Ice Cube’s previous albums, AmeriKKKa’s Most Wanted and Death Certificate, prophesied how racial tensions in L.A. would eventually combust. When they actually did during the Uprising of April 1992, he took a finger-wagging victory lap half a year later with The Predator, a less concept-driven LP than its predecessors but still an enjoyable showcase of Cube’s scowling, forceful flow backed by dark and moody production from DJ Pooh, Sir Jinx and Cypress Hill’s DJ Muggs.