11. New Waves (2017)

Technically, New Waves is a Bone Thugs-N-Harmony album in name only. Released under the shortened moniker Bone Thugs, the 2017 project features founding members Krayzie Bone and Bizzy Bone, with Layzie Bone, Wish Bone, and Flesh-n-Bone appearing together only on “Waves.” The distinction matters because the chemistry of the original five-man group is largely absent.

Krayzie and Bizzy use the album to explore a considerably more commercial direction, built around polished pop, R&B, and EDM-influenced production. Collaborations with Stephen Marley, Tank, Yelawolf, Bun B, and Jonathan Davis of Korn give the record an eclectic guest list, although the abundance of outside voices rarely translates into a coherent musical identity. “Coming Home,” with its reggae influence, and “If Heaven Had a Cellphone,” which revisits the spiritual territory of “Tha Crossroads,” are among the more interesting attempts to connect the new direction with Bone’s history.

Krayzie and Bizzy still have their trademark vocal agility and melodic instincts, while “Waves” offers a welcome glimpse of the original group’s chemistry. Unfortunately, much of the material sounds designed for contemporary pop radio, with electronic production and guest-driven hooks pushing the two MCs away from their natural strengths. New Waves has occasional bright spots, but as an entry in the Bone Thugs-N-Harmony catalogue, it ranks at the bottom. | 5/10

10. Uni5: The World’s Enemy (2010)

The reunion of all five original members on Uni5: The World’s Enemy was cause for anticipation. With Bizzy Bone back in the fold and Flesh-n-Bone having completed his prison sentence, the group finally recorded together again after a decade apart. Longtime collaborator DJ U-Neek also returned, although the resulting album doesn’t consistently recapture the chemistry that made their classic records so compelling.

“Rebirth” gets things off to a promising start, combining forceful production with the rapid-fire exchanges and tightly arranged harmonies associated with Bone’s best work. “Only God Can Judge Me” takes a darker, more unsettling approach, while Thin C’s laid-back “My Life” provides another highlight. Krayzie Bone contributes some interesting production work, and Bizzy’s unpredictable vocal presence gives several tracks an extra dimension.

Much of the remaining material, however, leans toward polished R&B hooks, Auto-Tune, and radio-friendly production that doesn’t always suit the group’s strengths. Songs like “See Me Shine” and “Meet Me in the Sky” illustrate the direction, while the lyrical focus on industry grievances becomes repetitive. Uni5 has enough flashes of the original magic to make the reunion worthwhile, but the five members rarely sound as naturally connected as they did during their 1990s peak. | 5.5/10

9. Faces of Death (1993)

Before signing to Ruthless Records and becoming Bone Thugs-N-Harmony, the five Cleveland MCs recorded Faces of Death under the name B.O.N.E. Enterpri$e. This independently released debut captures a group still developing its identity, although several ingredients of their later sound are already in place.

The production is rough and occasionally claustrophobic, built around dark synth lines, booming bass, and straightforward drum programming. The atmosphere leans toward early-’90s street rap, with violent subject matter and a distinctly local perspective. What makes the album interesting is the vocal approach. The rapid-fire cadences, overlapping rhymes, melodic passages, and early experiments with group harmonies point toward the style they would refine on their subsequent Ruthless releases. “Flow Motion,” “Sons of Assassins,” and “Bless da 40 Oz.” offer particularly good examples of their developing chemistry.

The album lacks the sonic refinement and intricate vocal arrangements of Creepin on ah Come Up and E. 1999 Eternal. The performances and recording quality are uneven, and the production hasn’t aged particularly well. Still, Faces of Death is an important document of Bone’s Cleveland beginnings, capturing the original five members before major-label resources transformed their sound. | 6/10

8. Thug Stories (2006)

By 2006, Bone Thugs-N-Harmony had become a three-man operation. With Bizzy Bone out of the group and Flesh-n-Bone still incarcerated, Krayzie Bone, Layzie Bone, and Wish Bone recorded Thug Stories, their first full-length album for Koch Records after leaving Ruthless. The reduced lineup inevitably changed the group’s dynamics, although the surviving members make a convincing effort to preserve their familiar sound.

The production favors contemporary mid-2000s rap beats, soul samples, and occasional stylistic detours rather than the eerie atmosphere of their classic Ruthless material. Still, there are some enjoyable moments. “Do It Again” builds around a soulful backdrop, while the guitar-driven “Fire” gives Krayzie and Layzie room to unleash their rapid-fire delivery. “What You See (Reload)” comes closer to the group’s traditional vocal interplay, and “Still No Surrender” adds reggae influences to an outspoken track about law enforcement.

At twelve tracks, Thug Stories is a relatively compact affair. Some relationship songs feel predictable, and the production lacks the character of their best work. Nevertheless, Krayzie and Layzie carry the album with conviction, while Wish Bone contributes to the group’s familiar harmonies. It’s a respectable comeback that reconnects with Bone’s musical foundations without reaching the heights of their earlier records. | 6.5/10

7. The Art of War: World War III (2013)

The title The Art of War: World War III suggests a continuation of Bone Thugs-N-Harmony’s 1997 double album, but the circumstances behind this 2013 release make it a rather different proposition. Internal disputes had driven Krayzie Bone and Wish Bone out of the group temporarily, leaving Bizzy Bone, Layzie Bone, and Flesh-n-Bone to record most of the material. Several tracks featuring Krayzie and Wish were assembled from older recordings made during the Uni5 sessions, giving the album an uneven, patchwork character.

That fractured approach produces a few worthwhile surprises. Bizzy takes much of the creative initiative, and his unpredictable delivery gives tracks like the reggae-tinged “Murda on U” a distinctive edge. “Bitch Iz a Bitch” brings an energetic party atmosphere, while “It’s a Bone Thang” offers a welcome reminder of the group’s familiar melodic interplay. Elsewhere, the production takes some curious detours, from the Auto-Tuned “100-K” to the dubstep-influenced “Deep End.” “Everything 100,” featuring Ty Dolla $ign, adds another contemporary R&B touch.

The 18-track collection is inconsistent, and its makeshift construction rarely generates the chemistry associated with Bone’s strongest work. Despite some inspired moments, World War III is a frustrating sequel in name, with little of the cohesion or ambition that justified the original album’s legacy. | 6.5/10

6. Strength And Loyalty (2007)

After several years of label problems and diminishing returns, Strength & Loyalty brought Bone Thugs-N-Harmony back to a major-label platform. The 2007 album was recorded by Krayzie Bone, Layzie Bone, and Wish Bone, with Bizzy Bone absent amid ongoing disputes and Flesh-n-Bone still incarcerated. Executive produced by Swizz Beatz, the project pairs the trio with an impressive roster of producers and guests, giving their familiar style a distinctly mid-2000s polish.

The opening track, “Flowmotion,” is one of the album’s highlights, revisiting a song from their early Faces of Death days with sharper production and blistering vocal performances. “C-Town,” featuring Twista, is another standout, celebrating Cleveland through the kind of rapid-fire exchanges that made the group famous. The soulful “I Tried,” featuring Akon, brings a reflective dimension to their street narratives, while “Order My Steps (Dear Lord)” reconnects with their spiritual side. “Wind Blow” also takes an interesting detour, incorporating a Fleetwood Mac sample.

The polished production occasionally pushes the trio toward conventional radio rap, and “Lil’ Love,” featuring Mariah Carey and Bow Wow, is particularly lightweight. Bizzy’s absence is noticeable throughout, especially given his distinctive vocal character. Still, Strength & Loyalty is a well-crafted return that finds Bone adapting to contemporary production without abandoning the musical qualities that made them distinctive. | 7/10

5. Thug World Order (2002)

Thug World Order closes Bone Thugs-N-Harmony’s original run with Ruthless Records, capturing a group in the middle of considerable internal upheaval. Flesh-n-Bone was incarcerated and absent from the recordings, while Bizzy Bone’s increasingly strained relationship with the other members led to his departure shortly after the album’s release. The remaining four MCs take a smoother, more sample-driven approach, moving away from the darker atmosphere of their mid-’90s classics.

There are still plenty of reminders of what made Bone special. “Bone, Bone, Bone” and “Guess Who’s Back?” bring the group’s melodic harmonies to the foreground, while “Money, Money” and “If I Fall” offer some of the album’s strongest vocal performances. “Bad Weed Blues” adds a humorous change of direction, and “Cleveland Is the City,” featuring Avant, pays tribute to their hometown. The most conspicuous stylistic departure is “Home,” built around a sample of Phil Collins’ “Take Me Home.” Its unlikely combination of pop nostalgia and Bone’s harmonized delivery works better than expected.

The album occasionally sounds distracted, particularly when the members interrupt the proceedings to promote their solo projects. Still, the vocal chemistry is largely intact, and DJ U-Neek’s contributions help maintain a recognizable Bone identity. Thug World Order lacks the atmosphere and consistency of their best work, but it contains enough strong material to make this final Ruthless chapter worthwhile. | 7/10

4. BTNHResurrection (2000)

After three years of solo projects and growing speculation about their future as a group, Bone Thugs-N-Harmony returned with BTNHResurrection. The February 2000 release brought all five original members together on the same album, with Flesh-n-Bone finally receiving the extensive participation that had been missing from earlier records because of contractual complications. His presence gives the group’s vocal interplay an added dimension, although Krayzie Bone appears less frequently than his counterparts.

Longtime collaborator DJ U-Neek provides much of the production, returning to the dark, bass-heavy sound associated with Bone’s Ruthless Records heyday. “Resurrection (Paper, Paper)” is a highlight, combining an infectious hook with the group’s intricate harmonies and rapid-fire exchanges. “Battlezone” delivers a harder street-rap approach, while “Ecstasy” and “Weed Song” revisit the hypnotic melodic territory of their earlier work. On a different note, “Change the World” and “Don’t Worry” bring spirituality and optimism into the mix without abandoning the group’s characteristic vocal arrangements.

The album occasionally sounds anchored to a formula that was already several years old, and Bizzy Bone’s solo closing track, “One Night Stand,” interrupts the group dynamic. Still, the reunion produces plenty of inspired performances. BTNHResurrection may not match the ambition of The Art of War, but it captures all five members working together again before their relationships began to unravel. | 7/10

3. The Art of War (1997)

Following the extraordinary success of E. 1999 Eternal, Bone Thugs-N-Harmony returned with an even bigger statement: a 28-track double album built around the idea of defending their musical territory. The group had become increasingly irritated by other Midwest and Southern acts adopting their rapid-fire, melodic approach, and The Art of War contains plenty of pointed responses to perceived imitators. The confrontational material sometimes gets repetitive, but the ambition and musical quality make this an absorbing follow-up.

DJ U-Neek handles the entire production, giving the two discs a polished sound that moves between ominous street rap, soulful samples, and smoother melodic compositions. The opening stretch is particularly strong. “Handle the Vibe” sets the tone, “Look into My Eyes” pairs the group’s intricate harmonies with an unusually cinematic backdrop, and “Body Rott” brings back the darker edge of their earlier work. “Thug Luv,” featuring 2Pac, is another major highlight. Its menacing production and aggressive performances create one of the album’s most memorable moments, with 2Pac fitting naturally into Bone’s tightly arranged vocal exchanges.

There is considerable variety elsewhere. “If I Could Teach the World” offers an optimistic counterpoint to the tougher material, while “Ain’t Nothin’ Changed (Everyday Thang Part II)” revisits familiar territory with an infectious melodic hook. Bizzy Bone’s solo performance on “7 Sign” and Layzie Bone’s “Mind of a Souljah” give individual members room to step forward, although the group’s collective chemistry is the album’s greatest strength.

The sheer length eventually works against the project. Several tracks revisit the same lyrical disputes, and the second disc contains stretches that lack the focus of the opening half. Still, The Art of War has enough outstanding material to justify its expansive scale. Its combination of hard-edged street narratives, soulful melodies, and intricate vocal arrangements captures Bone Thugs-N-Harmony operating at the height of their powers. | 7.5/10

2. Creepin’ on Ah Come Up (1994)

We don’t usually include EPs in our album rankings, but Creepin on ah Come Up is too important to Bone Thugs-N-Harmony’s history to leave out. Released in June 1994, this six-song introduction on Ruthless Records brought the Cleveland group to a national audience and announced a style that was unlike anything else in mainstream Hip Hop at the time. Eazy-E had signed the five members after hearing their early recordings, taken them under his wing, and helped shape their identity. Tragically, this would be the only Bone Thugs release he lived to see.

DJ U-Neek provides much of the EP’s eerie, bass-heavy production, with DJ Yella handling the two closing tracks. The atmosphere is darker and more aggressive than the group’s later, more expansive work, giving the music a distinctly menacing edge. The opening “Intro” sets the mood with a backwards-masked prayer, while “Mr. Ouija” ventures into sinister subject matter. Then “Thuggish Ruggish Bone” changes everything. Its infectious groove, tightly interwoven verses, and remarkable vocal harmonies introduced the group’s rapid-fire melodic approach in a form that was immediately accessible without sacrificing its streetwise character.

“Foe tha Love of $” is the other defining moment. Built around a laid-back groove, it features the members trading verses with Eazy-E, whose presence connects the group to the Ruthless Records legacy. Jewell’s backing vocals add another dimension to the track, while the contrast between Eazy’s measured delivery and Bone’s intricate flows makes the collaboration particularly effective. The title track and “No Surrender” further demonstrate how naturally the five members move between individual verses and collective harmonies.

At just under 30 minutes, Creepin on ah Come Up is a brief (re)introduction, and its production lacks some of the refinement of what followed. Its impact, however, was immediate. Bone Thugs-N-Harmony had arrived with a distinctive musical identity, and this EP laid the groundwork for one of the most remarkable albums in 1990s Hip Hop. | 8/10

1. E. 1999 Eternal (1995)

Bone Thugs-N-Harmony had already introduced their distinctive sound on Faces of Death and especially Creepin on ah Come Up, but E. 1999 Eternal brought everything into focus. Released in July 1995, four months after the death of their mentor Eazy-E, the group’s second album is a remarkably cohesive work of dark street narratives, spiritual reflection, and intricate vocal arrangements. Krayzie Bone, Layzie Bone, Bizzy Bone, Wish Bone, and Flesh-n-Bone had developed a musical chemistry that set them apart from virtually every other group in Hip Hop.

The album’s atmosphere is established immediately. “East 1999” and “Eternal” unfold over eerie synthesizers, rumbling bass, and ominous melodies, while “Crept & We Came” and “Land of tha Heartless” plunge into violent street tales delivered with extraordinary rhythmic precision. The members switch between rapid-fire verses, synchronized passages, and melodic refrains without disrupting the flow of the music. Their voices are distinct, but the way they overlap and complement one another gives the performances an almost hypnotic quality. “Mo’ Murda” takes the darker side of the album to another level, with an unsettling atmosphere that suits its subject matter.

DJ U-Neek deserves enormous credit for creating such a consistent musical backdrop. His production is spacious and often deliberately slow-moving, built around deep bass, haunting piano figures, synthesized strings, and subtle touches of G-funk. That contrast between the measured beats and Bone’s fast, fluid delivery gives the album much of its character. There are lighter moments, too. “1st of tha Month” turns the arrival of welfare checks into an infectious celebration of everyday life, while “Budsmokers Only” and “Buddah Lovaz” provide more relaxed detours.

The emotional center is “Tha Crossroads,” a tribute to Eazy-E and other departed loved ones. Its soulful harmonies and reflections on mortality gave the group one of the most affecting songs of their career. The track’s emotional weight reaches beyond the album’s street narratives, adding another dimension to its exploration of life and death.

E. 1999 Eternal captures Bone Thugs-N-Harmony at their creative peak. Its dark atmosphere, melodic sophistication, and extraordinary vocal interplay make it one of the defining albums of 1990s Hip Hop, and the group’s finest achievement. | 9/10