NOLA Tapes: 96 sounds of Cise


Fiend Won't Be Denied
(1996, Big Boy) cassette -> 320

I'm reflecting on the expression "Rest In Unimaginary Peace". More excellent prod work from "Precise" - man, my favorite thang about the guy is those lone crybaby guitar notes. Actually, zoom the thing out and its like a single line split four ways masterfully. Basketball-like teamwork in part-writing. And I'm thinking about early work by Magnolia Slim, Mac, KLC and this tape providing both great evidence against the claim "No Limit Had No Talent" & for the claim "Rap Might Have Been Better Off Without Them". And not that it needs to be said but P&P productions at their peak here, wtf.

Sorry, anyways, for so diligently and obnoxiously ripping every tape on the rack and then writing one small blip of surprise about some record that everyone who wants already has but its surely more social and more meaningful than me reorganizing records from by-BPM to by-region-based-alphabetized then back again and besides Sharity is a respected blog format even without Noz's endorsement. I saw a headline about in the Wire Adventures In Modern Music. I wish, though, that I could justify this post on the basis of fidelity but shit! I don't have a "chrome" setting on my deck! Sounds kinda like I rubbed motor oil on the tape heads.

Like other Rap Bloggers I like the sound of my fingers smacking away at the keyboard. I type in rhythms like a middle-schooler playing pens.

I haven't been keeping complete track but I think this is the first tape feat. Wild Wayne since Da Rangaz.


Anonymous said...

"All I See" was the theme song for a stop the violence in New Orleans campaign in the early 90's. It has a video if you dig around.If i remember correct the guy who directed it shot all kinds of videos for local artist and is semi-famous now.

The Local Commercials for these records were pricless back in the day.

Big Boy,Cash Money and Untouchable/Tombstone all have them.
The 3 Major labels of the city...well used to be, before No Limit vertiually destroyed the local hip hop scene.

Anonymous said...

Did No Limit destroyed the local hip hop or put the lights on?

Anonymous said...

Before NoLimit Local artist would bang out well rounded material.Lyrics and Production were top notch on most.They didnt care about going platinum or being on Billboard.They were just putting it down.

After NoLimit it was nothing but Stunting and yelling we major and we going platinum Bla..Bla.
How you going platinum on a local release and no one knows who you are?

Look at our local hiphop now, nothing but garbage.Thats why people love all these older releases so much, their was no benchmark to reach.

Anonymous said...

OK I understand...
My view is not as good as yours cause I'm not from N.O. -I know well your city, I came a few times in the 90's, when the rap was hot, the city was HOT too - I love so much all this Mobo, Tombstone, Big Boy and earlier Cash Money's material, but I think some of No Limit records [thankx to KLC & Odell]- Tre-8, Young Bleed, Mystikal, Skull Duggery - are greats.
What do you think of ?

BIGWorm said...

Don't get me wrong,NO LIMIT single handedly put the south on the map, period point blank.

But the ghetto boys and UGK and so on did...bla...bla...bla.
After NoLimit their was a Frenzy to sigh artist from the south bacause P shoved our potential in the face of the mainstream.

Its just after that success no one wanted to pay dues on a local scale.Before that we made music for US.
Unlike Cali and NY the south has so many states and so many styles that once we got put on we could never fall off. So in the midst of the EAST/WEST bullshit we came in the game and basically never gave the ball back since 96/97ish.

They way our music is represented now, its just a matter of time before some other unkown regions potential is tapped.

Anonymous said...

Ok Big Worm... thanks
On BLVD ST's blog (DJ Burn One's blog) there's a nice tribute to KLC & of course to "STREET LIFE" Fiend's opus. PLus they explain No' Limit internal political at that time...
Why No' Limit enterperise rose up, why it felt down...

Anonymous said...

thanx-a-lot for your work on this blog! but can u please re-up Hot Boy Ronald "Walk Like Ronald" B-Side archive. Thanx again.

MF Sleem.

Anonymous said...

yes yes yes. The local commercials and all other local videos they used to show on The Box NOLA Channel 10.

The commercial for Lokee's first album "I Got Dis" with the fellas runnin' slow motion down the levee to music of "Gunnin'"

The Mobo Records commercial for Ruthless Juveniles "Hard as the F**k 2"

The commercial for the Murder Inc. album

The 1995 Cash Money commercial for UNLV's "Mac Melph Calio" with Lil Ya, Tec-9, Yella Boy rappin in front of the Magnolia Projects to the chorus for the song "N----, I'm Bout It!".

As far as I remember UNLV never made videos during their Cash Money days so it would be interesting to see the dichotomy of UNLV, then and now. That or footage of Yella Boy... the amazing lyricist that could have been.

All this shit was straight Classic.


Lokee504 said...

Maybe someone recored on VHS these amazin video?? Lokee's album was one of greatest of all times ever to come from N.O.

Anonymous said...

Man, I'm really hoping someone saved these commercials.

I imagine whoever jjcenterprises is on Youtube probably has some of them since most of the videos were taped from the PhatPhat'N'AllThat shows off cable access.

I still got a couple Yo! MTV Raps shows from late 93 early 94.. but Damn!, If only I had that kinda foresight as a youngn'.

What I would give just to see them once more...


Anonymous said...

All them guitars, live bass and keyboards you hear on EVERY Big Boy Records CD was done by that white boy, David "D-Funk" Faulk. That dude is a monster on any instrument he gets on. A lotta people think Precise played those things on all those Big Boy Records albums but that's all D-Funk - all of it! Funkiest white boy I ever met.