I’ll take two of whatever Webbie’s on right now because it has him on a roll that even Charlie Sheen has to envy. “Finna F*ck You” is Trill Young Savage musically expanding on (perhaps) those random thoughts that spawned “I got a big dick” and “Get ya hoe, mayne,” only because he’s naturally more comfortable and capable to do so in booth, as compared to, say, a random Walmart. Whatever the case may be, Savage Life 3 should be full on devilishness. Read the rest of this entry »
Before success comes from music, the love of the craft is preeminent. After success, however, that’s not always the case. For many artists, once the glory is attained, the art of simply penning songs becomes less of a release and more of a means to ends. For others, the wear of continually chasing after the unattainable takes it’s toll and leaves you worn Read the rest of this entry »
What Cash Money Records meant for my infatuation with Hip-Hop during the late ’90′s is paramount and something I will never take for granted. The Hot Boys’ lead single from 1999′s Guerilla Warfare, “We On Fire,” will forever be a classic due to its urban, choir-like proclamations and even distribution of the spotlight. Read the rest of this entry »
“Suffering is nothing, no time huffing and puffing/You talk about hell, n*gga I grew up in the oven…”
There isn’t a person on Earth with the ability to convince me 400 Degreez was sub par. As one of my personal favorite LP’s ever recorded, I admire when artists pay homage to the album and with Phil Adé’s newest outing, he does just that. “Something Out Of Nothing” finds the DMV native bobbing and weaving his way through three impressive verses over Juve’s classic “Ha.” Read the rest of this entry »
Just watching these clips remind of Mase’s classic “24 Hours To Live.” Even with full time jobs, school and other duties, it’s sometime hard to fathom how many tasks can truly be accomplished in a set amount of time. With most cases in life, tomorrow always presents another opportunity to complete whatever the previous day didn’t allow.
His best days behind him. The label he helped transform to a household name is still just that, only 100 times bigger. But even while focusing on what Juvenile doesn’t have anymore, there is something no one can ever take away – 400 Degreez. In 1998, aside from OutKast, Scarface and Master P, “mainstream” Southern Hip-Hop was, for the most part, nonexistent. With the arrival of Juve’s magnum opus in November of that year, the norm was broken. And it was done by a start up label from the bottom of the map, at that. Read the rest of this entry »
Ten some odd years ago, Christopher “B.G.” Dorsey undoubtedly had the same easygoing persona, but his star status was definitely on another echelon. At the height of their popularity, B.G. was instrumental in helping Cash Money Records shift from entrepreneurship to empire before internal rifts, legal turmoil and drug addiction threw him of course. Bent on never reclaiming what once was, the original Hot Boy unveils Too Hood 2 Be Hollywood, which spits in the face of commercial radio while coincidentally returning the B.G. of old into the fray. Read the rest of this entry »
Though members of his Cash Money posse have left him behind for better and worse, even Lil Wayne’s rise to international superstardom hasn’t deterred Juvenile’s self belief. As evidenced by his newly titled LP, Cocky & Confiident Juvenile still considers himself on of Hip-Hop’s leading men. All swagger aside those who dig in to this album shouldn’t expect any innovation: it’s the same old Juvenile, also for better and worse. Read the rest of this entry »
Juvenile’s well past the legal age, but he’s still using the moniker and still going to be on radio courtesy of “We Be Getting Money,” the lead single from his upcoming album featuring Dorrough, Shawty Lo & Kango Slim. Although the man belongs to the man who made 400 Degreez, Dorrough sneaks up and arguably steals the scene with his guest appearance.
A couple of years ago when “Party Like A Rockstar” came out, my friend and I discussed the song’s lasting power. He’s a DJ so he was explaining to me the reaction he’d seen to the song at different parties:
“Yea, people go crazy for it. But it’s a phase. It’s not a classic like ‘Back Dat Azz Up.’”
His use of the word “classic” was jarring to say the least. As a “Hip-Hop guy,” my idea of classics are Illmatic and Ready To Die. Not a song that features the line “…You a fine mothafucka, Back dat azz up!”
That conversation stuck with me this whole time as I thought about these songs and their status as classics. But if a song plays 10 years after it first came out and it still gets the girls running to the dance floor, then it is a bonafied classic in the party song sense. So if “Back Dat Azz Up” is a classic, then “Get Ready Ready” by DJ Jubilee is a first ballot Hall of Fame epic classic.
I was raised on it, dancing to this song at my 8th grade dance. My sister, who is 13 years older than I am, danced to it back in the day too. And last night, a club in Houston went crazy when this track came on.
I know you may hear and dismiss this as some sort of nonsense rap because we’re accustomed to a lot of garbage dance songs a la “The Ricky Bobby.” But “Get Ready Ready” is a completely different monster. Not to bore you guys, but I once presented an Anthropological study on “Get Ready Ready” and it’s relationship to African culture. Here’s the abridged version:
– The song traveling throughout the last few years almost solely through word of mouth like as the only people with access to the track for the most part were DJs playing the song at clubs. DJ Jubilee was never on BET or MTV. “Get Ready Ready” has always been a pretty difficult song to get a hold of even in the Napster days. Still, it’s traveled like wildfire or an Anansi story. In fact, many people don’t know the real name of this song as it’s being called “Get It Ready” (which I thought was the title until I started writing this) and “Get It Ready Ready” by many people that know ever word and dance move of the song.
In the annals of dance songs, “Get Ready Ready” is a cultural masterpiece. Don’t get it confused with something like “The Stanky Legg” which holds on to small strands of what the former was founded on but in comparison is at best a half-retarded bastard stepchild. Just listen to the end of Beyonce’s “Get Me Bodied” in which she absolutely jacks pays homage to “Get Ready Ready.” Let’s not forget, Mrs. Carter is from the same Houston that got it ready as if the song came out last week.
Recently, DJ Jubilee was just invited to the New Orleans Essence Festival for the first time ever to perform. It’s amazing that it has taken this long for him to get that spot but it’s nice to know that his classic is being recognized.
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