By shelz.

During the mid 90’s Hip-Hop experienced a cross regional renaissance. Dr. Dre ushered in the left coast’s Gangsta Funk era and folks from Alabama to Alaska were enjoying Cali’s mid tempo Parliament Funkadelic samples. Wu Tang, Notorious BIG, Nas, Gangstarr and other northeast artists were dropping gems and it was obvious New York wasn’t going to take the country wide proliferation of the Cali sound lying down.  However, in between the pensive boom bap of the east and the smoked out smoothness of the west, another sound was being crafted, southern gangsta.

At the time the south was only known for Miami Bass, but the bass was all thump and very little lyricism. The full southern spectrum expanded and began to creep out of the area making it obvious that the bottom had a story telling prowess that could possibly rival the northeast.  Of course people are aware of the break out releases from Atlanta’s Outkast and Goodie Mob during this time but the coldest of gangsta sounds was actually coming out of the hottest of places, Texas.  Two of the best early representations of that icy lone star reality were UGK’s Ridin’ Dirty and Scarface’s The Diary.

Ridin’ Dirty sticks tightly to Bun B and Pimp C’s established themes of drugs, guns and hoes. However, it’s the most acclaimed release from the duo.  They manage through dirty slang and thick southern drawls to present an honest picture of thuggin below the Mason Dixon.  Their juxtaposition of life behind bars against an alleged life of freedom devoid of CO’s and scheduled bedtimes is poignantly described through a series of collect phone calls from one of their boys in lock down that winds through the album. As their friend is relating his life in the pen, UGK share their lives in the streets and the result is a question of how free that outside life really is.

The pair effectively toggle between a full acceptance of the criminal life and bemoaning it.  The declarations of an iron fisted hood rule with the gun play and drug talk are tempered by the truthful understandings of the damage that life can create.  They preach a Darwinistic urban mentality that boils down to a lack of choice.  The streets are nightmarish and you do what you have to do to survive or else you don’t endure. There are some lighthearted moments that revolve around chickens and car culture, but even those provide a pessimistic view of even the simplest relationships in the hood and the ulterior motives that drive them.

Pimp C produced the album with some help from N.O. Joe.  It’s a soulful laid back group of tracks that give a tinge of homage to the reigning California sound. However, Pimp C’s smooth layers of live instrumentation are noted as the blue print for pre-snap southern production. The music is slow and melodic allowing for the lyrics to bring the drama. However, as drama filled as those lyrics are, there are some who believe they don’t contend with the startlingly stoic presentation Scarface brings on The Diary.

The Diary is book ended with an intro and an outro that give the release a cinematic feel and the ra-ta-tat-tat that closes the intro lets you know exactly what type of sonic movie it is.  Scarface’s bone chilling lyricism and delivery guide you through the life of a muthafuckin G.  Most of the songs are devoid of emotion as he explains matter-of-factly  what happens when you get out of pocket in Texas and damn you if you cry about it. His words evoke the jaded sensibilities of the late night corner dwellers who view life and death with depraved indifference and the only time Scarface manifests any passion is when he is screaming for vengeance. There is a bit of light near the end of the album with the obligatory song about bangin the bitches and a political diatribe against those who blame Face for the world’s ills he was simply reporting on. The overall feel of The Diary is darkness and the only escape is death.

Scarface’s brilliantly constructed lyrics and dead pan delivery are accentuated with the production.  Again, we find the underrated N.O. Joe behind the boards along with Scarface, Uncle Eddie and Mike Dean crafting tracks just as menacing as the lyrics poured on top.  The production mixed with Faces commanding baritone sets the stage for profoundly unforgiving tales from the heart of the warzone.  

Both albums speak to the problems of urban America with a brutal honesty rarely found in Hip-Hop.  UGK and Scarface built on their previous albums and released their best albums to date with Riding Dirty and The Diary.  They also helped light the flame of the Southern movement and cemented a top spot on the lyricism ladder for Texas rappers.  However, one has to be the selected tops in the old south.  What do you think?  Speak on it.

RIDIN’ DIRTY LISTEN

THE DIARY LISTEN

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