Saturday, December 30, 2017

Pac Da Great - This Is How Da Pimp'in Goes

Raphael Mathis, better known as Pac Da Great, was an artist from the notorious neighborhood of Adamsville in Atlanta, GA. Pac made a name for himself on the West side of town as an upcoming rapper and a well established pimp. Well renowned artists such as Ludacris and Killer Mike, both credit Pac as a major influence on them. Killer Mike, who is from the same neighborhood as Pac, cites him as a mentor while Ludacris was one of the few disc jockeys to give Pac's material a meaningful rotation in the underground club scene. After serving a stint in the state prison, Pac hooked up with Virgil "Da Brain" Brannon and Marcus "Lil' Bo" Skrine of Get Funky Records. This Is How Da Pimp'in Goes is his debut album and it was released in 1994 on the aforementioned label. Production in its entirety is handled by Private Eye and it is quite excellent to say the least. His encoding pattern is very funk and bass driven. This results in a melodic overdose of smooth bass lines which are fused with groovy guitar licks and finished off with some twangy keyboard strokes. This sort of flavorful approach sets the right foundation for the artist and certainly tips its' hat to the division of Southern Funk. The producer and the artist also decide to include a few cuts that pay homage to the Bass scene which was really prominent in Atlanta during the early nineties. The record is also lyrically potent. Pac is very resilient upon the microphone and it shows in his rhymes. His laid back tone and the pimp tight persona are something to behold. His impeccable delivery is also accompanied with some strong word play which in turn makes for an exceptional combination. Although his approach is methodical and some might even say basic but there is never a dull moment in the verses. Subject matter is pretty much kept in the "Pimps & Macks" category but there are times where the artist will leave this comfort zone and that is where he truly excels. He also makes some bold statements regarding the pimps in the neighboring state of Tennessee, Orange Mound Memphis to be exact. While he does not say any names, one can easily sense that he is referring to the legendary duo known as, 8-Ball & MJG. Guest appearances are made by Code 3, Private Eye, Big Roe and Donata Echols. All in all, this was a formidable release and it is one that definitely left its mark on the genre of Southern Rap. Not only because of the compelling content but also because of the untimely and tragic demise of Pac Da Great. According to his mother Cassie Mathis, Pac was killed in a car accident on September 27th, 1996. He was the passenger in the vehicle and was ejected on impact. His body was then crushed by a fleet of Semi Trucks. He was only twenty five years old. Rest in peace to one of Atlanta's finest.

Deadly Verses

Bend One In My Lack ft. Private Eye & Donata Echols

Thursday, December 14, 2017

Slater - Can You Feel Me

Curtis Slater is an artist that represents from the rampant boulevards of San Antonio, TX. A well renown figure in SA Town's underground rap scene, he is highly remembered for his rapturous flows and energetic performances. Can You Feel Me is his debut solo album and it was released in 2003 on Top Entertainment Inc. The record is excellently produced by Houston's very own, Sean "Blaze" Henderson who is also assisted by Key Jay. The mixing and mastering is provided by the magnificent, Ricé. The engineers do a solid job on the beats and the end result is quite pleasurable. The rhythms presented here are Southern in nature so one can easily expect the use of jazzy horns, conventional hooks and some twangy guitar work which is provided by Paul Olivarri. A few of the beats are sample ridden while the rest are all original in composition. The two most notable samples come from the Ohio Players' "Fire" and The Crusaders' "Street Life." Lyrics are also on par with the rhythmical structure that is given to the artist. Slater's rhyme scheme might be typical but he does carry the ability to take the listener by surprise with his bold tone and a quick change of pace. He can also attack with a decent vocabulary as well. Subject matter is kept versatile and various styles are provided for the listener to keep them hooked. Guest appearances are made by D'nae Slater, Danielle Hamilton, Chris Benson, Ghetto and Big Turk. The album closes out with a total of thirteen tracks and also includes a bonus Eighted & Chopped disc done by the masterful, Mike Moore of the infamous Beltway 8 Records. Overall it's a dope record that gives off a satisfying vibe and has the power to play on both ends of the musical spectrum. A feat that is not easily attained but rather achieved by giving attention to the smallest of details. That alone places this album in the category known simply as, a diamond in the rough.

Deadly Verses
Good Life ft. Danielle Hamilton

Can You Feel Me

Wednesday, December 13, 2017

Wet Boys - 6 Ft. From Home

The Wet Boys was a relentless group that represented the illicit streets of New Orleans, LA. It was headed by the formidable Sporty T along with Black John Gotti and the in-house producer, T-Bone. The group's only claim to fame was their war on wax with Cash Money Records and the nefarious, Hot Boy$. As it is customary in any verbal exchange in the Rap Industry, it does not matter who starts it but rather who finishes it. Although, Sporty T was a legend in his own right, the Wet Boys simply cannot hold a candle to what Cash Money Records and the Hot Boy$ accomplished in city of New Orleans, let alone the South, period. Now, as far as the battle of words go, Sporty T may have had the upper hand only because of his lyrical prowess and his furious tone upon the microphone. 6 Ft From Home is the third and final album by the acclaimed group and it was released in 2001 on Sporty Records. As always, the production is handled by the masterful, T-Bone and it is quite respectable to say the least. His edgy and eclectic style is brought to light by the use of various synthesizers and drum machines. The beats also tend to carry a street savvy vibe and will at least, keep the listener engaged. Lyrically the record is rather on the strong side and that is mainly due to Sporty's powerful lyrical skill and dexterity. His delivery and technique are both unmatched. Not to mention his aggressive tone that is accompanied by his equally wild persona and it is safe to say that Sporty belongs in the upper echelon when discussing lyricists representing the State of Louisiana. The core content is where the album really takes a hit and suffers. While there are some new cuts, most of the tracks have either been recycled from Sporty's previous solo outings or the Wet Boys' prior releases. The record lacks a polished feel and seems as if it had been thrown together overnight. It appears as if Sporty T was attempting to make up lost ground to Cash Money Records and was trying to release something to derail their massive success. Around this time, Sporty was also heavily involved with another group known as Da Wild Boyz, which was basically another collective whose main goal was to go after Cash Money Records. It is unknown whether or not both sides resolved their issues and its a topic that will remain shrouded in mystery due to the brutal murder of Sporty T in 2008. May he rest in peace.

Deadly Verses
6 Ft. From Home