“Did you know I put lives in danger? Did you know that I was a born threat?”
Most may be unfamiliar with the name but if you lived in ATL around the time this record dropped you were definitely bumpin this. Off Ku’s1996 offering Confeshun 2 Da Streetz, “Born Threat” finds the Decatur rep on the offensive. Accepting his role as the villain, Ku spits tales of murder and mayhem with no remorse.
The self-produced beat is vintage a-town music - hard drums, haunting piano keys with faint choir vocals in the distance and flutes! “Born Threat” is a perfect example of what I use to love about gangster music. It was street but still had a compelling musical edge. He’s not simply shouting out how real he was over a shitty instrumental. G-shit if I’ve ever heard it.
Alot of true southern music heads were up on UNLV, mainly for “Drag Em From The River” when they tore Mystikal Tyler a new one but them niggas had some jams..I been playing this shit alot lately and its somethin bout that nigga Tec-9 verse that made me have to post this shit..I felt that nigga when he was on that “My niggas chillin all night but I gotta walk tha blocks & make this bread” type shit…If you aint never heard this you might want to click play & also the picture to download it. This is true gangsta ass southern rap…R.I.P. Yella Boi
This is a classic cut from Houston rapper Sho featuring Pimp C, I spotted over at TrillConnection. After hearing this record, I instantly heard one of my favorite Pimp C verses ever. This is the real-life southern street shit that I can’t get enough of.
Pimp C: The way I came up was all fucked up/All the niggaz smoked fry and sold d on the cuts The girls all fat cuz they had kids too soon/and they bodies all throwed from niggaz jumpin n they womb Nobody had no daddy so we asked to be the men/Never knew the bitch nigga or doin’ time in the pen So mama wore the pants, but the pants too heavy/So I dropped outta school and started sellin’ dope steady
Classic album of the Day: Lou Bond “Light In The Attic”. “Light In The Attic” is the ultimate title for this enigmatic soul release from the Memphis, TN based artist Lou Bond. The title is appropriate because the album is more likely to be found in the attict of an avid music collecter than anywhere else in the world. The album was released on the We Produced label, an imprint of Memphis based label Stax Records. The album was written flawlessy, incorporating invigorating social commentary about the struggles of the early 1970s and soulful love songs. He was also musically backed by Memphis’s Symphony String Orchestra and The Horns of South Memphis, not mention some excellent bass players who just accentuated each record, just see the albums standout record “To The Establishent” which has been sampled by OutKast (“Wailin”), Mary J. Blige (“Free”) and recently Starlito (“Alright”). Also, “That’s The Way I’ve Always Heard It Should Be” is my favorite love ballad on the album. 1970s southern soul at his finest.
Classic album of the day: Sam Dees “The Show Must Go On”. Sam Dees was one the 1970′s most underrated writers and singers. The Birmingham, AL native has written hits for a who’s who list of RnB artists. His music, however, didn’t recieve the same attention as the work he did for other artists. After recording and album in a Birmingham church, he was signed to Atlantic Records and released the stellar album “The Show Must Go On”. What the album lacked in commercial appeal, it made up for with powerful soul ballads and social commentary that has been rivaled by few. Cuts like “Child of The Streets”, “Trouble Child”, and “What’s It Gonna Be” gave a glimpse into what was going on in the inner-city communities of Birmingham, the South, and really the USA. Its a shame that music like this is sometimes hidden from us and lacked its due exposure.
