Reviewing History: Guerilla Black – Guerilla City (2004)

Guerilla Black – Guerilla City (2004)

Hungry Blvd Rating: 6.5 / 10

The Background

When Guerilla City dropped in 2004, the conversation surrounding it was dominated by one undeniable fact: Charles Williamson, aka Guerilla Black, sounded exactly like The Notorious B.I.G. Hailing originally from Chicago before moving to Compton, Black’s vocal tone, cadence, and even physical appearance drew immediate and heavy comparisons to the late Brooklyn legend. This made the album a massive talking point, with some listeners embracing the nostalgic familiarity and others criticizing it as a direct imitation.

The production on Guerilla City is an interesting mashup of West Coast gangsta rap and glossy, mid-2000s R&B crossovers. By securing high-profile features and producers, the album successfully landed hits that dominated the radio and clubs. However, because Black's delivery leans so heavily into Biggie's signature style, tracks often sound like lost East Coast verses layered over West Coast and dancehall instrumentals. While it lacks the sheer originality of a classic, the beats hit hard, and the crossover tracks deliver exactly what they were engineered to do.

Looking at the cover art the design utilizes a high-contrast black and white photographic approach. The low-angle shot of Guerilla Black wearing a cross necklace towering in the foreground effectively establishes dominance, while the "Compton Bl" street sign anchors his West Coast credibility. However, from a modern graphic design perspective, the typography choices hold the composition back. The distressed, grungy font used for "GUERILLA BLACK" at the top feels dated to the early-2000s era. To fit a true Hungry Blvd aesthetic, stripping away the stark white sky and building background in favor of a solid deep black or dark blue would force the lighting to pop dramatically. Replacing that distressed text with a clean, 3D metallic chrome typography layout would elevate the entire visual from a standard promotional photo into a premium piece of cover art.   

Track-by-Track Breakdown

1. Hearts of Fire (5:33)

A solid, dramatic intro track produced by Carlos "Six July" Broady that sets the cinematic tone for the album. Black immediately establishes his commanding vocal presence.

Score: 6.5/10

2. Guerilla City (4:34)

The title track leans into aggressive street anthems. The Red Spyda production works well, though the Biggie comparisons become instantly unavoidable here.

Score: 7/10

3. Compton (feat. Beenie Man) (3:53)

One of the standout hits of the project. Blending a heavy hip-hop beat with Beenie Man's dancehall energy created a massive club record that still holds up as a 2000s time capsule.

Score: 8/10

4. You're the One (feat. Mario Winans) (3:38)

The biggest commercial success on the album, charting on the Billboard Hot 100. With Mario Winans on the hook, the track felt like a direct homage (or clone, depending on who you ask) to the Bad Boy Records era of R&B/rap crossovers.

Score: 8.5/10

5. The Strip Club (Skit) (0:52)

A standard, era-typical skit that interrupts the flow of the music without adding much replay value.

Score: 3/10

6. Trixxx (3:46)

Produced by Rodney Jerkins, this track features bouncy, polished production. It is a solid album cut that keeps the momentum going, even if it doesn't stand out as a single.

Score: 6.5/10

7. Guerilla Nasty (feat. Jazze Pha and Brooke Valentine) (3:47)

A heavy Southern influence comes through with Jazze Pha's production and vocals. It is a fun, club-ready track that highlights the album's expensive feature list.

Score: 7/10

8. Sunrise (3:56)

A smoother, more laid-back instrumental where Black flexes his storytelling ability. It provides a nice auditory break from the heavier club anthems.

Score: 7/10

9. What We Gonna Do (feat. Nate Dogg) (4:51)

A classic West Coast banger. Any track blessed with a Nate Dogg hook instantly gains credibility, and the Fredwreck production makes this a highlight of the back half of the album.

Score: 8/10

10. The Hotel (Skit) (1:43)

Another unnecessary skit that bogs down the runtime and sequencing of the project.

Score: 3/10

11. Say What (4:06)

A return to the grittier, street-focused sound. It is a competent track but starts to feel repetitive as the album stretches on.

Score: 6/10

12. Yes Sir (3:37)

A standard mid-2000s rap cut. The production is decent, but it doesn't offer anything new conceptually or sonically compared to the earlier tracks.

Score: 6/10

13. It's All Right (3:26)

A slightly more upbeat, radio-friendly attempt that falls a bit flat compared to the heights of "You're the One."

Score: 5.5/10

14. Girlfriend (4:43)

Another Jazze Pha-assisted track aimed directly at the R&B crossover market. It’s smooth but feels like filler near the end of the tracklist.

Score: 6/10

15. My First (4:11)

The closer wraps the album on a reflective note. Produced by Ski, it is a solid sign-off but doesn't erase the bloated feeling of the album's final third.

Score: 6.5/10

The Verdict

Guerilla City is an expensive, well-produced time capsule of 2004 hip-hop. While the undeniable hits like "Compton" and "You're the One" hit their mark perfectly, the album is weighed down by an over-reliance on sounding like the ghost of Biggie Smalls and unnecessary skits. It is a fun listen for early-2000s nostalgia, but it lacks the distinct artistic identity needed to be a true classic.