The Geto Boys didn’t aim for the middle. From the start, their music went straight for the gut—explicit, graphic, and often deeply unsettling. Formed in Houston and powered by the volatile chemistry between GB core-trio Scarface, Willie D, and Bushwick Bill, the group took gangsta rap into darker, more confrontational territory than most were willing to explore. Whether rapping about street violence, mental illness, police brutality, or twisted inner thoughts, the Geto Boys made songs that grabbed attention and refused to let go.
Their 1990 self-titled album nearly vanished before release after Geffen refused to distribute it, objecting to its graphic content. Rap-A-Lot founder J. Prince found a new path through Rick Rubin, who reissued the album on Def American. The backlash—and media frenzy—drew even more attention. A year later, We Can’t Be Stopped went platinum, driven by the harrowing “Mind Playing Tricks on Me,” a track built on vivid storytelling and emotional tension instead of just shock value.
The Geto Boys’ records didn’t land cleanly on radio or television, but they made an impact where it mattered—on the streets, in record stores, and among fans who saw their own lives reflected in the chaos. Scarface brought a cold, calculated intensity. Willie D hit hard with blunt, confrontational verses. Bushwick Bill added unpredictability and dark humor. Together, they formed a group that constantly shifted between horror, comedy, and tragedy—sometimes in the space of a single verse.
The group’s music also changed how Southern Hip Hop was heard. Before OutKast, UGK, and Goodie Mob, the Geto Boys kicked open the door. They built a legacy through records like Grip It! On That Other Level, The Resurrection, and The Foundation, mixing cinematic beats with lyrics that rarely took the easy way out. Their run wasn’t smooth—breakups, line-up changes, solo projects, and Bushwick Bill’s passing in 2019 ended any hope of a final reunion—but their influence remains locked into Hip Hop history.
This list pulls together our picks for the 15 best Geto Boys tracks. From blood-splattered street tales to eerie reflections on paranoia, these are songs that hit hard, linger long, and refuse to play it safe. Missing your favorites? Let us know in the comments.
Also read: Essential Rap Songs: Top 15 Lists For Every Influential Hip Hop Act
15. City Under Siege (1990)
“Now let’s go back to the past / The motherf*cker who needs to be tried is Ronald Reagan’s a*s / Appointed Bush to the C.I.A / That sh** was cold / Put Noriega on the payroll / All of a sudden sh** changed / Right after ’88 (Yeah, yeah, yeah) / Hm – ain’t that strange? / Some think I’m goin too far / But if you wanna go to war, I take you to war…”
“City Under Siege” stands out as one of the two brand-new tracks on The Geto Boys (1990), the Rick Rubin-overseen remix album that reintroduced the crew to a wider audience. Unlike the reworked cuts from Grip It! On That Other Level, this one was fresh out the gate—and it hits hard. Over a tense, stripped-down beat, the group unpacks the systemic web of drug trafficking, connecting street-level hustling to institutional corruption in government. At the same time, they don’t flinch in calling out crooked cops and racial injustice, making the track feel both urgent and informed.
It’s a reminder that behind the controversy and gore, Geto Boys also had sharp political insight. “City Under Siege” doesn’t scream—it simmers, giving listeners a sobering view of urban America through the trio’s unblinking lens. One of their more underrated but essential joints.
14. We Can't Be Stopped (1991)
“Let’s talk about a scandal / The album Geffen found too hot to handle / F*cked up the minds of you and yours / The last LP from the Geto Boys / Can you believe those hypocrites / Would distribute Guns n Roses but not our sh** / And they say we’re a racist act / Ain’t that the pot calling the kettle black…”
“We Can’t Be Stopped” kicks off the Geto Boys’ 1991 album of the same name with a defiant, middle-finger-to-the-industry energy. In the wake of their fallout with Geffen Records—who dropped them over the backlash to Grip It! On That Other Level—the group doubles down on everything that made them impossible to ignore: raw delivery, unfiltered truth, and a refusal to bow to censorship. Over a pounding, no-frills beat, Scarface, Willie D, and Bushwick Bill take turns airing out their rage at labels, critics, and anyone else trying to silence them.
Fueled by real frustration and industry pushback, “We Can’t Be Stopped” captures the group at their most unrelenting, planting a flag for artistic freedom in an era when the industry wanted rap music safe and sanitized.
13. Straight Gangstaism (1993)
“Seven years old, I’m lookin up to the gangstas in the hood / Cause to me and my cousins, yeah, they represented good / Even when we played cops and robbers on the block / Nobody wanted to play the cop, dig it…”
“Straight Gangstaism” is a smooth standout from Till Death Do Us Part, the only Geto Boys album to feature Big Mike in place of Willie D. While the group’s trademark aggression takes a step back here, Mike and his Convicts partner Mr. 3-2 deliver something just as potent: a slow-rolling, Southern-fried ode to street upbringing and hardened survival. Over a mellow, funk-laced beat, the two paint vivid portraits of gangster life—less about shock value, more about mood and detail.
Though not as confrontational as earlier material, the track hits in its own way, showing the Geto Boys could shift gears without losing authenticity. Scarface’s clean version of the final verse is a quiet classic in itself, proving you don’t need profanity to cut deep. “Straight Gangstaism” is understated but essential—a track that rides instead of rages, and rides damn well.
12. Do It Like A G.O. (1989)
“I’m back like a rebel ‘making trouble’ / I’m an Assassin, kickin a*s on the double / No motherf*cker alive’s gonna stop me / So f*ck you and your godd*mn posse…”
“Do It Like A G.O.” is the definitive early Geto Boys anthem—raw, aggressive, and full of the no-filter energy that made Grip It! On That Other Level a landmark in Southern Hip Hop. As the sole single from the album, it put Scarface, Willie D, and Bushwick Bill on the map as a fearless trio with something to prove—and nothing to lose.
DJ Ready Red laces the track with pounding drums and a sinister loop, laying the foundation for the crew’s no-nonsense verses. It’s the sound of three rappers storming into the spotlight with venom in their bars and Houston on their backs. Compared to N.W.A., the Geto Boys were even less apologetic, and “Do It Like A G.O.” made that loud and clear. The remixed 1990 version bangs as well, but the original version is the one that lit the fuse.
11. Crooked Officer (1993)
“Mr. Officer, crooked officer / I wanna put your a*s in a coffin, sir / Cause you done f*cked with n****s like myself for too long / It’s time to grab my motherf*cking nine and get it on…
“Crooked Officer,” off 1993’s Till Death Do Us Part, is one of the Geto Boys’ most scathing and direct attacks on police brutality—and it doesn’t pull a single punch. With Scarface, Bushwick Bill, and Big Mike trading verses, the track gives voice to the rage of a generation harassed, profiled, and brutalized by the very institutions claiming to protect them.
Where N.W.A.’s “F*ck Tha Police” made headlines, “Crooked Officer” dives even deeper into retaliatory fantasy, with lines that are just as politically charged as they are confrontational. Big Mike’s chorus lays it out in blunt terms, while Scarface and Bushwick spit verses that blur the line between protest anthem and revenge scenario.
Musically, the track rides a slow, menacing groove that gives every word extra weight. Even decades later, “Crooked Officer” still lands like a gut punch—unfiltered, furious, and tragically timeless in its message.
10. Yes Yes Y'all (2005)
“I’m the original, the author of this G-sh** / You n****s pitiful, cause y’all be on some weak sh** / Me I’m a n**** from the gutter motherf*cker / If rap wasn’t payin I’d hit the street cause I’m a hustler…”
“Yes Yes Y’all” from The Foundation (2005) brings the Geto Boys back with a vengeance, highlighting the classic chemistry between Scarface, Willie D, and Bushwick Bill. The track effortlessly captures the trio’s raw energy, while Scarface’s production lays down a gritty, soulful beat that complements their street-smart lyricism.
With standout verses from all three, the song reinforces the group’s unwavering authenticity. Scarface offers an introspective look at the hustle, Willie D stays unapologetically defiant, and Bushwick Bill brings his signature wild style to the table. The lyrics hit hard with vivid imagery of their unapologetic approach to life, making it clear that while times may change, the GB essence remains intact.
A perfect blend of classic Geto Boys swagger and modern flair, “Yes Yes Y’all” serves as a reminder that, no matter the era, they still reign as one of the game’s most influential acts. It’s a powerful, relentless anthem that proves the Geto Boys’ time is far from over.
9. Assassins (1990)
“Got happy with the trigger, now I’m on the run / An assassin…”
This “Assassins” marks the revamped version of the Geto Boys’ notorious 1988 track, delivering one of the earliest and most influential “horrorcore” rap songs. With its grotesque, exaggerated depictions of violence and madness, the song pushes the boundaries of dark, over-the-top lyricism. It’s unsettling and thrilling at the same time, tapping into the band’s knack for blending disturbing themes with unapologetic intensity.
The track features a pounding instrumental that hits hard, matching the chaotic energy of the lyrics. Scarface, Willie D, and Bushwick Bill each deliver their verses with relentless fervor, giving the song an almost cinematic quality in its depiction of mayhem. Though it’s filled with violent fantasies, “Assassins” is undeniably compelling due to the raw energy and sinister atmosphere it creates.
8. Still (1996)
“It’s “die muthaf*ckas, die muthaf*ckas!”, still…”
“Still” kicks off The Resurrection (1996) with a statement: the Geto Boys are back, and they’re unchanged. With Willie D’s return, the chemistry between him, Scarface, and Bushwick Bill is instantly felt. This track, both haunting and gritty, sees them proclaim that the struggles and street life they’ve faced haven’t altered them—“Still” is a declaration of survival and defiance.
The eerie, atmospheric production by N.O. Joe sets the tone for the song’s dark, reflective verses. Scarface’s introspective storytelling, Bill’s signature unpredictability, and Willie D’s raw energy create a perfect storm of lyrical depth and aggression.
Though “Still” flew under the radar initially, its inclusion in Office Space (1999) brought it to a broader audience. The track, alongside “Damn It Feels Good to Be a Gangsta,” helped solidify the Geto Boys as the cultural force they remain today.
7. F**k Em (1990)
“To every motherfu*cker who diss my crew / I’m sayin f*ck you, now what you hoes wanna do?”
“F**k Em” is one of the hardest-hitting tracks in the Geto Boys’ catalog, opening The Geto Boys with an explosive mix of aggression, defiance, and unapologetic energy. Released in 1990, the track is a furious declaration of independence from critics and haters. Scarface, Bushwick Bill, and Willie D spit venomous verses filled with raw street mentality, targeting everyone from media figures to industry insiders who tried to undermine their success.
The track is musically charged with intense beats and samples that underscore its rebellious tone. The lyrics are unrelenting, with the chorus’s repeated “F**k ’em all” driving home the message of anger and frustration. It’s one of the Geto Boys’ most overtly hostile songs, blending gritty realism with a sense of pride in their ability to endure and rise above adversity.
With its visceral impact and unapologetic attitude, “F**k Em” became a signature anthem for the group, solidifying their reputation for speaking directly to their audience’s struggles and defiance.
6. Damn It Feels Good To Be A Gangsta (1992)
“Damn it feels good to be a gangsta…”
“Damn It Feels Good to Be a Gangsta” is one of the Geto Boys’ most iconic tracks, first appearing on the 1992 compilation Uncut Dope. While the song didn’t make waves initially, it found new life in 1999 when it was featured in the cult classic Office Space, catapulting it to fame. The track’s laid-back yet menacing beat sets the stage for Scarface and Bushwick Bill to reflect on the gangsta lifestyle, flipping the narrative by highlighting a more self-aware, calculated approach to crime.
The final verse, delivered by Rap-A-Lot founder J. Prince, is a comedic yet pointed take on power, as he raps from the perspective of then-President George H.W. Bush. With lines like “Cuz now I got the world swingin’ from my nuts,” the verse cleverly underscores the idea that those in the highest positions of power, including the President, are the ultimate “gangstas.”
The song’s mix of hard-hitting commentary, humor, and memorable delivery makes it an unforgettable track in the Geto Boys’ catalog.
5. Scarface (1989/1990)
“Nobody knows my name, they’ll only know this face / And ask my posse, they say, “We call him Scarface”…”
“Scarface,” a standout solo track from the Geto Boys’ Grip It! On That Other Level album, introduced the world to the iconic rapper Scarface and marked the beginning of his storied career. The track blends gritty storytelling with raw energy, offering a glimpse into the violent and chaotic world that would define Scarface’s legacy. The song is heavily influenced by the 1983 classic Scarface, starring Al Pacino, and features samples from the film, tying the track’s narrative to the infamous gangster persona of Tony Montana.
The song’s grim, vivid storytelling describes fatal encounters and betrayals, with Scarface’s signature dark, reflective lyrics capturing the harsh realities of street life. His unflinching delivery and the menacing beat complement the narrative, painting a picture of a world where survival often means making brutal choices.
The revamped version of “Scarface,” released on the Geto Boys 1990 remix album, takes the original to another level. With re-recorded lyrics and an updated production, this version refines the track while keeping the raw energy intact. The revamped “Scarface” enhances the gritty atmosphere, and with its revised elements, it stands as a further testament to the power of the song and its influence on Scarface’s future solo work. Both versions—each powerful in its own right—are essential for understanding the evolution of both the artist and his group.
4. The World Is A Ghetto (1996)
“Fools fleeing their countries to come here black / But see the same bullsh** and head right back / They find out what others already know / The world is a ghetto…”
“The World Is A Ghetto,” from the Geto Boys’ 1996 The Resurrection album, marks a significant departure from their usual fare of gritty street tales, presenting instead a socially conscious and politically charged anthem. The track, alongside “Still,” forms part of a strong opening salvo in their comeback album, showcasing the group’s versatility and growth. With sharp, introspective lyrics, the Geto Boys dive into issues of race, inequality, and the global struggles faced by black communities, drawing parallels between the harsh realities of urban America and the ongoing challenges in Africa.
Sampling War’s classic “The World Is A Ghetto,” the song takes a timeless groove and injects it with urgency. The beat, soulful and laid-back, contrasts with the raw intensity of the message, which reflects on systemic oppression, poverty, and the dehumanizing effects of global racism. The Geto Boys don’t just focus on their personal experiences but expand their scope to address the broader, worldwide crisis affecting black people.
With Scarface leading the charge, the song critiques the world’s failure to address the needs and rights of marginalized communities, asserting that the struggle is not just confined to any one place but a global condition. It’s a track that forces listeners to reflect on the larger picture, showing that for the Geto Boys, the fight extends far beyond the streets of Houston.
3. Six Feet Deep (1993)
“But ain’t much that we can do / Except pour brew throughout the crew / To make sure we all remember you / And believe me it hurts / To see the boy you broke bread with six feet in the dirt…”
“Six Feet Deep” from the Till Death Do Us Part album is a somber and emotional track that delves into the pain of losing a friend to gang violence. The Geto Boys, known for their raw depictions of street life, take a more introspective and heartfelt approach here, offering a mournful reflection on death and loss. Scarface, Bushwick Bill, and Big Mike each deliver powerful, personal verses that highlight the emotional weight of the tragedy, revealing their grief and struggle to cope with the untimely deaths of those close to them.
The song’s poignant lyrics are a reflection of the violence that permeated the Geto Boys’ community, particularly Houston’s Fifth Ward during the early 1990s. Amid a wave of rising crime in urban areas, these emotions weren’t just artistic expression—they were lived experiences. The track is a reminder that death is an inescapable part of their reality, but it also serves as a tribute to the lost friends, urging listeners to keep their memories alive despite the pain.
The hook, which samples the Commodores’ “Easy,” is recontextualized to devastating effect. Originally a song about relaxation and peace, it now adds an ironic twist, linking the serene image of Sunday morning to the mournful environment of a funeral service. It’s a haunting element that elevates the song’s emotional impact, making Six Feet Deep a standout moment in the Geto Boys’ discography.
2. Mind Of A Lunatic (1989/1990)
“Think this is harsh? This ain’t as harsh as it gets / No telling what’s being thought up in the mind of a lunatic”
“Mind of a Lunatic” is one of the most infamous tracks in the Geto Boys’ catalog, and for good reason. Released in 1989 as part of their Grip It! On That Other Level album, and later re-recorded for The Geto Boys remix album in 1990, the track is a raw, unfiltered dive into the mind of a psychopathic character. Along with “Assassins,” it’s often considered one of the first songs in the horrorcore subgenre, where rappers began exploring grotesque and violent fantasies through their lyrics.
The 1990 remix version stands out as the definitive take on the song, with a revamped musical backdrop and re-recorded lyrics that enhance its eerie and disturbing tone. While the original is a classic in its own right, this version, produced at Jay Prince’s ranch (CEO of Rap-A-Lot Records), adds a layer of intensity with its darker production and more polished delivery, making it a more immersive experience.
Scarface, Willie D, and Bushwick Bill all contribute their unique flavors to the track, each embodying a different aspect of madness. The song’s lyrics are unsettling, as the group describes chilling, violent thoughts in a way that feels disturbingly real. There’s no glorification of crime here—just an honest portrayal of the warped mental state that leads to such dark fantasies. It’s a track that walks a fine line between shock value and genuine artistic expression, tapping into the horror and unease that can come from living a life filled with violence.
“Mind of a Lunatic” helped cement the Geto Boys’ reputation as one of the most controversial groups in Hip Hop, but it also pushed the boundaries of the genre, setting the stage for future artists to explore the darker, more twisted side of rap.
1. Mind Playing Tricks On Me (1991)
“At night I can’t sleep, I toss and turn / Candlesticks in the dark, visions of bodies being burned / Four walls just staring at a n**** / I’m paranoid, sleeping with my finger on the trigger…”
“Mind Playing Tricks on Me” is one of the most iconic tracks in the history of Hip Hop, not just for its deeply personal exploration of paranoia and mental illness, but for its massive influence on both the genre and its listeners. Released as part of the Geto Boys’ We Can’t Be Stopped album in 1991, the song became a landmark in gangsta rap, pushing the boundaries of the genre by introducing vulnerability and psychological depth.
The song’s production is haunting, with a slow, moody beat that samples Isaac Hayes’ “Hung Up on My Baby.” This eerie instrumental sets the tone for the dark subject matter of the song, as the Geto Boys delve into the psychological turmoil of living a life marked by violence, crime, and paranoia. Scarface, who wrote the majority of the track, opens the song with a chilling verse about his inability to sleep, visions of bodies being burned, and the ever-present fear that someone is watching him. His narration is visceral, expressing the crushing anxiety that comes with the gangsta lifestyle, where trust is scarce, and survival often feels like a constant battle against both external enemies and internal demons.
Scarface’s internal struggle is painted vividly through his description of compulsive behaviors: checking the phone for taps, scrutinizing every person he sees, even contemplating suicide. His verse encapsulates a feeling of entrapment, where escape seems impossible, and every turn brings more dread. “Day by day it’s more impossible to cope, I feel like I’m the one that’s doin’ dope,” he raps, describing the psychological toll of living a life of crime and constant danger. For Scarface, the paranoia isn’t just a mental state—it’s a way of life. His ability to articulate these feelings, especially during a time when discussing mental health in rap was almost unheard of, helped to shift the genre’s narrative toward something far more introspective.
Willie D’s verse adds a different layer to the track, giving voice to the paranoia felt by someone constantly looking over their shoulder. His recounting of late-night fears, where he’s unsure whether it’s a past enemy or a random assailant tailing him, brings the theme of existential dread to life. But the most harrowing moment comes when he describes pulling out a gun to defend himself, only to discover that the perceived threat is nothing more than a group of elderly people. His verse illustrates the absurdity of living in such fear, a fear that often manifests as irrational and self-destructive.
Bushwick Bill’s verse shifts the narrative into the realm of horror, with his recounting of a Halloween-night altercation that turns into a surreal nightmare. The events blur the line between reality and delusion, as Bill swings at a lawman, only to discover the “man” was far larger than he expected, disappearing into thin air. His verse is a dark, twisted tale of confusion and violence, further solidifying the track’s descent into the unsettling.
At its core, “Mind Playing Tricks on Me” is a reflection on the mental and emotional toll of the gangsta lifestyle, a theme that had rarely been explored so openly in Hip Hop before. The song was initially intended for Scarface’s solo album Mr. Scarface Is Back, but after Rap-A-Lot’s J. Prince saw its potential, it became a Geto Boys record. Scarface later shared that his own struggles with mental illness—specifically his manic-depressive state and suicidal tendencies—were deeply tied to the creation of the track. The song’s raw honesty and vulnerability opened a new space for discussing mental health in Hip Hop, paving the way for future artists to explore their own psychological landscapes.
In short, “Mind Playing Tricks on Me” is a cultural touchstone that encapsulates the psychological scars left by a life lived on the edge. It’s a fearless, introspective look into the mind of a man at war with both the world and himself, and in doing so, it carved a new path for Hip Hop to explore emotional depth and vulnerability.
Check Brian Coleman’s Check the Technique: Liner Notes for Hip-Hop Junkies for the story behind ‘Mind Playing Tricks On Me’ (and the other tracks on We Can’t Be Stopped).