Violent Cus its Really Fabulous Music

Parts two and three of LArap poster Turlet's generous WMV upload.

I'd like to know the details about 2 UNLV songs whose instrumentals were repackaged for other Cash Money artists' singles: Wayne's "Go DJ" and Juvie's "Set It Off". "Yella's Revenge" seems like its a Sinista junt and "Set it Off" a Mannie Fresh production - so what's up with that? I've always had a lot of respect for the Yella/Setitoff instr. which pairs the drag-net riff with the Halloween theme but slowed down and phrased instead of sampled. In my imagination I see all MIDI programmed rap played live - some asian teenager furiously plucking away the crazy pizzicato octaves while some drunk, blind man bangs piano low notes with one finger.

Bounce Bounce for UNLV

Yo Rob, is this what you were talking about? UNLV live on Lousiana Jukebox performing "Bootie Bop". This was uploaded at Louisiana Rap (what up turlet? don't stop, don't quit) whose Cbox is increasingly becoming the internet's de facto bounce mini-forum in much the same way as I have become one of the internet's de facto bounce experts and I can only hope I get backseated stat by some true bootstate professionals.

I know a lot of bounce-curious people who are intimidated by stockpiles of downloadable data and so in the coming days I'll be posting more streaming media (youtube) to supplement the shipments. I suppose even some of you foreal mpeg archivists can't afford the extra harddrive or even CD-R stack having been layed off or looking for work for god knows how long. From now on, everyone can Twankle. At least a little bit. If you have a computer. And the internet...

So many NOLA tape rips and the other parts of this vid coming ASAP. All time lost will be found, I promise.

Bass Tapes: Pre-Yang Thang

DJ Smurf
Collipark Music
(1997, Benz) cassette rip @ 320

A promise of more love shown for my home away from home in the coming posts... Atlanta has sat back-seat to Memphis & New Orleans too long. And I've been all around slack. I know that.

I was hoping to find a wealth of Collipark digital ephemera to supplement this upload. All I found was one XXL interview I couldn't wrap my head around. Collipark doesn't understand or respect what K-Rab is doing? Didn't he sign P-Stones? Soulja Boy? Elsewhere he admits to not feeling Soulja Boy at first but getting it later. I guess he is in the business of business. There are real records and there are gimmicks. And a generational wall between boom and snap.

I'm going to make a request because last time I did it was filled: Success N Effects "In the Hood".

I will attempt to make up for lost time between now and April fools - and I''ll upload a realer pic when the sun comes back up.

Somehow I missed these when they were posted:

Whatcha Gon Do

Video complement to Noz's Atlanta retrospective, even if 2 of these fall outside the reach of his temporal fovea. Thank god someone (JJenterprise) had the foresight to VHS all their Box favorites. You have to really be one step ahead to be New-Century style hoarding with 1993 tech.

Nothin But Bounce

Sporty T "It's All Good"
(1995, Big Boy) cassette rip @ 320

Mysteriously deleted and somewhat eerie Down-South.com interview from the black on black google cache:

When it comes to the origins of New Orleans old school hip hop the wet Boys Sporty T, is, as they used to say back in the days, down by law! As a founding member of the Crescent City infamous Ninja Crew, Sporty helped paved the way for many of today’s young rappers who are now enjoying tremendous success on a national level, including Mystikal, Master P and his arch foes Cash Money, whom he started battling on wax back in the early 90s when he was an artist on the now defunct Big Boy label. In addition to being a hardcore underground rapper, with battle-ready lyrics, Sporty also was one the NO’s most prolific bounce artists, who churned out a string of bounce hits under the Big Boy label.

A dynamic performer and a gifted lyricist, blessed with a quick wit and a sparkling personality, Sporty had a way of making you laugh even when he was ripping you to shreds with his harsh words. In addition Sporty was one of the hardest working men in New Orleans hip hop, in the last four months he released four, count them, four albums. They are Sporty T, Look What I Got; the Wet Boys Six Ft. from Home and a collection of his greatest bounce records entitled Sporty T present Bounce Kings Vol 1 & 2. Recently Sporty T was shot five times in the back. From my last report he was in critical condition. It's a shame because the last time I saw him, he told me that he was squashing all beef that he had with Cash money and that the next Wet Boys album was going to be straight rapping.

A couple of years ago I met Sporty at a local Pizza Hut for a brief interview where he gave me insight into the history of New Orleans rap. Here is that complete interview presented publicly for the first time. Please join us at Down-South.com as we pray for Sporty’s speedy recovery.

Sporty, give me a brief rundown on how you started out in hip hop?

Aiight, this is how it was. I went to LC Ford up until Senior high school. I played symbols. This was like 1983-84. This was like coming of the summer when rap really blew up here in New Orleans, this was the summer when Run DMC had it’s like that and the other song that was on the other side…”Sucka MCs. This was during the time when Slik Leo’s Live From the Famous was just burning rap music just like New York used to do it. I’m from back in days when Masters of the Turntables, New York Incorporated, Denny D…. Rockers Revenge with DJ AC. When I used to see New York Inc. That was DJ Mannie Fresh and Denny D and DJ Wop. Me and Mannie…. We go way back.

As for how we got started in rap, It was like one day we were in the band room and beating the beat to Sucka MCs on the table. There was this guy named Larry who started rapping to the beat and I ain’t never heard nobody do it live before and I was like damn. For the rest of the day I didn’t do nothing but try to write a rap. That next day I kicked a little rap for them and they was like damn, It was good.

Once I did that, me and Gregory D from the same neighborhood. Greg played in the band too, but he went to a high school called McDonald 35.

This is the Gregory D of Gregory D and Mannie Fresh?

Yeah, that’s him. Let me tell ya, Gregory D. didn’t really start getting with Mannie Fresh until after me and Greg broke up our group.

After hanging out in the neighborhood, I found out that there were a whole lotta rappers in the neighborhood. I remember one of my potnas told me that Greg raps too. So he put us together. Come to find out that Greg was rapping a little bit longer than me, cause all I had was this one rap so I couldn’t get inside the circle without kicking the same thing. So after that me and him, we started a group called the Ninja Crew. It was me and Gregory D and we had DJ Kenny D and we added another DJ by the name of DJ Danny D, who is DJ Lil Daddy right now. Basically it was us four and we was like tearing everything up. We’d just go around the City and win every rap contest and talent show, we was winning everything.

Weren’t you also responsible for putting on UNLV’s longtime rival Partners in Crime?

Yeah, I open the doors for a lotta people…..Partners in Crime is one of ‘em. I didn’t put them rap game, but I was the first to put them on wax. I got them signed to Big Boy Records. I put Gregory D on a record to. I got the deal with Foresight Records. They had Shi D, Gigolo Tony and MC A.D.E. I got the deal with them I put Greg on the song and that made the group. Now, if you interview him, he might tell it like that. But it was basically me, I put everything together. We recorded our first record like in 1986.

Okay tell me, how did this beef start between you and Cash Money?

Aiight this how it was. Cash Money….I always knew Baby and Brian. Ma and Baby went to the same Jr. High School. I knew them and his brother L who got killed, rest in peace. I knew Slim because we used to march in the band together at Gauche’. Slim probably remember when I first started rapping back in the day. So basically everything was straight. They opened up a record company and T-bone our producer was the producer for the first UNLV single.

So basically when I was trying to put out my tape called Ya Need A Key To Get In. But I didn’t know the business, so I had to ate that. Baby and dem was opening up a record company and I ain’t gone lie, I went and hooked up with him a couple of times. That was back when he had the artist Kilo G. So I let the rap alone, I was doing other things. I got back into the rap game back in 93. At this time Cash Money had gotten a little bit bigger because they had Kilo G, Pimp Daddy, CMW, UNLV and they had Lil Slim.

They were like a straight bounce label at that time, except for Kilo G. He was on some gangsta stuff, but they were like a straight bounce label.

Me and this guy named Charles Temple, the guy who started Big Boy. We were like potnas, one day we was at a gong show, I used to hate bounce because I was a hardcore rapper. Well anyway T. T. Tucker used to always come around these gong shows doing bounce and I’d be like man, I can’t stand his music. It's stupid, it’s weak. It ain’t saying nothin’. Then the Everlasting Hitman did a song that night. He was like my lil’ potna, When he came I started appreciating it.

What about Juve?

I gotta give him his props, I gotta give props where props are due. Juvenile came out with a song "Bounce for the Juvenile." When I heard Juvenile, that made me want [Bounce] bad. Because all the rest of the bounce artists were all right. It really was the music that had everybody going. But it was like dumb music to me. But when Juvenile came with Bounce for the Juvenile. He was like kicking lyrics with it. His bounce lyrics wasn’t like everybody else bounce lyrics. Most of them would say everything three times and move on and Juve came with the story telling with bounce. Then he had a good producer at the time, DJ Precise.

And what really made me want to do it is that I saw Juvenile and Precise performing in the Big Easy and Juvenile got off and I was like yeah that's what I want to do right there.

At this time I did a bounce rap and Charles was like we gone record this. That was the first single on his label. But before I did that, I think that I was rapping at a gong show and Baby walked up to me and said that he wanted to put out a record on me. I went back to Charles and said that man Baby and Slim is gone put my record out, you playing. And he was like, naw, we gone do it, so I just left baby and them alone. But we were always cool. Cash Money was cool. They were like if you need anything just ask us.

As time went on, my single got hot., hot, hot. I had sold about 4,000 copies and coming outta New Orleans…..This was during the time when we were first trying to put New Orleans on the map so this was some big shit. Once my shit started getting hot, Charles started wanting some more bounce acts so I starting recruiting some. One day I was at a show and I saw Misdemeanor rapping and he saw me riding in a rental car and all that and he wanted to be down. So I bring him to Big boy. He pulled me to the side and said he didn’t think that Misdemeanor was tight enough. I kept telling him he was tight, but Charles couldn’t see it. It wasn’t until he heard Misdemeanor and his potna Kangol Slim that he realized how tight they were together. Now they used to be down with Cash Money also.

So that’s how the beef started it was all about P.I.C. [sic] ...

They say it all went down when they were at a concert one day ---now all of them were with Cash Money then. Now UNLV was on stage while P.I.C. [sic] were standing up there in the first row and UNLV went to chanting everybody jocking UNLV’s style, why is every one jocking UNLV’s style and they were pointing at them while they were saying it. So they all fell out and P.I.C. [sic] was looking for a new label. When Charles heard ‘em together, he signed them and P.I.C. [sic] put out this song called Pussy In the Can, which was dissing UNLV.

So is this where all the beef started between the two camps?

That was the forefront of all of the Cash Money/ Big Boy thang. Cash Money had the city for a while and then Big Boy had the city. When we came, we just took over. Now we got Partner In Crime and UNLV going at each other on wax.

Okay how did you guys get into the beef?

Okay UNLV did a song called "Show Them Muthafuckas What You Made Of" and I was the first one to rap on the song and I came like hard and everybody was like damn. Then Big Boy, they had a little falling out. Everybody left the label except me. I stayed around for awhile. Then I left and that's when I really started going off on Cash Money. I started my own record label and dropped my first record called The Saga Continues. Then Cash money dropped the BG’s True Stories and on that album Lil Wayne said “Sporty I thought you was hard, but you don’t want none of this.” They was talking about the way I was going off the on Show Them Muthfuckas What You Made Of. He was giving me my props, but he was still saying that we don’t want none of Cash Money. But at the time, I was out there doing bounce music I wasn’t studying them. By now I wasn’t even with Big Boy, I was like why the hell they dissing me, That’s strike one.

Then I had a little incident where I had gotten shot and I had shot somebody after they had shot me. It was a self-defense thang, But Tec-9 had put out an album called Straight from the Ramp. B.G. was on this song called Represent where you From Saying “I roll with niggas with glocks, choppers and Mac 11s / while yall tryin’ to get a rep off Club 57” That was talking ‘bout me because I was shot at Club 57. This was before B.G started doing his own thing. So he was like dissin’ me. That was Strike Two, I took that one and didn’t retaliate.

And one thing….I’m being real with you when he came out he was tight. Everybody thought that he was Magnolia Slim (NKA Soulja Slim) back in the days.

Okay, so what happened between you and Juve. You all used to be partners back in the day?

I’ma get to that. Hold on. Basically, I had left it all alone. But then I had got back with Big Boy.

This was when Cash Money had just release Juve’s Soulja Rag, which was the tightest thing out in New Orleans and he had a line on the Album where he said the Big Boy headache-giver. When he heard that he got sick. Charles looked me dead in the eye and said man we gotta mess with that song. But the album was tight and I wasn’t with it, so me and Charles had a fallin out over that. I called baby after that and told him that I wanted to hook up with yall ‘cause now I wanna go off on Big Boy now. So Baby came got me one day and we went to the studio and all of us was in the studio….Me, Mac from No Limit and all of them….Juve was up in there recording. We all talked, but they wasn’t really talking ‘bout nothing’. So I left.

Me and Big Boy was still fallin’ out. One day he came to me and said what’s up. I told him man, I did everything for you, I put everything together and this is how you show your love. You showing everybody else love. You aren’t showing me nothing. By then I had recorded a song in response to Soulja Rag. I let him hear it. A few days later he called me and said I want it. I told him that if he wanted it that it was going to cost him.

What was Juvenile’s and your relationship like at the time?

Man at the time me and Juve, we was tight. Juvenile used to come kick it over there by Big Boy. I used to see Juvenile over at Big Boy house. We used to sit ‘round the pool and kick it, ya know. So everything was cool. Juvie was cool….me and i was cool. I’d see Juve, he’d holla way across the street. “Sporty.” We’d dap each other off when we see each other. He just got caught up in the mix because of two thangs. (One) he was Cash Money and for two it was 'bout some money with me. Plus you supposed to keep it real. Juvenile and Partners In Crime was cool. All of us was cool. So while I was in the studio with Cash Money that night, they listening to the song the Drama Squad (a Big Boy recording act) made dissing Cash Money. After they listened to the song Baby was like you hear them, ha. Juve said yeah, they going off on my peoples, I’ma go off on them and in the back of my mind it ain’t supposed to be like that.

You ain’t supposed to let these people here make you turn your back on your boys. That ain’t the G Code, that ain’t sticking to G Code. If your boy is y’ boy then that’s your boy. Can’t nobody make me turn against T-bone. If we gone fall out it's gone be for some stuff me and him did. That’s strike three. You see Juvenile old school like I’m old school. But once he did his people like that…..that just wasn’t right.

So you recorded the You Ain’t No Soldier record, to diss him?

At first I wasn’t dissin’ him. I was just was cool. But big boy was like ‘hey bruh, how much I gotta pay ya to put that song on a tape. But push came to shove, it was all about that money. That’s why Juve says on 400 Degrees “Baby let me get the keys to the rover truck/man lets get this beef shit over bruh/bitch what/I’ll bust ya ass up/ don’t even go there woady/ I’m ready to mask up/ I heard about the money/that was some nice change/ for the right price I’ll bust the right brain.” Now all you gotta do is replace Woady with Sporty and you’ll see how he been dissin’ me.

Well, in all fairness to Juve, couldn’t that passage be coincidental?

Then how do you explain this part? My people play me, we ain’t getting’ down no mo’/that ain’t spose to be/but that’s way it’s gone go.” When he say my people play me, he talkin’ ‘bout me. Then he said: “You hated Soulja shit/that why you sold, you was a bitch/Now you running with melon/must not wanna get it split.” I’m glad the tape recorder running because I can quote yall on everything they talk about on me. Cause I know what’s going on. they know what’s going on. All that: “beef, I don’t discuss/ Woady outta line, woady get his head bust.” Who they beefing with? They ain’t talking about No Limit.

Because No Limit wasn’t really worrying about them. Ain’t nobody wanted to diss em until I dis ‘em.

I don’t know what it is, but for some strange reason, they got all these other supposed to be hard assed niggas scared as fuck to fuck with ‘em and other niggas need to realize that I bleed just like you bleed.

My gun holds the same bullets your gun holds. They got some niggas over there whose shady/ they the type of niggas who try to put 9 millimeters in the 380. They got some niggas over there who don’t know nothing ‘bout it. As far as music go, I respect them as an artist, but I’ll hurt ‘em as a foe, if it ever came to that.

by Charlie Braxton.

New Brown Beats

Willie Puckett "Doggie Hopp"
(1997, Take Fo)

I am posting this both to fill a request and as a follow up to the Brown Beats post since the most important track on this short EP is a re-envisioning of those Beats. I spent some time searching my ears for some justification of the word "Brown" - the OG beats are named for their scattered James Brown wails - but the brownest thing was Cool instead: the recently mentioned "Dear Yvette" Bounce Bark.

Maybe Supa Dave had future bounce sample ubiquity in mind in referencing the Brown Beat, like this would be the Bounce Rap Spine of Tomorrow and that Peter Gabriel "Sledgehammer" ethnic sample would be the new Triggaman Bells.

Here is a short clip of Willie charming a fan.

Lemon Heads Believe In Luck

Playa Fly Fly Shit

(1996, Super Sigg) @ 320

I am presenting today's post in the form of an Amazon review and wikipedia entry cut-up as a sort of game played by the unwritten rules of the internet. But first, some real words of mine:

This fly record like so many Memphis rap records has had a busy and promiscuous life in Internet Prison. A pod of rap cloned in so many ways, each child floating through a series of tubes to some faraway continent. Who could have guessed that by 2009 there would be no hover board, no shrink-fit jacket but instead: the worldwide, virus-like flight of data. The Thug Fantasies of Russian preteens and Japanese Salarymen and Born Africans all filled with MPEG color... and I don't often post the often-posted, but the Web needed a better clone, a 320 child strong enough to weather the long, cold life of data immortality.  

Playa Fly is da best rapper in the world, but the world doesn't know Fly. His flows are so real that they are understood by everyone. Unlike most southern rappers, Playa Fly doesn't embrace materialism in his rhymes, usually speaking on a deeper, more political level. If you grew up middle class - tell me about your braces, if you grew up in the projects - tell me about your Uncle being shot and wearing braces. Playa Fly motivated me to go on to better my self. He also keeps the Memphis-rich tradition for seriously talented rappers. The messages he gives are very easy to relate to and hardly commercial or modified for TV and his lyrics make you forgot about Mr. Chill's awful singing. I love 3-6 Mafia but pluck the chicken they got lyrically murdered on this shit. This cd is one of the best I've heard and I've heard any CD you could name. His Hardcore rapin is the stuff.

Bounce Blueprints: True Brown Beats

"Beats & Pieces" Cameron Paul

(1987, Mixx-it) cassette rip @ 320

Today's send-off finally bridges the gap between my IP address and the 504 area code. It's the first in a series of breaks compilations / DJ tools / whatever you want to call it by former KMEL DJ and current Tulsa, Oklahoma resident Cameron Paul and home to the infamous "brown beats" - the 808 bass, rimshot and samples that forms the spine of so much bounce: the Ike to Triggaman's Tina, the Optimo packed with a Drag Rap dub. 

Confusingly, I've already posted this bounce riddim. That's because the most often sampled bars of this track also form Derek B's "Rock the Beat". I stay stuck to my assumption that Cameron Paul is sampling Derek B. and not the reverse, but both records came out the same year and until Paul returns my emails or some bounce historian shares the timeline (Dr. Thug?) I'll remain somewhat uncertain. Fortunately, we can be a little more certain about which of the two records are sampled in bounce music: both. You'll immediately hear the hollered lo-bit digital samples that color so much early bounce in Paul's version, but I remember at least one "Mannie Fresh Mix" to use the chorus off Derek B's cut and I'll edit this post when I recapture that data. The fact that this recently became a point of exactly the kind of contention I'd like to see more of from T&G commenters combined with poster N0LA $o1ja's outing of the ubiquitous barking Bounce dog sample have proved the arduous task of the Bounce Breaks Archive to be worth what it cost me in worsened hyperopia. 

I'm glad as hell that even the economic downturn is not turning Ebayers back on to cassettes: I find so much shit going for shit on tape that goes for gold on vinyl or compact disc. Strange alchemy. The great thing about this cassette rip is that (and this goes especially for the NR off vers.) you can really capture that Pimp Daddy 93 sound for your own retro bounce productions. 

Also, thanks Chris Brown for permanently clouding the "Brown Beats" google.

Rap Library: Third Coast

Third Coast: Outkast, Timbaland, & How Hip-Hop Became a Southern Thing Roni Sarig (2007, De Capo)

I've been reading reviews (and interviews) of this book (and its author) and it seems a frequent complaint is its exhaustive history. Fuck, thats the only thing I'm interested in - I don't want to read about smoke up the ass of Outkast (even though I think they've made a couple of the best records ...uh... ever) or Timbaland any more than I want to listen to Lil Wayne or Kanye on the radio and as far as arguing for distinctly Southern roots of all rap I could just as well argue that Mozart was African since we all come from there in the first place. 

But, the history - thats homework I'm glad to see done, and there's a fat lot of it. Blowfly (and other pre-rap rap), Luke, Gangsta Pat (Bar-Kays members should have sown more seed), Ball & G, KLC... so much shit I want to know is here explained or at least alluded to... notes taken, records bought. 

Anyways, Sarig knows that to accomplish what he wants to accomplish he needs to tie the underground to the mainstream in a way that appeals to more folk than just fanatics. We (as in me and you, I think) are the fanatics and still his book is the only and therefore best for us. Still, future room left for growth... I can only hope someone who shares my respect for Beats by the Lb. and Triple 6 era Paul & J production (both dissed or at least looked down upon in Third Coast chapters) steps up to that nerd plate. 

Notes:

   

-Vanilla Ice used to freestyle battle Scarface

-Lil Wayne & BG were originally "Baby D" & "Doogie", respectively, with the group name "B.G.z", but Weezy's mom pulled him out the group so he could spend more time on homework

-Hammer gansta walkin on Arsenio

-(note to self: check T-Rock's DJ Paul diss "My Little Arm")

-I enjoy the metaphor that MJG grew up on Sample St.

-Someone please upload Cool K's "I Need Money"

That Wild M_AG_NO_LI_A

Junie Bezel "That's How Mess Get Started"
(2001, Take Fo) @ 320

Supplementary class materials to last weeks Triksta post. This is my favorite release on the Take Fo label next to the Bounce Squad album. Although Junie's verses can be lyrically awkward its made up for in timbre and attitude and she works well with Supa Dave's production. Most Fo releases feature his beats somewhere but this time he dominates, producing every track except one remix. The palette he's working with reminds me a lot of Solja Rags era Mannie Fresh but he takes it to his own weird place. Sort of relentless melodic repetition with a Steve Reich sense of handclapping syncopation. Maybe Cohn lent him his Koyaanisqatski VHS.

JB was also featured on C-Murder's "Got It On My Mind" from TRU Dawgs (a few late Soulja Slim feat.s on there too) and her myspace is TRU'd out so maybe you can look forward to future releases from the No Limit camp ashes.

Better Cover Image Coming Soon

Rap Library: Triksta

Nik Cohn Triksta: Life & Death & New Orleans Rap

(2005, Roadburns)

In anticipation of 10th Ward Buck's forthcoming The Definition of Bounce: Between Ups and Downs in New Orleans, T&G will be taking a look at earlier books of interest to fans of Bounce/Buck/Bass/Booty/etc... First up is Triksta, the only book I know of to deal with Bounce Rap exclusively. 

Tagline:

A white alien in a black world, with no funding or qualifications, and not a clue what he was doing, Nik Cohn had to rethink himself from scratch.

So, Nik Cohn is some old UK dude who wrote the first book about rock music or something. 35 yrs later does the same for Bounce music, for better or worse. Somehow a lifelong love of the city, a hep C diagnosis and the thrill of acknowledged racist fear lead Cohn to New Orleans in search of a Bounce artist polished enough for a Dreamworks contract and national exposure. Although dude doesn't really like Bounce music, he sees in it some potential for Missy Elliot-like creative expansion, a development he encourages by bringing to the studio a "treasure trove" of samples: John Adams, Cheb Khaled, Cambodia Rocks, Nortec collective. Needless to say, he doesn't get too far with it though I would love to see on youtube a clip of Nik trying to get DJ Duck to cut up "Nixon in China". The awkwardness culminates in a showcase concert/reading in France (based on the idea that it would be a lot easier for Europeans to "get" Bounce than Americans) where Take Fo's Junie Bezel (whose Thats How Mess Get Started I'll be posting soon) performed alongside Benjamin Diamond, who ran DJ Duck's production thru his laptop for remixing. They did not get paid for the performance.  

Worth mentioning:

a) Cohn reports that Soulja Slim was known as a youngster for his haircutting skills and 50 pairs of reeboks. KLC: "Slim was a fool with clippers. He was nice with the haircutting tools." 

b) Take Fo main man Earl Mackie won't play rap music in his home on account of his strict adherence to Jehovah's Witness principles.

I suppose this is really a book about a man who tried to change Bounce music but instead Bounce music changed him. In the end, the only people likely to read it are those already interested in Bounce music and who could really give a shit about Cohn's failings with the genre and his emotional growth in New Orleans and whatever the fuck else. 

Concept, Tight as a Dreadlock

Bust Down "Putcha Bally's On"

(1991, Effect) produced by Ice Mike

G Plus or VG minus rip

I returned to this shelved record when poster Thug Doubt cited the Stop Inc., "Second Line" sample. Instead of writing any sort of comment or summary, I'm posting what Juvenile had to say about it in 2006.

A couple more cats came before me that I really liked. They had a cat named Tim Smooth. Then again, he didn’t necessarily come out before me, but he came out with a solo album before me. His solo album [Straight Up Drivin] was nice. It was nice. Bust Down, the dude that invented pussy poppin’, he came out with a record that was real big called “Putch' Ballys On,” and he had “Nasty Bitch,” and that record got him a deal with Luke Skywalker, and Luke Skywalker kinda shelved him and took the whole pussy poppin thing away from him. But there was a few cats from New Orleans that were bumpin. We had a cat named MC Spud that had a good following. I’m from the T. Tucker era, and dude came out with a sound like no other. You know, people get it mixed up because they compare bounce music to what he was doing, but what he was doing we called "Where they at." We never called that bounce music. We called it ‘Where they at," cause he was really doing "Where they at, where they at?" the whole song. When the bounce era came, "bounce for me," was really what we sayin. It was more "bounce for me, bounce for me," or "Put your boy in it."

There was a lotta cats that had to do with molding New Orleans, but out of all of them, I was the strongest, because I’m the one that lasted the longest. I came from the Master P era, the Cash Money era, and I’m still here.

Pictured left: OG 15 Century Bally's 

Notes from the Underdog

Murder Dog Magazine
(Vol. 15, Number 3)

First, some Murder Dog purchasing tips: as covered by the last mention of MD in these html pages, never subscribe to Murder Dog. The cheap price is tempting, and the seeming convenience too, but the magazine is an inconsistent quarterly. It doesn't come out every three months or four months... it doesn't come out every anything. It comes out every time its been so goddam long since the last one that you're sure the company has folded. And they won't mail you every issue you order. No Matter What. You will somehow be shorted.

You need to find a local store that carries the mag. In Ann Arbor I bought copies at Border's. In NY, Tower. In SF, Green Apple. None of these cities (as far as I can tell) have more than one MD vendor. When you do find a vendor, buy two copies of every issue. That way you can use a razor blade to cut out the best fullpage ads or keep one mint copy to sell on Ebay in 2022.

Now, notes from this Quarter's Dog:

First, I'm happy as hell to see the return of regional focus (specials on MI & Jackson, Mississippi) & regular record reviews. The new age/tribal aspect & Midwest white rapper feat.s have returned to safe enough levels that I can regard it as one of the Dog's lovable idiosyncrasies. Cover images of Soul Jazz Records' Spirits of Life compilation and Slamet A. Sjukur's Angklung Group record surprised me and I'm glad to see a magazine that shares my belief in a spirit-blood connection between Rap and Gamelan.

Stone from D-Boyz on Soulja Slim: I want to tell you a story of my first experience with Murderdog. I respect a lot of magazines, but before my dog Soulja Slim died he walked up to me on Washington when the projects was still up. He jumped out of his truck and gave me the cover issue of Murder Dog that he was on right before he got killed. I still got that issue in my hand right now. This is the same copy that he actually gave me.

Glasses Malone on Sonic the Hedgehog: When I was a kid I used to write video game stories. I was in 5th grade when I would use characters from video games and create stories about them. Like, Mario would meet Sonic in different situations. I used to make copies because other kids in my class would want a copy which I would sell for 75 cents.

Haystak on Audio Pirates and exponential filetypes: Right Now all artists are takin hits because you are still leaking MP3s. My point is you find yourself in a position of clinging to life. A lot of cats don't get off that operating table because it's hard. It's not a kid's responsibility to not download music. We are the music industry and its our job to create an MP30 or 300 or whatever...when I was a kid we walked in the stores and busted them out of them anti-theft things and stuck them in our pocket.