Amoeblog

Tim Smooth, pioneering and influential New Orleans rapper, has passed away

Posted by Eric Brightwell, July 27, 2011 03:00pm | Post a Comment
Tim SmoothPioneering New Orleans rapper Tim Smooth died yesterday (Tuesday 26th 2011) at the young age of 39, after a long battle with cancer.


Though not a household name outside of New Orleans and circles of New Orleans Rap fans, he was one of the undisputed pioneers in the city's scene. Like a hip-hop Zelig he seemed to exist in the eye of the city's musical storm, never to break out nationally but always respected by musicians around him. In a violent era that saw many of New Orleans' musical talents cut down at a young age, Smooth collaborated freely and frequently with members of warring camps, always appreciated and always relevant. It was with especially cruel irony that Smooth, a rapper gifted with both lyrics and flow, was felled by cancer of the mouth and tongue.

Tim Smooth was born Timothy Smoot west if New Orleans in the Kennedy Heights area of Waggaman, on the West Bank in Jefferson Parish. He took the title “the Knight from Kennedy Heights.” and began

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Big Boy Records

Posted by Eric Brightwell, June 16, 2009 08:53pm | Post a Comment
For several years in the '90s, before Master P moved to New Orleans and gobbled up most of the talent Big Boy Records logoof the legendary Parkway Pumpin, Big Boy Records was one of the main creative and commercial rivals to uptown's fledgling Cash Money. Over the course of the next few years, they released some of New Orleans' indisputably finest (and under-recognized) bounce and rap music. They also got caught up in all-consuming rivalry with Cash Money that raged in tit-for-tat diss songs while at the same time many of their stars departed for bigger labels. When Cash Money and No Limit signed multi-million dollar deals with major labels, Big Boy floundered, only to be reborn years later on a smaller scale,

Big Boy Records
was founded by Charles "Big Boy" Temple and the talented producer, Leroy "Precise" Edwards, who was responsible for most of the varied but always warm, solid and organic sounds. Others involved in the production were " David "D-Funk" Faulk and Brian "Big Bass" Gardner.

1993
Big Boy's first signee was pioneering New Orleans raper Sporty T (Terence Vine). The Gentilly resident had previously been a founding member of The Ninja Crew -- New Orleans's first rap group to record. In the early '90s, inspired by hits by Juvenile and Everlasting Hitman's bounce hits, he moved in that  direction as well. The label's first single was "Sporty Talkin' Sporty." Though bounce, it had an uncharacteristically heavy sound for the genre. After it sold 4,000 copies, Big Boy sought out more talent.

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Ya Hoidz Me? - Talk About Bounce Music

Posted by Eric Brightwell, March 20, 2009 12:01am | Post a Comment
Uptown New Orleans

For some reason, the Bounce scene, born nearly 20 years ago, seems to be undergoing a minor critical reassessment as it inspires curiosity in a new generation of fans amongst the young, the Euro, the old and new. I can only guess why. I suspect that part of it is a development of the ongoing, time-delayed, middle class fascination with vulgar, good-time booty, that, as with booty bass, gogo, ghettotech and juke house before, takes a little longer to catch on beyond the music's traditional base. Or perhaps it’s just the curiosity factor due to the prevalence of so many openly gay rappers, who have been the subject of articles in The Village Voice, The Guardian and The New York Times -- although their readers are unlikely to run out and buy the latest
Sissy Rap record. There was even a piece on Bounce for NPR’s stomach-turning attempt at hipness, What's the New What? ...Just the title of that show makes me feel like I've been kicked where it hurts.


On the other hand, sites like
Louisiana Rap, Nola Bounce and Twankle and Glisten have done a good job in documenting the scene and suggest a much deeper, more honest appreciation that makes me happy. I'll be honest, the idea of a politician claiming to like Bounce would make me die a little inside. Yet, I’d love it if all these underappreciated, undercredited artists who made Bounce happen got some well-deserved acknowledgment and attention. With films like Ya Heard Me documenting the scene and Youtubers like 1825 Tulane Ave and Whatheallman tirelessly keeping Bounce in your ear, I guess I can live with the idea that some ironic, comb-over-wearing member of the Dumpster Click is going to be into it too. Anyway, for the time being, if you look up "New Orleans Bounce" on Youtube, you're (currently, at least) unlikely to be confronted with the image an American Apparel/Vice Magazine disaster doing the Eddie Bow.