In the old days (the '80s), most New Orleans rap was released by labels from outside the state. Dallas's Yo! had handled Gregory D & Mannie Fresh and Tim Smooth. Ft. Lauderdale's famous bass label, 4 Sight, released Ninja Crew's "We Destroy." Juvenile was initially on New York's Warlock. When majors got involved, they invariably mis-handled the artists. Gregory D & Mannie Fresh moved to RCA; Warren Mayes and pioneering west bank rapper MC Thick signed to Atlantic.

All that changed following the bounce explosion of 1991. New Orleans's long established Soulin' Records finally got into the rap game, releasing DJ Jimi's debut single, the bounce classic "(The Original) Where Dey At?" Seemingly overnight, a number of cottage industry labels sprang up, including Big Boy, Cash Money, Parkway Pumpin, Slaughterhouse, Take Fo' and Untouchable. None of them except Cash Money lasted into the new millenium. But for a time, they collectively produced and recorded some of the most overlooked and greatest rap of the decade and routinely outsold nationally-promoted rappers of the day, helping turn the tide toward the south.

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Lil Slim was one of the first artists to be signed to Cash Money Records. After a series of underground classics, he parted ways with the label. A couple of years later, CMR signed a multi-million dollar deal with Universal and the label's star, Juvenile, carried the new roster to success whilst Lil Slim receded into the shadows.


Lil Slim lived way out in the 17th Ward on New Orleans's western edge in Hollygrove, a small, lower middle class neighborhood that also was home to Big Boy (and later, No Limit) artist, Fiend. Representing the Apple and Eagle intersection, he brought his raps to audiences at Club 49, where he performed alongside UNLV and Soulja Slim. One day, Ziggler the Wiggler introduced them to Mannie Fresh, a young DJ from the 7th Ward who'd gained a measurable degree of local fame with rapper Gregory D. Shortly after, Lil Slim was introduced to Baby and Slim, brothers and co-owners of the fledgling Cash Money Records label. They signed Lil Slim and recorded his first album in Baby's kitchen.


His sophomore release, Powder Shop (1994) moved a bit more into a more narrative, Gangsta territory, creating a Gangsta/Bounce hybrid made popular by his labelmates, UNLV. Some of the highlights include "Eagle St. Bounce," "True to the Game" and "Powder Shop," the latter about a heroin operation. Like a lot of early-'90s New Orleans rap, heroin is the drug most often referenced -- which is a bit unsettling, especially when the rest of the rap world was mellowing with Indo, Chronic and gin 'n' juice. I guess all that dope in the Grunge scene had to come from somewhere. Listening to it now, it's shocking how much Lil Wayne and, even more so, (Young) Turk owe to his sound.

I was watching the Argentina vs Nigeria game the other night and started fiending for some N.O. Bounce. Before long I was searching for some Hot Boy Ronald and I stumbled on this fan video that made me lose it.

But let me back up a little bit first. Hot Boy Ronald is a 9th Ward Bounce artist who's collaborated with Choppa, Juvenile and others. Some of his certified bangers have included "Shake it like a oink" and "Walk like Ronald." The latter is on Bounce Back (2005 - King's Ent.). Looks like he's got a new record called Bottom of the Map. I tried to do a little background on him but Wikipedia's got nothing. Allmusic's got nothing. His own myspace doesn't have a bio (although it's got more bells and whistles than the closing ceremony of the Beijing Olympics). At that point it becomes a cold case.

As with any Bounce hit, popularity isn't measured in terms of CD sales, but how many youtube videos people post of themselves dancing to your song.

First up you've got Ashley in San Antonio sort of lethargically doing the "Walk like Ronald" with some enormous slippers on.


And then you've got Christina and friends. Um... still a little rough.


Mark, Nick and Stacy are a bit better. But the image quality will screw with your eyes.