Wicket World Wide
| WicketWorldWide.COM | ||||
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| Studio album by Natas | ||||
| Released | October 26, 1999 | |||
| Recorded | 1998-1999 | |||
| Genre | Midwest hip hop | |||
| Length | 69:04 | |||
| Label | Gothom/Overcore | |||
| Producer | Esham | |||
| Natas chronology | ||||
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| Professional ratings | |
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| Review scores | |
| Source | Rating |
| Allrovi |   |
WicketWorldWide.COM is the fifth album by Natas. Released in 1999, it is the group's last release on Reel Life Productions (than known as Gothom/Overcore) until 2006's N of tha World. WicketWorldWide.com is credited as one of the greatest hip hop albums of 1999 by XXL magazine
WicketWorldWide.COM differentiates itself from previous Natas albums in showcasing live instrumentation courtesy of the $500,000.00 advance Esham was given by TVT Records when he signed a distribution deal to TVT in October 1999. TVT even provided a studio with help from Johnathon Scott Santos who has produced and mixed albums for bands including Circle Jerks and former Esham backing bands 20 Dead Flower Children and The Workhorse Movement. Esham took advantage of the live band instead of the focus on heavy sampling that previous group albums featured. Allrovi described the sound as "a potent collage of gritty hip-hop beats with an aggressive rock tone", noting the relevance of this sound in relation to the group's influence on rap rock artists like Kid Rock and Limp Bizkit. Murder Dog magazine rated this album #1 of all rap albums released in 1999.
Allrovi also noted a step forward in lyrical content, writing "It's just far too hard to stomach his group's blatant theatrics of old -- raunchy sex, Satanic baiting, unnecessary morbidity, an overall sense of utter irresponsibility, violent gang mentality".
The album cover was designed by Myron Matthew Kozuch-Rea. The design features the iconic "NATAS" logo along with the "Wicket World Wide.COM" strategically placed in front of the middle part of Hieronymus Bosch's famous oil painting The Garden of Earthly Delights. When asked about the cover in an interview in 2008 when promoting his album Sacrifical Lambz. Esham stated that "The painting matched the concept of the album's title and gave the album it's true Identity."
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