Hank Trill "Propane Pays The Bills" (2022)

 

 

Parody album? Absolutely! Swaying with chilled southern charm, the soft yet tightly wound voice of mild mannered cartoon character Hank Hill gets bastardized into a reckless drug peddling propane pimp. Flipping this 90s uptight conservative dad into a modern Trap rapper slinging braggadocios rhymes is a barrel of laughs on first exposure. In my case, bringing me to tears. As you might expect, the joke does wear off with time but its particular novelty kept me hooked for longer than expected.

 

The concept of gangster Hank saves this record, otherwise its slowed southern beats and swaggered rhymes would go passed over as mediocre, atypical of the scene. His stature lands so many otherwise weak and obvious plays. Behind the voice, a great impressionist, possibly aided by AI, seems keen on quantity over quality. With another twenty one albums proceeding this, the buck stops here for me but thanks to Spotify's shuffle, a fair hand full of tracks off other records emerge just as amusing.

Its nice to document this for myself and fans of King Of The Hill, I will definitely tune in on occasion for a laugh. Boomhower's indecipherable features are a firm highlight, as is his Rap God cover available on YouTube. My takeaway, however, is a missed opportunity to really refine and laser focus this joke into something unshakable. Instead, its been swiftly played out with a slew of low effort raps. Oh man god damn!

Rating: 6/10

$uicideboy$ "New World Depression" (2024)

 

Slick Southern Rap duo $uicideboy$ return afresh. Having built a cult fan base from the ground up, New World Depression marks another benchmark, their highest billboard charting to date! Impressive, but not reflective of the albums substance. Spending weeks with these cuts, Ive felt the sparkle fade gradually. Now accustom with their dreary tuneful sing-raps, slanted Southern cadences and difficult topicality, their routine of snappy beats and weighty rhymes fizzles into just that, a routine.

The closing stretch catches my ear. Covering U.N.L.V's classic Drag Em N Tha River makes for a memorable shift in tone. Stabbing string jabs and a jarring piano riff mixes up the mood. Its proceeded by the records darkest and best track. Us Vs Them ushers in criminal melodies mustering a tone for stealthy mischief as the pair rap devious carefree threats. The Thin Grey Line indulges in a similar mysteria, the beat conjuring conspiratorial vibes for the duo to exchange their sharpest flows.

Mostly dabbling with moody, glum instrumentals, brief moments of insightful lyricism fall between the cracks of boisterous showboating wordplay. Relatable messaging of struggles and drug abuse dull as a result. Previously their words soared. Its either familiarity or the routine I alluded too but New World Depression simply entertains before fading from consciousness. Competent record, but lacking a fresh spark.

Rating: 6/10

Killer Mike "Michael" (2023)

 

 One half of Run The Jewels, Mike's solo career has been on hiatus for eleven years since his almighty R.A.P. Music. That fruitful four album collaboration with E-LP left no questions as to "what could have been", their natural chemistry yielding best of both.

Continuing that stride of form, Mike returns as a solo artist with urgent expression, a beating heart of pains, aching through lifes reflections as the passing of his mother shakes up foundations. Through his often firm and feisty articulation, these matured narratives cut deep into personal emotions and perspectives. The moody gospel groovings of the albums most striking cut, Motherless, amplifies a universal sombre grief of aging and the inescapable sufferings life bestows, besides all its beauty.

A common theme of Michael is a southern one. The distinctive vibes of the scene emerging through nostalgic lyrical reminiscing and choice select samples. Given the heaviness of Motherless, it struck me as a youthful yearning of years gone by. Equally, it could simply be a result of those in proximity. Bringing out many guests and legends like Andre 3000, Mike offers a lot of variety and flavor across its lengthy fifty minutes.

Despite my many spins, its most apt moments dissipate into luke-warm tone as instrumentals and guests are never the records best aspects. When Mike is locked into an expression, its an utter joy, a force forged from decades on the mic. The spaces between lack his sparkle, that glistening passion from where hes at. As voices jump on and off the record with a different focus, the distance from that greatness shows. I really wanted to love this one however It just didn't resolve right in my ears.

Rating: 6/10

$uicideboy$ "Shameless $uicide" (2023)

 

Recently Ive brought myself up to speed with this duo's trio of full length efforts. Its been a mixed bag of tricks, reeking with potential yet lacking a firm stride. Unsure of where to navigate next, its seems Ive lucked out! This latest EP, dropped two months back, struck indulgent vibes. Their difficult subject matter lures suffering into mellow relief through dreamy instruments drifting over the steady slam of crunking drums.

 Ruby & Scrim bring their best, strong vocal tunes with sway, elevating their unapologetic raps into breezy melodies. Its a wild wrestle, a mastery of struggle yielded to a cathartic escape through expression. Something retro and summery also lurks among this gritty percussion. Flirting with cheesy, stark synths and cloudy electronic melodies, they conjure a laid back allure among the dark topical chaos.

At the mid point things turn nasty, leaning into violence with gun sounds and grizzly beats, peering into the bleak. The bass bangs with deep sub resonating underneath bussing drum patterns, an apt chemistry to house such grimness. The pair, along with guest for the record Shakewell, lean into nasty gangster braggadocio to great effect!

Some of their sharpest raps arrive among these two shorter cuts, before the moods mellow out again. For me, the melodic sung raps shone brightest. The change in pace works but that's where the magic sparks. I really enjoyed this. When each song clicks, it suits my preference for a cohesive collection of songs over randomized playlists.

Rating: 6/10

$uicideboy$ "I Want To Die In New Orleans" (2018)

 

$uicideboy$ rock a rapid release schedule that signifies a different approach to distribution. Since 2014 over forty or so EPs and mixtapes have emerged. It creates a daunting task in search of there best material, yet its where their most popular songs reside. I'm unsure of the significance the album format offers but this debut arrives with a clear concept to tie in their notoriety with home state Louisiana. Interlaced with locational references, tales and affirmations, the radio and news snippet interludes grounds a grizzly reality, illuminating the harshness of growing up in the south.

Sadly, my experience has been a dull one. On this debut record, both the gritty horrorcore beats and harrowing rhymes lack a sharp potency they land with on later projects. The sullen moody aesthetics and unabashed honesty with difficult subject matter remain in tack. Their vision is evident, a distinct individuality reaching out yet those infectious sung hooks and energized flows are yet to be honed and harnessed.

The record feels tied closer to its cultural roots with many southern tropes lining the instrumental design. Vocally, the pair drift into lazily spoken registers. Dull, softly delivered monotone raps distract from the subject matter itself, unenthused in nature but sometimes seeming conceptually relevant in a defeatist sense of overwhelming struggles. Despite analysis, the stars did not align for this listener. Clearly the foundations have been laid. In this manifestation, their expressions failed illumination.

Rating: 4/10

Brockhampton "The Family" (2022)

 With wounds still fresh, Brockhampton supposedly returns from their recent post Roadrunner breakup. In less than a calendar year, this resurrection paints a sour flavor in its expressed explanation of existance. Dominating the airwaves, through commentary and production, The Family arrives like a Kevin Abstract record for this outsider looking in. Peeling off scabs from a painful separation, the woes of using drama for content seems lost on the nature of this dissection of their unraveling.

On one hand, The Family plays as a wonderful self analysis, a raw reflection. Like a fly on the wall of a therapists office, we cycle through events and dramas that tore the group apart. Its candid, unabashed and sudden. The other hand, an eerie postmortem called while a pulse can still be felt. This unease is steered by Kevin, lopsided in representation and drowning the music with early era Kanye West imitations.

Often do his vocally directed instrumentals reek of Kanye's genius. So do the flows, cadence and expressive schemes play uncannily alike. Its not found at every turn but throws what could of been a luminous reflective concept record into the unease based on imitations and a questionable timing that seems to retread some of the lessons its trying to learn through this open autopsy. Despite that, there is class at play, music to be enjoyed. Production is well rounded, topicality interesting, engaging yet that lack of self awareness breeds the inescapable odd tension, throwing all feelings into doubt.

Rating: 4/10

Snoop Dogg "Da Game Is To Be Sold, Not To Be Told" (1998)

 

In my youth, this one caught my attention with its overt, unabashed use of 90s Photoshop aesthetics. The then trendy Pen & Pixel Graphics covers are certainly eye catching. At the time, I cared little for the music but since learning of Master P and No Limit Record, my interest is renewed. Snoop was keen to exit Death Row Records, as many of its artists were. He found home and friendship down south, No Limit records taking him in with a warm embrace. The result? Essentially a creative low point for the legend as he is rotated into the album production line at the peak of cultural relevance before a sharp decline in the years to come. Despite going double platinum, this ain't one to be remembered but within a couple notes of interest make themselves known.

No surprises, features from the No Limit crew are in abundance churning out the raps. Produced by Beats by the Pound, the aesthetic, tone and No Limit cliches dominate the narrative. I'm fond of the occasional beat but for the most part, this is ruggedly rushed, now dated and simplistic music, lacking sparks beyond a routine music creation system. A couple tracks try to recreate classic G-Funk grooves. Gin And Juice II & Still A G Thing whimper from the shadows of game changing anthems yet do have a compelling knack to them, mostly driven by Snoop's persona.

 Snoop is a raw adaptation with this crew, his often near spoken word, snide flows and crude lyrics rarely bloom beyond shallow showboating. His identity as slick and cool as ever yet the gangster oriented stance affirming and general vulgarities become a tire quickly. The hooks and chorus are all too casual to get in deep across a massive twenty one songs on a typically bloated, 80 minute CD filling project, the No Limit way!

There is one blemished jewel to be found however. DP Gangster has Snoop and C-Murder resurrecting an N.W.A classic, reinterpretating the beats and flows of Gangster Gangster. Its essentially a cover, a re-imagination, something that seems to be a no-no in Hip Hop, yet I thought it was a delight. I'd love to hear more artists taking on old tracks, giving them a different spin! Anyways, I knew this was going to be disappointing but with curiosity leading the way, I had a bit of fun!

Rating: 4/10

Brockhampton "Roadrunner: New Light, New Machine" (2021)

 

Ive found this record difficult to put in words. A strong diversity of instrumental moods and heavy lyrical narratives that I struggled to connect with left me enjoying but not entirely resonating. Two years on from Ginger the group feel artistically evolved with maturity of word and a better execution of ideas. My lack of connection mostly stems from the endless stream of lyrics that Hip Hop offers, a form of personal exhaustion perhaps. Either way there is no doubt these songs hold up for there foundations. The group of producers who put hands on this one pulled together a colorful set of sounds to house within tight percussive grooves, a strong presence whenever put on spin.

The first five tracks feel like the strictly Hip Hop cuts. An emphasis on rhyme, reason and rugged beats brings Danny Brown onto the bass driven, wild Buzzcut. Its a massive salute that makes for a memorable number, followed by a strong appraisal for JPEGMafia and another collab with A$AP Ferg & Rocky. The attraction of big names says a lot for their ascendancy in the scene. Kicking of with deep bass kicks and some strong rap flows, Windows's inclusion of a poppy, over the top, auto-tune hook hints at where all this goes as the other aspect of this collective starts to emerge.

The rest of the record explores its Pop, R&B and Soul influences, often channeled into a modern context with high pitched and auto-tuned vocals weaving a lot of swooning singing into its songs while retaining darker themes in its lyrics. Its remarkably catching and In many a song, represents the groups unique sound at its best. When I Ball is a personal favorite for its old timely string section and warm, riveting baseline strutting beneath. The pivot to pitched up vocals so smooth. Its often been a point of contention but this time I think they pull these of the time trends so well.

It should be mentioned they swing back with a home run into the strictly Rap world with a ghetto whistle led banger Don't Shoot Up The Party. It comes with a strong message and bouncy energy that juxtaposes party vibes with a grim proposition. It held as a stiff moment in the albums flow as we move to a Gospell track before the vulnerable, emotion gushing The Light Pt. II that feels like a sweet send off as members of the group step to the mic to deliver some heart felt, emotional words.

A common experience of mine is holding off from writing as I don't feel I have a complete picture of the music. Sitting down to actually force out the words somehow brings it into perspective and with this analytical breakdown of what stood out to me, I feel as if I got closer to the record but again the short coming is always lyrics. These songs are loaded with substance that I could feel in passing but didn't stick around for long. Its a personal problem. The music of my youth as taken all of my lyrical capacity. I wish I could pick up and bond with it more these days, I feel like I am missing out on so much. Especially here on Roadrunner which is a fine record and a strong maturing of Brockhampton's sound.

Rating: 7/10

Brockhampton "Ginger" (2019)

Hip Hop collective and self proclaimed boy band Brockhampton of Texas are unsurprisingly back at it again, given their prolific output so far. This fifth album in the span of just over two years has probably been the most endearing and unique to my tastes. The bombast, flair and rugged attitudes get toned down on a couple of tracks. In its place emotional narratives play out over instrumentals that draw upon classic sounds of eras gone by, classic R&B and cultural acoustic guitars that make for striking moods. Of course, when the drums are dialed up, quirky synth and sampling pitch in its not as obvious. A track like Dearly Departed is the pinnacle of these ear catching current. Its plays like a slowed down Delfonics classic, its strings haunting the lyrical out poor. The closing song, another stunning expression rapped decisively.

Reflecting on Iridescence, the group do tend to sway in between these ends. From the dark and raunchy Vivid to a swooning sing along San macros, Brockhampton operate on levels. Immediate to enjoy and tantalizing to dissect their music is refining to a continual giving of change, compared to the Saturation series. Creative percussion, an ear for unique sampling pallets and developing rap styles had me locked in. On the latter part, these emotional narratives and introspective lyrics give so much meaning to the music where once boisterous and wild rapping tended to fall a bit hollow, now the songs come to life. A feature from Slowthai was a pleasant surprise and overall the group have really locked me in this time around. I hope they continue to evolve as greatness surely awaits if they do so, another great set of numbers.

Favorite Tracks: No Halo, Boy Bye, Heaven Belongs To You, Dearly Departed, Big Boy, Victor Roberts

Rating: 7/10

Future "Future" (2017)

This post may be brief since I never intended on covering this record. I simply have to comment on what a quintessential example of Trap this is, for both the good and the bad. Future is an Atlanta rapper, once part of the Dungeon Family collective associated with southern legends Outkast. I've heard him mentioned with the roots and origins of the now massively popular Trap sound of Rap music. This album is the first of his Ive heard, at first mistaking a track for the Migos. It banged hard tho, for all that is formulaic, routine and factory about the music, through it the hypnotic inducing vibes resonate. In one mood its illuminating and in another can be utterly tedious.

Its seventeen tracks have nothing between them that elevates the formula at work. Its a production line to churn out tracks with all the hallmarks of the trendy sound, tight shuffling Trap beats with all the typical hi hat tones and snaps. The deep bass hits bang under an assembly of instruments playing short melodies on loop. They conjure a mood for Future to Mumble Rap his way to heaven with the common flows and quirks like "skeet skeet" and other goofy noises between the lines. His voice and back up tracks become another layer of sound, the inflections and auto tune constantly swaying. His verses a blur of recycled rhymes that require attention to decipher.

When focusing on those lyrics little of interest bar a reference to Southern legend Master P arose to me. Much of the content is materialistic and embodying the worst stereotypes. At times excessive use of tropes makes one wonder how much of this record is self aware? Some of the skits are utterly hilarious and for the most part this record bangs and rumbles the Trap vibes but as said above it becomes easily dissect-able when you've had enough of the groove. Future does sneak some great hooks in there but its the rhythm that wins me over as his words are just too slurred. Its a love hate record but I don't take it that seriously. If I'm in the mood for mumbling and trap beats it absolutely bangs with crazy dark and esoteric vibes.

Rating: 6/10

Brockhampton "Iridescence" (2018)

The Southern American, self proclaimed boy band is back! Brockhampton are riding the hype wave after a successful 2017, releasing their trilogy Saturation I, II & III within eight months, to much critical acclaim. I liked their music in patches but this new release Iridescence brings about much needed cohesion as the album experience takes a firmer grasp on its fusion of Pop and Hip Hop. Its typically eccentric and wild but between its quirky off beat attitude, pop melodies on pianos, more singing and catchier choruses anchor down an important sense of direction for the listener.

In some senses its style is all over the place. Obnoxious Hip Hop oriented lyrical themes slam up side against soothing melodies and wooing vocal lines that seem to sway back and forth from one another. That is the charm though and it plays out both thematically and aesthetically too. Crunking dirty beats with gritty samples quickly disintegrate as harmonious sing and chorals take charge, often with luscious strings and pianos behind them too. A few tracks straddle the middle ground like the second half of Weight and Tape as Jazz Hop vibes emerge with soft boom bap grooves.

One strength this record has that didn't feel quite so on previous albums is the amount of voices. With over ten members there is quite the range of tones to be found in the music. It plays to each of their strengths, as you might expect. Those who sing find their moment in the lush instrumentals, the energetic, obnoxious hyped up raping lines over the oddball, boisterous beats. Its the ground between that excels. When transitioning, a lot of creativity and cohesion in the directional shifts comes through from the human voice and the individual quirks they posses in bulk.

Not much of the lyrical content peaked my interest. Words sometimes do that with me, I think the instrumentals overpower my focus as their is quite the stretch of style and attitude at play here and its in a constant state of flux, routinely moving back and forth yet feeling natural and fluid. Its a very creative project that I have much appraisal for but on a personal level it doesn't connect as strongly as I know it will for others. I think this group have much potential and on Iridescence its certainly coming to life.

Favorite Tracks: Where The Cash At, Weight, Tape, J'ouvert, San Marcos

Rating: 7/10

Rich The Kid "The World Is Yours" (2018)

I can't remember what convinced me to pick this record up but now I have a familiar feeling of disappointment that seems to be recurring with modern Hip Hop artists that fall into the Trap and Mumble Rap categories. Much like Invasion Of Privacy, the record loads its best material into the first few songs before it descends into a slog of mediocrity that feels like an endurance test. Its Atlanta rapper Rich The Kid's debut album, loaded with some big name features, including Kendrick Lamar. After a long string of mixtapes over the years its earned him a reputation that's led to this.

I can't help but think of Rich as the forth Migo, his style, flow and persona seems fondly akin to the Migos sound with a lack of the signature triplet flow. This could however be testament to the over saturation of this era's sound, the instrumentals are interchangeable and the slurred word mumble flows are loaded with the incessant use of reverberated cries of "skrt skrt", "flex" and other vocalizations between staggered lines of tame, self indulgent lyrics. At some points the "brbrb" shouts get so exaggerated they literally sound like birds chirping. Its goofy to say the least.

There are times where his presence calms down and the beat carries the song but mostly its chop and change as a sequence of rhymes can barely make it uninterrupted. Much of the lyrical content is flash and simplistic with hardly anything of meaning to be extracted from the constant spew of braggadocio that's trying to out do all bragging rappers. The slurring of words and indulgence in rebelling against pronunciation becomes a bore as the album strolls on with a lack of substance to take from a set of beats that could of done with better. I get that its about mood, vibes, lifestyle and swagger but I just can't get onboard this time.

Rating: 3/10

Goodie Mob "Soul Food" (1995)

 Welcome to the Dirty South! A term supposedly coined here on this debut record from the four piece group Goodie Mob, closely associated with fellow Atlantians Outkast. Both Andre 3000 and Big Boi feature on the record, their voices but mostly production by Organized Noise, home in on those laid back, smooth southern vibes they established a year beforehand. Soul Food is a rugged affair, tight punchy beats charmed by the accent of Jazz, Soul and R&B set a serious tone for a weight of rich, meaningful substance entirely fitting of the records title.

Its a decisive collection of reflection and introspection, the usual topics of street life, the drug game and racial tensions in American life feel urgent, on the edge as the energy of these four rappers bring has words bursting at the seems as emotions spill over the mic from their intensity. With deep burly voices pushing powerful pronunciations as they flow, the message in their words is felt with sincerity. Unlike a lot of other Hip Hop records, they stick very firmly to their point. Barely an inch of braggadocio or flaunting makes its way into the lyrics which track by track approach an abundance of topics, dissecting, reflecting, providing the listener with a wealth of thought to dive into.

As Cee-Lo says on "fighting" featuring Joi, the name Goodie Mob stands for The Good Die Mostly Over Bullshit. It illuminates the statement and intention of the group who debut with a classic record. The whole sixty minutes stay on track with a consistent string of indulgent beats that set a laid back tone with an under current of sorrow fit for fruitful expression through rhymes. There is little to flaw here other than my own enjoyment which has been a little muted as of late, possibly due to other stresses in life. I think this record is fantastic now but when I return to it in the future I'm sure its going to click on another level of appreciation.

Favorite Tracks: Dirty South, Guess Who, Live At The O.M.N.I., Goodie Bag, Soul Food

Rating: 8/10

Brockhampton "Saturation II" (2017)

The second of three released in 2017, Saturation II is unsurprisingly very much in the same vein as its predecessor. Hip Hop collective Brockhampton from Texas hastily put together this record just a couple months after their last and in terms of production you wouldn't of guessed it. Sixteen tracks of tight hitting quirky beats and banging grooves make for a lively, energetic album that's mostly a ton of fun, with a sprinkling of illuminated instruments like "Sunny" that leaps to your attention with its glorious, luscious acoustic guitar conjuring soothing vibes counterpart to the hyped energy on the microphone.

Lyrically the large assembly of voices and styles fall wayside in patches as the commonplace cursing and excessive braggadocio dominate the premise of the groups weaker rappers. Much like the last record the album frequently drifts into streams of forgettable nonsense but luckily the gifted few wage in with substance. The track "Junky" is a milestone in terms of topics in Hip Hop, one of the group being openly gay and questioning how homophobic rappers can be. In the same track the topic turns to another progressive train of thought, questioning another trouble of the genre, misogyny, and males attitudes towards women when rhyming on the mic without a filter.

There is a lot of creativity flowing from this group. Their passion, excitement and youthful resilience leads to a freedom unleashed in fruitful ideas, not always hitting the mark but there are great hooks, rhymes and compositions that ooze with fun. Moving forward an ear for filter would suit them well, cutting out the weaker raps, rhymes and dimes this forty eight minutes could of been a killer thirty as it is a little bloated in places but certainly a big step forward from their first endeavor.

Rating: 7/10

Favorite Tracks: Queer, Jello, Junky, Fight, Sweet, Sunny, Summer

Outkast "Idlewild" (2006)

On this music blog we have covered all but the legendary Outkast's last album. 2015 was marked by my discovery of a group who had always been there in my youth, on MTV and in the sound tracks of games but I never made the connection. Going through their albums one by one introduced my two the journey of two very talented individuals who brought a wealth of brilliance to the Hip Hop game. I lost my steam after their double solo records and given the negative press on this album I let it pass by but this year I want to fill in some gaps and tie up loose ends with artists who's discographies are incomplete to my ears.

Idlewild is unsurprising with its direction given the duo have steadily broadened their horizons. Andre's role as a producer continues to push the boundaries of Hip Hop but this time the duo take a leap into a specific vision nestled in the roots of Swing, Jazz, Soul and Blues from the first half of the century, bringing in a fresh pallet of instruments alongside is drum machine. Its tang and flavor comes on so strong that for most of the record the Hip Hop aspect seems secondary as crisp, sharp tightly fit drum arrangements hold a tempo for the retro theme to shape the tone, however with heavy use of electronic synths it too is pulled in slightly alien directions at times. I'm exaggerating a little, the raps hold in firmly in territory but instrumentally its vibe is persuasively retroactive.

A sense of theme is obvious musically but lyrically and thematically there are hints of narrative that come in from different angles. Is Idlewild a film? A tale? Its a DVD being bootlegged according to one interlude track of which their are many on this twenty five track stretch. Its a scattered idea that Idlewild is more than just the setting for the duos emotional, self expressive raps as the lyrical themes occasionally sync up. Its a typical flurry of topical raps that offer food for thought, Andre on "Mighty O" stabbing into systemic racism and the war on drugs yet on "When I Look Into Your Eyes" we are whisked back generations to piano heavy Swing with a very contrasting tone. The consistency should be a minor indifference but seems important given the high bar Outkast have set for themselves.

With their ambition and innovations for Hip Hop firmly proven, the album plays like two geniuses falling into a routine. Despite its successful attempt to circumvent norms and stylistically define itself with a vivid, romanticized theme, the album falls short of feeling as necessary and urgent as they once did on Stankonia. They have little to prove and so the duo flex their skills again for a charming, indulgent, mature experience. With the best tools at their disposal the artistry is gleaming but the fire behind is dim. Its a fickle thing to explain but a great album falls short when expectations are so high. Idlewild is a stunning place, a gorgeous listen but one without that spark to drag you back.

Favorite Tracks: The Train, In Your Dreams, Greatest Show On Earth
Rating: 6/10

UGK "Ridin' Dirty" (1996)

The Underground Kings, abbreviated UGK, are a southern Hip Hop duo from Texas, America. Released in 96 "Ridin' Dirty" is considered a classic and remarkably sold shy of platinum with no official singles released. On my first spin I recognized a few tracks from various movie soundtracks and shows Ive watched, its like another piece of the puzzle falling into place with lyrical references lining up, like Jay-Z's "We like underground kings, riding dirty" from "The Blueprint". This wasn't as distinctly southern as I was expecting. With tinges of Outkast's debut vibe, UGK find the best of the east's sampling and the west's programmed beats, it amounted to a very defined and accessible record.

The two both have strong, clear and steady flows with a keen ear from rhymes and hooks, Bun B with the deeper tone and Pimp C a sharper, aggressive delivery that compliment each other. It makes for great listening but on a deeper level there isn't to much to delve into lyrically beyond the gangster lifestyle. Its about the mood and moment, telling it through slick rhymes for the listener, UGK ain't trying to make a point or reflect on their lifestyles but just tell it how it is. With a blunt approach and unapologetic story telling there's plenty of disagreeable misogyny and glorified violence on display.

Where the record works for me is the beats and production. Most these instrumentals are simple, to the point and can be deconstructed with ease as they don't over complicate. Its a fine line to tread but "No Joe" and the two rappers handle the production with a keen ear for samples, mixing some Funk and Soul sounds with sharp kits playing out tidy grooves. At around an hour it shows its consistency without a weak track. It couldn't be done by the instrumentals alone which are often small sections on repeat with a few breaks. Although there wasn't much food for thought the duos rhyme styles carry weight and keep one entertained for the duration of what I can agree is a classic record for its time.

Favorite Songs: Pinky Ring, 3 In The Mornin', Good Stuff

Rating: 7/10

Mac "Shell Shocked" (1998)

Coming from the No Limit music factory, Mac's "Shell Shocked" is another from the year of 98 when No Limit Records pumped out 23 record from 20 different artists. Going for quantity over quality it would be hard for many of the artists on the hyped label to stand out and Mac is one of those who didn't sell as well at the time but this record is respected as one of the labels best. It's also got the most sensible album cover Ive seen of the over shopped and sometimes tacky southern style.

Its a typical record fitting Master P's formula. 73 minutes of solid beats stretching the format, compact disc, limit. On first listen it felt like Mac was being smothered by other characteristics, being another voice in a large crowd of No Limit artists it was the presence of Master P that seemed over the top with a barrage of over enthusiastic UGHs and Tupac pronunciations, emulating his delivery style and using similar lyrics, best head on "Money Gets" or "Memories". Getting used to Mac's voice I heard solid and steady flow more reminiscent of the east coast sound than southern. His lyrics flowed tight from word to word and sounded best when double tracking or using reverb on particular tracks.

Beats by the pound provided another set of sturdy beats with the typical range of styles and themes expected of this era. "The Game" recycled a beat from Silk's "Aint My Fault", nice to hear, and "Be All You Can Be" uses the classic melody from George Michael's "Careless Whisper", might sound odd but it works. I always enjoy noticing these entities in Rap music, as well as recycling beats the "Tank Dogs" would be reused Silk's "Southside Niggas" along with components to its beat. The records title track has some weak gun sound effects at the end, including the shotgun sound from the classic game Doom! "My Brother" also uses a sample from the eJay music composers that were popular at the time.

These quirks were fun to notice but the most important point is the strength of the beats holding the record from start to end, there maybe a few tracks you'd want to skip if not in the mood but it has what a good record needs and although nothing special happened in the lyrical department it still made for a great listen, one that's continuing the itch for more of Master P's brand of Hip Hop.

Favorite Tracks: Murda Murda Kill Kill, Tank Dogs, Can I Ball, The Game, Memories, Beef, My Brother

Rating: 6/10

B.G. "Checkmate" (2000)

Following up on my favorite southern record "Chopper City In The Ghetto" is B.G's last release with Cash Money Records before his departure later in the year over money disputes. Its his sixth release in five years, rather remarkable when you consider he was still a teenager when recording this one. Once again he teams up Mannie Fresh for a production sound similar to the Big Tymers "I Got That Work" album released in the same year.

Much like the sparkling bling fueled cover art, the beats are crisp and glossy as the fidelity steps up a touch. With a finer selection of programmed instruments, the compositions have a greater clarity as layers of snappy, sharp, clean instruments jive together in a mix where you can clearly hear each and every instrument and how they contribute to the song. The drums inflect a southern accent with hi hats and various percussive instruments taking president over the kick snare groove. Around it plenty of noisier subtle electronic sounds and instruments move in the backdrop while the brighter instruments, pianos, guitars, horns and synths, make up the short and simple melodies that loop through these songs. It all adds up to a fair collection of beats that falls short of being remarkable or special, but far from being anything negative.

So when B.G. steps to the mic its his opportunity to elevate the record but his laid back, easy flow doesn't quite chime like it did before. These beats require some hype and energy and the disparity can be heard on tracks like "I Know" where the thumping orchestral hits don't match his tone or energy. A lot of the guest features do better for these beats and for all the verses and choruses Ive listened through there wasn't a memorable line to be had, unlike Chopper City with its many lines and hooks I can't get out my head. Although I enjoyed this record, there is little to talk about or take away, and I'm left feeling this one suffers from the factory approach to keep pumping out records regardless of inspiration.

Favorite Songs: U Know How We Do, This N Die, Get In Line, Run With My Chopper, Problems, he Used 2 Be A Man

Rating: 4/10

Juvenile "400 Degreez" (1998)

Returning to the dirty south again I picked up this record from the Cash Money crew that's been hailed as a classic. Fronted by one of the better heavily shopped covers it has Juvenile surrounded by fire, golden frames and a sprinkling of sparkling diamonds. Coming from New Orleans Juvy brings a weight of localized slang and pronunciation to digest as he spits with a limp, twisting words to his style, moving syllables, slacking on fidelity in favor of a southern rawness. Production is once again handled entirely by Mannie Fresh of Big Tymers who delivers a solid collection of beats with one or two distinct numbers.

The record opens up with a classic track "Ha" that could turn many a listener away with verse after verse of raps with a single rhyme, "Ha". Juvy shows his skills in other tracks but on this one poses a bunch of questions that creates a range of scenarios relevant to his environment. His flow is lethargic, in a laid back way, pronunciation loose and casual while keeping to the tempo. His charm comes from the subtle grooves and tone shifts as his delivery works like an instrument chiming in with the music. His deliveries trump his rhymes time and time again with the exception of "You see me? I eat, sleep, shit and talk rap! You see that 98 Mercedes on TV, I brought that!". Classic opening verse on the title track.

Its a standout track, and its production brings a dark and gritty vibe to an ethereal and spacey chorus as morphed vocals sweep through the spacious atmosphere, saluted with a subtle roll of bells in the mid. The tracks are mostly composed of electronic instruments typical of the era but in the rhythm department the kicks, snares, hi hats and stabs bring a distinct bounce and southern groove. Doubling up on the beat the songs often drop in shuffling hi hats and harsh 4/4 claps onto the beat. Its raw, and sets a president for further experimentation, which would have an influence on Trap music. Overall its a great record but between its better tracks the 72 minutes does feel stretched. Unlike B.G. these Cash Money rappers don't keep me captivated on that side of Hip Hop music as much as the instrumentals do.

Favorite Tracks: Ha, Ghetto Children, Follow Me Now, Welcome 2 Tha Nolia, Back That Azz Up, 400 Degreez

Rating: 7/10

Silkk The Shocker "Made Man" (1999)

Diving further into the dirty south I picked out this record from No Limit rapper "Silkk The Shocker" that marked his commercial peak with a platinum record that debuted first on the American billboard charts. There's an agitated and aggressive side to Silk's flow and flicking through this record I found it unappealing but decided to give this one a go anyway. Its often the case that familiarity makes music easier to understand and by the end of my first listen I was really starting to dig Silkk's style that sways between a smoother traditional delivery and the agitated, violent rap style similar to the energetic hyped flow of Mystikal who appears on this record too with a whole array of guests from the No Limit family, including RnB singer Mya who illuminates the single track "Somebody Like Me".

Like many records of this era "Made Man" stretches the CD length with 74 minutes of beats and raps that hold it together without dragging on. There's a fair amount of variety in theme and mood that shifts around from track to track. From gangster, to RnB with some heart felt tracks in between the mood can switch quickly yet somehow it flows. For example the rowdy rhyme stomping track "No Limit" where Silkk, Fiend & Mystikal spell out words is followed by the remorse for the dead song "End Of The Road". This chop and change approach helps keep the record exciting and beside the more traditional Rap tracks there's a handful of more creative and experimental tracks that where a breath of fresh air for the sound of this era. The album's name and opening track lay's down a theme and concept for the record which drops off immediately. Romanticizing with gangster culture of the Italian-American mafia, Silkk creates a scene of him becoming a "made man" like in the Godfather movies. There's not much mention of this theme after that, one of two tracks bring it up but essentially that's as far as it goes.

Silkk and the group bring a decent set of raps but nothing exceptional, Master P seemed excessively hyped with many of his enthusiastic ugh shouts in the background, couldn't help but put a smile on my face. It was nice to hear Jay-Z pop up on "You know What We Bout" but his style sounded out of place. The records production is solid and testament to holding this one together for 74 minutes. Its a typical late 90s collection of clean MIDI instruments with less sampling and plenty of creativity. One or two tracks stand out, but in general its a solid but not spectacular record that was worth giving a fair few listens.

Favorite Songs: Somebody Like Me, I Ain't My Fault, No Limit, Southside Niggas, Get It Up

Rating: 6/10