The Official DiS Hip-Hop Listening Club


Getting a reasonably nice spread already.


somewhat surprising we’re this far in and haven’t been to LA yet. also, turns out I’m bad at knowing where states are. who knew texas had a coast?! (everyone but me, probably)


Stone cold classic this one. Another great choice for a the Listening Club too, because this went right under the radar when it came out (and I was checking for Houston stuff (and especially Rap-A-Lot stuff) at the time). Think I only heard of it years later when Ego Trip put it at the top of their ‘Slept On Albums For Dat Ass’ list.

Not going to say too much cos would prefer hopefully hear people’s first time reactions without any sort of bias. For my two cents’ worth, I’ve seen this described as like if Bizarre Ride II The Pharcyde came out on Death Row, and I can’t do much better than that.

For anyone interested, Jeff Weiss did a brilliant piece for Pitchfork on this, which is well worth checking out once you’ve listened to the album 500 times


Absolutely loving this from the first handful of tracks, pal.


Getting some real Southernplayalisticadillacmuzik bassline vibes from it


Yeah definitely some musical similarities there, both are from that era where Southern music was still heavily leaning on the influence of the West Coast and G Funk. Think Kast had a more laid back kind of vibe, whereas this is straight party rap. Similarly, the production isn’t a million miles away from what other Rap-A-Lot artists like Geto Boys and Scarface were jumping on, except their beats were darker and not as jazz inflicted. So this album definitely has its own niche


Some of these lyrics are a bit :neutral_face:


Yeah, as mentioned above it’s proper ignorant hip hop, for the most part. Like you’d get on an early gangster rap record, just with less folk getting blasted. I’ve got pretty much immune to it, but even I could do without Shit Pit (got deleted from my playlist).


Yeah, it’s always one of those things that I am immune to with stuff I already know and love but sticks out like a sore thumb when you’re coming to something from that era fresh in 2017, that said, they did that equally-filthy-verse-from-a-woman-that-makes-it-ok thing on Putcha Lips way before RTJ pulled it a couple of years ago…


Haha, yeah that was definitely a throwback from RTJ to these days. Highly sexually explicit verses were pretty much the only kind of space a female rapper could get on a rap album back in the day and many of them didn’t even attempt to bring any balance to the situation :expressionless:


@Antpocalypsenow Oh yeah and the rapper on Hoes Wit Babies isn’t even credited anywhere, which adds to the feeling of [Insert any female rapper doing sex rap here]


Oh boy…


this is great. been meaning to listen to it for ages but it never seemed to move up the to do list, so thanks for forcing my hand. shit pit was the only black mark I had about it and you’ve covered already covered that. at least it’s brief, I guess. obvs devin is the star, but the others more than hold their own. really like the posse cut towards the end, fun hearing gruff ol’ scarface rapping on the same track as actual children


Yeah, same. Funny you mention that list actually, as I was trawling that book for some possible selections for this thread.

I only listened to this a couple of times before. Great production - mad that the guy was blind. Has quite an east coast sound - especially tracks like Jazz Rendition, and Can’t See It sounds like vintage Diamond D.

Yes - some very ig’nant lyrics. This is probably pretty mild to a lot of what coming out at that time, but still something that stops me revisiting certain albums that I quite liked at the time (see also Akinyele, certain Kool G Rap, Geto Boys).


Are they the same kids off ‘Funky Lil Aggin’ on The World Is Yours?


Been listening again this afternoon and agree some of those lyrics are a bit :frowning:

Always find that the ‘product of its environment’ type arguments that are always wheeled out when people try to justify suspect stuff are pretty hollow, but the early-mid 90s were kind of a weird time. Hip-hop was still in its relatively early stages (at least as a major commercial concern) and there was definitely a certain type of consumer that would buy rap records purely on the basis that they had swearing on them. I think that may have contributed to rappers trying to be more controversial in order to sell more records (not all rappers obviously, but definitely some).

It was also the time of Tipper Gore, the PMRC and ‘Parental Advisory’ stickers, and the PMRC in particular focused their ire almost exclusively on rap music. I personally think this created an atmosphere in which performers may have upped the ‘offensive’ quotient on their records, purely as a bit of a ‘fuck off’ to the increased censorship. You could also see this in other genres at the time too - Buju Banton, Cannibal Corpse and Dismembered all got into trouble around this time for putting ‘offensive’ music out (and some of it was genuinely very offensive).

It was pretty easy to become numb to this sort of thing at the time (guess I was younger too), but think it’s a good thing that it seems more shocking in retrospect. Totally agree also that this record is pretty mild compared to some other contemporary stuff, though. Those early Geto Boys records make it sound like 3 Feet High and Rising! Definitely Akinyele too. His tune ‘I Luh Her’ has one of my favorite beats ever (it single handedly got me into Don Convay too - cheers Large Professor!) but I cannot actually listen to that track because the lyrics are so vile.


the one is, aye. just had a quick skim through brad’s book to see what he had to say about him (nada, it turns out)


Aye, also while it doesn’t really excuse it, or detract from the fact that these rappers were probably very misogynistic regardless in a P.O.M.E. kinda way, like you describe, it was a trend to be intentionally, almost cartoonishly over the top with this stuff and was meant to provoke and shock. That context is a bit removed down the line, so it’s maybe taken more at face value. All that said, I don’t condone it and actually expected/hoped the album might generate some of this type of discussion


Although do remember listening to 3 Feet High in my Dad’s car and being mortified when De La Orgee came on.

But yeah, I imagine a lot of artists did ramp it up deliberately. People like 2 Live Crew were pretty blatant about that I suppose. Haven’t thought about Tipper Gore in years but also remember her clashing with Dead Kennedys loads, and I was quite obsessed with them too as a youth.


Ice-T, Jello Biafra and Tipper Gore on Oprah