Amoeblog

Mobo Records - West Bank's Finest

Posted by Eric Brightwell, June 15, 2009 06:05pm | Post a Comment

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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Ya Hoidz Me? - Talk About Bounce Music

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

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.


 
New Orleans’s Pre-Bounce Background
By the early 1980s, rap had spread to every reasonably large American city, each of which responded in part with scenes of their own. Almost universally, these early artists were highly imitative of their New York inspirations. New Orleans’s New York Incorporated (formed in 1984) and Ninja Crew (formed in 1986) were no exceptions. Within a few years, Miami’s Maggotron and MC A.D.E. were creating Electro-indebted Booty Bass and Houston’s Geto Boys and L.A.’s NWA were making Gangsta Rap -- all highly regionalized in their identities. Early New Orleans rappers like Tim Smooth, Warren Mayes and 39 Posse began incorporating various elements of the hip hop of the day, but for the most part, didn't verbally or musically represent the Crescent that overtly.


In the 1980s, port traffic in New Orleans had dried up following the oil industry going bust. Employment opportunities were suddenly limited primarily to the tourist-focused service industry and the city plunged deeply into poverty. With jobs and money scarce, crime on the rise and the war on drugs stepped up, New Orleans grew increasingly cutthroat and violent. By the late ‘80s/early ‘90s, whereas almost all American cities began to see a rise in gang culture, the more desperate New Orleans remained dominated by self-starters, self-servers and hustlers with rivalries and identities tied more often to wards and the city's many, large housing projects than organized gangs. In the process, New Orleans’s hip hop scene began to craft a unique identity quite different than that of most other cities. Tracks like Gregory D & DJ Mannie Fresh’s “Buck Jump Time” and MC Thick’s “Marrero (What The Fuck They Be Yellin)” began to express a New Orleans lyrical specificity largely absent from previous NO rap tracks. In addition, the projects (as well as clubs like Big Man’s, Flirts, 49 and Ghost Town) served as the primary venues for local, aspiring rappers.



But it wasn’t until Bounce that New Orleans crafted a truly unique brand of hip hop, largely based on the samples of two seemingly unlikely records whose journey to New Orleans remains obscure. New York rappers The Showboys released “Drag Rap” in 1986 to resounding disinterest. The first half of the track is very much in the vein of Run DMC, but the latter half kicks off with a synth cowbell-punctuated beat that forms the basis of almost all Bounce. The other track, perhaps even less likely to find its way to New Orleans, was British rapper Derek B’s 1987 single, “Rock the Beat.” An instrumental version of it, labeled “Brown Beats,” was included on legendary DJ Cameron Paul’s mix, Beats & Pieces. These two singles became the backbone of almost all Bounce, although, despite what you often read, they were by no means the only ones. You hear a lot of Rebirth Jazz Band, John Carpenter's Halloween theme and the Jackson 5 in Bounce as well. Just check out
http://bouncebreaksarchive.blogspot.com/ for a fairly comprehensive list.

 
What is Bounce?
Bounce, it is often noted, is based on repetitive, simplistic, call-and-response lyrics (mostly ward and neighborhood shout outs and dance call outs) and built (primarily) on just the two aforementioned singles. One thing that seems conspicuously absent from discussions of Bounce is the Dancehall-influenced flow of the rappers. In the early '90s, that influence was everywhere, from acts like Fu-Schnickens to songs like Ice Cube's "Wicked," which (like many others of the day) featured a guy toasting at some point.


Despite what the national media often suggests, Bounce isn't the widely-heard, late ‘90s New Orleans rap coming from labels like Cash Money and No Limit, although they, along with other New Orleans rappers like Devious, Dog House Posse, Kane & Abel, Mia X, Ruthless Juveniles and others occasionally incorporated Bounce aspects or recorded individual Bounce tracks.


Now a lot of haters and moaners will hate and moan about how Bounce is responsible for killing rap. Supposedly it does this by shifting the emphasis away from the (supposedly progressive) artistry of simple, rhyming couplets delivered with an unvariably 4-4 beat toward Bounce's polyrhythmic, lyrically abstract, fun chants that owe more to the Second Line; Bashment, slave-created music forms (e.g. field hollers and ring shouts); and children’s street culture like playground songs (e.g. "K-I-S-S-I-N-G"), clapping games (e.g." Mary Mack," "Miss Susie," "Stella Elle Olla") and jump-rope rhymes ("Fudge, fudge, call the judge," or "Three, six, nine, The goose drank wine"). This unpretentious rootsiness horrifies stodgy purists, creaky fuddy-duddies and cultural watchdogs but is ripe for enjoyment both from p-poppers and subcultural anthropologists who can hear that Bounce expresses more personality in one silly line than most “serious” rappers do over entire careers of insecure, self-absorbed, macho fantasy.

Trailer for Ya Heard Me

Bitch, Stop Talkin’ that Ish - Bounce’s Golden Age
With such a limited lyrical lexicon, DJs and producers like Polo, Precise, DJ Duck, DJ Money Fresh, Mannie Fresh, Henry the Man, E-Jay, and DJ Irv should get at least as much credit as the MCs for the creation of Bounce. Because, at least as important as calling out every ward, project and (on rare occasions) Southern state is the curiously powerful pull of those beats that just grab you.

TT Tucker & DJ Irv - "Where Dey At?"
 
1991
Bounce really began in late 1991, when TT Tucker and DJ Irv recorded, but never officially released, a song they’d perfected at Ghost Town, the blueprint for the genre, “Where Dey At?” It was so repetitive, so infectious and so gutter, it captured the hearts and minds of thousands and so it began. Sadly, the duo never much capitalized on their pivotal role, with TT Tucker in and out of the clink and DJ Irv tragically shot and killed.


DJ Jimi (featuring Jimi's mom) - "The Bitch's Reply"

1992
Almost immediately, similar Bounce songs followed in the wake of "Where Dey At?" Jimi “DJ Jimi” Payton, a DJ at Big Man’s, joined by Dion “Devious” Norman and Derrick “Mellow Fellow” Ordogne, crafted a followup, "(The Original) Where They At." After it was licensed to Memphis’s Avenue Records, it resulted in a response track from Memphian rapper FM with “Gimme What You Got (For a Pork Chop!). DJ Jimi also gave the first recording exposure to Juvenile, who went on to find lasting fame beyond the genre, but did so much with so little (lyrically) as a Bounce artist. That same year, Mannie Fresh and Gregory D ended their professional relationship, unhappy with RCA’s handling of their career. Fresh then joined the fledgling Cash Money label, whose first release (Kilo-G’s Sleepwalker) was not Bounce, but who soon were known for crafting Bounce songs, as was the fledgling Take Fo’ Records.

D.J. Jimi (featuring Juvenile)
– “Bounce (For the Juvenile)”
D.J. Jimi - “(The Original) Where They At”
Everlasting Hitman - Bounce! Baby, Bounce!

Ju'C - "Lick Da Cat"
 
1993
1993 was the year that Bounce really exploded. Moving beyond its simplistic origins only slightly, groups like UNLV helped popularize the genre by adding elements of Gangsta Rap and soon inspired many similar releases by other acts, especially across town, over at the brand-new Big Boy Records, which escalated into a heated Gangsta Bounce rivalry.

Da’ Sha Ra’ – Bootin’ Up
Daddy Yo – “I’m Not Your Trick Daddy”  
DJ Jubilee – “Jubilee All (Stop Pause)”
Joe BlakkIt Ain’t Where Ya From
Ju’C – “Lick Da Cat”
MC Spud & DJ Def  - “Holla If Ya Hear Me”
Lil Elt – “Get da Gat”
Sporty T – “Jackin for Bounce”
UNLV – “UNLV Style,” “Eddie Bow“

Fila Phil - "Hustlaz"

1994
In 1994, national interest in Bounce was first shown when Scott Aiges wrote an article on how much more popular the genre was in New Orleans than nationally promoted artists. The tone at the labels wasn't so much interest, but concern. They wondered why people were buying tapes out of trunks instead of the "Heatseekers" on the Hot 100? On April 22, in a tragedy for Bounce, his friends, fans and family, local legend Edgar "Pimp Daddy" Givens was murdered in the 9th ward.

B-32I Need a Bag of Dope
Fila Phil – “Hustlaz “
Lil Slim – “Eagle St. Bounce”
Partners-N-CrimePNC
Pimp Daddy – “Got 2 Be Real”
 

Dolemite - "Hustla, Hustla"

1995
In 1995, No Limit moved from Richmond, California to New Orleans where the Bounce scene was, by then, huge... at least, regionally. No Limit released a compilation of both Bounce and non-Bounce artists, Down South Hustlas -- Bouncing and Swingin' and began to successfully build on the New Orleans rap scene, ultimately signing a major deal with Priority, then flush with cash off the success of The California Raisins. Over the next few years, their Pen & Pixel-decorated CDs flooded the national market and media interest in New Orleans exploded as Southern rap began to completely eclipse the east and west coasts.

Cheeky Blakk – “Bitch Get Off Me,“ “Twerk Sumthin’"
Dolemite – "Hustla Hustla"
Ricky B. – “Shake Fa Ya Hood,” “Who Got The Fire”
2 BlakkThe Game
 

Magnolia Shorty - "Monkey on the D$ck"

1996
On February 6th, 1996, another Bounce pioneer, Floyd "Everlasting Hitman" Blount was tragically murdered in Fisher. Around the same time, with UNLV’s hit "Drag 'Em in the River" and No Limit’s Beats By the Pound-crafted, bottom-heavy, electronic-based rap, the media began to inaccurately ascribe the term "Bounce" to these nationally popular New Orleans releases. Over the next few years, the word “Bounce” was to be tossed like so much Mrs. Dash by many a non-southerner trying to add a little spice.

Lady Red – “Smokin’ Dat Weed”
Magnolia Shorty – “Monkey on the D$ck “


Kilo - "The Ward Song"
 
1997
By 1997, all of Cash Money’s original lineup of Bounce and non-Bounce artists were either dead (UNLV’s Albert "Yella Boy" Thomas was murdered on April 5th of that year) or dropped. Solja Rags, the new Juvenile album, further shifted attention away from Bounce with Juvenile' new direction and Mannie Fresh's continuation of his sound first evinced with UNLV a year earlier.

Kilo
– "The Ward Song"
Willie Puckett- "Doggie Hopp"
 
Snap Crackle Pop – The Silver Age of Bounce
By the end of the millennium (following their meteoric rise in popularity, major label deals, and subsequent mass defections of talent), Cash Money and No Limit were both reduced to being primarily family affairs. At the same time, national interest in Southern Hip Hop began to shift to Atlanta, Houston and Memphis -- scenes that owed heavily to New Orleans's sound and successes. 


Josephine Johnny - "Workin' With Sumthin'"

A new generation of Bounce artists began to expand the production pallet of Bounce, ironically, toward the increased use synthesizers and programming popularized by Beats By the Pound and Mannie Fresh, who’d helped popularize (in some ways at the expense of Bounce) New Orleans’s non-Bounce successes. The new crop of Bounce artists, despite moving beyond their Triggerman-and-Brown-Beat-sampling forebears, nonetheless undeniably carried the Bounce torch when, to some, it must've seemed all but done and dusted. In addition to all of these artists remaining active today, there are newer acts in the same vein, like Da Block Burnaz, keeping the classic N.O. Bounce spirit alive, whereas most rappers chase passing fads.

1999
5th Ward Weebie – “Show the World”
 
2000
Josephine Johnny – “Workin’ Wit Somethin “
 
2001
Choppa –“ Choppa Style”
 
Tweaker Twerk - Modern Bounce & Sissy Rap
Undeniably defying the tired suggestion that all Bounce sounds the same, modern Bounce artists can truly be said to be taking it into new directions. A large part of this seems to be due to the rise of Sissy Rap, the openly gay Bounce offshoot pioneered by Katey Red & Dem Hoes. Following her lead, a whole host of Sissy Rappers followed with similarly ear-splitting, racous songs whose lyrics make early Bounce artists look like Charles Dickens. Always more egalitarian than mainstream and so-called progressive hip hop, Bounce (like a lot of booty-targeting music) has always had a comparatively large following among women and gays. The “Sissy” moniker, like “Cheb” in Rai, is nearly but not quite universal. With newer Bounce artists including Big Freeda (aka Big Freedia), rappers on the DL, heteroflexibles and just given the confusing sartorial sense of kids today, it becomes harder to differentiate many Sissy Rappers from straight modern Bounce artists, as their music is generally very similar.

Gotty Boi Chris - "Dip Low"
 
The defining development of modern Bounce and Sissy Rap is the increased aural insanity. Faster tempos, lyrics reduced to chopped and repeated phonemes, punishing dissonance, cacophonous clangor and frequently blown out production have turned what was once a distinct-from-but-recognizably-related-to-hip-hop genre into something that sounds like a hybrid of Gabber and Gnawa. The end result is almost avant-garde, and more deserving of the hype and description that Konono No. 1 generated a few years back with their comparatively familiar, down-to-earth approach. No doubt the increasingly insular nature of Bounce is only part of what keeps it out of the mainstream, despite recent media attention.


Big Choo - "Get Low"

Unfortunately, finding accurate discographical information on Bounce artists seems to grow surprisingly more difficult, the newer the artist. But other exemplars include DJ Black N Mild, Big Choo (“Get Low”), 9th Ward Tea, 10th Ward Buck, Chev Off the Ave (“Hollywood Bounce”), Dre Skull, Elm Boy Peg, Gotty Boi Chris, MC Shakie (“Double Dribble” and “Hands on Da Ground”), Sissy Jay, Sissy Nobby and Vockah Redu.
 
1999
Katey Red & Dem Hoes – “Tiddy Bop”
 
2000
Big Freedia –“A'han, Oh Yeah”
 
2002
SWA – “We’re #1“
 
2004
Faster Boyz – “I Ain’t Had Sex in a Long Time”
 
2005
Hot Boy Ronald – “Walk Like Ronald "

Any corrections or additions will be incorporated. Peace!


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I feel like bootin' up -- The Take Fo' story

Posted by Eric Brightwell, February 20, 2009 06:06pm | Post a Comment


Take Fo' Records
is a little known (outside of New Orleans) music label that truly broke ground with its motley roster of artists and progressive attitude, yet it's never received adequate recognition for its pioneering role in music. Whereas New Orleans's other big labels: Big Boy, Cash Money, Mobo, Parkway Pumpin', Untouchable, Tombstone and No Limit all seemed to consciously project a hard-as-nails image with tales of slangin', bangin', head bussin' and wig splittin', Take Fo' welcomed gangstas but also ball busters, dancer-cum-rappers, party starters and probably the first openly gay rapper. Despite the possible negative associations that might come with being part of this hip hop Island of Misfit Toys, the rappers on Take Fo' seemed unbothered and showed up on each others' albums in a show of courageous support.



 

Take Fo' evolved from the public access show Positive Black Talk that began in 1990 and was co-hosted by Earl J. Mackie. Their definition of "positive" wasn't necessarily in line with American mores at large, where violence is pretty much embraced and sexuality is incredibly repressed. Even in New Orleans, which is largely a lot more open-minded, not everyone appreciated Mackie's conception of positivity and he got grief from his pastor. But all of the show's guests conveyed messages of self-empowerment in their own ways, even if they ruffled some feathers along the way.





In 1992, Positive Black Talk lost its grant and Mackie hosted a dance at a local high school to raise funds for the show. The centerpiece was meant to be Da'Sha Ra' (pictured above) but a special ed teacher asked if he could warm up the crowd. After half an hour of captivating the audience, Henry "Henry the Man" Holden and Mackie began to formulate a new idea. After raising more in one night than the show had in two years, they switched tracks and soon Positive Black Talk Inc. morphed into Take Fo' Records and the show was no more. It took a couple months of pressure to get the warm up act, DJ Jubilee, to sign, as he already was commited to teaching and coaching, but he ultimately did and became the label's biggest star. Joined by partner Elden Anderson, the new label operated in the back of Mackie's father's roofing business. Henry the Man and E-Jay handled the production for the tracks and the label's ranks grew as more artists signed.


In the early '90s, Take Fo' quickly became one of the two labels that most epitomized Bounce music, the other being Mobo. Cash Money and Big Boy were both then primarily focused on producing a gangstafied Bounce variant, pioneered by U.N.L.V., who coined the term Gangsta Bounce. No Limit, having started in Richmond, California, was decidedly straight gangsta, albeit with a southern flavor courtesy of the second line-influenced production of Beats By the Pound. Jubilee's music, on the other hand, was in the vein of the Bounce's pioneers, TT Tucker & DJ Irv, DJ Jimi and Everlasting Hitman-- mixing the triggaman beat, the brown beat, calling out dance moves and shouting out wards, projects and occassionally neighboring southern states. "Stop Pause," his debut single, sold 30,000 copies and gave the label its first hit. By the mid-to-late '90s, Take Fo's New Orleans neighbors had all but completely dropped the Bounce aspect of their music but Take Fo' kept wobbling into the new millenium, ultimately spawning Bounce's shrill, gay offshoot, Sissy Rap.


By the late '90s, with the nationwide ascendancy of southern rap, the increasingly marginalized old record labels carpetbagged it down to N.O. hoping to exploit the city's East and West coast obliterating scene. First, Priority signed a deal with No Limit, then Universal signed a major deal with Cash Money. In 1999, DJ Jubilee signed a deal with Tommy Boy but they didn't allow him to record and eventually freed him. Meanwhile, Big Easy Distributing, Take Fo’s distributor, went out of business. That same year, Take Fo’s promoter, the legendary Bobby Marchan, also passed away.

Take Fo' famously ended up going to court several times over the years. In one case, DJ Jubilee sued Juvenile, alledging that the Juve's "Back That Azz Up" ripped off Jube's "Back That Ass Up" based on the claim that he'd originated the dance at block parties. As much as I like Jubilee and feel bad that he's never achieved anywhere near the fame he deserves, I have to say he didn't really have a case since he wasn't suing that his dance had been ripped of, but that his song had. Mannie Fresh, for his part, admitted that "Back That Azz Up" was inspired by Jubilee's song, but with significantly varied production and even the lyrical conversion of what was a dance chant into more sexual territory, the court ruled in Juvenile's favor. A few years later Take Fo' sued Master P for breach of contract, alledging that No Limit failed to adequately pay Take Fo' in their joint venture with Choppa and I guess they settled for an undisclosed sum.


In 2001, Take Fo' became The New Take Fo'. After Katrina, the label relocated to Houston but returned by 2009, when they celebrated 17 years in the game. Whilst they may be fairly obscure, they've shown remarkable perseverance, a defiant open-mindedness, and created some classic music along the way.

Partial Take Fo' timeline/discography


1994 - Flesh & Blood - Flesh & Blood



1995 - Da'Sha'Ra - Still Bootin' Up, DJ Jubilee - Stop Pause, DJ Jubilee - DJ Jubilee & the Cartoon Crew


1996 - War Time featuring The Hideout - The Album,  Big Al & Lil Tee - B***h You Know Who I Am, DJ Jubilee - 20 Years in the Jets


 

1997 - 2-Sweet - Actin' Bad, Willie Puckett - Doggie Hop, DJ Jubilee - Get Ready, Ready!



(original Choppa Style - poor quality)


(No Limit remake - medium quality)

     

1998 - Willie Puckett - Million Dollar Hot Boy, DJ Jubilee - Take it to the St. Thomas

   

1999 - Katey Red & Dem Hoes - Melpomene Block Party, K.C. Redd [RIP] & the Shake 'em Up Girls - It's a G-Thang, Lisa Amos - Cause You Love Me

 Katey REd Y2 Katey 

2000 - DJ Jubilee - Do Yo Thing Girl!, Katey Red - Y2 Katy, Tec-9 - Ready 4 War



   

2001 - Choppa - Choppa Style, DJ Duck - Duck Remixxes, Junie Bezel -
That's How Mess Get Started

Post Script: Kasey "K.C. Redd" Segue was shot to death in 2006. Katey Red filmed her first video in 2011, for "Where Da Melph At?"

*****

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Lil Slim

Posted by Eric Brightwell, December 1, 2008 03:15pm | Post a Comment

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.

The album was The Game is Cold (1993). One highlight is "Hoes I U's 2 Sweat." Another is "Bounce Slide Ride," a Bounce classic in the vein of DJ Jimi and Juvenile's "Bounce for the Juvenile" which name-checked Juvie and echoed his taste for Reeboks and Girbaud. Lil Slim's style was sing-songy, reggae-informed, repetitive and heavy on chants -- somewhat similar to Pimp Daddy, UNLV and early Juvenile. One thing that set him apart was his exaggerated Yat accent, in which the familiar interjection "Ya heard me?" sounded like "Ya hoidz me?" Cash Money was then primarily a Bounce label and a good deal of the lyrics amounted to little more than calling out wards and projects. Expecting lyrical complexity out of Bounce is missing the point, however, and the album is emphatically danceable. Its Intro and Outro tracks allowed Mannie Fresh to cut snippets of Slim's already sparse prose and make them almost completely abstract.

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 melloThug'n & Pluggin' lil slimwing 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.

Lil Slim's final album for Cash Money was Thug'n & Pluggin (1995) which saw him (and especially Mannie Fresh's production) making more concessions to West Coast styles on G-Funk flavored tracks like "Bitches Ain't Shit," "Gangsta Day," "Shakem Up Shakem," "Time to Murder" and the excellent "Hands on My Gun." "Live in Club Rolex (Real High)" with its heavy use of the triggerman beat from the Showboys' "Drag Rap" was a throwback to Lil Slim's straight Bounce beginnings. "Neighborhood Terror" is another highlight.


Like all Cash Money productions, other artists from the roster make frequent guest appearances. In the pre-Hot Boys era that means B-32 (Birdman), PxMxWx, Kilo G (Cash Money's first signing) and Mr. Ivan. Of course, Lil Slim appeared on albums by other Cash Money artists such as Mr. Ivan, PxMxWx, Pimp Daddy and UNLV. He also brought an artist to Cash Money's attention that today is the CEO of the label. In 1994, Lil Slim heard his eleven-year-old neighbor rapping at a block party. Born D'Wayne Turner, the Eleanor McMain Magnet Secondary School student was calling himself "Shrimp Daddy" and owed a considerable stylistic debt to Lil Slim and Pimp Daddy, whose "You Gotta Be Real" he re-did as "You Gotta Be Lil." Lil Slim was suitably impressed and promised to introduce the child to Baby and Slim. Then, at one of his autograph signings in a record store, the little kid performed a rap where he spelled out Hollygrove. Paired with the twelve-year-old rapper Doogie (aka Gangsta D) and rechristend "Baby D" in a duo called The B.G.z, they ultimately went on to find more fame under their subsequent handles, B.G. and Lil Wayne, respectively.


In 1995, Lil Slim parted ways with CMR. According to Lil Slim, it was over contractual problems, including unfair payment of royalties; Baby being a student of the Suge Knight school of label-running makes that charge pretty likely. In addition, almost everyone that's left the label since has made the same allegation, sometimes suing and winning. On the other hand, Slim and Baby maintain that they dropped the original line-up of artists for not being disciplined or hungry enough, spending any money they got on dope... which, given their brown-centric lyrics, may have a grain of truth to it too. Whatever the reasons, the members of CMR's original line-up fared poorly after their departure. Kilo-G, Pimp Daddy and UNLV's Yella Boy were all murdered. Mr. Ivan died recently. I suppose PxMxWx, Miss Tee, Magnolia Shorty and Lil Slim can at least count their blessings that they're still alive, gone from the spotlight but not forgotten. Cash Money, on the other hand, went on to sign a multi-million dollar deal with its new signings, all (save Lil Wayne) of which left echoing Lil Slim's claims of unfair payment.


Lil Slim's final release was Lil Slim's Back (1998-Franchise Player), a six-track mini-album that I've never heard. About five years later, Lil Slim relocated to Northern California, where he currently lives. His current obscurity is shocking given his importance as a rapper both artistically and historically. For better or worse, without him we probably never would've heard from Lil Wayne or Turk. I contacted him with the hopes of an interview and he never got back to me.

(Update: Slim did attempt to get back to me and I to him but it didn't happen. Now he's got a proper website on which he tells his story in his own words so check that out here).



*****

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Hot Boy Ronald -- toot it up!

Posted by Eric Brightwell, August 25, 2008 01:34pm | Post a Comment
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.

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