Rap fans had already been introduced to Eazy as a member of N.W.A., but Eazy-Duz-It is his crowning achievement as a solo artist. Owing much to the production of Dr. Dre and Ice Cube's writing skills, Eazy's high-nasal delivery with all its quirkiness is the real star of the show. The language and content is hyperviolent and over-the-top—which was ironic given his frequent reference to his short stature (Eazy was 5'5"). Some notable songs are "Still Talkin," "Eazy-Duz-It," and "No More Questions," which was later spoofed on Saturday Night Live in 2006, with actress Natalie Portman mimicking the interview format of the song.
In 1992, N.W.A. was a distant memory and Eazy was dividing his time between being a solo artist and running Ruthless Records. 5150 is really more of an expanded single than an album. Rather than the comical, superhero gangsta Eazy had previously portrayed, the EP opens with a dark and brooding Eazy, his nasal whine replaced by a deep, guttural, and almost Satanic voice declaring: "I'm baaaaaacck!" The whine returned when Eazy delivered his rhymes, but the music was such a stark departure from his previous efforts that the songs never made much of an impact. 5150 was supposed to precede the release of an album called Temporary Insanity, but it was never released.
It's On is something of a return to form for Eazy, if only because his sense of humor returns in full force. The problem is that he focuses it solely on taking down Dr. Dre. When Dr. Dre wanted to leave Ruthless Records, he couldn't make a clean departure because he had signed an exclusive performing and producing contract with Eazy. Unable to leave, Dre allowed Suge Knight, the founder of Death Row records to negotiate his departure, which involved giving Eazy a percentage of all of Dre's future earnings for six years. In that time, Dre released The Chronic, which sold over 8 million copies and has been ranked as one of the greatest rap albums of all time. Eazy saw a pretty chunk of change from that release, of which he took great pains to remind everyone. This EP does have its moments, particularly with "Real Muthaphukkin' Gs" and "Any Last Werdz."
Streetz was released several months after Eazy's death from AIDS. Intended as a double album, Streetz was half-finished at the time of his death. The music is sprawling and has typical gangsta beats, but Eazy returns to topics that aren't about Dre, which is refreshing. "The Muthaphukkin' Real," featuring M.C. Ren (who remained neutral in all the group feuding) is an excellent, laid-back track that waxes nostalgic about hardcore hip hop, and "Jus Tah Let U Know" is a catchy, radio-ready track that hints that Eazy was capable of standing on his own as a recording artist.