Artist: Above the Law Album: Vocally Pimpin'

Year: 1991
Duration: 0:0-1

A of Above The Law’s “Vocally Pimpin” Album

If you’re a fan of 90s hip hop, then you probably already know about Above The Law. This highly influential West Coast rap group made a name for themselves with their unique blend of streetwise lyrics and G-Funk-inspired production that paved the way for countless other artists. Today, we’re going to take a critical look at their fifth studio album, Vocally Pimpin, released in 1999. What makes this album stand out from the rest of their discography? What are the best tracks to listen to? And how does it hold up compared to their other work and to other albums of the time? Let’s dive in and find out.
First, a bit of background on Above The Law. Formed in Pomona, California in the late 80s, their classic lineup consisted of Cold 187um, aka Big Hutch, KMG The Illustrator, and Go Mack. They were discovered by N.W.A member Dr. Dre, who signed them to his label Ruthless Records. Their debut album, Livin' Like Hustlers, was released in 1990 and received critical praise for its creative production and realistic storytelling. They went on to release four more albums throughout the 90s and early 2000s, with Vocally Pimpin being their last before disbanding in 2009.
As for the album itself, Vocally Pimpin is a bit of a departure from their previous releases. While their earlier work had a heavy focus on gangsta rap and social commentary, this album leans more towards party anthems and songs about women. The production is still top-notch, with plenty of funky basslines and G-Funk synthesizers, but it feels somewhat more polished and commercial than their earlier work. That being said, there are still some standout tracks that show off Above The Law's unique style.
One of the most innovative tracks on the album is “Call It What You Want”, which features a hypnotic, almost trance-like beat that sounds like it could have been produced by The Neptunes or Timbaland. The lyrics deal with the ups and downs of the music industry and the struggles of being an artist in a cutthroat business. Another standout is “City Of Angels”, which has a more laid-back, soulful vibe and features some smooth vocal harmonies in the chorus. It's a love letter to their hometown of Los Angeles, but also acknowledges the darker aspects of the city.
Of course, there are also some less memorable tracks on the album. “Pimp Clinic Anthem” and “Killaz In The Park” both have generic party-rap beats and lyrics that feel dated and repetitive. “Forever Rich” is an attempt at a more personal, introspective track, but it comes off as heavy-handed and clichéd. Overall, Vocally Pimpin is a mixed bag of an album, with a handful of great tracks that showcase Above The Law's unique style, but also a fair amount of filler.
In conclusion, Above The Law's Vocally Pimpin is an interesting artifact of West Coast hip hop from the late 90s. While it may not be as strong or cohesive as some of their earlier work, it shows a willingness to experiment with different sounds and styles. If you're a fan of G-Funk, you'll find plenty to enjoy here, but if you're looking for hard-hitting social commentary or gangsta rap, you might want to start with their earlier albums. Ultimately, Vocally Pimpin is worth a listen for fans of 90s hip hop, but it's unlikely to convert anyone who isn't already familiar with Above The Law's unique style.