Can't Be Stopped

Vockah Redu & Tha Crew
Can't Be Stopped (Y2K, C2K) @ 320
[cover courtesy of poster N0LA]
[audio courtesy of poster ThugDoubt]

Another Sissy Bounce post which means another opportunity for you to remind me why racism is fundamentally different than other forms of prejudice.

If from nothing else, you'll remember Vockah from this post, where Katey Red complains "That's Jevakah. That's another homosexual. They called her Jevakah Re-Do, because she re-do all the songs that I do." She's referring to the track featured here called "Fuck Katey Red". The fact that every other Sissy Bounce rapper is obliged to make a Katey-diss has the unintended effect of painting Katey Red as the dominant Sissy.

"Bout It Night" is a strange meta-moment, remixing the record's single "Bout It Whoa", by way of an Erykah Badu parody. Its not the only hard-to-explain track on here - there is a general-MIDI second line instrumental that is listed as featuring "Derrick formerly of Rebirth" that doesn't seem to feature anyone or anything else. Its kind of cool, but at the same time lifeless (for second line) and disorienting (on this rap record).

Elsewhere, the record mostly sticks to the "Local New Orleans" call & response format. There's also a good instrumental all aspiring sissies can use on their next mixtape.

Q93 Addendum

Rebirth on Q93 performing the track "Running Away" sampled on Cash Money underdog Big Heavy (of PxMxW)'s "Gangsta Walk Pt. 2" (from Doggin Em: 1996, RedRum) available at a very low sample rate here.

Also, on an unrelated note I'd like to mention that I have both developed and implemented an emergency plan in the event of this blog's deletion. Should you ever arrive to find some low-level google employee has attempted to stamp us out like a cockroach, fret not. There is a shadow blog lurking in the....um....shadows. T&G4LIFE.

Jump

MC J' Ro 'J Let's Jump
(Rosemont, 1988) @ 320 kbps

Starts off with the same oom-pah march of Gregory D's "Buckjump Time"... such a strange rhythm for a rap song - squared-off, the heartbeat of punk or polka or some shit. Where is room for the funk in that? But then a shuffling snare lays down, a tuba weighs in and before you know it the whole second-line ward-repping parade takes over.

Nothing else really sounds like this. Not even other contemporaneaous NOLA brass-rap. I suppose at the time local modes of rap production were still unformed enough for shit to sound really individual and distinct.