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Z-Ro - vs. The World CD Cover Art
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Z-Ro vs. The World CD

 Z-Ro Discography of CDs
5 stars (1 Customer Review)

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This is an example of Southern Rap's "screwed" mix style.

Z-Ro Vs. The World CD

Z-Ro
vs. The World Music


Detailed vs. The World Music Information



List Price $13.99 (You save $2.20)
Category Rock/Pop Albums, R&B CDs, Rap, Urban Soundtrack, Southern Rap
Label Straight Profit
Orig Year 2000
All Time Sales Rank   49705  
CD Universe Part number 7361312
Catalog number 7820
Discs 1
Release Date Mar 20, 2007
Studio/Live Studio
Mono/Stereo Stereo
Recording Time 64 minutes
Additional Info Reissue
Z-Ro vs. The World Songs


Z-Ro vs. The World Album Track Listing



1.Ni**A From the Hood
2.World Wide
3.Dirty 3rd., The
4.Hustling All I Can Do
5.Swang on 4's
6.Looking Good
7.3rd Coast
8.One Thug
9.Gonna Get Easier
10.Screwed Up
11.Still My Life
12.Lets Chill
13.Why
14.To Love a Thug
15.Steady Ballin'
16.Smokers Anthem
vs. The World Music Review


Customer vs. The World Reviews 




Average Rating: (5 out of 5 stars) 5 stars

5 stars pure classic
this cd doesnt have one wack track the whole cd jams its worth every penny this is a ro classic must buy
Submitted by erik (breaux bridge louisiana)
Was This Review Helpful? Yes No  1 of 1 found this helpful.

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Producers include: Leroy Williams, Mike Dean, Solo, Mr. Lee, Bigg Tyme.
Recorded at Dean's List, House Of Hits, Noddfactor, MAD Studios, Houston, Texas.
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Originally released on New Jazz (8272).
Personnel: Yusef Lateef, Barry Harris, Herman Wright, Elvin Jones.
This superior set (which has been reissued on CD) features Yusef Lateef on some straight-ahead tunes, including "When You're Smiling (The Whole World Smiles with You)," "I'll Remember April," and "You've Changed." In addition, there are some more adventurous and exotic works too, making this a well-rounded program. Lateef is joined by pianist Barry Harris, bassist Herman Wright, and drummer Elvin Jones for a particularly memorable performance. ~ Scott Yanow
Yusef Lateef's career has been one of the most varied in jazz. He arrived on the scene, ostensibly, in 1949 when he joined Dizzy Gillespie's big band becoming a bebop (and hard bop) ...

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Live Recording Kyuss: John Garcia (vocals); Josh Homme (guitar); Scott Reeder (bass, background vocals); Brant Bjork (drums).
Additional personnel: Mario Lalli (guitar); Peter Moffet (percussion).
Recorded at Sound City, Van Nuys, California.
After creating a classic with their second album, Blues for the Red Sun, desert metal gods Kyuss faced the unenviable task of delivering the goods once again for a new label, Elektra Records. And they almost pulled it off with 1994's stellar Welcome to Sky Valley. The album's 13 songs are divided into three "suites" which fully display the band's impressive creative ...

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Live Recording Personnel: Charles Mingus (acoustic bass); Jackie McLean (alto saxophone); J.R. Montrose (tenor saxophone); Mal Waldron (piano); Willie Jones (drums).
Recorded at Audio-Video Studios, New York, New York on January 30, 1956. Includes liner notes by Nat Hentoff and Charles Mingus.
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Liner Note Authors: Yves Bigot; Claude Nobs; Ahmet Ertegun; Nat Hentoff; Charles Mingus.
Recording information: Audio-Video Studios, New York, NY (01/30/1956); Paris, France (01/30/1956).
Photographer: David Spitzer.
Pithecanthropus Erectus was Charles Mingus' breakthrough as a leader, the album where he established himself as a composer of boundless imagination and a fresh new voice that, despite his ambitiously modern concepts, was firmly grounded in jazz tradition. Mingus truly discovered himself after mastering the vocabularies of bop and swing, and with Pithecanthropus Erectus he began seeking new ways to increase the evocative power of the art form and challenge his musicians (who here include altoist Jackie McLean and pianist Mal Waldron) to work outside of convention. The title cut is one of his greatest masterpieces: a four-movement tone poem depicting man's evolution from pride and accomplishment to hubris and slavery and finally to ultimate destruction. The piece is held together by a haunting, repeated theme and broken up by frenetic, sound-effect-filled interludes that grow darker as man's spirit sinks lower. It can be a little hard to follow the story line, but the whole thing seethes with a brooding intensity that comes from the soloist's extraordinary focus on the mood, rather than simply flashing their chops. ...

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I Walk The Line - 25 Greatest Hits
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European pressing. 25-track greatest-hits package, includes the title track, which was this legends first No. 1 hit. This album is not to be missed. 2006. The budget-priced compilation I Walk the Line is the umpteenth reissue of a selection of Johnny Cash's 1955-1958 recordings for Sun Records. It includes six of Cash's first seven country singles chart entries: "Cry! Cry! Cry!," "So Doggone Lonesome," "Folsom Prison Blues," "I Walk the Line," "There You Go," and "Train of Love." It also includes a number of tracks that Cash left unreleased when he moved to Columbia Records in 1958, tracks later overdubbed with vocal groups and thus missing the spare Tennessee Two sound. The version of "I Love You Because" is the second take, not the more familiar first take, and is apparently unreleased previously. Annotator Glenn N. Gretlund makes much of the supposition that Jerry Lee Lewis may be the pianist on the take, but Cash has always denied this, and, anyway, if it is Lewis, then he is also present on the first take. This sort of discographical detail will be of interest only to Cash completists, who may want to pick up this inexpensive collection just for that reason. Otherwise, there are better collections of the material in the marketplace. ~ William Ruhlmann
A two-disc compilation from Epic and Sony's German release label, this set draws songs from nearly all phases of Johnny Cash's long career. Little thought seems to have been put into sequencing, however, and songs from different time periods bump up against each other constantly. This is probably not as big a problem as it would have been for most other artists, though, since Cash was remarkably unchanging in his approach to music over the years, but still, in the end, it is a minor irritation. ~ Steve ...

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