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album - Lethal Injection (Re-Issue)
artist - Ice Cube
label - Priority Records
genre - Rap
retail - 03/11/2003
rip - 02/22/2003
ripper - Kournikova
quality - 192k HQ True Stereo
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01 0:54 The Shot (Intro)
02 4:28 Really Doe
03 3:50 Ghetto Bird
04 3:52 You Know How We Do It
05 4:17 Cave Bitch
06 11:17 Bop Gun (One Nation)
07 4:39 What Can I Do?
08 4:04 Lil Ass Gee
09 4:23 Make It Ruff, Make It Smooth
10 4:39 Down For Whatever
11 4:50 Enemy
12 5:04 When I Get To Heaven
13 4:27 What Can I Do (Westside Remix)
14 4:46 What Can I Do (Eastside Remix)
15 4:23 You Know How We Do It Pt. 2
16 5:19 Lil Ass Gee (Eerie Gumbo Remix)
75:12 total playing time - total size 103MB
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r e l e a s e n o t e s
More re-issue's with extra tracks
Enjoy
RFollowing the relentless intensity of his early-'90s
albums, particularly his post-Rodney King statement, The
Predator (1992), Ice Cube reclined a bit and put his rap
career on autopilot beginning with Lethal Injection, the
last album he would record for five years. Yes, it's a
disappointing album, but it's not a terrible album by any
means, of course. Even if Ice Cube is a little devoid of
substance here relative to his rabble-rousing past, he's
still a talented rapper, and he has one of the West Coast's
premier producers, QDIII, joining him for almost half the
album. Unfortunately, much of what made Ice Cube's
early-'90s albums so electric ù his thoughtfulness, wit,
hostility, energy, and social consciousness ù is sadly in
short supply. For compensation, Ice Cube offers a few
standout singles, namely "You Know How We Do It" and "Bop
Gun (One Nation)." The former follows the successful
template that worked a year earlier with "It Was a Good Day"
ù a laid-back G-funk ballad laced with an old-school funk
vibe; the latter clocks over 11 minutes, an epic ode to
George Clinton's P-Funk legacy. These two songs undoubtedly
rank alongside Ice Cube's best work ever. There are a few
other songs like "Really Doe" and "Ghetto Bird" that also
stand out, but even these songs sound rather lackluster
relative to Ice Cube's previous work. He's obviously not
interested in making an album as daring and ambitious as The
Predator again, and you can't really blame him. After all,
Ice Cube had delivered three brilliant albums, and a
similarly brilliant EP as well, Kill at Will (1990), in just
three years, not to mention his then-burgeoning role as an
actor. He deserved a break. But at least he took the time to
craft two standout singles that alone make this album
worthy.
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