Lil ½ Dead’s 1994 album “The Dead Has Arisen” is one of the most well-produced West Coast albums that almost no one has heard

I actually have a friend who, while in college, would buy any CD (remember that?) by any artist he had even heard a little bit about. Said artist’s talent was less necessary than supporting various homies and fans of superstar rappers and singers. As a collective, all my friends joked that he was the only one that actually bought Young Turk’s debut album (Hot Boy that Lil Wayne, Juvenile or BG – no shade), Young & Thuggin’ – the album title I had to envision out. (Which is saying something, considering the 1999-2000 debut albums by Cash Money Records artists were a banger.)

Either way, while I often added fun or two to the joke session, I could only be so amused; in highschool, I used to be that friend who bought all the artists’ albums that no one else was buying. I could not help myself; I had such a voracious appetite for music that I had to listen to every thing, even when I had no idea who the artist was, but possibly indirectly they jogged my memory of an artist I would know – especially if he was from the West Coast. I used to be a fanatic about West Coast artists and NWA. While the listening experience for these albums is very different at this point in my life, albums like “The Chronic” by Dr. Dre, Ice Cube’s “Death Certificate”, DJ Quik’s “Safe +Sound”, etc. were my absolute favorites to hearken to Do. Each of these albums still holds spots on my list of favorite albums of all time.

Each of these albums often featured artists or groups who made songs that were cool enough for a verse, but whose subsequent albums weren’t excellent. I do know this because like I said, I purchased ALL of their records, especially the ones related to DJ Quik. Well, it’s getting worse; I used to be so immersed in the sound and music of that era that even the mention of it by one of these artists made me buy the album.

This is how I discovered myself in a small group of individuals who bought the debut album by Lil ½ Dead, rapper and comrade of Snoop Dogg and Dogg Pound from Long Beach, California. I used to be minding my very own little business in October 1994, either at Sam Goody or one of Huntsville’s other now-defunct record stores, Madison Square Mall in Alabama, after I got here across “The Dead Has Arisen.” I learned Lil ½ Dead’s name from a Snoop Dogg verse “The Boy from the Little Ghetto” from the album Dr. Dre “The Chronic”. I suppose I didn’t know if it was the same one, but what number of rappers will be called Lil ½ Dead, right?

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I had the lowest expectations for the album. First, I only knew his name; I didn’t actually hear his voice, much less a verse from him. I didn’t know what I used to be getting, but I assumed it will be the same West Coast G-funk sound that was in vogue at the time.

What I heard knocked me off my feet.

While Lil ½ Dead is funny, even funny as a rapper, the lyrics throughout the album are full of house parties, gang shootings, rampant violence and misogyny; mainly every thing most west coast Los Angeles albums were stuffed with at the time. While this is not a great thing, it was normal in that era. Lil ½ Dead is neither great nor terrible as a rapper, but a serviceable voice and guide to an otherwise true gem of an album.

The production on this album is amazing. Controlled entirely by Tracy Kenrick AND Courtney Branch — two producers I learned produced songs from a litany of my favorite 90s West Coast albums — the entire album is full of smooth, soulful productions that I’ve never heard before. There is not a single beat on the entire album that might be considered even average; The fact that Snoop (or anyone from that era) didn’t hear this album and ask to play on every beat is surprising to me. I’ve been working on this album for 30 years and I’m still amazed at how well it is produced.

If Dr. Dre worked with Tracy and Courtney to combine this album and run it through the Death Row publicity machine, I actually have no doubt that “The Dead Has Arisen” could be as successful as any Tha Dogg Pound or Warren G album, all you Lil ½ Dead homies . In fact, one of the biggest questions I’ve asked myself over the years is why none of these collaborators were featured on this album. Perhaps it was produced and finished on the side and everybody was delighted after the fact.

For example, one of my favorite hip-hop beats ever (and I’m not exaggerating) is on this album: “East, West”. This beat is literally perfect. If Dr. Dre used this beat on “The Chronic”, I’m sure we might speak about this song in the same breath as “Dre Day” and “Nuthin’ But a G Thang”. From the single “12 Pacofdoja” to the Roy Ayers sampling of “That’s What You Get,” each beat hits the spot perfectly, perfect for driving around in a low-rider or minivan.

I still hearken to this album purely for the production quality. It’s reminiscent of the same conversations New York hip-hop artists are having about Group Home’s “Livin’ Proof,” where the conversation often centers on what might have been if higher rappers had these beats. The beats on The Dead Has Arisen are so good that I can not help but wonder what this album might have been in the lyrical hands of Death Row’s more popular talent.

But what is life without a little bit wonder? What I do know is that Lil ½ Dead, a rapper that the overwhelming majority of people either do not know or have already forgotten, still has one of the best-produced albums of all time, even 30 years later and 1000’s of years later. and 1000’s of albums were created. That’s a feat in itself; I still return and hearken to “The Dead Has Arisen” since it sounded SO good in 1994 and 30 years later it hasn’t lost any of its musical luster.