Way Of Life
Hell Razah & 4th Disciple Lyrics

G.G.O., Ghetto Government Official
Hell Razah identifies as a member of G.G.O., or Ghetto Government Official

Razah, 4th Disciple
Hell Razah and 4th Disciple are the artists behind this song

Hip hop is a way of life, it's in my breath
Hell Razah believes that hip hop is more than just a genre of music; it is an essential part of his being

The way I, breathe and step, not the way I dress
For Hell Razah, hip hop is not about fashion, but rather, it is evident in the way he carries himself and moves

East to west, throw your arms right to left
Hell Razah encourages listeners to move and dance to the beat of his music, regardless of their location

Give me a mic and a crowd, and a turntable set
Hell Razah requires only a few essential items to deliver an electrifying performance: a microphone, an audience, and a turntable set

Alotta niggaz turned thugs, after 2Pac died
Hell Razah notes that many individuals began to adopt a more aggressive persona after the death of rapper 2Pac

Puttin' dust in they weed, after they heard How High
Hell Razah believes that some individuals began to lace their weed with other substances after watching the movie 'How High'

KRS was the main one, I heard Stay Wise
Hell Razah heard that KRS-One preached the concept of staying wise, even amidst turbulent times

Before, N.W.A., you never thought of drive-by's
Hell Razah believes that the rap group N.W.A. was one of the first to introduce drive-by's as a concept within hip hop culture

Slick Rick was the kingpin of all fly guys
Hell Razah believes that Slick Rick was the embodiment of style within hip hop culture

Rakim kept it civilized, now it be Nas
Hell Razah notes that while Rakim was known for keeping his music socially conscious and refined, this responsibility has since fallen to Nas

Kool G. Rap made rhymes for the organized crimes
Hell Razah notes that Kool G. Rap was known for rapping about organized crime and the lives of criminals

On the Road to they Riches, sellin' nickels and dimes
Hell Razah references Kool G. Rap's album 'Road to the Riches', which included songs about drug dealing and selling in small quantities

Cypress Hill made you feel, How Can I Just Kill a Man
Hell Razah believes that Cypress Hill's music was particularly intense, particularly songs such as 'How Can I Just Kill a Man'

Niggaz turned killers after Wu-Tang Clan
Hell Razah believes that the music of Wu-Tang Clan had an aggressive influence on some individuals

Startin' formin' into groups, so they can put on they fam
Hell Razah notes that many individuals began forming into groups within hip hop culture to provide for their families and loved ones

Puff Daddy had you samplin' old records to dance
Hell Razah notes that Puff Daddy was known for sampling older records and popularizing the use of sampling in hip hop culture

Biggie Smalls made you ball after One More Chance
Hell Razah believes that the music of Biggie Smalls, particularly the song 'One More Chance', was known for encouraging a lavish lifestyle

The radio promotin' death, until there's no more fans
Hell Razah notes that he believes that the radio was promoting death through the music it played, until there were no more fans left

Alotta playas wanna play, but the game is advanced
Hell Razah notes that despite many individuals wanting to become involved within hip hop culture, the game has become much more advanced and difficult to succeed in

The true culture of this hip hop, let's spread it to France
Hell Razah believes that the true culture of hip hop needs to be spread to other countries, particularly France

M.O.P., kept it hardcore, from Onyx to DMX
Hell Razah notes that M.O.P. was known for creating hardcore, intense music alongside other artists like Onyx and DMX

Now it's on Soundscan sells and BDS
Hell Razah notes that hip hop culture has become more focused on record sales and rankings through systems like Soundscan and BDS

When the Fat Boys, to Big Punisher and Fat Joe
Hell Razah notes that hip hop culture has featured stars of all body types, from the Large-sized Fat Boys to Big Punisher and Fat Joe

EPMD, to me was, the best duo
Hell Razah believes that EPMD was the best duo within hip hop culture

Nah, Run-DMC, still be number uno
Despite his praise for EPMD, Hell Razah still believes that Run-DMC is the best duo within hip hop culture

Now every artist that you know, wanna drop solos
Hell Razah notes that many artists within hip hop culture are looking to drop their own solo projects, rather than working within groups or duos

Half naked to sell records, in magazine photo's
Hell Razah notes that many artists have turned to modeling in provocative clothing as a way to gain exposure and sell records

Back to '83, the era of the Treacherous Three
Hell Razah reflects on the hip hop scene in 1983, particularly the prominence of the group the Treacherous Three

When the Cold Crush, bumrushed the Force MD's
Hell Razah notes a moment when one popular group, Cold Crush, interrupted and overtaken another group, Force MD's

Now the pussy is free, but the crack cost money, oh yeah
Hell Razah notes that while sexual activity is often perceived as 'free', the use of crack cocaine can be quite expensive

Melle Mel, brought the mentals, but we couldn't digest it
Hell Razah acknowledges that Melle Mel's music was socially conscious and lyrically dense, but many found it difficult to understand

Cause all the niggaz in the eighties started gettin' arrested
Hell Razah notes that many individuals within hip hop culture were getting arrested in the 1980s, likely due to increased scrutiny and policing

Sugar Hill caught an ill deal, Rapper's Delight
Hell Razah references Sugar Hill Records, who paid a relatively small fee for the rights to the song 'Rapper's Delight'

Back when artists got signed just for grabbin' the mic
Hell Razah notes that in previous decades, artists could become quite successful and even signed to record deals by simply demonstrating their rapping abilities

Kangols and rope chains, this when LL came
Hell Razah notes that the hip hop fashion in the 1980s included wearing Kangol hats and rope chains, and LL Cool J was a prominent figure within that era

Ain't nobody had a metaphor like Big Daddy Kane
Hell Razah believes that Big Daddy Kane was known for delivering creative and innovative metaphors within his music

Public Enemy was deep before Do the Right Thing
Hell Razah believes that Public Enemy was known for creating socially and politically conscious music even before Spike Lee's movie 'Do the Right Thing'

MC Shan had Queensbridge under his wing
Hell Razah believes that MC Shan was a prominent figure within hip hop in Queensbridge, New York and had a lot of influence within that community

Marley Marl did The Symphony, it blew instantly
Hell Razah notes that the song 'The Symphony' by Marley Marl was an instant hit within hip hop culture

Made hip hop history, now it's industry
Hell Razah acknowledges that the creation of 'The Symphony' was a significant moment in hip hop history, but also notes that hip hop has since become an industry

Everybody either look alike, or sound gimmicky
Hell Razah notes that many artists within hip hop culture either appear or sound very similar to one another, or employ gimmicks to stand out

Not noticin' the energy was hid' in Tennessee
Hell Razah believes that there is often a lot of creative and innovative energy within lesser-known regions, and notes that such energy can be found in Tennessee

Never thought they ever see a young black Master P
Hell Razah notes that the emergence of a young black man like Master P achieving a lot of success in the music industry would have been difficult to imagine previously

Go to France and see a white boy blacker than me
Hell Razah notes that even in France, a predominantly white country, there are individuals who embrace hip hop culture deeply and with more authenticity than even he can

Suge Knight or Eazy-E, had black labels
Hell Razah notes that labels run by prominent black figures like Suge Knight and Eazy-E were highly influential within hip hop culture

Why the rest eat the crumbs off the master's tables
Hell Razah believes that many within hip hop culture are forced to scrape by and make do with very little, while those in power continue to reap the bulk of the rewards and profits

(Chorus 2X)
The chorus is repeated twice throughout the song, emphasizing the importance of hip hop culture as a way of life and a defining aspect of Hell Razah's identity