Why was I born in these trifling-ass times?
Why is it mandatory that I carry knives?
Don’t be too liberal ’cause, see, white folks get jacked too
Doctors, high-class lawyers and even J*ps too
You ask me why I speak the real, the way I feel
How come we call bitches hoes and y’all call us n***aroes?
They wanna do me like they did Stax
What is this young black man doing with all this scratch? Huh
I see some timers on the yayo track readin’ they mail
Talking about “I got white girl for sale”
But they ain’t talking to me ’cause see I’m an oldie and they knows that
I used to be just like them, I tell them “Y’all get that scratch!”
Magazine was never nothing like Bel-Air
High-speed shootouts and shit, but I loved it there
“40, where you been, playa? It’s been a while”
‘Marinatin’, accumulatin’ paper, pal’
“Y’all kinda doin’ it, huh? You still grindin’?”
‘Hell yeah, you know them tapes you keep rewindin”
Money ain’t changed me, money changed the way people think about me
When I was broke all I had was my family….
(“It’s All Bad”)
While in quarantine mode due to the worldwide coronavirus pandemic, I’ve suddenly found the time and inspiration to serve up a new throwback review for West Coast Wednesday today, this time coming from none other than legendary Bay Area rap ambassador, “mobb music” pioneer and practitioner and entrepreneur E-40, representing Vallejo, CA. I often speak of 40’s underappreciated vocal talents, characterized by his unique voice and use of slang, charisma and completely unorthodox and unpredictable flow; his talents are always further highlighted by his delightful sense of humor. On deck is 40 Fonzarelli’s second studio album and lone full-length platinum-selling release, In A Major Way, released on the then 27-year-old rapper’s own Sick Wid It Records (with major label distribution from Jive Records); the project celebrated its monumental 25th anniversary this past weekend. This is my personal favorite album of his, released at a time when 40 was at his most focused, consistent and accessible, long before he started cranking out several double and triple album series within a short time span; not to necessarily take anything away from the man’s output over the past decade, as he’s always entertaining even if the beats and guest features aren’t always what I’d like them to be.
In A Major Way boasts some bangin’, original, trunk-worthy production from Studio Ton, Mike Mosley, Sam Bostic, Funk Daddy and Kevin Gardner; all of whom are responsible for the creation of the signature Sick Wid It/”mobb music” sound. 40’s sister (and fellow member of The Click) Suga T spits a guest verse on the infectiously catchy lead single “Sprinkle Me” and provides the chorus on “Fed”, while his cousin (yet another member of The Click) B-Legit makes his presence known on “Sideways” and “H.I. Double L”; these last two joints additionally feature guest contributions from former Sick Wid It artists Mac Shawn (of the Funk Mobb) and Celly Cel, respectively. Perhaps the best song, however, is the slept-on posse cut “Dusted ‘n’ Disgusted”, which features Spice 1, Mac Mall and the late, great Tupac Shakur(!) over a blazing beat from Bostic and Mosley.
In addition, 40 Water shows his range by speaking rather eloquently on a serious, socially conscious level on “It’s All Bad”, featuring a guest rap from his then 7-year-old son Lil’ E; the latter would grow up to be the producer and rapper Droop-E and work extensively with his father. The solo joints “1-Luv” (also released as a single), “Smoke ‘n’ Drank”, “Bootsee” and especially the opening song “Da Bumble” are just a few more examples of 40’s bouncy irresistibility and are favorites of mine on here, while he uses his signature (and often hilarious) slang to sprinkle just a little game in your ear on the album intro and takes the time to individually shout out his entire Sick Wid It Records family with B-Legit on the outro.
By now I’m sure it’s safe to say that In A Major Way was the album that truly allowed 40 to break into the mainstream and solidify his position there following the independent success of his debut album Federal and subsequent EP The Mail Man (both from 1993), and it can be argued that this joint and its gold-selling follow-up Tha Hall Of Game (1996) are his best work. As I’ve said previously, the man is always entertaining, but the combination of his own alluring performances and the nonstop heat behind the boards from his strong stable of producers has probably never been more consistently defining and enjoyable than on here. The unforgettable cover artwork depicting 40 cooking up crack cocaine within the face of a Rolex watch should further remind you what time it is.
Happy West Coast Wednesday y’all….
StretchCorleone
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