Of the many hip-hop genres, Southern rap is the most comprehensive style. Encompassing the broadest range of artists, Rhythms, musical styles and different texts, it sounds from its East and West Hip-Hop, unfurled a new world of fashion, car culture, night life and unique in its Lingo rhymes and innovative instrumentation in his mood.
In the late '80s, a new sound from the south swept the hip-hop scene. Rooting their Traces, especially in Miami, New Orleans, Atlanta and Houston, Southern rap has been linked largely to Miami's booty rap. Bearing obvious elements of the music of bass-rump-shaking Sounds simple texts and enshrined, was the new sound, like the extended third wheel after the explosion of hip-hop in the East and West Coast. The multi-million turnover rapper from Los Angeles and New York took place in the grooves of their peers, Miami and Atlanta, some real innovators.
As productive scene on their own, Southern Rap widespread bass, dance floor sounds Slang of Miami with his lyrical content. Making Southern form of hip-hop to clear each developed as soon a national symbol of the hard-extreme party. Rhyming with thick regional accents, but after their own musical patterns, Tag Team, 69 Boyz, 2 Live Crew, and Freak Nasty were some of the great artist, the hit singles with explicit Lyrics taken. Inevitably, this caused protests for possible censorship in the U.S.
Atlanta has always been innovative as the center of Southern rap. Atlanta Artists based their sound on the bass-heavy rap patterns, but they held a funkier style of Southern rap with elements of soul. The distinctive element was almost religious; applied by Arrested Development, that the first group, which was to win a Grammy Award for Best Rap Album and Best New Artist "and the price of the band of the Year by the magazine Rolling Stone in 1992. In later years, based in Atlanta Outkast and Goodie Mob as members of Atlanta Organized Noize Productions followed.
New Orleans was and still is, the profit-making center of Southern rap. Master P's No Limit label, is a money-spinning empire which is on the market since the late 90s. Although it does not really support much more than West Coast G-funk and Gangsta Rap, No Limit is an efficient way, with assembly-line product sales Efficiency found. Another Label New Orleans, Mannie Fresh's Cash Money involved in an entirely innovative approach and succeeded in the southern bass sound take the singles to reinvent with Juvenile.
Some of the most famous artists have made that are more popular Southern rap with their hit singles in the charts, Outkast, Ludacris, Lil 'Wayne, TI and Lil Jon. Despite the great success and big money has been criticized Southern Rap for overexposure as with other hip-hop genres happened with hip-hop in general. Often produce rap artists their image as artists, because they would know the music is not the same without her character. In Rap, Music and lyrics at anchor, because the character speaks rap music about real facts. So throw the enemy rap rappers, they just put on a big hat, a huge chain and try to so that in the South, they throw them while acting as commodities, not Like Real artists. Well, if that was the case, then how all these people it only has Ghetto with her voice, long before raw materials and has the big hat? Just asking.
About the Author
I work as a financial and investment advisor but my passion is writing, music and photography. Writing mostly about finance, business and music, being an amateur photographer and a professional dj, I am inspired from life.
Being a strong advocate of simplicity in life, I love my family, my partner and all the people that have stood by me with or without knowing. And I hope that someday, human nature will cease to be greedy and demanding realizing that the more we have the more we want and the more we satisfy our needs the more needs we create. And this is so needless after all.
We Fxxk Huckabees (explicit rap song from Lily and David)
Disc 1:Intro [Expicit]Where Did I Go Wrong [Explicit]Best Man [Explicit], TheCrazy [Explicit]Middle Fingaz Up [Explicit]Dismissal [Explicit], TheJezebel [Explicit]Last Page of a Diary [Explicit]
Disc 0:No track list availableDisc 1:Rock Out – (with King Gordy)Knock `Em Out – (with Tech N9ne/King Gordy)So Hard – (with Monica Blair)Sex TapeAnimal – (with King Gordy/Razaaq)Ho…
Disc 1:Definition of a Thug NiggaStill Ballin` [Nitty Remix (Explicit)]Until the End of Time [RP Remix (Explicit)]Never Call U B**ch* Again [(explicit)]They Don`t Give a F**k About Us [(explicit)]Keep Ya Hea…
Disc 0:No track list availableDisc 1:I`m On One [Explicit Version] – (featuring Drake/Lil Wayne/Rick Ross)Welcome To My Hood [Explicit Version] – (featuring Lil Wayne/Rick Ross/T-Pain/Plies)Money…
Disc 1:Streets On Beats [Explicit]Riddla On Da Roof [Explicit]Night Shift [Explicit]Ghetto Imprisonment [Explicit]Block of Rock [Explicit]Mary-Go-Round [Explicit]Wizard-of-OzHustle Town [Explicit]…
Disc 1:Game Don`t Stop, TheSuperstarLife on the LineFire – (featuring Dwele/Twista)What Would You Do – (featuring Jay Rush)Dead EndParking Lot Pimpin`Undeniable – (featuring Ray J)Go Getta
Disc 0:No track list availableDisc 1:PigsHow I Could Just Kill A Man [Explicit Album Version]Hand on the Pump [Explicit Album Version]Hole in the HeadUltraviolet DreamsLight Anothe…
Disc 1:Juan Gotti`s Chic [Skit]Beach House [Explicit], TheWoodson N Worthin [Explicit]Red Beams and Rice [Explicit]Hotel Lady [Skit]Suckaz N Hataz [Explicit]Latola [Explicit]Dj Screw [Skit] – (live…
When Explicit Game came out in 1994, numerous West Coast rappers were jumping on the G-funk bandwagon and emulating the recordings that Dr. Dre and Snoop Doggy Dogg were providing for Death Row Records. There is no shortage of Dre/Snoop influence on this CD but, while other Californians were content to be clones of Death Row artists, Oakland’s Dru Down was his own man. Definitely a cut above most of the G-funk efforts that came from the West Coast in 1994, Explicit Game draws on a variety of gangsta rap influences. In addition to the Dre/Snoop influence, one hears elements of DJ Quik, Eazy-E, and Ice Cube in his rapping style and, at times, Down hints at Cypress Hill, which was a rare example of an L.A. gangsta rap group favoring the sort of complex flow you would have expected from an East Coast group. Down’s rapping isn’t as consistently complex as Cypress Hill’s, but the Cypress Hill influence is still one of the effective tools in his arsenal. By 1994 standards, Explicit Game isn’t groundbreaking — Down was hardly the first person to rap about inner-city thug life on the West Coast, and this certainly isn’t the first gangsta rap CD to be influenced by Dr. Dre’s production style. But while Down isn’t an innovator, he isn’t faceless either. Explicit Game doesn’t have the historic importance of N.W.A.’s Straight Outta Compton, Dre’s The Chronic, or Ice-T’s Rhyme Pays, but it’s still among 1994′s more memorable G-funk/gangsta rap efforts. ~ Alex Henderson, Rovi Performers: Dru Down – Vocals
Next Up: Rap’s New Generation is a close look at hip-hop’s millennial innovators. This collection of explicit rap tracks from TVT Records showcases the genre’s significant and upcoming artists in gangsta rap and hardcore rap, which necessarily might not m
Explicit Version. The Rap A Lot Greatest Hits speaks for itself as the Rap-A-Lot catalog is turning 20 years old and stronger than ever. Unstoppable! Founded by James Smith (aka J Prince) in the mid-1980s and with its most famous act, The Geo Boys, put
There was a time when Southern rappers felt marginalized. That was before the rise of 2 Live Crew and their bass colleagues in the late ’80s; southern rap has long since become a huge industry, and Dirty South MCs who hit big in cities like New Orleans, M
Four years after he released the unsatisfying and scattershot He’s Keith Murray and got himself kicked off Def Jam for allegedly strangling a street team member, the rapper who can’t be controlled returned with a solid effort that finishes a very close second behind his stunning debut, The Most Beautifullest Thing in This World. With executive producer, longtime associate and brother in Def Squad, Erick Sermon, Keith Murray’s Rap-Murr-Phobia (The Fear of Real Hip-Hop) looks outright like a down and dirty return to form that just doesn’t give a damn, but it’s not. With guest star Tyrese and a mention of P. Diddy, the smooth roller “Nobody Do It Better” sounds anxious to shake hands with radio while “Weeble Wobble” contains an incredibly friendly hook that could easily spawn a line dance craze followed by mega uploads — “me and my friends doing the Weeble Wobble” — to video sharing sites. Close your eyes and you can see the moody, black and white video the soulful “Do” deserves, while “Something Like a Model” woos the ladies with Junior’s sweet croon and syrupy strings. While “Model” is just good enough, the rest of the polish works beautifully and is remarkably woven in between all the chilly, unforgiving hip-hop that is Murray’s “notion for murderous poetry in motion” at its best. Not since his debut has he sounded so sure, so inspired, and filled with that “raw dog passion” that “Whatmakean***athinkdat” speaks of over Sermon’s crooked beat. Sermon and Redman show up for an excellent Def Squad reunion called “U Ain’t Nobody” and if an important part of any Murray full-length is that un-PC humor, then the he said/ho said “Never Did S***” nails it. In the end it turns out the subtitle of the album isn’t aimed at any artist getting paid with slick hits but at the Sharptons, the Jacksons and the Oprahs who look at Murray’s language and outlook as unforgivable. Looking at it that way, this “don’t hate the player, hate the game” album may be even more subversive since it refuses to be banished to the ignorable underground. You can say a lot about the controversial man who declares himself “tainted,” but you can’t say Rap-Murr-Phobia is anything but a well-crafted and fascinating menace to society. [Rap-Murr-Phobia was also made available in a clean version, with all explicit material removed.] ~ David Jeffries, Rovi
Kurupt is an example of a hardcore rapper who has one foot on the East Coast and the other on the West Coast. The MC grew up in north Philadelphia, but after moving to L.A., he became associated with Death Row Records and worked with the Dr. Dre/Snoop Doggy Dogg/Warren G crowd. When Death Row fell apart and Death Row’s infamous Suge Knight was serving hard time in prison, Kurupt resurfaced with his A&M-distributed ANTRA label. The first ANTRA release was Kuruption!, a two-CD set that contains a “West Coast Disc” and an “East Coast Disc.” While the West Coast disc has more of a G-funk flavor, it isn’t devoid of East Coast influences. Kurupt may have been influenced by the California rappers he hung out with, but he never abandoned the type of tongue-twisting complexity that has often characterized New York rappers. The East Coast disc, meanwhile, lives up to its title — tunes like “No Feelings,” “Light Shit Up,” and “The Life” emphasize verbal technique and provide tongue twister after tongue twister. Kurupt’s rapping skills are strong; in terms of subject matter, he’s content to boast about his rapping skills and hurl profanity at other MCs. The end result is an uneven release that does have its moments. ~ Alex Henderson, Rovi Performers: Andre Wilson – Rap
Explicit Version. The East Coast duo Heltah Skeltah are comprised of Sean Price and Rock, a legendary Hip Hop group hailing from Brooklyn, NY. Their 2008 album D.I.R.T. is a group project which marks a return after a decade’s absence, though they have r
Around the time the reggaeton gold rush of 2003-2005 was running dry, and a great many critics were eager to write off the style as a next-big-thing phenomenon that burned itself out, along came Calle 13. The Puerto Rican duo was a revelation: a reggaeton act whose appeal extended beyond clubs and mixtapes, one whose music was as engaging intellectually as it was sonically. Granted, Calle 13 was a reggaeton act that wasn’t genuinely reggaeton. These guys were presenting an alternative style, one that was purposefully different — when so many other reggaeton acts were parroting the mannerisms of Daddy Yankee and Don Omar in hopes of cashing in on the gold rush, Calle 13 blazed a trail of their own. They didn’t catch on at first, but once they did, slowly but steadily, they were showered with acclaim, including three Latin Grammys, and they enjoyed surging popularity, especially among the MTV demographic. All of this success opened a lot of doors for the duo, as Residente (the vocalist) accepted invitations to work with Nelly Furtado and Alejandro Sanz and Visitante (the producer) with Shakira and Beyoncé on their “Beautiful Liar” collaboration — not bad for a reggaeton act. The thing is, Calle 13 is so much more than a reggaeton act, something they seem to stress on their second album, Residente o Visitante. Sure, reggaeton is the basis for the music of Residente and Visitante, but they synthesize it with a wide-ranging assortment of styles and sounds, including opera (“Intro”), tango (“Tango del Pecado”), bossa nova (“Un Beso de Desayuno”), electric guitar (“Llégale a Mi Guarida”), and cumbia (“La Cumbia de los Aburridos”). More than anything, though, rap and electronica are clear touchstones for Calle 13, as Residente is a gifted rapper who matches Eminem in terms of wit and playfulness while Visitante is a similarly gifted producer who creates multi-layered tracks that rarely sound alike. As expected, Residente o Visitante is a significantly more advanced album than Calle 13, given all that happened in the time between. For one, the guys are much more willing to experiment stylistically. The handful of collaborations — true collaborations, not phoned-in vocal tracks — seem to have been a vehicle for experimentation: the lead single, “Tango del Pecado,” is a clever narrative graced instrumentally by the Bajofondo Tango Club; “Sin Exagerar” is a crazed runaway rap showcase teaming Residente with his labelmate Tego Calderón; “Mala Suerta con el 13″ is an impressive boy-versus-girl face-off with rapper Mala Rodríguez; and “Pal Norte” features Cuban rappers Orishas. These aren’t necessarily the best songs. They just happen to be the most interesting, because of the experimentation — and they’re front-loaded, kicking off Residente o Visitante wildly. As the album nears its 15-track close, it’s just Residente and Visitante, the mood turns darker, and the style turns increasingly away from reggaeton and toward a more general urban-alternative styl
Rap star and movie actor DMX stars in this dramatization of his own success story. The story of a boy brought up in poverty who rose to fame through his talent for rapping and rhyming, ANGEL is a heartwarming rags to riches tale. Rhythm and blues diva Mary J. Blige makes a special appearance as DMX`s guardian angel.
In May 2006, information was released to the press and public regarding a song that was cowritten by Elvis Presley. The songs were never published or released until now. Paul Terry King recently announced that he, and Elvis Presley, cowrote the songs titled, ‘Rollin’ Up Hill’ and ‘If I’d Only Bought Her Roses’, in the fall of 1970.
Paul Terry King, a songwriter of several popular country and pop songs in the 1960s and 1970s, recently submitted a press release specifying details about the songs. Mr. King claims while working with artists at American Recording Studio in Memphis Tennessee, he worked with Elvis Presley, and cowrote two songs titled ‘Rollin’ Up Hill’ and ‘If I’d Only Bought Her Roses’. Paul Terry King explains that this was several of many recording sessions, one of which produced the hit song, ‘Suspicious Minds’.
Paul Terry King claims that Elvis visited him in Nashville to write other songs, as well. He states that he and Elvis had many conversations about world politics, current events, religion, family and children, marriage and love, and several other subjects.
Mr. King explains that Elvis had an explicit interest in writing music, as well as recording and performing. However, he was unsure about releasing any self published works at the time due to uncertainty as to how well it would do, and how his manager would respond.
However, Mr. King goes on to explain how the songs were created. Elvis came to his home in late 1970. He tells the story that he and Elvis conversed for many hours into the night, and early morning, as several new music works emerged. Mr. King goes on to explain that Elvis was much more talented than people pay him credit. Elvis was a good actor and continued to hope for better and more dramatic roles. He also aspired to develop into a good songwriter as well. The song ‘If I’d Only Bought Her Roses’, is about a man who desires to have another chance with his only love, and wishes he’d done things differently. Note that it is not hard to imagine Elvis in that certain frame of mind with what he was experiencing in his own personal life.
The other song, ‘Rollin’ Up Hill’, is about overcoming life’s obstacles in the midst of a man facing all odds against him. The driving force by which he wins the race is the power of love, which the song clearly communicates.
The song ‘Rollin’ Up Hill’, is the song I was able to hear and sample. There was talk about a Elvis Presley reality series taking place in Las Vegas among various Elvis tribute artists.
The winner receiving prizes and publicity, including the honor of recording the two songs which Elvis cowrote. However, even though the taping of the show was begun in August of 2006, it was not revealed to me the reason why it wasn’t finished.
However, the songs were not recorded by any of the Elvis impersonator’s who attended the rehearsals in Las Vegas. Instead, the songs were forwarded to, and recorded by, William Riopelle, a former Elvis Presley tribute artist, now living in Fort Smith, Arkansas.
William Riopelle, performed as an Elvis Presley tribute artist for several years and performed many places. Of his many experiences, some of the highlights were performing in Las Vegas in the show Legends In Concert, recording a rockabilly tune at Sun Records in Memphis now called Sam Phillips Recording Studio, and being managed by George Klein, a disc jockey in Memphis Tennessee, who was a very close friend of Elvis Presley. Indeed, George Klein, was Elvis’ best man at his wedding, and a pallbearer at his funeral.
George Klein is not a man who typically gets excited about Elvis Presley impersonators. However William Riopelle’s talent was so original and unique, that George Klein made an exception in his case.
William Riopelle, who no longer performs as an Elvis Presley tribute artist, has moved on to other things and has since received various science degrees in college, and an advanced degree in physical therapy as well. Indeed, an Elvis Presley Tribute Artist with a brain! William Riopelle once went by the stage name of ‘Billy Elvis.’
He is said to have changed his name to Billy Detroit at the advice of George Klein, who urged William not to use the name of ‘Elvis’ in his own name. George Klein believed in Mr. Riopelle’s talent enough to get a songwriter to write a demo song for him and request a free recording session from Sam Phillips, the man who discovered Elvis Presley at Sun Records Recording Studio in Memphis Tennessee in 1954. Although the recordings were heard by various recording labels, ultimately they rejected William Riopelle’s works due to the fact that he sounded “too close to Elvis Presley” and they thought the public was not ready, or interested, in an Elvis sound alike.
However, since Elvis Presley’s popularity has not shown any signs of decreasing over the years, and has even increased, the interest in an authentic Elvis Presley sound alike may be beginning to emerge.
Indeed, the public would certainly be interested in hearing a song which Elvis Presley cowrote. I believe the public would be interested in anything that Elvis Presley wrote.
Although there are Presley insiders who would validate Paul Terry King’s story, there are others who would disdain it. Like any controversial story regarding Elvis Presley, it is very likely that you will Once Again have to be the judge.
A sample of the song ‘Rollin’ Up Hill’, has been made available for free, and can be heard on the Internet by Paul Terry King. Details about listening to the song can be found in the resource box below.
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