Ricky B Classics
Posted by emynd on | November 4, 2008 | 3 Comments
Ricky B has made some of my favorite Bounce songs of all time, but I know very little about him. As far as I can tell he’s from the 7th Ward and both “Y’all Holla” and “Shake Fa Ya Hood” on the “Mobo Click” album on Mobo Joe Records which was one of New Orleans’s most important local independent labels in the mid-to-late-90s. “Y’all Holla” is an absolutely classic joint that garnered some attention outside of New Orleans (most notably Houston) while “Shake Fa Ya Hood” has a very similar call and response aesthetic. I still play “Y’all Holla” out in clubs frequently today and even if folks have never heard it before, the song always gets a good response. Some of you will probably notice that the same Rebirth Brass Band horn sample in “Y’all Holla” has been sampled repeatedly throughout the history of Bounce. Likewise, I also decided to upload Ricky B’s “Let’s Go Get ‘Em” which is a Second Line rap song which I believe he did with the Rebirth Brass Band which I found out (thanks to the commenter below) features John Mac Band (Local High School) .
Ricky B “Shake Fa Ya Hood” (256)
Ricky B “Let’s Go Get ‘Em” (320)
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Tags: Mobo Click > Mobo Joe Records > Rebrith Brass Band > Ricky B > Second Line
More 10th Ward Buck
Posted by emynd on | October 30, 2008 | No Comments
Even more 10th Ward Buck jams for that ass. The melodic “Buck Hop” is one of my favorite Bounce songs. “All I Do” is a really dope Bounce remake of the Stevie Wonder track, and any Bounce with 2nd Line horns is by default amazing.
10th Ward Buck “Buck Hop” (192)
10th Ward Buck “All I Do” (192)
10th Ward Buck “2nd Line” (192)
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Scene & Heard: Bounce and “Sissy” Rap
Posted by emynd on | October 23, 2008 | No Comments
Shouts go out to John McDonnell at The Guardian for his blog about Bounce and Sissy Bounce. He also aknowledged my “Bounce It” Mix and shouted out this very website.
Go read the article.
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10th Ward Buck “Drop & Gimme 50″ and Remix
Posted by emynd on | October 23, 2008 | 1 Comment
10th Ward Buck emailed me a couple days ago to let me know about his book “The Definition of Bounce: Between Ups and Downs in New Orleans” that’s apparently coming out in February. I really have no idea what it’s all about, but I’m certainly intrigued. However, briefly browsing the publisher’s web page has left me scratching my head a bit. Regardless, I am definitely interested!
And, of course, back to some music! As slizzard over at Twankle & Glisten pointed out in post about Buck’s “Drop & Gimme 50″ several months back, this song’s hook was appropriated by Mike Jones for his recent hit of the same name. I guess Mike Jones got the OK to do this track because as the picture above from Buck’s myspace clearly shows, they were on set for the video shoot. I dunno though. Mike Jones should’ve at least had Buck do a verse on there. Anyway, I’ve posted both Buck’s OG and the remix with Gotty Boi, both of which are energetic as hell.
In the mean time, hit up Buck’s myspace!
10th Ward Buck “Drop And Gimme 50″ (320)
10th Ward Buck ft Gotty Boi Chris “Drop and Gimme 50 (Remix)” (320)
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Village Voice: “The Last Mardi Gras” by Liz Armstrong
Posted by emynd on | October 23, 2008 | No Comments
The Last Mardi Gras
New Orleans Bounce Label Take Fo’ Tells It Like It Is in Yo Booty Hole
Liz Armstrong
Tuesday, October 16th 2001
Taken from the October 16th, 2001 issue of the Village Voice
If you want people to cry bitter tears over your antagonistic soundscapes, you’ve got to be Radiohead; if you want men to drool over your highlighted weave and colossal snake, you’ve got to be Britney Spears. And if you want them to hump the air while doing a headstand, you’ve got to be DJ Jubilee. He’s a special-ed teacher and football coach for West Jefferson High in New Orleans, and he’s also the poster boy for Take Fo’ Records, a decade-old New Orleans-based bounce label.
He joined Take Fo’ in 1992, when the label’s founders, Earl Mackie and Henry Holden, went to a West Jefferson school dance. They were there promoting their first artists—girl group Dá Sha Rá—and the opening performer was DJ Jubilee. He’d been playing at house parties in the projects since ‘81, and there he learned that to get asses tossing you’ve got to tell the audience what to do. He demonstrates dance moves such as the silly rabbit, ride the bike, and monkey on a stick (which has mutated into monkey on the dick), and then the crowd imitates him. Every time Jubilee performs he has hot boys and girls hunched over, palms down, knees bent, booties shaking in the air, and his call-and-response routine has everyone representin’ anything from hometowns to driveways.
The label started in ‘90 as a cable-access television show called Positive Black Talk—founded, according to the Take Fo’ Web site, “due to a need for positive African American role models in the New Orleans community.” After holding a fundraising concert for the program, Mackie and Holden realized they’d make way more money promoting music than promoting upstanding black citizens, so they switched gears. Perhaps DJ Jubilee’s talk of twerkin’, penis poppin’, and tiddy boppin’ is a far cry from their original mission, but it’s happy stuff compared to Juvenile bragging about having a fearless finger on the trigger of an automatic weapon.
Bounce music hasn’t changed too much since it was born: It’s still a primitive mélange of hip-hop, r&b, and gospel; sparse melodically but heavy on the beats; and its main intent is to make people dance. Some of Take Fo’s hilariously blown-out keyboard demo samples are so old they originated when DJ Jimi made a song about bribing his woman with a Starter jacket. They get more lo-fi with each production, but part of the charm is the sheer gall of someone recycling that stupid-ass preset beat again. And the sampling doesn’t end with the classics Willie Puckett and Warren Mayes created 10 years ago. Jubilee’s got a song called “The Mario” set to the old-school Nintendo Mario Brothers video game. Gay transvestite Katey Red sings about taking it in the booty hole over an innocuous loop of the Jackson Five’s “I Want You Back” (the same one that Lil’ Romeo wound up topping the pop chart with years later), and it’s such a naive transgression you can’t help but love her. Take Fo’ newbie Choppa bites Destiny’s Child’s “Independent Women” and Monica’s “Just Another Girl” and he adds his own weird disco-gangsta flavor, so his tracks end up sounding like rejects off a Lisa Lisa and Cult Jam record. Maybe all this seems pretty awful, but it’s hard not to appreciate, because it’s uninhibited and free of pretensions—an almost unheard-of combination in music these days.
Take Fo’ started right around the same time as its fellow Louisiana-based labels No Limit and Cash Money, but it’s the only one that doesn’t sign rappers who talk big about leading a thug life. In fact, the Take Fo’ artists don’t even pretend to be bloodthirsty; they just sing about partying and getting busy. The closest their words come to violence is “Gettaway Driver,” in which the so-called Take Fo’ Superstars supposedly flee the scene of a crime—but they never say what they did that was so naughty. These guys aren’t bragging about getting lit; what they know is the ghetto, and they’re proud of it. Sure, the projects in New Orleans are just as dangerous and devastated as those anywhere else, but you get the idea that people there would rather celebrate life than commiserate. Their homes attest to this: The dilapidated shutters and doorways are decorated with bits of glitzy streamers and banners snatched from parade floats. The Take Fo’ artists are obviously products of their surroundings, and they realize that nothing much matters as long as there’s a party goin’ on down the block.
So what if DJ Jubilee was signed by Tommy Boy but then dropped before he could get a record out? He still needs to show the world all his crazy dance moves. Katey Red may occasionally have to give head for some dough, but hey, it’s easy work when you’re good at it. Big Al and Lil’ Tee frequently get pissed at all the bitches with rashy or smelly cha-chas, but at least they’re still gettin’ some. Take Fo’ may not get national recognition or distribution, but at least they make enough selling their records on Amazon.com and in local shops to keep signing new artists. And so on. Because there’s no big mystery in the music or the message, people can relate. The artists vocalize sin and pride without acknowledging immorality or egoism. It’s functional music, but it’s the truth as they see it, and the target audience doesn’t extend too far beyond their peers. That’s how folklore begins.
Village Voice: “Do The Damn Miracle” by Hua Hsu
Posted by emynd on | October 23, 2008 | No Comments
Do the Damn Miracle
Special-ed teacher helps New Orleans’s third-biggest rap label back its free-for-all up
Hua Hsu
Tuesday, December 23rd 2003
Taken from December 23, 2003 issue of the Village Voice
The scales of justice may wobble but they won’t fall down, even when cosmic weirdness lands cases like 02-0425: Positive Black Talk Inc. v. Cash Money Records Inc. on the docket. At stake: intellectual property, naming rights, a quibble between S’s and Z’s. More precisely: Whose idea was it to “Back That A** Up” first? Earlier this May, the court of U.S. District Justice Jay Zainey heard the grievances of New Orleans’s Take Fo’ Records and 37-year-old Jerome Temple, a/k/a DJ Jubilee, the local legend who claims to have first commanded area dancers to “Back That Ass Up” at mid-1990s block parties and again on his 1998 Take It to the St. Thomas album. Without a prayer of blowing that track up beyond his neighborhood, Jubilee was content until Terius Gray, also known as local boy-gone-platinum Juvenile of Cash Money Records, dropped 1998’s “Back That Azz Up” and helped make the South a focal point of mainstream, commercial hip-hop.
Once again, the underdog—Temple teaches high school special education, no less—got spanked. Jurors: The songs barely resembled each other, and the crux of Temple’s argument—that Juvenile’s replacement of “Ass” with “Azz” still constituted infringement—didn’t jibe with the informal precedent set when Tag Team got away with rewriting 95 South’s “Whoot (There It Is)” with a “Whoomp.” Juvenile, saddened that his psychic props were ignored in what he read as a pathetic money-grab, sighed: “I didn’t want it to come to this.”
With all due respect, Jubilee’s case was a weak one from the start. While Juvenile and Cash Money producer Mannie Fresh please nerds with their future-primitive, rinky-dink plinks, Jubilee and his Take Fo’ superstars are all about torque-outs, stabs, and piped-in crowd noise. Jubilee’s original “Back That Ass Up” avoids universal-ish ambitions altogether, opting instead for scratched-open doubles of the Jackson 5’s “I Want You Back” and a series of site-specific, call-and-response directives: “Walk the dog! . . . Ride that bike! Motorbike boy, pop that wheelie!” There’s a relentless, free-for-all attitude to the beats rather than the rhymes; it’s the cute audacity of someone jacking something as obvious as the Jacksons or Betty Wright’s “Clean-Up Woman” rather than gassing on about “new shit.” The beats lead, pivot, and swerve; Juvenile could not have stolen it, because his songs aren’t nearly as fun.
Jubilee and Choppa expand on all this on their latest collection, P-Popper/Club Hopper. Unlike St. Thomas or Take Fo’s Party at the Luau compilation (wherein Jubilee finds bounce in the theme to Super Mario Brothers) there’s only one notable riff-off. For the title cut, Choppa interpolates the sass ‘n’ preen out of Destiny’s Child’s “Survivor” and turns womanism into a wobbly-assed freak anthem. Jubilee’s “Looking for a Hot Girl” sounds like one long scratch windup, but what it lacks in beginning or end it makes up for with plenty of tail.
Blak Iyce and Take Fo’ stud Choppa salute their city over an awesome digi-bassline on “The N.O.” “You ever found a better city? That’s an N-to-the-O!” they beam, even finding the heart to include Juvenile in their list of civic landmarks. Tec 9, Big Al, and Lil Tee’s “Shake That Thang” is another odd great, all dusted horn blares and kiddy Casio tickles. Elsewhere, a common lust allows Willie Puckett’s mega-macho “She Don’t Want It in Her Booty” and Katey Red and Big Freda’s trannie-happy “Stupid” (sample lyric: “You are too stupid for calling us guys/You know you tried it, so stop tellin’ them lies”) to coexist.
Through it all, Jubilee seems to wear the same friendly smile he has in all his press photos: “Do the yaaaaarrrrgghh” he yawps on the directive-heavy “Get Ready, Ready!” He may have to fire up the jurisprudence once again if Juvenile catches sniff of the latest Take Fo’ dances on P-Popper—”Monkey on a stick!”—but until then, being the superhero for New Orleans’s third-ranking rap label ain’t a bad gig.
DJ Westbank Red “Ms Independent” (Bounce Remix)
Posted by emynd on | October 8, 2008 | 2 Comments
Really dope Bounce remix of Neyo’s “Ms Independent” by the supremely talented producer and DJ, Westbank Red. Add her on Myspace.
DJ Westbank Red “Ms Independent”
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Twankle & Glisten Bounce 1
Posted by emynd on | October 2, 2008 | 4 Comments
I’ve said it before, but I’ll say it again: if you aren’t checking Kid Slizzard’s Twankle & Glisten on the daily, you’re not only missing some of the pithiest and funniest blurb-writing about rap you wish you knew more about, you’re also missing high quality rips of relevant obscurities and classics. He’s got an account over here at nolabounce.com so hopefully he’ll grace us with his presence once he finds some time, but in the mean time, I’ll be posting links to relevant tracks over at his expansive blog realm. Please note, there is a password for all his rapidshare downloads, but the password is not difficult at all to find if you just read his page from left to right, top to bottom, mmmkay?
First up is Sliky Slim’s classic “Where Dey At” response record from 1992 “Sister Sister.” Slizzard provides a rip of the whole record, including the ‘pella! Also, don’t sleep on the interesting historical blurb he fished up in the comments section.
Silky Slim “Sister Sister” 12″ (1992) 320 kps
Next up is a Bounce song from Memphis which, like the NO, has always had a strong appreciation for all things “Drag Rap” related.
FM “Gimme What You Got! (For a Pork Chop)” 12″ (1992) 320 kps
Slizzard also graciously posted the entirety of the DJ Jimi “Where They At” 12″ if you want the Radio, Extended, and whatever else versions.
DJ Jimi “Where They At” 12″ (1992) 320 kps)
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Partners-N-Crime “So Attracted”
Posted by MR604 on | September 29, 2008 | 2 Comments
PNC “So Attracted” (Dirty) 320 kbps
http://www.zshare.net/audio/196289096c70c8f3/
PNC “So Attracted” (Acapella) 160 kbps
http://www.zshare.net/audio/196290340a631cc1/
Warren Mayes: Late Career (3/3)
Posted by emynd on | September 26, 2008 | No Comments
Part three of three on Warren Mayes later career. Some straight up Bounce in “Was It Good To Ya” and some Gangsta Bounce on “Wartime” that chops the Triggerman bells in a really effective way.
Part one here and part two here.
Ace Duece (aka Warren Mayes) “Was It Good To Ya” 320 kps
Ace Duece (aka Warren Mayes) “Wartime” 320 kps
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Nolabounce.com is a website dedicated to consolidating New Orleans Bounce-related information and music available online.
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