Poet (nka Blaq Poet) and. That last dude influenced a lot of similar-minded QB MCs, including one who called himself. That last dude would release his debut, in 1994. It would cause many perfectly sane people who are either fans of hip hop music or contributors to that very genre to lose their shit on a regular basis at exactly how good it was as far as albums go. On that hip hop landmark, Nas would write a song called One Love, produced by Q-Tip from A Tribe Called Quest, which would be imitated to the end of time, as it's basically a letter to incarcerated loved ones. Nas drops a line in One Love that goes: 'What up with Cormega?
Did you see him? Are y'all tog.
This post is especially painful. The world lost a fucking legendary human being. All these and so many more are barely enough to describe a man like Husayn Sayyid, known to world by his birth name Sean Price, also known by his many self-styled nicknames: Tawl Sean aka Ruckus Da Irrational aka Dutch aka Da Inflixta aka The Brokest Rapper You Know aka Kimbo Price aka Mic Tyson aka Gray Hulk (His final tag name on Twitter).
All these are the tip of the iceberg, believe me. He was a genuine person who had his priorities sorted out right, evidenced by the way he turned his life around from a violent adolescence to a positive life as an adult. He always put his family and loved ones above all else. I have said before that I wish I could've grabbed a bite with him. Because I'm not one to dehumanize someone by putting them on a fucking pedestal the way celebrity culture demands from various pe. I have a confession: I'm still a fan of Eminem's songwriting.
And it's not because of his lyricism, humor or even subject matter. It's because of how much he's a fan of this art form, which is something not many people give him credit for. For my money, nowhere is this more apparent than 8 Mile, a movie that, despite the mainstream Hollywood hype it received, I'm still a fan of. I say this because, in the battling scenes of a movie about hip hop set in the mid-90s, of all the hip hop instrumentals he could've chosen from that era to personify the vibe he was looking for (aside from his own, of course), he chose two Havoc beats, a Primo beat, a Buckwild beat & most crucial to my post today, a Fredro Starr beat. I've already stated my nostalgic connection to Eminem's music, back when I had absolutely no clue about any of this hip hop shit, so when I tell you that those five instrumentals from the battling scenes stuck, they STUCK. Reggie Noble.
DJ Kut Killa. Funkadelic Devil. Soopaman Luva. Funk Doctor Spock. Eminem's favorite rapper.
Possibly the late great ' favorite rapper, too. Where do I even start with this dude?
I'll probably start by mentioning that I was introduced to his crazy and straight up hilarious ass in three video games: the first two Def Jam Aki Corporation wrestling games and True Crime NYC. Comedy relief in all three, his work genuinely made me interested in whatever material he put out. Until I heard that dratted fictional radio station The Liberty Jam that very same season off the underrated PSP game GTA LCS, set in 1998.
On that station, host DJ Clue picked a song from the timeless Muddy Waters album, widely heralded as Reggie's finest hour in hip hop, called Do What Ya Feel. It wasn't a single. It wasn't even that popular by the time the game was released. But it was the second ever Redman & collaboration and it damn well left an. (Looks at the above picture.) Right. Robert Diggs has always had an interesting relationship with art.
If his multi-faceted career is any indication, it's only going to get more interesting as time goes on. And you can't deny that interest never fails to generate, whether positive or negative, around the projects merely mentiong this dude's more popular pseudonym, The. Nowhere is that particular duality more apparent than in his legendary career as co-founder and creative director of the immortal, which started as three-man battle rap crew Force Of The Imperial Masters later changed to All In Together Now Crew, where his first nickname was the Scientist along with cousins (the Specialist) and the late great (the Professor). Now, according to all three members, Gary was the one who taught the other two how to rap. Which makes pretty logical sense, as some of their most well-known lyrics show clear signs of their lyrical. I know I'm not following chronological order. So, it's the mid-90s and a certain group called the are in the midst of experiencing their biggest successes to date.
Naturally, the next step was to spread their influence in a way that keeps the Wu flag high up both critically and commercially. Basically the plan was to debut a carefully-selected group of artists that would ensure their growth as a whole.
These new debutants were dubbed the Wu-Affiliates. The first mark these guys left on the industry was through Sunz Of Man, the very first Wu-Affiliate group, on Diary Of A Madman, the debut single of, in which Wu ringleader was a full-fledged member, which led to their debut album, the classic, on which they appeared on further songs along with a certain Dreddy Kruger (one of my favorite Wu-Affiliates period). From there, the slew of Wu-Affiliates only grew, as they kept popping up in Wu-related releases. In 1993, a certain MC spit the following line: 'These type of tunes got me consumed in a rubber room.' Ever since the very first time I heard by: MC's 5ft, Buckshot and DJ Evil D, I've always found a way to replay many Beatminerz-produced songs again and again. Trust me, my wife's sick to death of it.
I might've denied them being the powerful production force that they are at first, because believe it or not, Enta Da Stage was not my first exposure to Da Beatminerz, consisting of real-life brothers Evil D and Mr. No, I first heard their work on OC's Dangerous, a flossy duet he did with late punchline juggernaut Big L. Back then, I dismissed them as yet another Trackmasters-esque team, and no one has the right to blame me for that misjudgment. Especially if you heard that song. Anyway, I neglected to notice that they had an entire sound prior. A sound that stretched out over the course of four albums prior to Dangerous, speci. This post is supposed to serve a double purpose.
It's supposed to conclude my run in 's discography, which I chose to tackle in reverse chronological order because fuck you, and start a new run into a bunch of discographies, all which I've categorized in my collection as the Queensbridge movement. And yes, there are many other movements. I must warn you, this run will be fairly long. And it will tackle a bunch of the most famous hip hop releases of all time, but I'm choosing to start with one of its most obscure.
Percival Chapman the fourth (No, that's really his name) has a very interesting story in this hip hop game. See, he first gets with the legendary Juice Crew back when they were the fucking Juice Crew during which Marley Marl actually gave him the name MC Tragedy, with Trag inventing the word 'illmatic' on one of his two most famous songs of that era, The Rebel. The other is Live Motivator, and both of which can be found on Marley Marl's I. It's a damn shame when you miss the lone opportunity to make something better of yourself because you fell asleep. Well, Walter Reed bka Sunz of Man co-founder Killah Priest got another shot and made the best of it, but he could've been an official Wu General and he blew it!
Him and the great Masta Killa were both vying for that same position, up to the point that they were expected to deliver a verse to Wu dictator the by morning and had only a fortnight to write a worthy verse. Of course, being that Priest was already a full-fledged MC while the High Chief was not at the time, he rested on his laurels, opting to sleep it off then bring RZA a verse from his stashbox that'll blow him away, What he didn't count on was the fact that MK sat up all night coming up with the verse that the world finally heard on Da Mystery Of Chessboxin'. Priest was absolutely floored: He had was absolutely no way to top that legendary display of lyricism. And with tha. One year is a long-ass time.
More accurately, it's been more than one year since people heard the duo of Phillips & Penn aka the PP's bka & CL Smooth on the song One In A Million off the Poetic Justice OST. People were absolutely salivating at the mouth to hear more out of the Mount Vernon duo. Not me, though. I didn't get exposed to our duo until the past decade, around the same time I heard most of the hip hop I love today. Regardless though, these two really kept busy after their triumphant LP, (where their lead single T.R.O.Y. Instantly became an anthem of grief still revered to this day) with guest appearances on Run-DMC's Down With The King (Pete producing three songs while rapping with Corey on the one that matters, the title track. Also the lead single.) as well as Da Youngsta's The Aftermath (Pete producing two songs while also rapping with Corey one the one that matters, Who's The Mic Wrecka?, which isn.
. ' Released: 1995. ' Released: August 25, 1996. ' Released: October 4, 1996.
' Released: April 15, 1997 Hell on Earth is the third by duo, which was first released on November 19, 1996, on //. The album is largely a continuation of Mobb Deep's previous album, the critically acclaimed. The album is produced by Mobb Deep and also features guest appearances by emcees, and frequent collaborator. The album stands out for its acclaimed singles ' and ',' as well as ',' a response to 's '.'
A promotional single, ', was released earlier that year and later added to the album. The album, one of the earliest, also contains an additional track ('In the Long Run') that at the time, had to be unlocked with the use of a computer.
Mobb Deep Hell On Earth European Editions Zip
Contents. Background Since most of the album was recorded during the height of the, many fans considered the darker songs to be subliminal disses toward and other emcees, but Prodigy sends shout-outs to a list of west coasts artists such as, and in the liner notes. Music Havoc experiments with a more atmospheric type of production, using more classic piano and soul samples. Reception Professional ratings Review scores Source Rating B+ RapReviews 8.5/10 4.5/5 8/10 Hell on Earth was met with universal widespread critical acclaim from music critics and is considered by many to be among the duo's best work. The album was included in 's 50 Heaviest Albums of All Time.
The album was certified Gold on April 9, 1997, by the. Track listing. All songs produced. Title Length 1. 'Animal Instinct' (featuring & ) 3:30 2. 'Bloodsport' 3:35 4.
'Extortion' (featuring ) 3:31 5. 'More Trife Life' 3:45 6. 'Man Down' (featuring ) 5:03 7. 'Can't Get Enough of It' (featuring Illa Ghee) 4:51 8. 'Nighttime Vultures' (featuring ) 4:30 9. 'Get Dealt With' 3:56 11.
Hell On Earth Lyrics
'Give It Up Fast' (featuring Big Noyd & ) 3:58 13. 'Apostle's Warning' 4:07 Bonus Track No.
Title Length 15. Windows xp dark edition v.7. 'In the Long Run' (featuring Ty Nitty & Money No) 2:38 Unreleased Tracks (Appeared On Pre Hell EP And The Infamous Archives) No. Title Length 15. 'In the Long Run' (featuring Ty Nitty & Money No) 2:38 16. 'Reach' (featuring Chinky) 4:39 17.
'Every Day Gun Play' 3:51 Track listing (8) International Version No. Title Producer(s) Length 1. 'Animal Instinct' (featuring, ) 3:30 2. ' Mobb Deep 4:17 3.
'Bloodsport' Mobb Deep 3:35 4. 'Extortion' (featuring ) Mobb Deep 3:31 5. 'More Trife Life' Mobb Deep 3:45 6. 'Man Down' (featuring & Money No) Mobb Deep 5:03 7.
Mobb Deep Hell On Earth Instrumental
'Can't Get Enough of It' (featuring General G a.k.a. Illa Ghee) Mobb Deep 4:51 8. 'Nighttime Vultures' (featuring ) Mobb Deep 4:30 9. ' (featuring ) Mobb Deep 5:17 10. 'Get Dealt With' Mobb Deep 3:56 11. ' Mobb Deep 4:12 12. ' Mobb Deep 4:34 13.
'Give It Up Fast' (featuring Big Noyd & ) Mobb Deep 3:58 14. ' Mobb Deep 4:11 15. 'Apostle's Warning' Mobb Deep 4:07 Charts.