If there was a duo that sent chills up and down your spine with every listen and every verse that was presented, it was the duo of Kejuan Muchita and Albert Johnson, aka Havoc and Prodigy respectively, or collectively Mobb Deep. The duo from Queensbridge (although P was originally from Hempstead, Long Island and later moved to Lefrak City) made their impact known primarily from one of hip-hop's all-time menacing and vivid anthems, "Shook Ones Pt. 2". Although they've been in the game since they were just fifteen years of age, Hav and P were troublesome teens that became stick-up kids and became street bosses based upon their lyrical crime sprees and their real-life beefs with several within the industry, including Snoop Doog, Tha Dogg Pound, 2Pac, and Jay-Z. Hav's ominous and haunting boom-bap became that of legendary stature and set a new trend in knocking atmospheric hip-hop, while P became one of the game's most unbelievable emcees with a knack for cinematic and bleak imagery the likes of which could only get duplicated by a Horror screenwriter in NYC hip-hop form. With eight albums under their belt, half of the discography were priceless, legendary albums that still hold up against any hardcore, gangsta albums from NYC to this very day. Along with their crew of the Infamous Mobb (G.O.D. Father Pt. III, Ty Nitty, Big Twins), Big Noyd, and the rest of the Twelfth St. Crew, these gun-toting broadstreet bullies were nothing to play with on wax nor in the streets in real life. Unfortunately, in 2017, Prodigy passed away due to complications from suffocating on an egg in Cedar Sanai Hospital, silencing one of hip-hop's most incredible writers and emcees. A posthumous Mobb album is forthcoming in 2025, with Hav and longtime frequent collaborator, The Alchemist, providing the sounds that will likely make the block shoot up the sky in salute to them. P's legacy is passed on to his daughter, Santana Foxx, who has his voice and a lot of Hav's production style. As for Hav, he's maintaining, establishing himself among the greatest hip-hop boardsmiths of all-time. For this list, we will highlight the discography of released Mobb albums (we won't highlight the Free Agents mixtape as it's not considered a retail album for the most part, but instead a mixtape of unreleased Mobb efforts) and point out their highs and lows, while respecting the immense talent both guys possessed and how their form of violent rap resonated around the world with pride. Without further ado, let's start, shall we??
8. Juvenile Hell
Production: artist, DJ Premier, Large Professor, others
Guests: Big Noyd
We start off with when these two young tykes were in their mid-teens. Originally named Poetical Prophets, these delinquents from the forty-first side of twelfth street started doing damage with their debut album, Juvenile Hell. At a time where other troublesome kid acts such as Illegal, their forty-first QB brethren, Killa Kidz, Shyheim, Da Youngstas, and even novelty acts like Kris Kross and ABC were handling all kinds of business, Mobb Deep got lost in the shuffle. Their debut was as rugged and gritty as what you'd expect from teenagers at this time. Their subject matter ranged from street narratives to the overly sexually exploitative on cuts like the ode to being sent up in NY's Youth Authority, "Locked in Spoffard", "Peer Pressure", and the thematically cringe-worthy "Hit It From Da Back" (keep in mind they were about fifteen or sixteen around this time). Although not the most boneyard-sounding of albums in terms of soundscapes, they had the likes of fellow Queens native, Large Professor, and the almighty DJ Premier contributing to both the original and remixed versions of the aforementioned "Peer Pressure". However, you definitely get glimpses of the greatness to come with formidable knockers like "Bitch Ass Niggaz", the Noyd-assisted "Stomp 'Em Out", and "Project Hallways", in which we get glimpses of the outstanding written talents of P especially, but Hav came correct as well on these cuts as well. Although not considered, generally, amongst their upper tier within their catalog, that doesn't mean that this album wasn't dope in its own right. While clearly the best was yet to come from these two wylin' out tykes, Juvenile Hell displayed a rawness that was just a sampling of what was a couple of years down the road. However, if you wanna hear the birth of the mind state of the most infamous ones, check out this debut effort.
7. Infamy
Production: Havoc, The Alchemist, EZ Elpee, Scott Storch
Guests: 112, Ron Isley, Vita, Littles, Infamous Mobb, Big Noyd, Lil' Mo
After delivering three of hip-hop's most criminally crazy albums of modern times in The Infamous, Hell On Earth, and Murda Muzik, the pressure was on for the Mobb to keep up the momentum, even in a somewhat changing hip-hop landscape by 2001, in which the south was becoming a force within hip-hop so the grip the east coast and even the west coast was having on the game was shifting beneath the Mason-Dixon line. On top of that, there was THAT Hot 97 Summer Jam event in 2001, that had Jay-Z verbally smack Nas and Prodigy with his cut "The Takeover". As much as he dissed Nas, he also put a somewhat embarrassing young photo of prodigy in old Michael Jackson gear and showed him in the dance studio of Ashanti's mother. This set off a string of lyrical disses towards Jay, as well as a physical element of threats as well towards Jay which indicated he wouldn't mind bringing that realness to Hov's front door. From this, Infamy was born. P's focus is way more on Jay than anything else, as he throws barbs at him on a few cuts such as "Crawling" the Infamous Mobb-assisted "My Gat's Spitting", and the first single, "The Learning (Burn)". Truthfully, compared to how otherworldly P was up to this album lyrically and penmanship-wise, P wasn't quite as up to par as he normally would be, at least on a consistent manner. Samplings of the P we knew and loved showed in various cuts like the excellent Littles-assisted "Nothing Like Home", "Kill Dat Nigga", and "Hurt Niggas", but this was actually one album in which Havoc was more consistently good on here more than P. Whether or not that was by design or if P's focus was more on reestablishing the reputation Jay somewhat took an entire shit on with that photo, Havoc stepped up throughout the majority of this album. Where this album also falls is the R&B aesthetic. While there's not necessarily a problem with the Ron Isley-crooned, "There I Go Again", as well as the Lil' Mo-assisted "Pray For Me", as they still contain elements of the streets that can be relatable, it's the painfully syrupy infatuation ode with former Bad Boy Records group, 112, "Hey Luv". Over an admittedly sensual track, P and Hav go full romantic on this cut, making their diehards vehemently roll their eyes and ask themselves "Is this same Mobb from '93" on up until then? There are other dope cuts like "Clap" and "So Long", but then other mediocre cuts like "Handcuffs" weigh this album down a lot from being way better than it could've been. Overall, Infamy is a decent album, but not in the same league as their prior three undisputed classics. The damage from the Jay-Z/Hot 97 incident, plus inner turmoil amongst the two at the time, limited what could've been another huge triumph for the duo.
6. Blood Money
Production: Havoc, The Alchemist, Exile, Sha Money XL, JR Rotem, others
Guests: G-Unit
After being dropped from Jive Records after their good, yet underwhelming, effort, Amerika'z Nightmare, the notorious Curtis "50 Cent" Jackson recruited the infamous ones for his G-Unit camp. This talk instantly made the streets jump with delight knowing the roll G-Unit was already on with highly dope and successful albums from 50, Banks, Buck, Game, and Yayo. Their G-Unit debut, Blood Money, was certainly full of that G-Unit swagger that had become synonymous with the crew and label but also provided bits of the Mobb we knew and loved, at least up to around Infamy time. The first single, the bumping, horn-laced, "Put 'Em In their Place", was a promising intro for their G-Unit offering in terms of singles. P's seminal tough guy talk was almost at the level we knew him to be associated with from the nineties. Havoc also came out to play here as well, with his pen game being as good as it's ever been. Where the album shined at, it shined big time. Cuts like the Alchemist-crafted "The Infamous", the brooding "Daydreaming", and the Tony Yayo-assisted, "Click, Click", give us traces of old Mobb, only with some G-Unit touches. They hit the peak of controversy with the inflammatory "Pearly Gates". Over an outstanding Exile (of Blu & Exile fame) beat, complete with haunting vocal loops, a menacing organ, and snapping basslines, Hav, P, and 50 all rhyme about what it would be like to enter Heaven despite their gangster ways. In the case of P, he goes for the jugular. He goes so far as to say to "the bossman" (Jesus Christ) he has beef with him, claiming painful living and struggling growing up. Seen as blasphemous and utterly disrespectful to the Christian community, this became the most polarizing cut on the album, despite the fantastic production from Exile. They venture into territory that makes them abandon the grittiness they had been widely known for, and embrace superstar status on cuts like "Backstage Pass", "Capital P, Capital H", and "Creep", but also questionable production choices for tracks like "In Love With The Moula", the 50/Mary J. Blige-club track, "It's Alright", and the Young Buck-assisted, "Give It To Me" halter the album from being even near the capabilities they have more than proven they could measure up to. While some of these beats could easily be on other G-Unit projects from the likes of 50 or Banks, considering what we've heard from them previously in nineties, this is nowhere near their best. Even at times sounding uninspired, the Mobb were trying to fit a G-Unit aesthetic more so than an authenticity they had been known for (they didn't even have Noyd on this album at all). Overall, Blood Money was a good album, but not a great album. Not if you measure it up against their nineties monsters of The Infamous, Hell On Earth, and Murda Muzik. While a step up from Infamy, Blood Money is still considered a mixed bag at best. What should've been a staggering return to what we knew from Hav and P became a look at a legacy that was starting to crumble due to struggling to whether the storms they had been known to conquer.
5. Amerika'z Nightmare
Production: Havoc, The Alchemist, Kanye West, Lil' Jon, Red Spyda
Guests: Twista, Littles, Big Noyd, Lil' Jon, Jadakiss, Nate Dogg
After the slight fumble that was Infamy, they went over to Jive Records for their first (and only) Jive release, Amerika'z Nightmare. In 2004, the sound was definitely becoming more with southern flare and less boom-bap with their sounds. The Mobb, at points, wasn't exempt from these cultural shifts, enlisting crunk king, Lil' John for "Real Gangstas", as well as the knocking thump of Kanye for "Throw Your Hands". For the most part, Mobb goes back into a bag they're familiar with to a degree. The singles of the dark, yet frenzied sounding, "One Of Ours" (the remix with Jadakiss shows how much the Mobb and The Lox needed to do more cuts together) and the Thomas Dolby-sampled, "Got It Twisted" showed a slightly new direction for the Mobb in terms of more of an accessible sound that doesn't take away from their griminess. Also, Hav and P recognize that they needed to reconcile what Infamy lacked. Take the neck-snapping "On The Run", in which Hav and P channel old hunger that resembled Murda Muzik at the latest. The title track has wrestling fans snapping their necks to what clearly sounds like the entrance theme of Legado Del Fantasma in WWE, but Hav and P show their aggressive sadism, and the Nate Dogg-assisted, "Dump", has traces of vintage Mobb with brooding basslines and haunting strings. It's when they go even darker when we get not just Hav stepping up, but we get the old P. The P that was "like the stank urine on your staircase". Cuts like the haunting "We Up" has Hav implementing a slightly faster-paced neck snap in which P delivers his brand of grisly cinematic rhymes that weren't as memorable from the prior album. Meanwhile, Uncle Al shows his ass on arguably the two best sonic cuts on the project: "When You Hear The" and "Win Or Lose". On the former, the horror scene-sounding thump sets as the backdrop for a reenergized P and Hav that will make their hardcore fans scream with delight that they've brought that "murda music" back. On the latter, Al masterfully crafts a sample of "Here I Go Again" by Jean Plum by also having a handclap snare that serves as custom made for the streets and clubs alike that have the Mobb having fun while clearly letting lyrical macs blow. Is the album perfect and does it deserve to be mentioned among their top three ever? Not quite. This is based on less-than-stellar cuts like "Shorty Wop", "Neva Change", and the Red Spyda-produced, "Real Niggaz", but that's not to say they're not worthy of a bump, compared to most of the rest of the album, these cuts fall short of consistency. As a whole, Amerika'z Nightmare serves as a mild resurrection of the Mobb we had become familiar with. Sure this is more club friendly and more mid to up-tempo, but the club can get blood on the walls too, as QB's most infamous displayed in dope fashion.
4. The Infamous Mobb Deep
Production: Havoc, KAYTRANADA, !llmind, Salaam Remi, Boi-1nda, Beat Butcha, others
Guests: Snoop Dogg, Bun B, Juicy J, The Lox, French Montana, Nas, Busta Rhymes, Mack Wilds
With them reaching critical and commercial highs with their classic three-headed monster of The Infamous, Hell On Earth, and Murda Muzik, to diving to critical lows with the subsequent albums of Infamy, Amerika'z Nightmare, and Blood Money, this was a make-or-break moment for the Mobb. Not to mention, they were having issues with each other, as Hav was going after P on wax and on stations and interviews, which all but signaled the end of one of the illest duos hip-hop has ever delivered from NYC. They temporarily reconnected to drop what would turn out to be their final album, The Infamous Mobb Deep, which also doubled as a double album with the second disc being a disc that contained lost sessions of tracks around the time of The Infamous, which included the first version of their iconic "Shook Ones" cut. Completely independent without a major label backing them, they went for broke, and the results were the closest glimpses we had of their nineties prime to date. Just based off the first single, "Taking You Off Here", it's clear Hav and P are focused and ready to drop their hardcore thug shit we know them for so very well. Unlike most Mobb albums, they spread production duties around with a few outside guests producing such as !llmind, KAYTRANADA, frequent Nas collaborator, Salaam Remi, and Boi-1nda. To their credits, each one tailor makes their sound to reflect that classic Mobb aesthetic and for the most part, they deliver. Take !llmind on the bassline heavy "Say Something", which contains a creepy aura with slinky keys. Hav and P show up and deliver that griminess nicely. Also, Beat Butcha provides a dope instrumental for "Timeless" that could easily be a throwback during the Murda Muzik days, and Boi-1nda contributing to the piano-heavy "Low" featuring P doing a rare double time flow and Hav writing letters to the women in their lives. Perhaps the most surprising sounding is Grammy winner, KAYTRANADA (whose work is more closely related to EDM), providing a surprisingly snapping, yet ominous, backdrop for the Mobb to skate over excellently. The feel with this album is bits of the positives of the albums that weren't as acclaimed as their most known three, but the hunger of those aforementioned three that garnered them all that praise in the first place. Of course, it wouldn't be a recent Mobb album without Alchemist coming through, and boy does he ever on the cuts "Lifetime", "Waterboarding", and the Nas-assisted "Get It Forever" that resemble the bloody messes we known them to create and quite frankly they sound the most comfortable over. This turned out to be the Mobb's final album, as P would unfortunately pass away just a few years later and the game would never be the same. Although the posthumous album is on the way shortly this year, this will be remembered as the Mobb's final album together with P living. With The Infamous Mobb Deep, they showed that, when everything comes together as they knew it to, there wasn't a duo around that was on their level and were the tag team champions of that "violent nigga rap shit". Even with varied sounds and production, their chemistry was in line as the days of old. One love to the Mobb forever and always.
3. Murda Muzik
Production: Havoc, The Alchemist, Mo-Suave-A
Guests: Raekwon, Cormega, Nas, Infamous Mobb, Big Noyd, Kool G. Rap, Lil' Kim, Eightball
Come '99, QB's most infamous were on a tear within NY hip-hop, and hip-hop as a whole. After delivering two of the hardest NYC albums to ever exist within music in The Infamous and Hell On Earth, Mobb Deep were in full demand. Havoc was becoming a mainstay within hip-hop production circles, producing tracks for the likes of Method Man, Nas, Cormega, Almighty RSO, Biggie, CNN, and even Shaq. P, on the other hand, was killing guest vocals on tracks by LL, Nas, Big Pun, Pete Rock, and others. It had been three years since Hell On Earth dropped, and the heads were fiending for new Mobb music. Mix shows and mixtapes were circulating with new music that was assuming a new album was coming, and we absolutely got it in the form of Murda Muzik. Early on, however, there were rampant bootlegs of the album that all but scrapped most of the original album and forced Hav & P to do new cuts while also removing others. Cuts like "Nobody Likes Me", "Thrill Me (Like Makaveli)", "Pyramid Points", "Power Rap", the Onyx-assisted, "QB Meets South Suicide", and "Mobb Comin' Thru" were unfortunately removed, only to be placed on other mixtapes and compilations such as Violator: The Album, Slam soundtrack, and the QB's Finest album. Did this stop the album from getting busy? Absolutely not. In fact, this album became their highest selling and charting album to date. The official first single, "Quiet Storm", was originally a mixtape cut by P called "White Lines", an updated version of Melle Mel's classic of the same name from the early eighties. This track had Hav on the added hook and became an instant classic, and then the Lil Lim-assisted remix brought the hood girls to the club, making it arguably the breakout hit that the Mobb has long been striving for. This was followed up by the next smash, the Nas-assisted, Scarface sampled "It's Mine". With these cuts alone, we were in for another possible Mobb classic, and quite honestly, this was as close as you could get to the two landscape shifting priors. The opener, "Streets Raised Me", has Noyd and QB songstress, Chinky, bringing a dash of ghetto R&B sounds while keeping the thug element with it. They also venture into southern territory with the Eightball-assisted, "Where You At" and it comes off surprisingly very well, while they also link up with the likes of frequent collaborator, Raekwon, Lil' Cease, and Cormega for "Can't Fuck Wit", "I'm Goin' Out", and What's Your Poison" respectively. The latter of which sounds more traditional Mobb than the other two. Hav stays varying up his production choices with cuts like the mid to up-tempo bounce of "U.S.A. (A'ight Then)" and the Sade-sampled ode to their fallen loved ones, "Where Ya Heart At", which is more solemn and brooding than we're used to hearing from them. However, vintage Mobb was in the house on cuts like the slammin' "Adrenaline", the organ-sampled knocker, "Allustrious", and "Spread Love". We also get introduced the stylings of now legendary producer, The Alchemist, on two tracks: "the Infamous Mobb-assisted, "Thug Muzik" and the outstanding "The Realest", which features Kool G. Rap delivering one of his memorable verses ever and P delivering one of his most quoted opening lines: "Never prejudge it be the humble that'll squeeze slugs/it be the ones standing still that will peel guns." While there's no doubt keeping the killed songs on the album would've made this album even better than this version, don't get it confused folks, this version of Murda Muzik was mean, and they officially went three for three. While some scoff at the varied sounds with this, overall, this kept up the building legacy the Mobb was mounting for themselves. It became clear that these two were perhaps the most acclaimed duo at this time not named Outkast, and Hav & P knew how to keep their finger on the pulse of the streets like nobody else. They just so happen to garner a couple of platinum plaques to go along with their chains and guns.
2. Hell On Earth
Production: Havoc
Guests: Method Man, Big Noyd, Infamous Mobb, Raekwon, Nas, Illa Ghee
How the hell do you follow-up one of the game's most incredible albums with The Infamous? Considered among the most stellar albums in hip-hop ever, The Infamous showed Mobb Deep was the genuine article within NY hip-hop. The anticipation was on as far as how they would duplicate the critical and commercial achievement of their sophomore album. This was answered in the form of Hell On Earth the very next year. With underground mix shows playing "Still Shining" and the FEROCIOUS 2Pac-diss, "Drop A Gem On 'Em", heads were sweating in anticipation of the hellraising to come, and based upon the official first single, the title track, we were in for an event every bit as bloody as The Infamous. The opening cut of "Animal Instinct" provides enough strings and bump to set the tone for the rest of the album. P's pen game was even more stellar than before and placed him among the upper echelon of emcees during this time period, while Hav was damn sure nothing to overlook either. The mood of this album was even colder than its predecessor and left you with more of a QB horror movie feel than the previous album just based upon its overly haunting and atmospheric production. The soundscapes here are stunning in texture and the layered mixture of strings and gripping keys made the likes of the Method Man-assisted "Extortion", "Get Dealt With", and "Bloodsport" such stunning outings and put their emphasis on ice-cold narratives and surreal stories that would make Scorsese proud. They even blistered the Scarface-sampled "G.O.D. Pt. III" with astounding execution and with "More Trife Life", Hav once again paints a picture of a shiesty female looking to set him up only things go left by the end. One thing about this album is them, more specifically P, addressing their enemies, whether blatantly or subtly. While "Drop A Gem On 'Em" was the craziest of disses, it also wasn't the only one. P slides in a diss on the rugged-sounding track with Noyd, "Man Down", but especially goes in on the bonus cut, "In The Long Run" with Infamous Mobb member, Ty Nitty, in which P addresses the altercation between he, his crew, and Keith Murray and his crew outside a nightclub in NY, which resulted in fists being swung, kicks, and bullets spraying, calling out Murray by name. If there's one thing P did well, and that was be controversial, and this album was no exception even more than The Infamous during the "Infamous Prelude". All things withstanding, Hell On Earth was easily as gripping as The Infamous, and in some cases even more. P emerged as one of the game's most astonishing and vivid wordsmiths, while Havoc took his place among the very best behind the boards, while still holding his own on the mic as well. Never have shootouts, revenge, stick ups, and extortions sounded so damn incredible, but Mobb Deep pulled it off like nobody's business.
1. The Infamous
Production: Havoc, Q-Tip
Guests: Big Noyd, Q-Tip, Raekwon, Ghostface Killah
At the beginning of this list, we highlighted the Mobb's debut effort, Juvenile Hell. This '93 effort had them in their mid-teens spitting about the harsh realities of life in the PJs as sixteen-year-olds. The subject matter was vivid, and at times a little too much considering their young ages, but no less dope. That is until March of '95, when we heard the ice-cold knock that was "Shook Ones Pt. 2". An immediate underground classic, we knew quickly from the iconic opening line from P, "I got you shook off the realness, we be the infamous, you heard of us/official Queensbridge murderers", that these were not the same tykes that were dropping crass cuts like "Hit It From Da Back" just two plus years earlier. Heads were in the midst of absorbing one of the most chilling anthems in hip-hop history. P's explicitly sinister rhymes along with Hav's almost equally captivating lyrics over some of the bleakest, yet knocking, boardwork to exist set the stage for what would be among the most anticipated album of the year, The Infamous. Once we got the follow-up single, the practically just as sinister, "Survival of The Fittest", we knew we were in for something monstrous, and boy we were we ever. From the haunting opener, "Start of Your Ending", you were in for an album that would bump in otherworldly levels. The album didn't let up a single ounce with cuts like the gritty, yet soulful, collab with Noyd, "Give Up the Goods", the wonderfully penned ode to Hav's late brother, Killa Black, "Temperature's Rising", and the vivid ode to getting sent to prison, "Up North Trip". The album's most stunning appears in the form of the cinematic, "Cradle to The Grave", which has them incredibly outlining an event in which one of their crew was gunned down and while they're being investigated, it turned out to be one of their own that was responsible. Among the most stellar writing events these guys have ever crafted, this remains among the true staples of the duo from a writing and storytelling standpoint alone. It doesn't hurt that the production was bleak and menacing either. That's only followed up with arguably the most light-hearted cut on the album (if you can call it lighthearted), "Drink Away the Pain", which has them and track producer, Q-Tip, personifying their alcohol and designer brands as love interests. With other tremendous cuts like "Hectic", the dope collab with Raekwon and Ghostface, "Right Back at You", the ode to a conniving woman setting them up, "Trife Life", and the crazy closer, "Party's Over", The Infamous remains among the most celebrated and decorated albums in hip-hop history. Even with the controversial "Infamous Prelude", that was a subtle diss towards, supposedly, Redman and Keith Murray, this album has been in the conversation with Illmatic as the greatest album to come from QB. It's a very valid argument and is highly understandable. It's hard as hell to even come close to comparing any album to Illmatic but leave it to these QB kids to pull it off. During this time period, other seminal classics like Ready To Die, 36 Chambers, Only Built 4 Cuban Linx, and Dah Shinin' were shifting the momentum back to the east coast when the west was clearly providing dominance due to the massive success of Death Row Records. This monumental effort was as up there as anything else that was responsible for this shift to occur. This was the landmark album that officially placed Mobb Deep among NYC's catalysts and proved that they evolved from some troublesome juveniles to official QB murderers in their most violent, yet authentic, way possible.
Be sure to check out these Mobb-associated releases as well:
Infamous Mobb- Special Edition
Infamous Mobb- Blood Thicker Than Water Vol. 1
Infamous Mobb- Reality Rap
Big Noyd- Episodes of A Hustla (EP)
Big Noyd- Only the Strong
Big Noyd- On the Grind
Big Noyd- Illustrious
Big Noyd- The Stick-Up Kid
Big Noyd- Queens Chronicle
Big Noyd- Street Kings
Littles- The Feeding
Big Twins- The Grimey Kid
Big Twins- The Infamous QB EP
Big Twins- Grimey Life
Big Twins- The Infamous QB: Still Cookin'
Big Twins- The Infamous QB: On the Grill
Blaq Mobb (G.O.D. Father Pt. III, Flame Killah)- Infamous Legacy
Blaq Mobb (G.O.D. Father Pt. III, Flame Killah)- Blaq Diamonds
Ty Nitty- My Loyal Life
As well as their solo releases:
Prodigy- H.N.I.C.
Prodigy- H.N.I.C. 2
Prodigy- H.N.I.C. 3
Prodigy & The Alchemist- Return of The Mac
Prodigy & The Alchemist- Albert Einstein
Prodigy- The Bumpy Johnson LP
Prodigy- The Hegelian Dialectic (The Book of Revelations)
Prodigy- The Hegelian Dialectic 2 (The Book of Heroine)
Havoc- The Kush
Havoc & The Alchemist- The Silent Partner
Havoc- The Hidden Files
Havoc & Flee Lord- In the Name of Prodigy
Styles P & Havoc- Wreckage Manner
Nyce Da Future & Havoc- Future of the Streets
Dark Lo & Havoc- Extreme Measures
Havoc- 13
Havoc- 13 Reloaded
Here are some of Mobb Deep's craziest cuts within this tracklist (including a lot of unreleased gems):
"Shook Ones Pt. 2" (production: Havoc)
"Drop A Gem On 'Em" (production: Havoc)
"Win or Lose" (production: The Alchemist)
"Put 'Em In their Place" (production: Sha Money XL)
"G.O.D. Pt. III" (production: Havoc)
"Peer Pressure" (production: DJ Premier)
"Allustrious" (production: Havoc)
"Nothing Like Home" feat. Littles (production: Havoc)
"My Block" (production: KAYTRANADA)
"The Realest" feat. Kool G. Rap (production: The Alchemist)
"Thrill Me (Like Makaveli)" feat. Big Noyd (production: Havoc)
"Nobody Likes Me" (production: Havoc)
"Shook Ones Pt. 1" (production: Havoc)
"Bloodsport" (production: Havoc)
"Take It in Blood" feat. Big Twins (Twin Gambino) (production: Havoc)
"Up North Trip" (production: Havoc)
"Locked In Spofford" (production: Havoc)
"Extortion" feat. Method Man (production: Havoc)
"There Dat Go" (production: The Alchemist)
"Survival Of The Fittest" (production: Havoc)
"Feel My Gat Blow" (production: Havoc)
"Perfect Plot" feat. Big Noyd (production: Havoc)
"QB Meets South Suicide" feat. Onyx (production: Havoc)
"Get Snitched On" (production: Havoc)
"Carved In Stone" (production: The Alchemist)
"Legendary" feat. Bun B, Juicy J (production: Havoc, Boi-1nda)
"Get Away" (production: EZ Elpee)
"Get Dealt With" (production: Havoc)
"Cradle To the Grave" (production: Havoc)
"It's Mine" feat. Nas (production: Havoc)
"Adrenaline" (production: Havoc)
"Back At You" (production: Havoc)
"We Up" (production: Havoc)
"Rare Species" (production: Havoc)
"World War 3" (production: Havoc)
"Hoodlum" feat. Big Noyd, Rakim (production: Havoc)
"Power Rap" (production: Havoc)
"Everyday Gunplay" (production: Havoc)
"Quiet Storm" (production: Havoc)
"Give Up the Goods" feat. Big Noyd (production: Q-Tip)
"Pearly Gates" feat. 50 Cent (production: Exile)
"When You Hear The" (production: The Alchemist)
"Pyramid Points" (production: Havoc)
"Daydreaming" (production: Chad Beat)
"My Gat's Spitting" feat. Infamous Mobb (production: Havoc)
"Project Hallways" (production: Havoc)
"Hell On Earth (Front Lines)" (production: Havoc)
"Eye For An Eye" feat. Nas, Raekwon (production: Havoc)
"It's A Craze" (production: The Alchemist)
"Can't Rock Wit Us" feat. Busta Rhymes (production: Havoc)
"The Money" feat. Killa Black, Karate Joe (production: Havoc)
"It Could Happen To You" (production: DJ Muggs)
"Black Cocaine" (production: The Alchemist)
"Taking You Off Here" (production: Havoc)
"In The Long Run" feat. Ty Knitty (production: Havoc)
"Hit It From Da Back" (production: artist)
