Roll Wit Da Nolia

VA, Money Rules: The Takeover
(2003, Money Rules Records)
@ 320, in two parts

More 21st century N.O. bounce so as to pick up where rarenolamusic left off (RIP?) . This comp came out right before the storm and the cover looks like a pack of stickers your first grade teacher would buy at Eckerd's. Production creds for the whole package go straight to DJ BlaqNmild, easy to confuse with fellow bounce DJ, Blacknmild. A quick look at the former's myspace suggests Blaqbiggiblaq has jumped bounce ship in favor of watered-down radio style production - thats too bad. I think maybe he's still doing his bounce thang as a side hustle but trying to get to that national paper.

Big Freedia's amped-up "Gin In My System" is a definite highlight and I'm wondering what the hell this down-by-the-water sounding environments sample is that I've heard in a bunch of newer bounce records - Psychologically Ultimate Seashore? Freedia is one of Money Rules' handful of Sissy rappers (or reverse Sissy in his/her case), a good example of how rap has been actually gay, not just hypersexualized. Sissy Nobby is all over this disc too. In the past couple of years Nobby has replaced Soulja Boy as Most Strange and Active Underground Down South Rap Youtube Account Holder.

Unexpected samples from Enya to the Rugrats theme littered throughout and I threw in a jpg of the water damaged album previews to give you another taste of what could have been but never was.

No Limit Worker's Union

Hi-lites from Beats by the Pound Murderdog feature (Vol. 12, #3) post to precede detailed No Limit family tree:

KLC: What were you doing before you got with No Limit? I had my own label called Parkway Pumpin Records. Where do you think the No Limit come from. I had Soulja Slim, Mystikal, Hound, Mr. Serv-On, Mac, Fiend! Serv brought me to No Limit because he knew P! P was interested in Serv and Serv was like I gotta bring my nigga up there. They were all on my label but I just didn't have the finances to put the niggaz out.

Did you ever work with Mannie Fresh back before you got with No Limit? Me and Mannie are real solid. A lot of niggaz don't know it because of the little beef between No Limit & Cash Money, but amongst all that shit we were cool. We worked on projects together and shared sounds. Some of the early Cash Money records with some of the songs he produced were some of the sounds he got from me, and some of the songs that I produced on Slims record were the sounds that I got from him.

Odell: I used to do music over at Cash Money. A lot of the records that was coming out of there me and Mannie would play music on. I wasn't a producer but more like a hired musician over there. I couldn't get on there as an actual producer for whatever reason so I had a point to prove.

What songs did you play instruments on for Cash Money? One of the most notable songs was "Drag Em In the River" which was a diss record from UNLV to Mystikal. All that music you hear on top of that is me playing and Mannie did the drums on that. We did that in Slim & Baby's house on their kitchen counter on a eps16 plus I believe. I did stuff on Ms. Tee's first album and BG's True Story. Also played on Mr. Ivan's 187 in a Hockey Mask. Some of the stuff I did they held and I think they used it after I left.

Craig B: On C-Murder: C was the black sheep of the Miller brothers so when he saw something wrong he already knew him and P was gonna have some words. He didn't care and would stand up to him! If we felt we needed to be compensated for something at a certain time we would take a break. This particular time happened when C was working on his first album, and we pretty much went on strike. He went up to bat and was like the negotiator between Beats By the Pound and Bout It Inc, so he could get his album done and make sure that we were straight.

By multiple request: Daddy Yo "I'm Not Your Trick Daddy"
(1993) m4a

NOLA bounce gem. Don't know much about Daddy Yo save for past beef with Magnolia Slim, expressed late in this track.

Early No Limit: Visine Dreams

Dangerous Dame Escape from the Mental Ward
(1995, No Limit) cassette rip @ 320

Back to the tape rips: a hot release from a pre-Beats by the lb, pre-Pen & Pixel and pre-NOLA No Limit and holy shit, what may be this blog's first Bay Area post. Most production by Dame himself, listed label address in Oakland and cover art by Phunky Phat Graph-X, and check out the job they did. Dame, warped in some raincoat straight-jacket, his female either trying to give him diarrhea or a seizure by slipping visine into his gin & tonic or maybe that’s LSD (stripper spikes dangerous convict's drink with life changing dose of acid)? Meanwhile, real Dame stands in front like “what the fuck you lookin out”, the text is on some Mind’s Eye bullshit and check that whip! A lot of these old tape covers leave me lamenting the P&P graphic takeover. I'm also lamenting that its 13 years too late to cop the Dangerous Dame Baseball Cap here advertised.

Soundwise, every track bumps hard but the sappy Be Their, (I don’t know if that’s a typo or some kind of pun), and Dame constantly kills it with his nasal bay flow. I think there's other web-floating rips of this, but if you ask me this max-bass, hi-res tape rip sounds better than a triple bootlegged 128 speed MP3 and even the tape format is going for gold in all online auctions.

Message from Dame (from lining): Fuck You To: To All You Wanta Be Rappin, Fake Busta, Runnin' Off at the Mouth Ass Tricks, If The Shoe Fits Wear It.

Three 6 Breaks

Mystic Pimpin: Triple 6 Mafia Breaks Da Mixtape (Side A, Side B)

Alright, I've ripped a pile of tapes for this blog, now I'm flipping it and its yall's turn to dub this mp3 on cassette. Just over 90 minutes of Three 6 sample sources brought to you in non-stop form, compiled and cut with listening (as opposed to re-sampling) in mind. That's why I left Marvin Gaye's "Is That Enough?" almost fully in tact but cut Teena Marie's "Out on a Limb" down to size.

Anyways, I'm serious about yall making a tape of this. It's like ten dollars for a new walkman that works better than any one from 10 years ago (if you don't still have an old one laying around), and if you're too young to have ever had one its not too late to feel the joy of that hard mechanical play button. I'm currently using these cheesy ass cassettes, which I have a pile of and am generally fond of since they remind me of taping the radio when I was 6 years old. I did do a double take, though, when I saw Maxell XLII's going for 5 dollars a double-pack at Amoeba. You could buy 25 of their budget cassettes for that price, tape the corners up and start killing music with home taping.

'Memphis Pimpin' music, the only genre designation I know of to reference the place and status of listener (not creator), is scattered all over this mixtape along with a lot of new age sounding shit that helped give Three 6 their mystic style. A lot of these breaks are standard rap fare - you'll surely recognize the meandering piano on "Ike's Mood" from like every Mannie Fresh production before '95. Others, like Willie Hutch's "I Choose You", they've completely owned, despite Hutch samples going back to Public Enemy & Pac. Actually, it was listening to "Souljah's Revenge" that helped me place the Bill Withers sample on here... I guess there's no sampling in a vacuum.

I tried not to retrace this blog's footsteps, omitting "Drag Rap" & "Bitches Reply", but also eventually decided to chunk the Exorcist and Halloween themes on the basis of flow disruption. Lamont Dozier's "Shine" was always intended but failed to make it due to time constraints.

Bass Game Breaks

A Lil Sumtn Sumtn

DJ Jimi It's Jimi
(1992, Soulin') cassette rip @ 320

DJ Jimi (the original) Where They At [single]
(1992, Soulin') cassette rip @ 320

PLUS selections from Juvenile's
Playaz of Da Game

DJ Jimi's debut cassette, the accompanying single and all tracks from Juvenile's Playaz of Da Game that feature him. There's overlap between all three releases - for archival purposes I left Where They At? the single in tact but removed duplicates from Juvie's release, which luckily you can purchase for 1 digital cent since the average consumer can't wrap their heads around a Juvenile that is both a) actually a juvenile and b) actually making straight bounce instead of the post-bounce thug pop of Universal era Cash Money. Check this pragmatic fiction from Amazon.com's customer reviews:

I read in a magazine all about this cd and I will explain what all of the other reviewers have gotten wrong. First of all, DJ Jimi is really Manny Fresh. Manny Fresh has changed his name to DJ Jimi because he though that was a lot more creative and it makes him sound more black. Juvenile is all over this record also. He simply changed the way he raps (he sound a little more girlish).

If homes only let on to what gangsta rap tabloid he's reading...Anyways, despite all the ana from disoriented Juvenile die-hards, these tracks are hard and funky as hell and probably the best examples of early Bounce you can cop without labored digging. Good interview with Juvenile here, where he claims ownership of Bounce music, calls everything "Where They At" and offers this explanation of his rapping style: It's considered an off-the-porch flow. It ain't nothing but some shit talkin. It ain't even rap to me. It's like a new line of parts. He also talks about his former life as an oil-rig supervisor.

Whether he owes it all to Juvie or not, Jimi earned his spot in rap history with the "Where They At" single which despite it's claims of being "the original" was more of an upgrade on TT Tucker's earlier model. Still my favorite spontaneous application of John Carpenter's Halloween theme and some of my favorite clean-edit lyric revision too, right up there with Big Boi swapping "bustin nutz in they mouth" with "playin cuts from the south" on Goodie MOb's Dirty South single.

A short Jimi bio here which seems to confirm the rumor that the inspired raw-ass vocals on "Bitch's Reply" are in fact his mother. Holler if you're able to upload or behind an Ebay auction for Jimi's second full-length I'm Back, I'm Back.

Three 6 Satellites

Broken Halos: Da Compilation Album Disc One, Disc Two

The first in what one can only hope will be an extensive T&G penetration of the Triple 6 periphery, today’s offering is the homemade Broken Halos compilation. Two discs (virtual or for real) of golden era Three 6 members or collaborators killing it on 4-track cassette in the garage, clubhouse or wherever.

The best of Paul & J’s old ass mixtapes have been shuffled and re-compiled into what is becoming a long list of Triple 6 Mafia reissues. No complaints from this author, the remastered versions sound a hell of a lot better than the tape-to-MP3-to-WMA-back-to-MP3 sloppies I have clogging up my hard drive (not to mention being just about the best music you can buy at Best Buy). But that handful is just the the tip of the Memphis iceberg. On here are solo efforts by all the 3-6 mainstays - Boo, La Chat, Pat, Lord Infamous & Koopsta Knicca - and a basket of MCs who got left behind in the race to fame or who were tangential to begin with. A cursory glance lets you know they're all young as hell - Lil Sko, Lil Ramsey, Lil Gin, Lil Fly (later Playa Fly), Lil Corb....

Completists may note the absence of Carmike, but I've never warmed to his exaggerated cartoon style and the only track I like on Comin Out Yo Azz is the instrumental. I also thought long and hard about the inclusion of 199nigga4 era Indo G & Lil Blunt, but that's really a whole different funk altogether.

COMING SOON: nonstop mixtape of unadulterated Three 6 sample material, from the Delfonics to Puppetmaster. Tracklisting in the comments section.

Bounce Blueprints 2

Derek B Rock the Beat
(1987, Music for Life)

This is what allmusic.com has to say about rapper Derek B:

British rapper Derek B elicited some mild response from his debut release, Bullet From a Gun, on Profile. He displayed decent rapping skills and the beats were competent, if not awesome or outstanding. It did not make a substantial impact on the hip-hop or R&B front, however, and also failed to register on the pop scene.

What they left out of their bio was this record's seminal role in shaping the sound of New Orleans Bounce. Breaks copped from this appeared later on one of Cameron Paul's DJ Battle Weapon Beats & Pieces compilation's, under the title "Brown Beats", a name that both stuck and helped obscure the roots of its sample source. This became the second most important record for bounce sampling and the first instance of a British rapper breaking into the American market. To throw around a back-handed complement about beat competence is some real bullshit. Allmusic should change their site name to something a bit more narrow.

Juke / Crank Nexus

DJ Slugo Born Ghetto - From My Hood To Your Hood
(2001, Databass) @ 320 kbps

Pop It Off Boyz Crank Dat Batman
(A capella, Instrumental) @ 320 kbps


I suppose regional styles spread swiftly in the new century, allowing Carbondale's Pop It Off Boyz to somehow cop post-soulja boy crank moves and press it to vinyl faster than anyone in A-Town (the only other Crank 12" I've seen is 3rd Flo's "The Heizman"), though Crank's roots may lie more firmly in the digital county of Youtube than some GA neighborhood. Either way, I'm happy to have happened across this lone example of Juke-Crank cross-pollination, and am taking this opportunity to open up this blog's doors to the club purism branches of the ghetto rap family tree.

A cappella and instrumentals only of the POB original for those inspired enough to make their own club bangers. I'm holding out on the full so as not to step between CG & Lil Action and their Itunes grind though I admit the vinyl pop ads a much needed warmth to the 808-via-Fruity Loops budget production. These two do move beyond a straight jacking of ATL style, adding a little Chi-town rapid-fire flare and enough vocal cutting to imply some ghetto house influence.

The Slugo joint is the fully, though that depends on how you look at it since listed track B3, Telegraph, is curiously absent. It looks more and more like Detroit/Chicago/Baltimore club musics are fixed to exert the kind of life-blood influence on mainstream rap that Bounce had on Buck music, or Freestyle or Italo or something had on Bass. You can and should cop a handful of Slugo Juke mixes, artist direct, here and anyone who hasn't should watch this short doc on Ghetto House feat. DJ Funk, Waxmaster, DJ Deeon, Rated X, Jammin Gerald and Ray Barney.

Complete Big Bang

The Showboys:

Drag Rap (Triggerman)
(Profile, 1986) vinyl rip @ 320 kbps

The Ten Laws of Rap / Cold Frontin'
(Profile, 1985) vinyl rip @ 320 kbps

"That's What I Want for Christmas"
from Christmas Rap
(Profile, 1985) vinyl rip @ 320 kbps

YIIG's (parts 1 & 2)
(Papergame, 2000) @ 320 kbps

The complete recorded history of Orville "Buggs Can Can" Hall & Phil D. "Triggaman". Enough compressed sample data to birth at least 3 new regional dance rap styles in addition to a full-length extrapolation and revisiting of the one track that already did. I'm not actually able to conceive of how Ten Laws of Rap / Cold Frontin could be put to use but the "What I Want" chants from the Christmas jam are begging for recontextualization.

I do look forward to grabbing Scratch issue #19 and seeing what bits of Showboys history pop up in its Triggaman feature, not to mention catching DJ Spanish Fly's drag rap perspective. I haven't seen this issue on the rack at my local Walgreen's so I may have to save my pennies and buy it here, which seems to be the lone internet distributor of this (sadly) OOP periodical.

Anyways, New Orleans' Drag Rap debt is oft noted but this was a crucial record in Memphis, too, which is where YIIG's, the Showboys' decade-late full-length debut was recorded. Some of the earliest DJ Paul Mixtapes are just Paul fucking around with Bitches Reply, and Memphis had a minor Bounce hit with a different "Where They At" response record, Freakmaster's "Gimme What You Got". As best I can tell, this is the first and only release from Papergame records, and I know nothing about any rapper featured here (Gambino? Toni Price? Do Dirty? Ali Bahbah?) but I wonder about who's not here - TT Tucker? DJ Jimi? I also feel like Pen & Pixel should have taken on this cover, Pro Bono.

All of the production on YIIG's (with the exception of the original Triggaman) was done by Archie "Baldhead" Mitchell, who happens to be the son of Hi Records founder and Al Green collaborator Willie Mitchell. The four original Showboys tracks were all produced by Cliff Hall (who I'm guessing is Orville's brother), and since its the instrumental thats so frequently lifted he may be the man most responsible for the shape of Down South's Rap Big Bang.

More Bass: More Pac Than Pac

6PAC Platinum Party
(1998, Grilled-Up Records)
@ 320 kbps: parts one & two

Three 6 Mafia is Two 6-in it, but this release's empty promise advertisements include a group called One-6-Mafia which seems to be part of the same complex rap algebra that landed this dude his stage name. This one's more about the party than the car boom and though I realize thats apparent from the title (and absence of speaker-destruction warning label) , its also revealed through reverent sampling of Disco / Italo classics. Solid throughout.

Bass Tapes: Its Past Your Bass Time

2 BMF
Caucasian Bass Invasion
(1994, Pandisc) @ 320 kbps
[circum side, uncircum side]

No Bass health disclaimers but strange dick-style side names to make up for it. Production by Mr. Bassman, later to be known as DJ Trip. Weird liner notes read:

If you have a song that sucks send it in, we'll use it...not!!! Send it to Vanilla Ice our mentor. Mr. Clean is bald but he bites weenies. The weather's great in Miami, it's good for the doggy style. Remember girls to free Willy and feed him. He's starving. If you want to get laid... crawl up a chicken's ass and wait. 1-900-SEXY-HORNET

Then there's a Cristina Applegate marriage proposal.

One More 4 the Bassheads

G.A. Girlz G.A. Girlz 'N Da House
(1997, Move the Crowd) @ 320 kbps

Bass is the Place! Sorry to break the vibe, this one's on disc. More tapes to come, though, I'm just tryin 2 preserve my Pause button. I hope last year's self-titled track by these two and the Crime Mob girls is part of some larger in-the-works release and I hate to say it but the Princess solo disc was weak. Anyways, I heard that Diamond got booted out the group and I'm looking more forward to her future output than the Crime Mob trio's.

Holler in the holler box if you have any interest in the second GA Girlz disc.