Too Short – Get In Where You Fit In (October 26, 1993)

The only thing constant in life is change…and Too Short’s monotone slow flow. Since 1985  the Oakland native has been spitting pimpology, and while many hip-hop legends and vets have altered their style in an attempt to stay relevant (with only a few doing it successfully), Too Short has stayed true to what has kept him in the game for over 30 years: simple rhymes delivered in his monotone slow flow, and you can’t deny that it has worked.

While his flow has remained the same, he has adjusted his musical backing over the years to match the trends of the times. But back in 1993, Short was still riding that Oakland funk that helped build his legend. 1992’s Shorty The Pimp introduced the world to Ant Bank’s brand of funk, which infused live instrumentation with funk samples. Short would continue that relationship with 1993’s Get In Where You Fit In, as he and Ant would be credited for the majority of the funk laden production. And like most of Short’s prior Jive releases, Get In Where You Fit In would earn Too Short yet another platinum plaque.

If it ain’t broke don’t fix it…beeatch!

Don’t Fight The Intro – Short recycles the instrumental from “Don’t Fight The Feelin'” from Life Is…Too Short, and spits a quick verse running down his entire catalog in chronological order (it was kind of funny (and cool) to hear him admit his second album Players was weak) and welcomes the listener to GIWYFI.

I’m A Player – This was the lead single from GIWYFI. Short and Banks loop up a little Bootsy Collins and turn it into a smooth laid back funk groove, as our host discusses his favorite topic: playin’ the bitches. Simple rhymes over hypnotic funk has always been Short Dog’s winning combination, and it doesn’t fail here.

Just Another Day – Short Dog calls on QDIII for the instrumental, and uses it to discuss another day in the life of a Oakland player. QD’s instrumental feels like a beautiful summer day, and it works well with Short’s slow rhymes.

Gotta Get Some Lovin’ – On this one Short proves that even pimps go through dry spells. Over a dope Ant Banks instrumental Too Short shows a rare moment of vulnerability, as he comically discusses his need to feel some female box. This is not your typical Ant Banks’ backdrop, as it has no funk on it, but it’s still just as effective as his traditional production style.

Money In The Ghetto – Short and Banks rip Kool & The Gang’s “Hollywood Swinging” wholesale (way before Puffy and Mase would do it), and Short uses it to dispel the myth that every ghetto dweller is broke. Whether it’s gained legally or illegally, there is money in the ghetto. And that concludes are brief intermission from Short Dog’s pimp doctrine…now back to our regularly schedule program, beeeatch!

Blowjob Betty – The Dangerous duo switch things up, as they leave the deep funk alone for a minute and sample Tenor Saw’s reggae classic “Ring The Alarm”, building the instrumental around it. The backdrop is decent, but Too-Short’s tale about Blowjob Betty is so hilarious that its way more entertaining than he and Ant’s beat. I wonder if anyone has actually died from the same thing that killed Blowjob Betty. I’m also curious that if they found the fatal semen that killed Betty still in her windpipe, how could there not be any suspects? I guess Short didn’t think that one through all the way…but I digress.

All My Bitches Are Gone – Ant Banks samples Wilson Picket’s “Shameless” for the smoothed-out backdrop, and he and Short talk about all the bitches that left them after they used and abused them. This was definitely more entertaining back when I was younger and more immature; in my older age, it’s kind of depression to hear Short talk about beating the shit out of chick…but the instrumental goes hard.

The Dangerous Crew – The title pretty much sums up the song: Over a mid-tempo funk light instrumental, Too Short invites Mhisani, Pee Wee, Ant Banks, and Spice 1 to join him on this Dangerous Crew cipher joint. Spice-1 easily walks away with this one, thanks to his style and energy, and his line “you can catch me peelin caps, known for killing every muthafucka dead in my raps…so give me the clip and let me pow one, cause everybody’s dying on this next fuckin’ album”).

Get In Where You Fit In – In case you were listening to the last song and wondered where is Pooh Man… we’ll, he and Too Short fell out of good standing sometime after the recording of Shorty The Pimp (he was on the posse joint “Something To Ride To” ) and GIWYFI. The song opens with someone asking “What happened to that other rapper ya’ll used to fuck with?”, then Short proceeds to take jabs at his wannabe Short Dog fat-footed former crew member, and the blows are kind of potent. This song could have ended after Short’s verse, but instead he invites his buddies Rappin’ Ron and Ant Diddley Dog (collectively known as the Bad-N-Fluenz Clique) into the booth, and they both spit extremely long unimpressive verses….and am I the only one that found it contradicting that at the beginning of this song Short’s boy disses Pooh Man for “eating pussy on records”, then Rappin’ Ron turns around and talks about “eating the cunt” towards the end of his verse? Regardless, I love the low-key funk groove on this one.

Playboy Short – Banks hooks up a smooth funk groove with a bit of live piano play that gives it a jazzy feel, as Short talks his Oakland shit (his line “People can’t fuck with the way I’m rhyming, they say it’s too slow, but it bought these diamonds” always makes me chuckle). This was pretty cool.

Way Too Real –  More Ant Banks funk, Short slick talk and pimp rhetoric…and an unwarranted verse from his buddy Father Dom.

It’s All Good –  Too Short attempts to combine his funk sound with a little r&b flavor. Leslie Calaway (who sings her verses and the adlibs) plays Short Dog’s naïve new woman who believes he’s a faithful gentleman, but by the end of the song he lets her see his true doggy colors. Not a great song, but I’ve heard worst.

Oakland Style – The album ends with more Ant Banks funk and newcomer FM Blue rhyming over it…and just to make sure you remember whose album this is, Too Short drops a quick verse to close the song out, and winds up sounding way more impressive than his pupil. Ant’s backdrop is pretty decent too.

As far as content, you know exactly what to expect from a Too Short album:oodles of misogyny with a sprinkle of consciousness delivered in his signature monotone slow flow, and a bunch of trademark “beeatches” thrown in for good measure. Short is far from a great emcee, but there is something about his simplicity that makes him intriguing. What makes or breaks a Too Short album, in my opinion, is the production. His previous release, Shorty The Pimp, missed just as often as it hit from a production standpoint, and while all the instrumentals aren’t bangers on Get In Where You Fit In, there isn’t one song that makes me hit the skip button (even when our host drops a godawful rhyme from time to time or when his guests spit underwhelming bars, which is the majority of the time they have the mic). Get In Where You Fit In is a solid listen, and a great title for an emcee who has done just that over the years.



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1 Response to Too Short – Get In Where You Fit In (October 26, 1993)

  1. GM says:

    As you said, what makes or breaks a Too Short album is the production, and he had his production team at the peak of their powers on this album, which is why it has always been my favorite in his catalog.

    BTW, Rappin’ Ron and Ant Diddley Dog may not have impressed you on their feature here, but they would eventually release an album in 1995 that, even though it did not sell a lot of units, is among the best releases from the Bay from that period (because of tracks like this, for example: I don’t know if you’ve listened to it.

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