Gloria Lavern Collins, better known as Lyn Collins, was an American soul singer best known for working with James Brown in the 1970s and for the influential 1972 funk single, "Think". Collins began her recording career at age 14, her biggest solo hit was the James Brown-produced gospel-style song "Think", from her 1972 album of the same name on People Records. The song contains five breaks which have been sampled in hip-hop and drum and bass, most famously, the "Yeah! Woo!" and "It takes two to make a thing go right" loops in Rob Base and DJ E-Z Rock's "It Takes Two", composed completely from samples of Think including a few lines of Collins' vocals. Furthermore, it was used in the early sociocritical eurodance classic I Can't Stand It by Twenty 4 Seven, in the 2013 EDM/House song "Everything You Never Had" by Breach. Another album followed in 1975 Check Me Out. After the release of this album, she returned to performing as a back-up vocalist. In the late 1980s and early'90s, Collins attempted a comeback as a dance/club diva, recording the house single "Shout" for Belgium's ARS label.
In 1993, Collins' profile was given a boost by female dancehall singer Patra, who invited Collins to perform on her hit remake of "Think". Collins continued to tour and perform, most notably at the European Jazz/Funk Festival and the Montreux Jazz Festival. In February 2005, Collins embarked on her first solo tour. For three weeks, she performed in the United Kingdom, Germany and Switzerland; the tour was produced by the Soulpower organization. Shortly after returning from a European tour, Collins died from cardiac arrhythmia in Pasadena, California, at the age of 56. In 2006, Paris-based Hi&Fly Records released a live album entitled Mama Feelgood, which included recordings from her European tour and some interview clips; this release was produced by German-born DJ Pari, who has produced for Marva Whitney and who has managed Collins' last tour. An official anthology CD called Mama Feelgood, was released on Universal Music that same year. Reflecting on her time working with James Brown, she said, "I would have preferred to sing more and scream less."
In October 2004, "Rock Me Again And Again" and "Think" featured on the Grand Theft Auto: San Andreas soundtrack, playing on fictional radio station Master Sounds 98.3. "Rock Me Again And Again" was covered by synth band The Human League on their 1984 album Hysteria. Bruce Springsteen's song "Shackled and Drawn", from his 2012 album Wrecking Ball, Ludacris' song "Southern Fried Intro", from his 2003 album Chicken-n-Beer, both feature an excerpt from Collins' song "Me And My Baby Got Our Own Thing Going." Think, 1972 Check Me Out If You Don't Know Me by Now, 1975 Mama Feelgood: The Best Of Lyn Collins, 2005 Lyn Collins at AllMusic Lyn Collins discography at Discogs Lyn Collins at Find a Grave
Edward Albert Heimberger, known professionally as Eddie Albert, was an American actor and activist. He was nominated for the Academy Award for Best Supporting Actor in 1954 for his performance in Roman Holiday, in 1973 for The Heartbreak Kid. Other well-known screen roles of his include Bing Edwards in the Brother Rat films, traveling salesman Ali Hakim in the musical Oklahoma!, the sadistic prison warden in 1974's The Longest Yard. He starred as Oliver Wendell Douglas in the 1960s television sitcom Green Acres and as Frank MacBride in the 1970s crime drama Switch, he had a recurring role as Carlton Travis on Falcon Crest, opposite Jane Wyman. Edward Albert Heimberger was born in Rock Island, the oldest of the five children of Frank Daniel Heimberger, a realtor, his wife, Julia Jones, his year of birth is given as 1908, but this is incorrect. His parents were not married when Albert was born, his mother altered his birth certificate after her marriage; when he was one year old, his family moved to Minnesota.
Young Edward secured his first job as a newspaper boy. During World War I, his German name led to taunts as "the enemy" by his classmates, he joined the drama club. His schoolmate Harriet Lake graduated in the same class. Finishing high school in 1926, he entered the University of Minnesota; when he graduated, he embarked on a business career. However, the stock market crash in 1929 left him unemployed, he took odd jobs, working as a trapeze performer, an insurance salesman, a nightclub singer. Albert stopped using his last name professionally, since it invariably was mispronounced as "Hamburger", he moved to New York City in 1933, where he co-hosted a radio show, The Honeymooners – Grace and Eddie Show, which ran for three years. At the show's end, he was offered a film contract by Warner Bros. In the 1930s, Albert performed in Broadway stage productions, including Brother Rat, which opened in 1936, he had lead roles in Room Service and The Boys from Syracuse. In 1936, Albert had become one of the earliest television actors, performing live in one of RCA's first television broadcasts in association with NBC, a promotion for their New York City radio stations.
Performing on early television, Albert wrote and performed in the first teleplay, The Love Nest, written for television. Done live, this production took place November 6, 1936, originated in Studio 3H in the GE Building at Rockefeller Center in New York City and was broadcast over NBC's experimental television station W2XBS. Hosted by Betty Goodwin, The Love Nest starred Albert, The Ink Spots, Ed Wynn, actress Grace Brandt. Before this time, television productions were adaptations of stage plays. Albert landed the starring role in the 1938 Broadway musical The Boys from Syracuse when he met Burl Ives, who had a small role in the play; the two briefly shared an apartment in the Beachwood Canyon community of Hollywood after Ives moved west the following year. In 1938, Albert made his feature-film debut in the Hollywood version of Brother Rat with Ronald Reagan and Jane Wyman, reprising his Broadway role as cadet "Bing" Edwards; the next year, he starred in On Your Toes, adapted for the screen from the Broadway smash by Rodgers and Hart.
Prior to World War II, before his film career, Albert had toured Mexico as a clown and high-wire artist with the Escalante Brothers Circus, but secretly worked for U. S. Army intelligence, photographing German U-boats in Mexican harbors. On September 9, 1942, Albert enlisted in the United States Coast Guard and was discharged in 1943 to accept an appointment as a lieutenant in the U. S. Naval Reserve, he was awarded the Bronze Star with Combat "V" for his actions during the invasion of Tarawa in November 1943, when, as the pilot of a Coast Guard landing craft, he rescued 47 Marines who were stranded offshore, while under heavy enemy machine-gun fire. During the war years, Albert returned to films, starring in ones such as The Great Mr. Nobody, Lady Bodyguard, Ladies' Day, as well as reuniting with Reagan and Wyman for An Angel from Texas and co-starring with Humphrey Bogart in The Wagons Roll at Night. After the war, he resumed appearing in leading roles, including 1947's Smash-Up, the Story of a Woman, opposite Susan Hayward.
From 1948 on, Albert guest-starred in nearly 90 television series. He made his guest-starring debut on an episode of The Ford Theatre Hour; this part led to other roles such as Chevrolet Tele-Theatre, Lights Out, Schlitz Playhouse of Stars, Studio One, Philco Television Playhouse, Your Show of Shows, Front Row Center, The Alcoa Hour, in dramatic series The Eleventh Hour, The Reporter, General Electric Theater. In 1959, Albert was cast as businessman Dan Simpson in the episode "The Unwilling" of the NBC Western series Riverboat. In the story line, Dan Simpson attempts to open a general store in the American West despite a raid from pirates on the Mississippi River who stole from him $20,000 in merchandise. Debra Paget is cast in this episode as Lela Russell; the 1950s had a return to Broadway for Albert, including roles in Miss Liberty and The Seven Year Itch. In 1960, Albert replaced Robert Preston in the lead role of Professor Harold Hill, in the Broadway production of The Music Man. Albert performed in regional theater.
He created the title role of Reuben in 1955 in Boston. He performed at The Mun
Tracy Lynn Curry, better known by his stage name The D. O. C. is an American rapper and record producer from Dallas, Texas. In addition to a solo career, he was a member of the hip hop group Fila Fresh Crew and collaborated with gangsta rap group N. W. A, where he co-wrote many of their releases, as well as Eazy-E's solo debut album Eazy-Duz-It, he has worked with Dr. Dre, co-writing his solo debut album, while Dre produced Curry's solo debut album, released by Ruthless Records, he was one of the founders of Death Row Records along with Suge Knight. After Fila Fresh Crew split up in 1987, The D. O. C. went on to pursue a successful solo career. In 1989, he released his debut album, No One Can Do It Better, which reached number-one on the US Top R&B/Hip-Hop Albums chart for two weeks and spawned two number one hits on the Hot Rap Songs chart: "It's Funky Enough" and "The D. O. C. & The Doctor". The album went platinum five years after its release. In late 1989, months after the release of No One Can Do It Better, The D.
O. C. Suffered a serious car accident which resulted in the crushing of his larynx, permanently changing his voice. Since his recovery, he has released two more albums, Helter Skelter in 1996 and Deuce in 2003. Since 2006, The D. O. C. has been working on new material for his fourth album Voices. Curry began his career as a member of Fila Fresh Crew, a hip hop group, based in Dallas, Texas. While in the group, The D. O. C was known as Doc-T; the group had four tracks featured on the compilation album N. W. A and the Posse, released in 1987 and featured various other artists; the same four tracks would appear on the group's album Tuffest Man Alive, released in 1988. However, shortly afterward the group disbanded. After leaving the Fila Fresh Crew, Doc-T moved to Los Angeles and changed his stage name to The D. O. C.. He was signed to Ruthless by Eazy-E and contributed lyrics to N. W. A's debut studio album, Straight Outta Compton, Eazy-E's debut studio album, Eazy-Duz-It and co-wrote "Keep Watchin'" from Michel'le's self-titled debut album.
In 1989, The D. O. C. Released his Dr. Dre-produced debut album, No One Can Do It Better; the album was well received by critics, sold well, peaking at no. 20 on the Billboard 200 going Platinum. Allmusic gives the album a five-star rating and describes it as "an early landmark of West Coast Rap" as well as "an undeniable masterpiece". In November 1989, five months after the release of No One Can Do It Better, Curry was involved in a near-fatal car accident. Driving home from a party, he fell asleep at his car veered off the freeway. Curry, not wearing a seat belt, was thrown out the rear window, slamming face first into a tree, his injuries required 21 hours of plastic surgery, he spent 2½ weeks in the hospital. He could not speak for about a month, he was left with a different, raspier voice; the D. O. C. continued to write for N. W. A and contributed lyrics and minor vocals to their final album Niggaz4Life and their 1990 EP 100 Miles and Runnin', where he co-wrote all the songs except for "Just Don't Bite It" and "Kamurshol".
In 1991, The D. O. C left Ruthless Records along with Dr. Dre and Michel'le to sign with newly founded Death Row Records. Dr. Dre used his talents as one of the writers for his debut solo album The Chronic, contributing to the tracks "Lil' Ghetto Boy", "A Nigga Witta Gun", "Bitches Ain't Shit", he appeared on the skit track "The $20 Sack Pyramid". He is referenced by name in "Nuthin' but a G Thang", appears in the song's video as well; the liner notes to The Chronic say, "I want to give a special shout out to The D. O. C. for talking me into doin' this album." His name is mentioned by Snoop Dogg in the intro of the album.. In addition to The Chronic, The D. O. C. Worked on Snoop Dogg's debut album Doggystyle, added some vocals on the song "Serial Killa"; the D. O. C. continued to be a ghostwriter for various songs on Dr. Snoop Dogg albums. In 1996, The D. O. C attempted a comeback following the car crash which damaged his vocal cords; the album, titled "Helter Skelter", was ignored and has been discredited by D.
O. C himself; the name of the album is a reference to Charles Manson's idea of The Beatles' "Helter Skelter" prophesying the end of the world. The title and concept behind this album were developed by Dr. Dre as a collaborative effort between him and Ice Cube, titled Heltah Skeltah. At that time however, The D. O. C. had become disillusioned with Death Row Records and Dre, having received no payment for his work ghostwriting at Death Row. So in late 1994, D. O. C. headed to Atlanta. Taking lyrics he had written for Heltah Skeltah, he recorded Helter Skelter, keeping the name to spite Dre, his lyrics were inspired by the writings of Milton William Cooper. Noticeable in songs Secret Plan and Welcome to the New World. On July 20, 2000, The D. O. C. appeared on stage with Dr. Dre and Snoop Dogg at The Centrum in Worcester, Massachusetts during the Up in Smoke Tour. In 2003, The D. O. C released his third album entitled "Deuce"; the only single released from Deuce was "The Shit", which features fellow former-N.
W. A members MC Ren and Ice Cube, along with Snoop Dogg and Six-Two; the album was meant to be a Six-Two album produced by Dr. Dre and released through Aftermath Entertainment. However, D. O. C. and Dre argued over whether D. O. C. should be rapping on the album. The D. O. C.'s presence on this album is minimal however, making an appearance to introduce tracks or perform in skits such as "My Prayer" and "Souliloquy". Deuce focuses on showcasing other artists on D. O. C.'s Silverbac
Real Muthaphuckkin G's
"Real Muthaphuckkin G's" is a 1993 song by West Coast rapper Eazy-E from his EP It's On 187um Killa. It is a diss track directed at former N. W. A bandmate Dr. Dre and his protégé Snoop Doggy Dogg. "Real Muthaphuckkin G's" peaked at #42 on the U. S. Billboard Hot 100 chart, becoming Eazy-E's highest charting single as a solo artist. "Real Muthaphuckkin G's" debuts brothers B. G. Knocc Out and Dresta, protégés of Eazy-E. In 1991, Dr. Dre left N. W. A and formed Death Row with Suge Knight, releasing The Chronic with heavy support from up and coming rapper Snoop Doggy Dogg. With the success of The Chronic Dr. Dre had re-branded himself as a part of the new wave of Gangsta Rappers while popularizing a new G-Funk style of production which Dr. Dre had been experimenting with during his tenure with N. W. A. On one of The Chronic's singles, "Fuck wit Dre Day", Dr. Dre and Snoop Dogg insulted Eazy-E. "Real Muthaphuckkin G's" was Eazy-E's response to "Fuck wit Dre Day" and the general success of Dr. Dre's newfound image on The Chronic.
Lyrically Eazy-E questioned Dr. Dre's sexuality and credibility as a Gangsta for having worn androgynous clothing and makeup while a member of the World Class Wreckin' Cru. On the track Eazy-E ridiculed Dr. Dre for beating women referencing Dr. Dre's 1991 assault of Dee Barnes. In the song's lyrics Eazy-E refers to the 1992 single "Fuck wit Dre Day" as "Eazy's pay day" as Dr. Dre's contract allowing him to move from Eazy-E's Ruthless to Suge Knight's Death Row Records granted Eazy-E retention of a portion of Dr. Dre's royalties. Lastly, the track contained a subtle diss to Death Row CEO Suge Knight, a known strongman with a well documented history of criminal intimidation and violence, whom Eazy-E calls "Dr. Dre's sergeant" and refers to Death Row Records as a "boot camp"; the music video for "Real Muthaphuckkin G's" was written and directed by Eazy-E's longtime Ruthless Records film director Marty Thomas and shot in just two days in Compton, California. The music video begins with aerial helicopter footage of Compton landmarks, dissolving to a scene picturing lowriders and the metro Blue Line.
During the music video Eazy-E raps "all of a sudden Dr. Dre is the G thang. In the photograph Dr. Dre wore a sequined jumpsuit and lipstick. Similar pictures of Dr. Dre, borrowed from the covers and inserts of World Class Wrecking Cru discography are shown throughout the video. In the music video that accompanied Dr. Dre's "Fuck Wit Dre Day" an Eazy-E parody character, played by Anthony "A. J." Johnson, named "Sleazy-E" is featured prominently. In Eazy-E's "Real Muthaphuckkin G's" the character returns, only this time he is assaulted and chased by various members of Eazy-E's posse and is shot by the real Eazy-E himself. Knocc Out and Dresta are featured in the song and video and are shown around Compton, joining Eazy-E in assaulting and chasing "Sleazy-E" until he falls dead beneath a street sign that reads "Leaving Compton". An alternate ending was shot showing Sleazy-E dead in the same area where he started in the video; the music video features cameo appearances from Kokane, Rhythm D, Cold 187um, Dirty Red, Krazy Dee, Steffon, H.
W. A. DJ Slip from Compton's Most Wanted, Young Hoggs, Blood of Abraham, K9 Compton and Tony-A. Despite having been paid in advance, A. J. Johnson failed to appear for the second day of filming. There had long been speculation that Johnson had been threatened by Death Row, or their supporters for appearing in both videos, this was confirmed by Johnson, himself, in an interview with DJ Vlad. Johnson says Suge Knight had called him into his office and threatened him with a gun, telling him he was not to show up to finish the video. Johnson informed Eazy of the confrontation and that he was not going to finish the video but suggested someone else, Arnez J, who could replace him. Director Marty Thomas and production company would have been left scrambling to find a replacement on the actual 2nd day of the shoot and, as a result, most of the footage used in the video of "Real Muthaphuckkin G's" portraying "Sleazy-E" was not "A. J." Johnson but instead Arnez J. Music video on YouTube
West Coast hip hop
West Coast hip hop is a regional genre of hip hop music that encompasses any artists or music that originate in the West Coast region of the United States. The gangsta rap subgenre of West Coast hip hop began to dominate from a radio play and sales standpoint during the early 1990s with the birth of G-funk and the emergence of Suge Knight and Dr. Dre's Death Row Records; some believe that the four elements of hip-hop culture, B-boying, DJing, graffiti art, MCing, existed on the East and West Coasts of the United States during the mid-to-late 1970s. This theory runs in opposition to the more accepted belief that the fundamental elements of hip hop were born and cultivated on the East Coast, in New York City in particular, in the earliest stages of the culture. Although it is agreed that hip hop was given its name in New York, some say a culture that mirrored the East Coast hip hop culture had emerged in the West, existing from Los Angeles to the San Francisco Bay Area during the same period.
The culture is believed to have been a mutual creation which evolved from interaction between people who identified with elements from their respective coasts. A number of events laid the foundations for West Coast hip hop, long before the emergence of West Coast rappers such as Eazy-E, Ice T, Too Short. According to geniusrap.com, "a cataclysmic event helped give rise to it out West: the Watts Riots of 1965." In 1967, Bud Schulberg founded a creative space entitled Watts Writers Workshop, intended to help the people of the Watts neighborhood and provide a place for them to express themselves freely. Out of this background the Watts Prophets formed, a spoken-word and musical collective, whose members had moved to the West Coast from southern states such as Texas and Louisiana; however Black expression in Los Angeles was muted after the release of the Watts' Prophet 1971 record Rappin' Black in a White World until the emergence of hip-hop in the 1980s. The origins of West Coast hip hop trace back to the late 1970s in Los Angeles when Alonzo Williams, a young disc jockey from Compton, began to DJ at parties and various venues in Southern California under the name "Disco Construction".
Williams formed a partnership with another DJ named Rodger Clayton who created a promotion company called Unique Dreams that would hire Williams to DJ at local events. The two went their separate ways: Williams started a group called the World Class Wreckin' Cru and became the house DJs at a local nightclub called Eve's After Dark while Clayton launched what would be the foremost successful mobile DJ crew in the region by the name of Uncle Jamm's Army that would host parties by top DJs for thousands of people at large venues. Other smaller DJ and party crews emerged around this time, hoping to establish themselves in the area. Unlike their East Coast counterparts, the hip hop sound emerging from Southern California was more fast-paced and influenced by electronic music; this could be credited to the fact that the local West Coast hip hop scene revolved more around DJing than rapping. A localized dance sub-culture came out of this party scene, highlighted on a national scale on such motion pictures as Breakin'.
Breakdancing and locking gave the Los Angeles music scene some of its earliest credibility outside the region. Further attention came to the West Coast as Uncle Jamm's Army began inviting such well-known East Coast hip-hop acts such as Whodini and Run-DMC to their functions. Another early landmark occurred in 1981, when Duffy Hooks launched the first West Coast rap label, Rappers Rapp Records, inspired by Sugar Hill Records in New York, its first act was the duo of Disco Daddy and Captain Rapp, whose debut single was "Gigolo Rapp" or "Gigolo Groove". However these early records suffered from a lack of radio play from both Black and East Coast hip-hop radio stations. Captain Rapp created the classic West Coast song "Bad Times". Clayton's group released their first single, "Dial-a-Freak", in 1984 Egyptian Lover released his On the Nile album, which includes the popular 12" single "Egypt Egypt". Members of Uncle Jamm's Army and the World Class Wreckin' Cru, including Dr. Dre, The Unknown DJ, Egyptian Lover and Ice-T would go on to help define the early West Coast hip-hop sound throughout the 1980s.
In the mid-1980s, Mixmaster Spade defined an early form of gangsta rap with his Compton Posse. From this group, Spade mentored future rap stars of the West Coast, including Toddy Tee, who recorded the South Central LA anthem "The Batteram" in 1985. In the same period, the Compton-based former locking dancer Alonzo Williams formed World Class Wreckin' Cru, which included future N. W. A members Dr. Dre and DJ Yella. Williams founded Kru-Cut Records and established a recording studio in the back of his nightclub Eve's After Dark; the club was where local drug dealer Eazy-E and Jerry Heller decided to start Ruthless Records and where Dr. Dre and DJ Yella met the group CIA, which included future N. W. A member Ice Cube, Laylaw, Dr. Dre's cousin Sir Jinx, K-Dee. During this period, one of the greatest factors in the spread of West Coast hip hop was the radio station 1580 KDAY and DJ Greg "Mack Attack" Mack. In 1988, N. W. A's landmark album Straight Outta Compton was released. Focusing on life and adversities in Compton, California, a notoriously rough area which had gained a reputation for gang violence, it was released by group member Eazy-E's record label Ruthless Records.
As well as establishing a basis for the popularity of gangsta rap, the album drew much attention to West Coast hip hop the Los Angeles scene. In particular, the controversial "Fuck tha Police" and the ensuing censorship attracted substantial media coverage and public attention. Foll
"Boyz-n-the-Hood" is the debut single by Eazy-E as a part of N. W. A; the song is the lead single from N. W. A. and the Posse. The song samples "I'm a Ho" by Whodini and vocal samples from, "Hold It, Now Hit It" by Beastie Boys as well as "Mr. Big Stuff" by Jean Knight and, near the end, the opening of "I'll Take You There" by The Staple Singers, it was remixed and featured on Eazy's debut album Eazy-Duz-It, released in 1988. It was remixed again and was featured on Eazy-E's third album, It's On 187um Killa under the name "Boyz N Tha Hood". In 2015, "Boyz-n-the-Hood" debuted at number 50 on the Billboard Hot 100 on the issue dated September 5, 2015, as a result of the releases of the Straight Outta Compton film and Dr. Dre's Compton. W. A era, "Hit the Quan". Like the LP, Straight Outta Compton, the song never charted in the 1980s due to Billboard charting regulations and lack of airplay, as N. W. A was banned from many radio stations; the song was written by Ice Cube for NY rap group H. B. O. Another group signed by Ruthless.
HBO rejected its hard core stylization. In hopes of an inclusive group effort, Dre convinced Eazy to give rapping a shot. According to DJ Yella, it was Eazy's first rap performance, he had to record the track line by line over the course of two days. In his 2005 book Can't Stop Won't Stop: A History of the Hip-Hop Generation, Jeff Chang analyzes the plot of "Boyz-n-the-Hood" and two supporting characters: car thief Kilo G and crack addict JD. In the second and third verses, Eazy-E raps about killing JD for trying to steal his car stereo right before a sexual encounter with a woman that ends with Eazy "reach back like a pimp and slap the hoe." In the fourth verse, Kilo G is arrested and held without bail, he incites a prison riot. Chang writes that this plot twist is "a sly interpolation of Jonathan Jackson's real-life drama...in a 1970 Marin County courthouse shootout." The original version of the song, released on 1987's N. W. A. and the Posse contained only the five verses, starting with the line'Cruisin down the street in my six-fo'.
Slight lyric changes are present in the album version. The remix version contains a prologue that has Eazy-E describing playing the track "Gangsta Gangsta" from his group's N. W. A. 1988 album announcing he will be playing his own song, in fact the rest of the song "Boyz-n-the-Hood", the song continues. Both the original version and the remix versions of "Boyz-n-the-Hood" appear on the 1989 12" maxi-single, they are featured on side A, while the original and remixed versions of "Dopeman" appear on side B. The song was played on the Up In Smoke Tour. Dr. Dre played this song as a tribute with the crowd singing the chorus. Jeff Chang describes "Boyz-n-the-Hood" as "an anthem for the fatherless, state-assaulted armed West Coast urban youth" and Eazy-E's rap style as "a deadpan singsong...perhaps as much a result of self-conscious nervousness as hardcore fronting."Rolling Stone ranks the song as among the 20 greatest West Coast rap songs that preceded N. W. A's Straight Outta Compton. Critic David Drake commented: "It was a day-in-the-life record, less concerned with commentary or critique than conveying a lifestyle."
Writing for Rolling Stone, Brian Hiatt compares the subject matter in "Boyz-n-the-Hood" to "6 in the Mornin'" by Ice-T and "P. S. K. What Does It Mean?" by Schoolly D. Red Hot Chili Peppers covered the song live as an intro jam to their own song, "Special Secret Song Inside" on their 1989-90 Mother's Milk tour. In 2004, the song was re-imagined and sampled by rapper Jim Jones on his debut album On My Way to Church, his version was called "Certified Gangstas", featured Bezel and Cam'ron. Besides Jim Jones' song there have been many remakes, most notably a cover by alternative rock band Dynamite Hack, which hit #12 on the Billboard Modern Rock Tracks in 2000; the last line of this version, "Punk ass trippin in the dead of night", is sung to the tune of The Beatles' "Blackbird": "Blackbird singing in the dead of night." However, some of the words, as well as the "Blackbird" melody, were altered for the music video version of the song. Hispanic rap group Brownside did a remake to the song called "Vatos In The Barrio".
The instrumental of the original is remade, the lyrics are different but keep the main structure of the Eazy-E version. Underground Memphis rapper Koopsta Knicca of Three 6 Mafia made his own version called "Back In Da Hood". Shwayze uses one of the lines from "Boyz N The Hood" in his song "Lost My Mind" on his album Shwayze, it is sampled in "Front Back" by UGK, "My 64" by Mike Jones, "Pojat On Huudeilla" by Eurocrack, "Them Boys Down South" by Big Chance. Track 8 on DJ Screw's album "The Legend" has the same song style as Boyz-n-the-Hood. Yelawolf made a song called "Boyz-n-the-Woodz" for his 2008 mixtape, Ball of Flames: the Ballad of Slick Rick E. Bobby; the song interpolates the original chorus but is made to have a "white trash" feel