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Welcome to The South Week at The Ringer . For the next several days, were celebrating and reporting on the richness of the region. Youll find stories from all over the map, exploring topics such as the enduring legacy of Confederate monuments in Richmond and Montgomery, the evolution of Charleston barbecue, and the intersection of faith and football in Lubbock. Were also ranking the best Southern rap albums, imagining the Andr 3000 mixtape we all deserve, and arguing about what even constitutes the South anymore. In the words of two great Southerners, nothin is for sure, nothin is for certain, nothin lasts forever.
Let me begin by saying I have a religious objection to prizing one great Southern rap album above another; I love them like theyre my children. But like children, there are wayward ones, and favored ones, and neglected ones. Meaning, while were saying that Southern Rap Album A is appreciably better than Southern Rap Album B, I do not accept the legitimacy of the court in which Im being tried. It seems ludicrous not to include Da Drought 3 or Trap or Die or Sailin Da South or any of Guccis tapes, but those were mixtapes, and if we included all of the classic tapes, wed be here until Tha Carter V finally comes out. Sometimes you just need rules. So a small group of Ringer experts convened, argued, voted, voted again, and did this in the manner we saw fit.
Below youll find our Southern rap album ranking; feel free to yell about your favorite that we left off. (Dont @ us; submit a short as in, under 150-word blurb in defense of your fave via this form, and we might just publish your rebuttal.)
M icah Peters 20. Master P Ghetto D (1997)
Hip-hop critics tend to talk like Atlanta inherited hip-hops center of gravity from New York, as if there wasnt a 10-year stretch when Georgias crunk rappers and trap pioneers shared power with Louisianas bounce hoodlums. It was a glorious time defined by tacky album cover art, diamond dentistry, synth claps, baggy fashion, and Silkk the Shocker flows that defied time signatures and physics. Ghetto D is the most comprehensive overview of the No Limit diasporas stars (Percy, Mystikal, Mia X, C-Murder, and Silkk), its virtues (money, independence), and its emotional range (Tasmanian rage, the blues, everything in between). Make Em Say Uhh to Goin Through Some Thangs is perhaps the most violent tonal whiplash that a rap album has ever achieved, and yet both those songs are crucial.
J ustin Charity 19. Future DS2 (2015)
In one of raps all-time best heel turns, Atlantas favorite warbling, lovesick pop star broke bad on his third studio album, transforming into a lean-sipping hedonist for whom the only meaning in life could be found at the bottom of a Solo cup. The opening notes of DS2 the fizzing of the soda bottle, the mixing with cough syrup into a deadly confection, the Sprite-commercial-level cheese of that thirst-quenched ahhhhhh are the sounds of a man falling into a pit of radioactive ooze and emerging as a supervillain. Coming on the heels of his broken engagement with Ciara, the album saw Future embracing all of his basest desires namely drugs, sex, and violence. These are common fixations in rap, but rarely are they presented in such a disaffected stupor. The albums lack of moral urgency was its own statement about whats left to care about in our world, and Metro Boomins dour production ensured that the no hugging, no learning directive would remain consistent throughout (the closest we get to romance is a track called Rich $ex). DS2 captures a destructive but alluring way of coping with grief, and it helped accelerate the nihilist bent that currently predominates in Southern hip-hop. When we look back at this decade of sullen young rappers, suffocating self-absorption, and sparse production, well see DS2 as the blueprint.
Victor Luckerson 18. Rich Boy Rich Boy (2007)
Rich Boy is not what makes Rich Boy important. I am really into his voice and flow, but thats beside the point. Rich Boy was a canvas, and Polow da Don was the painter. And you cant tell the story of Southern hip-hop without mentioning Polow da Don. When I first heard this album, I thought it was the greatest piece of music I had ever listened to. That had a lot to do with a guy from Interscope playing me this record at a squirrel-killing volume, telling me it was the greatest piece of music I had ever listened to. But thats the best way to listen to Polow-produced tracks: Its at the point of shattering your ear drums that you really feel their power.
Rich Boy arrived on the scene with Get To Poppin with an intoxicating Tot La Momposina sample backing his liquid Alabama flow. His was a distinctly Southern drawl, but it was malleable. Polow understood this, and on Rich Boys major label debut (after an incredible Gangsta Grillz tape), he used the MCs voice as just another instrument in a psychedelic, globe-trotting symphony. He produced a majority of the record, including Boy Looka Here, which features bleacher-stomping bass drums, marching band horns, and a friggin mandolin, as well as the one hit that the rapper is still remembered for: Throw Some Ds. One of the most infectious Southern rap tracks this side of International Players Anthem, Throw Some Ds is a glorious ode to rims, and its a New Wave ear worm that would make Prince jealous.
Maybe Rich Boy will go down as a footnote in rap history, but Polows music should be studied for years to come.
Chris Ryan 17. 8Ball MJG Comin Out Hard (1993)
Nestled somewhere between Mike ConleyMarc Gasol and Elvis PresleyScotty Moore in the hierarchy of essential Memphis duos, 8Ball MJG make music that rolls slow but can creep up on you fast. Their debut, recorded on the cheap and with modest equipment, is one of most suffocating, intoxicating albums of its time. And the effortlessly furious tension marked by drug talk, armed robbery, and pimping set the template for a plainspoken Southern gangsta gothic that would come to dominate rap 15 years later. Recorded for Tennessee impresario Tony Drapers Suave House Records, Ball and Gs debut presaged nearly everything outside of Texas and Miami particularly Memphiss Three 6 Mafia (which preceded it by two years), and its lionization in Hustle Flow (by more than a decade). Without them, there is no Cash Money and no Lil Wayne, no Jeezy or T.I., no Clipse or Gucci Mane, no Young Thug or Kodak Black. Theres no South as we know it today.
Sean Fennessey 16. Mystikal Lets Get Ready (2000)
In his review of Mystikals 1997 album Unpredictable , the critic Robert Christgau deemed the volatile MC the only No Limit rapper with a style worth talking about. Despite his uncharitable Northern bias, Christgau had a point. Being a No Limit soldier had its limitations. The dynamism of Mystikals singular growl raucous and unbridled, yet somehow precise and self-contained felt burdened by the labels penchant for quantity over quality. Mystikal had memorable songs for No Limit, but they were outnumbered by generic-sounding tracks bloated with obligatory cameos from tank hangers-on.
As it turns out, Unpredictable would be the first of only two Mystikal releases for No Limit. His first postNo Limit project, Lets Get Ready , was a revelation. Out went Silkk, Fiend, and Mac; in came Pharrell and Outkast. Shake Ya Ass and Danger, both produced by the Neptunes and by far Mystikals biggest hits, sprung the rapper into the mainstream. The Neptunes, who contributed four tracks in all, had the right idea on how to best complement Mystikals flow: lay a sparse, bass-heavy track and get the hell out of the way. His voice was a dish that needed very little seasoning. Mystikal would preach to you, then berate you, then serenade you all in the same verse, with an energy that made Busta Rhymes seem like a wallflower. Rather than being diluted on the double-platinum Lets Get Ready , Mystikals trademark sound was only amplified. The Man Right Chea rightfully became the man everywhere.
Donnie Kwak 15. Trina Da Baddest Bitch (2000)
In the unfairly siloed landscape of female rap, the women of New York loom large. Its Brooklyn-bred MC Lyte, Lil Kim, Foxy Brown, and Young M.A who have dominated airwaves and public dialogue alongside Queen(s) bee Nicki Minaj and Bronx icons Remy Ma and Cardi B; Lauryn Hill and Queen Latifah are both from Jersey. But since 2000, only one person has been Da Baddest Bitch. Miamis Trina, ne Katrina Laverne Taylor, changed the game when she dropped her debut album. Da Baddest Bitch fused all the slick, feminine vulgarity of Kims Hard Core with Miami bass and heavyweight features to mesmerizing effect. The album was bold, brash, and undeniably catchy. Nearly 20 years later, its still the blueprint for assertive, ass-shaking rap that positions and celebrates its artist as both subject and object.
Trina came out swinging, representin for the bitches, on the titular track (and lead single). She was and is a star, full stop, no qualifiers needed, but Trina never shied away from reminding you that being a woman only made her floss even harder. There is no Feeling Myself without Da Baddest Bitch, no Bodak Yellow without Ball Wit Me.
Trina flipped the script on the male gaze with confidence and bounce . Pull Over, the albums Trick Daddyassisted second single, features Trina subverting street harassment by interweaving Trick Daddys chorus (Whoop! Whoop! / Pull over that ass is too fat) with her own self-affirmations:
This ass even make Black Rob say whoa
I got a fat ass nann nigga cant pass up
Juvenile couldnt even back this azz up
Bone dont you know lil mama fully loaded
I got a fat ass and I know how to tote it
Trinas music dances in the gulf between her ability and desire to pleasure men. Sure, you can look in wonder, but dont for a moment think she wasnt looking at herself first.
H annah Giorgis 14. Three Six Mafia Underground Vol. 1 (1999)
In the mid-90s, you gave Three 6 Mafia fans the right of way. You were next in line? Cool. This guy is wearing a T-shirt of a group that has a song called Now Im High, Really High that actually doesnt sound like being high, unless your idea of being high is sleep paralysis. Give him some room. Underground Vol. 1 is a compilation of some of the Memphis groups early work, and it is probably the hardest listen on this list. Long before Stay Fly and the celebrity that came with it, Triple 6 made this music at a time when it felt like there was actual distance between regions, both in terms of sound and sensibility. So while there are touches of Houston, New Orleans, and even L.A. in the music, the songs on Underground sound like they were made in a different dimension. It is not pleasant, by any means.
But it is a triumph of DIY inventiveness over big studio access and major label budgets. And its a monument to a bunch of peopleJuicy J and DJ Paul, along with Project Pat, Gangsta Boo, and othersworking outside the industry, doing whatever the hell they wanted, at a time right before the South became the sound of hip-hop. It is a regional masterpiece, and the region is hell on earth.
Chris Ryan 13. Clipse Lord Willin (2002)
It might be churlish of me to do so, but I categorize Lord Willin as a Southern rap album with an asterisk. Malice and Pusha T were born in (and heavily influenced by) the Bronx; Virginia Beach natives Pharrell Williams and Chad Hugo, who produced the entire thing, might as well have been from Mars. No Virginia sound (outside of Timbaland and Missy) existed for these guys to glom onto, so the two duos Clipse and the Neptunes simply created one of their own. The result was the most fruitful MC-producer marriage since Guru and DJ Premier.
Grindin Clipses bracing first single, a lunch-table knocker on HGH was their clinical mission statement: We sell coke way better than you. That mantra pervades Lord Willin , their debut album, a veritable technicolor dreamcoat of drug rap. Pusha T and Malice made themselves the stars of a crime epic that was fit for an art house, its clever menace carefully enunciated and elegantly composed. There are no skippable tracks on Lord Willin , only a succession of crescendos: peak Neptunes, again and again and again. Every song could have been a single, and it remains a shame that Gangsta Lean wasnt. So is it a proper Southern rap album then? Well come to think of it, Gang Starr repped Brooklyn, yet Gurus from Boston and Premiers from Texas. OK, lose the asterisk.
D onnie Kwak 12. Lil Wayne Tha Carter II (2005)
Im not going to talk about Shooter. Its great, and Robin Thicke is on it, and Ive considered getting if we too simple, then yall dont get the basics tatted on my chest. No, not seriously.
The second Carter installment wasnt primarily produced by Mannie Fresh like the first was, and was proof enough that he could do this [ points to platinum certification, no. 5 debut on the Billboard Hot 200 ] on his own. Wayne exported that chunk of the work finding complements to his voice, which was gaining weight outside of Cash Money. There was Cool Dre, the Runners, and two songs by the Heatmakerz. Hustler Musik, Top-1 sturdiest rap songs ever made well just have to disagree on this was produced by T-Mix, who started out making songs for 8Ball MJG.
This was around the time Wayne was rapping like he was possessed. He lapsed into that on Tha Carter (When we hungry you look like pie / Sweet potato-ass nigga you lemon meringue, apple custard / Cherry jelly, dont make me get the biscuit busta), but here he was more deliberate, in a way that was scary. Look at the third verse from Money on My Mind:
There aint a stain on these Pradas
Im just being modest
Got me a goddess
Show her how to divide it
She still down
And she dont get none of the profit
Wheel around the city, let the tints hide me
Thats a cold motherfucker, whoever inside it
He stretches and swallows vowels, the rhymes double back onto each other. Its as mystifying as a marksman using a mirror to pick someone off from behind cover, as effortless (and needless) as draining a 3 on a fast break. He said he was the best rapper alive on BM J.R. and Bring It Back a year prior; this time around you had no choice but to take it seriously.
M icah Peters 11. Scarface The Diary (1994)
Might I say two things please? First: It is truly unacceptable that Scarface, the second-most intoxicating and brilliant r-a-p-p-e-r Southern rapper ever, has only one album on this list. I dont get it. I dont get it and I dont like. The Fix should be on here. (Right around this time two years ago, Noisey , Vice s music offshoot, asked Scarface to rank all of his albums. He ended up settling on The Fix for first place, followed by The Diary for second.) I suppose theres maybe an argument to be made that The Fix was the least Southern-y of all of Scarfaces albums, and so since this is a thing about the best Southern rap albums then it had to be left off. And if you want to do that, then sure. Go for it. Youd be wrong, but go nuts.
Second: Im at least glad that the one Scarface album that did make it on here is The Diary , which was his first masterpiece and also the most daring and creative album of his career. The Diary was dark and somber and insightful and incredible. All of the songs felt like theyd been dragged through a graveyard, or like theyd been washed in sin and bleakness, which only sounds like a stupid way to describe music if youve never heard I Seen a Man Die, because on that song he swung his voice back and forth like it was a sickle, and I dont think anyones been able to pull off that feeling quite as well ever since. You could probably say that about the entire album, really.
Shea Serrano 10. Geto Boys We Cant Be Stopped (1991)
The cover of this album is a picture of Bushwick Bill being pushed on a hospital gurney by the two other members of the group Scarface and Willie D after he survived a gunshot to the head. The Geto Boys brought the same type of bracing honesty to their music, with 14 incredibly raw tracks about life in Houston and the crime-filled environment where all three grew up. The song everyone knows is Mind Playing Tricks on Me, in which they talk about how the paranoia that comes with their lifestyle can turn toward madness. The Geto Boys were N.W.A without the glitz and glamour, and while they didnt have the same crossover appeal, there was more heart and substance to their lyrics, which is why they had such a lasting impact on the rap scene in Texas, and throughout the South. Scarface, who went on to a legendary career as a solo artist, is the unquestioned star of the group, but Willie D and Bill can more than hold their own.
Jonathan Tjarks 9. Goodie Mob Soul Food (1995)
The group that coined the Dirty South, Goodie Mob preside over the history of Southern rap specifically southwest Atlanta like the great thinkers in Raphaels The School of Athens: casually wise, devotedly unresolved. Soul Food , the quartets debut, may not seem like the most influential work in the genres history, with its gruff meditations on a life without privilege and a sound design that recalls wooden cuckoo clocks and the bustle around a Thanksgiving dinner. But Cee Lo, T-Mo, Big Gipp, and Khujo were a mighty counterweight to their funkier labelmates Outkast, as interested in life on the ground as a transfiguration in the sky.
There has never been a song like Soul Food s masterpiece Cell Therapy, and there never will be. It is paranoia and anger writ large. Look out for the man in tha mask / On the white pony, Gipp raps in the songs fourth and final verse, after disquisitions on Hitlers genocide from Khujo, a devastated vision of a community destroyed by drugs from Cee Lo, and a self-incriminating portrait of an addict by T-Mo. When the song appeared in 2016s Moonlight as a theme song for the grown Black, it marked a hardening, a hard-won maturation. Goodie Mobs members were in their early 20s when they recorded Soul Food , but even then they knew something most of us cant.
Sean Fennessey 8. Missy Elliott Supa Dupa Fly (1997)
Youll never hear it described as such, but Missy Elliotts solo debut, Supa Dupa Fly ,was the seminal visual album of the 90s. Its iconography is inextricable from its source material immediately identifiable in the vein of Michael Jacksons Thriller and world-building like Janet Jacksons Rhythm Nation 1814 . It says something about an artist when their most quintessential representation can be seen 10 seconds into their debut singles music video: Missy, clad in a billowing black bag, as amorphous as her music, the shades covering her face peacock, unfurling into a sort of crown.
Her visual album didnt need a 30-minute short film, or even an 11-minute music video. There were no long-form ambitions here, because, if were being real, that wouldve just belabored the point: Missy was the future; our fearless, Gmail-repping planetary crusader seven years before Gmail was created. Packed inside her four-minute videos were some of the most indelible images of my childhood. Our world wasnt ready for the world shed just spawned. Sure, plenty by that point in the mid-to-late 90s had fetishized the Y2K aesthetic, but she gave that sensibility a rightful home in her distorted alternate reality. Compared with Missys subsumption of the fad, you were either playing dress-up, or you were playing catch-up.
Supa Dupa Fly celebrated its 20th birthday in July, and it remains one of the most self-assured debuts Ive ever listened to. Its a prismatic look at femininity in all its musculature and vulnerabilities, flowing as seamlessly as Missy herself does through the realms of rap, RB, and pop. It didnt hurt that she had Timbaland, a childhood friend and coconspirator who knew exactly the scope of what she was hoping to build.
Me and Timbaland, ooh, we sang a jangle / We so tight that you get our styles tangled,Missy rhymes in the first verse of The Rain. Over Tims skittering, stuttering beats and oblong, digi-stretched grooves, Elliott and her esteemed featured guests presented the Bitch Era as the way of the future. Virginias place in the Dirty Souths hip-hop continuum might be disputed, but in 1997, Missy floated above regionalism, sexism, and just about everything else. She helped expand the outer limits of the genre and was comfortable enough to get really weird with it which might as well be the motto for the history of Southern rap.
D anny Chau 7. Out k ast Southernplayalisticadillacmuzik (1994)
Way before they were pop stars, Andr 3000 and Big Boi made their debut with an album that helped put Southern rap on the map in 1994. It may not be the best Outkast album, but its their most grounded. Still teenagers when it was released, Big and Dre were primarily focused on girls, cars, and drugs, though there was still plenty of the social consciousness and musical experimentation they would become known for. This album is the blueprint upon which an entire generation of Atlanta rappers built their style and it still bangs more than 20 years later. Players Ball would be a hit if it were released today, and Git Up, Git Out is just as relevant to kids now as it was to their parents. Hearing Southernplayalistic is like watching Michael Jordan at UNC; the seeds of greatness were in the soil, even if they hadnt fully bloomed yet.
J onathan Tjarks 6. Young Jeezy Lets Get It: Thug Motivation 101 (2005)
Thug Motivation 101 is a great album, but heres my one regret about its legacy: There are people who werent alive when it dropped, and so theyve forever missed out on the phenomenal excitement surrounding the release of TM 101 . Suddenly every Escalade speaker in the Southern U.S. flooded streets and highways with these big, brassy anthems that sounded like nothing rap radio had ever before played to death. Jeezy was just different. His voice, his demeanor: He was a loudmouth with a certain, authoritative caution about him. He was unapologetically simplistic. He was also a goddamn genius. T.I. came in the game riffing on a certain traditionalist, East Coast lyrical style, and then Jeezy launched a revolution against it. There are traces of crunk music in TM 101 , but Jeezy is such a slick talker, his voice is so hoarse, and his perspective so wise that youd never mistake him for Pastor Troy. Plus, Shawty Redd had Jeezy sounding like a 21st-century cowboy with six marching bands at his back.
J ustin Charity 5. T.I. Trap Muzik (2003)
Im this far from being a star / And just that close to quitting, T.I. rapped on a song called I Cant Quit, and he didnt, and soon he was a superstar. Trap Muzik brought to a close Clifford Harris Jr.s brief career as an underdog, a brusque Atlanta firebrand with an underperforming debut (2001s Im Serious ) behind him and a chart-topping megawatt career just over the horizon. His first big hits are here, from the swaggering 24s to the absurdly rousing Rubber Band Man, wherein producer David Banner builds an ascending organ-riff-and-childrens-choir stairway to heaven, or at least to the upper half of Billboard s Hot 100.
T.I.s lethally charismatic drawl sells everything on Trap Muzik , from Bezzle (a pummeling summit with Bun B and 8Ball MJG) to Doin My Job (a gorgeous chipmunk-soul anthem produced by a young Kanye West). T.I. vs. T.I.P., meanwhile, is a heated split-personality pep talk between the volatile underground hero and the business-minded crossover superstar, each worried one was going to screw it up for the other, a conceit so juicy a few years later hed make a whole album about it. The songs better. T.I. would go on to greater heights, commercially and maybe even critically. But this is as lean and hungry as he ever sounded, in part because it wasnt yet clear that hed ever be fed.
Rob Harvilla 4. Lil Wayne Tha Carter III (2008)
My favorite moment on 2008s Tha Carter III (which is different from favorite song ) is Dr. Carter, which ostensibly takes cues from the Common I Used to Love H.E.R. school of personifying hip-hop and then running a thousand miles with her on your back. Swap out the histrionics of Commons lament and swap in a folding chair and the original Milton Bradley version of Operation. Then tie one of Waynes arms behind his back. Then press play. Tha Carter III was hyped to be Lil Waynes statement album. What emerged was a dizzying display of irrational confidence and sheer force of personality that shattered the preciousness of the Greatest Rapper Alive mantle.
Irrational confidence got him a song with Jay-Z as the coheadliner. Irrational confidence is what brought Kanye West to his doorstep with so many beats Wayne had to tell Kanye to go home and quit sending him shit. Irrational confidence is Lollipop, a half-court, fuck rap, Im the King of Pop now heave that landed him a Grammy and bent top-40 radio askew, where its been left ever since. No Limit Discography Torrent
Irrational confidence is following that up with A Milli, a siren song and invitation to your favorite rappers favorite rapper and everyone in between to Waynes domain for a freestyle open run that just happened to crack the top 10 in the Billboard Hot 100. Irrational confidence is what turned the Fireman into the Human Torch. Wayne knocked the game off its high horse and set an example for the next generation. Genius doesnt have to feel forced. Just press play.
In 2012 I remember obsessing over Young Thugs I Came From Nothing 2 mixtape. The albums best track (and still, in my opinion, one of Thugs best, full stop), Keep in Touch, is pure Wayne-influenced pop, but without the winking, nudging subversion. It was earnest and sweet, and weird, and rough around both the edges and its core. The kids have been listening. The kids are alright.
Danny Chau 3. Juvenile 400 Degreez (1998)
Generally speaking, about rap and flexing, the cars are already paid off and at least a calendar year out from hitting the market. The idea is that you cant just walk into any old dealership and buy one. But on Flossin Season, in 1998, when cars barely had smart keys, Mannie Fresh was boasting about having a car from 2010. Not only would you need to have a guy , youd also need a time machine.
Mannie was, as they say, on some other other shit. The story goes something like this: Juvenile heard a song a Mystikal dis track, Drag Em N tha River that Mannie Fresh produced for UNLV, Cash Moneys first supergroup. About then and there, Juvenile decided he needed to be wherever Mannie was at. Their first joint effort, Solja Rags ,was locally popular, and together they banged out Juveniles third and most successful album to that point (it went platinum), with the strangest lead single rhythmic radio had ever laid ears on. Ha barely has any rapping on it; its Juvenile talking at you, with his hands, about how you shouldnt be pushing your luck west of the Ponchartrain Expressway. On Magnolia Street, near the C.J. Peete Projects, to be specific, before it was renamed Harmony Oaks.
400 Degreez bottles the absurdity, the severity, and the rank unpredictability of existing in the parts of New Orleans tourists dont go there to see. How do you talk about all of those things and sound seasoned but not resigned, and somehow, at the same time, triumphant, invincible? Daring you to try, even. Juvenile was singular; a storyteller who lived every one of his stories and growled them from a porch you werent allowed to set foot on unless you knew somebody. With a rag tied around his neck and wearing Girbaud jeans, probably. No Limit Discography Albums
Do I need to continue selling you on this? Do you or do you not have a Pavlovian response to the first 20 seconds of Back That Azz Up, the greatest party anthem ever made ever, of all time ? Thats what I thought.
Micah Peters 2. UGK Ridin Dirty (1996)
Discussing Ridin Dirty is always tricky because, I mean, youre talking about the very best rap album from what many (though probably nobody from Atlanta) would argue is the greatest Southern rap group thats ever been. Youre talking about the album where Pimp C, always a master producer, reached a level of production brilliance only a teeny, tiny, itsy, bitsy list of producers have ever reached; a level of production brilliance so gargantuan that he turned the album from an album into a living, breathing thing; a level of production brilliance so perfectly crafted that he made Southern rap not only unmistakable, but undeniable. And youre talking about the album where Bun B, whod flashed greatness on the groups first two albums, fully grabbed hold of it and turned in what remains the premier, most perfect, most unbeatable verse in the history of Southern rap (his verse on Murder). Youre talking about the album that directly shaped what happened in Southern rap for at least the following decade (you can draw straight lines from no fewer than four other albums on this best-of list straight back to Ridin Dirty ). Youre talking about the album that gave us what might be the most impenetrable five-song set ever on any rap album, let alone a Southern rap album (One Day to Murder to Pinky Ring to Diamonds Wood to 3 in the Mornin). So youre talking about all those things, and you have to talk about them without sounding like youre being hyperbolic or like youre exaggerating or like youre being anything other than completely serious. Its tricky, if not impossible.
S hea Serrano 1. Out k ast Aquemini (1998)
Outkast goes places. Southernplayalisticadillacmuziklets listeners ride shotgun through streets of Atlanta. ATLiens blasts them into orbit. But Aquemini transfers them to a parallel dimension where time has folded in on itself. A civil-rights-themed party anthem featuring a 30-second harmonica hoedown shares space with an Auto-Tuned screed about the dangers of technology, and it works. A nostalgic, breezy ode to a pair of lost loves is paired with a screeching apocalyptic sequel about the last song recorded on earth, and it works. A gospel-inspired dirge about the tensions between celebrity and art is followed by a wailing electric guitar solo, and it works. There was no idea too strange or genre too distant for Aquemini , which still manages to be more than the sum of its many excellent parts. People just couldnt understand how we were making the type of music we were making, Big Boi said in a 2010 oral history of the album. By that time wed gotten to a point where we were in our own world, Andr 3000 added.
The Outkast world is hard to pinpoint; this is a group that made a prototypical trap song before it was subgenre but is also being played at a wedding in Nebraska this weekend, without question. Their best work always traces back to Atlanta and the centuries of creative contributions by black Southern musicians. Aquemini plumbs this lineage more deftly than any of their other work, offering an earthy, down-home sensibility spliced with a funky futureshock that feels both retro and forward-looking. (Can some hacker/burglar please get access to the unreleased collaborations between Kast and George Clinton?) Theres a reason Outkast albums never sound of their era.
The impact of Aquemini is so disparate that its hard to quantify (besides the ubiquitous SpottieOttieDopaliscious horns, that is). The album marked the transformation of Dre into Andr 3000, the cerebral weirdo who inspired Young Thug, Lil Yachty, and a whole generation of off-kilter Atlanta rappers. Its sprawling scope smashed notions of what a rap album could and couldnt be, paving the way for modern genre-benders like Kanye Wests My Beautiful Dark Twisted Fantasy and Kendrick Lamars To Pimp a Butterfly. And it firmly discarded any lingering notions that important rap emerged from only the coasts, becoming the first Southern LP to earn five mics from The Source . Soon enough the growing creative differences between Big Boi and Andr would cause an irreparable fissure, but here, for the last time, the two dope boys were one.
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Welcome to The South Week at The Ringer . For the next several days, were celebrating and reporting on the richness of the region. Youll find stories from all over the map, exploring topics such as the enduring legacy of Confederate monuments in Richmond and Montgomery, the evolution of Charleston barbecue, and the intersection of faith and football in Lubbock. Were also ranking the best Southern rap albums, imagining the Andr 3000 mixtape we all deserve, and arguing about what even constitutes the South anymore. In the words of two great Southerners, nothin is for sure, nothin is for certain, nothin lasts forever.
Let me begin by saying I have a religious objection to prizing one great Southern rap album above another; I love them like theyre my children. But like children, there are wayward ones, and favored ones, and neglected ones. Meaning, while were saying that Southern Rap Album A is appreciably better than Southern Rap Album B, I do not accept the legitimacy of the court in which Im being tried. It seems ludicrous not to include Da Drought 3 or Trap or Die or Sailin Da South or any of Guccis tapes, but those were mixtapes, and if we included all of the classic tapes, wed be here until Tha Carter V finally comes out. Sometimes you just need rules. So a small group of Ringer experts convened, argued, voted, voted again, and did this in the manner we saw fit.
Below youll find our Southern rap album ranking; feel free to yell about your favorite that we left off. (Dont @ us; submit a short as in, under 150-word blurb in defense of your fave via this form, and we might just publish your rebuttal.)
M icah Peters 20. Master P Ghetto D (1997)
Hip-hop critics tend to talk like Atlanta inherited hip-hops center of gravity from New York, as if there wasnt a 10-year stretch when Georgias crunk rappers and trap pioneers shared power with Louisianas bounce hoodlums. It was a glorious time defined by tacky album cover art, diamond dentistry, synth claps, baggy fashion, and Silkk the Shocker flows that defied time signatures and physics. Ghetto D is the most comprehensive overview of the No Limit diasporas stars (Percy, Mystikal, Mia X, C-Murder, and Silkk), its virtues (money, independence), and its emotional range (Tasmanian rage, the blues, everything in between). Make Em Say Uhh to Goin Through Some Thangs is perhaps the most violent tonal whiplash that a rap album has ever achieved, and yet both those songs are crucial.
J ustin Charity 19. Future DS2 (2015)
In one of raps all-time best heel turns, Atlantas favorite warbling, lovesick pop star broke bad on his third studio album, transforming into a lean-sipping hedonist for whom the only meaning in life could be found at the bottom of a Solo cup. The opening notes of DS2 the fizzing of the soda bottle, the mixing with cough syrup into a deadly confection, the Sprite-commercial-level cheese of that thirst-quenched ahhhhhh are the sounds of a man falling into a pit of radioactive ooze and emerging as a supervillain. Coming on the heels of his broken engagement with Ciara, the album saw Future embracing all of his basest desires namely drugs, sex, and violence. These are common fixations in rap, but rarely are they presented in such a disaffected stupor. The albums lack of moral urgency was its own statement about whats left to care about in our world, and Metro Boomins dour production ensured that the no hugging, no learning directive would remain consistent throughout (the closest we get to romance is a track called Rich $ex). DS2 captures a destructive but alluring way of coping with grief, and it helped accelerate the nihilist bent that currently predominates in Southern hip-hop. When we look back at this decade of sullen young rappers, suffocating self-absorption, and sparse production, well see DS2 as the blueprint.
Victor Luckerson 18. Rich Boy Rich Boy (2007)
Rich Boy is not what makes Rich Boy important. I am really into his voice and flow, but thats beside the point. Rich Boy was a canvas, and Polow da Don was the painter. And you cant tell the story of Southern hip-hop without mentioning Polow da Don. When I first heard this album, I thought it was the greatest piece of music I had ever listened to. That had a lot to do with a guy from Interscope playing me this record at a squirrel-killing volume, telling me it was the greatest piece of music I had ever listened to. But thats the best way to listen to Polow-produced tracks: Its at the point of shattering your ear drums that you really feel their power.
Rich Boy arrived on the scene with Get To Poppin with an intoxicating Tot La Momposina sample backing his liquid Alabama flow. His was a distinctly Southern drawl, but it was malleable. Polow understood this, and on Rich Boys major label debut (after an incredible Gangsta Grillz tape), he used the MCs voice as just another instrument in a psychedelic, globe-trotting symphony. He produced a majority of the record, including Boy Looka Here, which features bleacher-stomping bass drums, marching band horns, and a friggin mandolin, as well as the one hit that the rapper is still remembered for: Throw Some Ds. One of the most infectious Southern rap tracks this side of International Players Anthem, Throw Some Ds is a glorious ode to rims, and its a New Wave ear worm that would make Prince jealous.
Maybe Rich Boy will go down as a footnote in rap history, but Polows music should be studied for years to come.
Chris Ryan 17. 8Ball MJG Comin Out Hard (1993)
Nestled somewhere between Mike ConleyMarc Gasol and Elvis PresleyScotty Moore in the hierarchy of essential Memphis duos, 8Ball MJG make music that rolls slow but can creep up on you fast. Their debut, recorded on the cheap and with modest equipment, is one of most suffocating, intoxicating albums of its time. And the effortlessly furious tension marked by drug talk, armed robbery, and pimping set the template for a plainspoken Southern gangsta gothic that would come to dominate rap 15 years later. Recorded for Tennessee impresario Tony Drapers Suave House Records, Ball and Gs debut presaged nearly everything outside of Texas and Miami particularly Memphiss Three 6 Mafia (which preceded it by two years), and its lionization in Hustle Flow (by more than a decade). Without them, there is no Cash Money and no Lil Wayne, no Jeezy or T.I., no Clipse or Gucci Mane, no Young Thug or Kodak Black. Theres no South as we know it today.
Sean Fennessey 16. Mystikal Lets Get Ready (2000)
In his review of Mystikals 1997 album Unpredictable , the critic Robert Christgau deemed the volatile MC the only No Limit rapper with a style worth talking about. Despite his uncharitable Northern bias, Christgau had a point. Being a No Limit soldier had its limitations. The dynamism of Mystikals singular growl raucous and unbridled, yet somehow precise and self-contained felt burdened by the labels penchant for quantity over quality. Mystikal had memorable songs for No Limit, but they were outnumbered by generic-sounding tracks bloated with obligatory cameos from tank hangers-on.
As it turns out, Unpredictable would be the first of only two Mystikal releases for No Limit. His first postNo Limit project, Lets Get Ready , was a revelation. Out went Silkk, Fiend, and Mac; in came Pharrell and Outkast. Shake Ya Ass and Danger, both produced by the Neptunes and by far Mystikals biggest hits, sprung the rapper into the mainstream. The Neptunes, who contributed four tracks in all, had the right idea on how to best complement Mystikals flow: lay a sparse, bass-heavy track and get the hell out of the way. His voice was a dish that needed very little seasoning. Mystikal would preach to you, then berate you, then serenade you all in the same verse, with an energy that made Busta Rhymes seem like a wallflower. Rather than being diluted on the double-platinum Lets Get Ready , Mystikals trademark sound was only amplified. The Man Right Chea rightfully became the man everywhere.
Donnie Kwak 15. Trina Da Baddest Bitch (2000)
In the unfairly siloed landscape of female rap, the women of New York loom large. Its Brooklyn-bred MC Lyte, Lil Kim, Foxy Brown, and Young M.A who have dominated airwaves and public dialogue alongside Queen(s) bee Nicki Minaj and Bronx icons Remy Ma and Cardi B; Lauryn Hill and Queen Latifah are both from Jersey. But since 2000, only one person has been Da Baddest Bitch. Miamis Trina, ne Katrina Laverne Taylor, changed the game when she dropped her debut album. Da Baddest Bitch fused all the slick, feminine vulgarity of Kims Hard Core with Miami bass and heavyweight features to mesmerizing effect. The album was bold, brash, and undeniably catchy. Nearly 20 years later, its still the blueprint for assertive, ass-shaking rap that positions and celebrates its artist as both subject and object.
Trina came out swinging, representin for the bitches, on the titular track (and lead single). She was and is a star, full stop, no qualifiers needed, but Trina never shied away from reminding you that being a woman only made her floss even harder. There is no Feeling Myself without Da Baddest Bitch, no Bodak Yellow without Ball Wit Me.
Trina flipped the script on the male gaze with confidence and bounce . Pull Over, the albums Trick Daddyassisted second single, features Trina subverting street harassment by interweaving Trick Daddys chorus (Whoop! Whoop! / Pull over that ass is too fat) with her own self-affirmations:
This ass even make Black Rob say whoa
I got a fat ass nann nigga cant pass up
Juvenile couldnt even back this azz up
Bone dont you know lil mama fully loaded
I got a fat ass and I know how to tote it
Trinas music dances in the gulf between her ability and desire to pleasure men. Sure, you can look in wonder, but dont for a moment think she wasnt looking at herself first.
H annah Giorgis 14. Three Six Mafia Underground Vol. 1 (1999)
In the mid-90s, you gave Three 6 Mafia fans the right of way. You were next in line? Cool. This guy is wearing a T-shirt of a group that has a song called Now Im High, Really High that actually doesnt sound like being high, unless your idea of being high is sleep paralysis. Give him some room. Underground Vol. 1 is a compilation of some of the Memphis groups early work, and it is probably the hardest listen on this list. Long before Stay Fly and the celebrity that came with it, Triple 6 made this music at a time when it felt like there was actual distance between regions, both in terms of sound and sensibility. So while there are touches of Houston, New Orleans, and even L.A. in the music, the songs on Underground sound like they were made in a different dimension. It is not pleasant, by any means.
But it is a triumph of DIY inventiveness over big studio access and major label budgets. And its a monument to a bunch of peopleJuicy J and DJ Paul, along with Project Pat, Gangsta Boo, and othersworking outside the industry, doing whatever the hell they wanted, at a time right before the South became the sound of hip-hop. It is a regional masterpiece, and the region is hell on earth.
Chris Ryan 13. Clipse Lord Willin (2002)
It might be churlish of me to do so, but I categorize Lord Willin as a Southern rap album with an asterisk. Malice and Pusha T were born in (and heavily influenced by) the Bronx; Virginia Beach natives Pharrell Williams and Chad Hugo, who produced the entire thing, might as well have been from Mars. No Virginia sound (outside of Timbaland and Missy) existed for these guys to glom onto, so the two duos Clipse and the Neptunes simply created one of their own. The result was the most fruitful MC-producer marriage since Guru and DJ Premier.
Grindin Clipses bracing first single, a lunch-table knocker on HGH was their clinical mission statement: We sell coke way better than you. That mantra pervades Lord Willin , their debut album, a veritable technicolor dreamcoat of drug rap. Pusha T and Malice made themselves the stars of a crime epic that was fit for an art house, its clever menace carefully enunciated and elegantly composed. There are no skippable tracks on Lord Willin , only a succession of crescendos: peak Neptunes, again and again and again. Every song could have been a single, and it remains a shame that Gangsta Lean wasnt. So is it a proper Southern rap album then? Well come to think of it, Gang Starr repped Brooklyn, yet Gurus from Boston and Premiers from Texas. OK, lose the asterisk.
D onnie Kwak 12. Lil Wayne Tha Carter II (2005)
Im not going to talk about Shooter. Its great, and Robin Thicke is on it, and Ive considered getting if we too simple, then yall dont get the basics tatted on my chest. No, not seriously.
The second Carter installment wasnt primarily produced by Mannie Fresh like the first was, and was proof enough that he could do this [ points to platinum certification, no. 5 debut on the Billboard Hot 200 ] on his own. Wayne exported that chunk of the work finding complements to his voice, which was gaining weight outside of Cash Money. There was Cool Dre, the Runners, and two songs by the Heatmakerz. Hustler Musik, Top-1 sturdiest rap songs ever made well just have to disagree on this was produced by T-Mix, who started out making songs for 8Ball MJG.
This was around the time Wayne was rapping like he was possessed. He lapsed into that on Tha Carter (When we hungry you look like pie / Sweet potato-ass nigga you lemon meringue, apple custard / Cherry jelly, dont make me get the biscuit busta), but here he was more deliberate, in a way that was scary. Look at the third verse from Money on My Mind:
There aint a stain on these Pradas
Im just being modest
Got me a goddess
Show her how to divide it
She still down
And she dont get none of the profit
Wheel around the city, let the tints hide me
Thats a cold motherfucker, whoever inside it
He stretches and swallows vowels, the rhymes double back onto each other. Its as mystifying as a marksman using a mirror to pick someone off from behind cover, as effortless (and needless) as draining a 3 on a fast break. He said he was the best rapper alive on BM J.R. and Bring It Back a year prior; this time around you had no choice but to take it seriously.
M icah Peters 11. Scarface The Diary (1994)
Might I say two things please? First: It is truly unacceptable that Scarface, the second-most intoxicating and brilliant r-a-p-p-e-r Southern rapper ever, has only one album on this list. I dont get it. I dont get it and I dont like. The Fix should be on here. (Right around this time two years ago, Noisey , Vice s music offshoot, asked Scarface to rank all of his albums. He ended up settling on The Fix for first place, followed by The Diary for second.) I suppose theres maybe an argument to be made that The Fix was the least Southern-y of all of Scarfaces albums, and so since this is a thing about the best Southern rap albums then it had to be left off. And if you want to do that, then sure. Go for it. Youd be wrong, but go nuts.
Second: Im at least glad that the one Scarface album that did make it on here is The Diary , which was his first masterpiece and also the most daring and creative album of his career. The Diary was dark and somber and insightful and incredible. All of the songs felt like theyd been dragged through a graveyard, or like theyd been washed in sin and bleakness, which only sounds like a stupid way to describe music if youve never heard I Seen a Man Die, because on that song he swung his voice back and forth like it was a sickle, and I dont think anyones been able to pull off that feeling quite as well ever since. You could probably say that about the entire album, really.
Shea Serrano 10. Geto Boys We Cant Be Stopped (1991)
The cover of this album is a picture of Bushwick Bill being pushed on a hospital gurney by the two other members of the group Scarface and Willie D after he survived a gunshot to the head. The Geto Boys brought the same type of bracing honesty to their music, with 14 incredibly raw tracks about life in Houston and the crime-filled environment where all three grew up. The song everyone knows is Mind Playing Tricks on Me, in which they talk about how the paranoia that comes with their lifestyle can turn toward madness. The Geto Boys were N.W.A without the glitz and glamour, and while they didnt have the same crossover appeal, there was more heart and substance to their lyrics, which is why they had such a lasting impact on the rap scene in Texas, and throughout the South. Scarface, who went on to a legendary career as a solo artist, is the unquestioned star of the group, but Willie D and Bill can more than hold their own.
Jonathan Tjarks 9. Goodie Mob Soul Food (1995)
The group that coined the Dirty South, Goodie Mob preside over the history of Southern rap specifically southwest Atlanta like the great thinkers in Raphaels The School of Athens: casually wise, devotedly unresolved. Soul Food , the quartets debut, may not seem like the most influential work in the genres history, with its gruff meditations on a life without privilege and a sound design that recalls wooden cuckoo clocks and the bustle around a Thanksgiving dinner. But Cee Lo, T-Mo, Big Gipp, and Khujo were a mighty counterweight to their funkier labelmates Outkast, as interested in life on the ground as a transfiguration in the sky.
There has never been a song like Soul Food s masterpiece Cell Therapy, and there never will be. It is paranoia and anger writ large. Look out for the man in tha mask / On the white pony, Gipp raps in the songs fourth and final verse, after disquisitions on Hitlers genocide from Khujo, a devastated vision of a community destroyed by drugs from Cee Lo, and a self-incriminating portrait of an addict by T-Mo. When the song appeared in 2016s Moonlight as a theme song for the grown Black, it marked a hardening, a hard-won maturation. Goodie Mobs members were in their early 20s when they recorded Soul Food , but even then they knew something most of us cant.
Sean Fennessey 8. Missy Elliott Supa Dupa Fly (1997)
Youll never hear it described as such, but Missy Elliotts solo debut, Supa Dupa Fly ,was the seminal visual album of the 90s. Its iconography is inextricable from its source material immediately identifiable in the vein of Michael Jacksons Thriller and world-building like Janet Jacksons Rhythm Nation 1814 . It says something about an artist when their most quintessential representation can be seen 10 seconds into their debut singles music video: Missy, clad in a billowing black bag, as amorphous as her music, the shades covering her face peacock, unfurling into a sort of crown.
Her visual album didnt need a 30-minute short film, or even an 11-minute music video. There were no long-form ambitions here, because, if were being real, that wouldve just belabored the point: Missy was the future; our fearless, Gmail-repping planetary crusader seven years before Gmail was created. Packed inside her four-minute videos were some of the most indelible images of my childhood. Our world wasnt ready for the world shed just spawned. Sure, plenty by that point in the mid-to-late 90s had fetishized the Y2K aesthetic, but she gave that sensibility a rightful home in her distorted alternate reality. Compared with Missys subsumption of the fad, you were either playing dress-up, or you were playing catch-up.
Supa Dupa Fly celebrated its 20th birthday in July, and it remains one of the most self-assured debuts Ive ever listened to. Its a prismatic look at femininity in all its musculature and vulnerabilities, flowing as seamlessly as Missy herself does through the realms of rap, RB, and pop. It didnt hurt that she had Timbaland, a childhood friend and coconspirator who knew exactly the scope of what she was hoping to build.
Me and Timbaland, ooh, we sang a jangle / We so tight that you get our styles tangled,Missy rhymes in the first verse of The Rain. Over Tims skittering, stuttering beats and oblong, digi-stretched grooves, Elliott and her esteemed featured guests presented the Bitch Era as the way of the future. Virginias place in the Dirty Souths hip-hop continuum might be disputed, but in 1997, Missy floated above regionalism, sexism, and just about everything else. She helped expand the outer limits of the genre and was comfortable enough to get really weird with it which might as well be the motto for the history of Southern rap.
D anny Chau 7. Out k ast Southernplayalisticadillacmuzik (1994)
Way before they were pop stars, Andr 3000 and Big Boi made their debut with an album that helped put Southern rap on the map in 1994. It may not be the best Outkast album, but its their most grounded. Still teenagers when it was released, Big and Dre were primarily focused on girls, cars, and drugs, though there was still plenty of the social consciousness and musical experimentation they would become known for. This album is the blueprint upon which an entire generation of Atlanta rappers built their style and it still bangs more than 20 years later. Players Ball would be a hit if it were released today, and Git Up, Git Out is just as relevant to kids now as it was to their parents. Hearing Southernplayalistic is like watching Michael Jordan at UNC; the seeds of greatness were in the soil, even if they hadnt fully bloomed yet.
J onathan Tjarks 6. Young Jeezy Lets Get It: Thug Motivation 101 (2005)
Thug Motivation 101 is a great album, but heres my one regret about its legacy: There are people who werent alive when it dropped, and so theyve forever missed out on the phenomenal excitement surrounding the release of TM 101 . Suddenly every Escalade speaker in the Southern U.S. flooded streets and highways with these big, brassy anthems that sounded like nothing rap radio had ever before played to death. Jeezy was just different. His voice, his demeanor: He was a loudmouth with a certain, authoritative caution about him. He was unapologetically simplistic. He was also a goddamn genius. T.I. came in the game riffing on a certain traditionalist, East Coast lyrical style, and then Jeezy launched a revolution against it. There are traces of crunk music in TM 101 , but Jeezy is such a slick talker, his voice is so hoarse, and his perspective so wise that youd never mistake him for Pastor Troy. Plus, Shawty Redd had Jeezy sounding like a 21st-century cowboy with six marching bands at his back.
J ustin Charity 5. T.I. Trap Muzik (2003)
Im this far from being a star / And just that close to quitting, T.I. rapped on a song called I Cant Quit, and he didnt, and soon he was a superstar. Trap Muzik brought to a close Clifford Harris Jr.s brief career as an underdog, a brusque Atlanta firebrand with an underperforming debut (2001s Im Serious ) behind him and a chart-topping megawatt career just over the horizon. His first big hits are here, from the swaggering 24s to the absurdly rousing Rubber Band Man, wherein producer David Banner builds an ascending organ-riff-and-childrens-choir stairway to heaven, or at least to the upper half of Billboard s Hot 100.
T.I.s lethally charismatic drawl sells everything on Trap Muzik , from Bezzle (a pummeling summit with Bun B and 8Ball MJG) to Doin My Job (a gorgeous chipmunk-soul anthem produced by a young Kanye West). T.I. vs. T.I.P., meanwhile, is a heated split-personality pep talk between the volatile underground hero and the business-minded crossover superstar, each worried one was going to screw it up for the other, a conceit so juicy a few years later hed make a whole album about it. The songs better. T.I. would go on to greater heights, commercially and maybe even critically. But this is as lean and hungry as he ever sounded, in part because it wasnt yet clear that hed ever be fed.
Rob Harvilla 4. Lil Wayne Tha Carter III (2008)
My favorite moment on 2008s Tha Carter III (which is different from favorite song ) is Dr. Carter, which ostensibly takes cues from the Common I Used to Love H.E.R. school of personifying hip-hop and then running a thousand miles with her on your back. Swap out the histrionics of Commons lament and swap in a folding chair and the original Milton Bradley version of Operation. Then tie one of Waynes arms behind his back. Then press play. Tha Carter III was hyped to be Lil Waynes statement album. What emerged was a dizzying display of irrational confidence and sheer force of personality that shattered the preciousness of the Greatest Rapper Alive mantle.
Irrational confidence got him a song with Jay-Z as the coheadliner. Irrational confidence is what brought Kanye West to his doorstep with so many beats Wayne had to tell Kanye to go home and quit sending him shit. Irrational confidence is Lollipop, a half-court, fuck rap, Im the King of Pop now heave that landed him a Grammy and bent top-40 radio askew, where its been left ever since. No Limit Discography Torrent
Irrational confidence is following that up with A Milli, a siren song and invitation to your favorite rappers favorite rapper and everyone in between to Waynes domain for a freestyle open run that just happened to crack the top 10 in the Billboard Hot 100. Irrational confidence is what turned the Fireman into the Human Torch. Wayne knocked the game off its high horse and set an example for the next generation. Genius doesnt have to feel forced. Just press play.
In 2012 I remember obsessing over Young Thugs I Came From Nothing 2 mixtape. The albums best track (and still, in my opinion, one of Thugs best, full stop), Keep in Touch, is pure Wayne-influenced pop, but without the winking, nudging subversion. It was earnest and sweet, and weird, and rough around both the edges and its core. The kids have been listening. The kids are alright.
Danny Chau 3. Juvenile 400 Degreez (1998)
Generally speaking, about rap and flexing, the cars are already paid off and at least a calendar year out from hitting the market. The idea is that you cant just walk into any old dealership and buy one. But on Flossin Season, in 1998, when cars barely had smart keys, Mannie Fresh was boasting about having a car from 2010. Not only would you need to have a guy , youd also need a time machine.
Mannie was, as they say, on some other other shit. The story goes something like this: Juvenile heard a song a Mystikal dis track, Drag Em N tha River that Mannie Fresh produced for UNLV, Cash Moneys first supergroup. About then and there, Juvenile decided he needed to be wherever Mannie was at. Their first joint effort, Solja Rags ,was locally popular, and together they banged out Juveniles third and most successful album to that point (it went platinum), with the strangest lead single rhythmic radio had ever laid ears on. Ha barely has any rapping on it; its Juvenile talking at you, with his hands, about how you shouldnt be pushing your luck west of the Ponchartrain Expressway. On Magnolia Street, near the C.J. Peete Projects, to be specific, before it was renamed Harmony Oaks.
400 Degreez bottles the absurdity, the severity, and the rank unpredictability of existing in the parts of New Orleans tourists dont go there to see. How do you talk about all of those things and sound seasoned but not resigned, and somehow, at the same time, triumphant, invincible? Daring you to try, even. Juvenile was singular; a storyteller who lived every one of his stories and growled them from a porch you werent allowed to set foot on unless you knew somebody. With a rag tied around his neck and wearing Girbaud jeans, probably. No Limit Discography Albums
Do I need to continue selling you on this? Do you or do you not have a Pavlovian response to the first 20 seconds of Back That Azz Up, the greatest party anthem ever made ever, of all time ? Thats what I thought.
Micah Peters 2. UGK Ridin Dirty (1996)
Discussing Ridin Dirty is always tricky because, I mean, youre talking about the very best rap album from what many (though probably nobody from Atlanta) would argue is the greatest Southern rap group thats ever been. Youre talking about the album where Pimp C, always a master producer, reached a level of production brilliance only a teeny, tiny, itsy, bitsy list of producers have ever reached; a level of production brilliance so gargantuan that he turned the album from an album into a living, breathing thing; a level of production brilliance so perfectly crafted that he made Southern rap not only unmistakable, but undeniable. And youre talking about the album where Bun B, whod flashed greatness on the groups first two albums, fully grabbed hold of it and turned in what remains the premier, most perfect, most unbeatable verse in the history of Southern rap (his verse on Murder). Youre talking about the album that directly shaped what happened in Southern rap for at least the following decade (you can draw straight lines from no fewer than four other albums on this best-of list straight back to Ridin Dirty ). Youre talking about the album that gave us what might be the most impenetrable five-song set ever on any rap album, let alone a Southern rap album (One Day to Murder to Pinky Ring to Diamonds Wood to 3 in the Mornin). So youre talking about all those things, and you have to talk about them without sounding like youre being hyperbolic or like youre exaggerating or like youre being anything other than completely serious. Its tricky, if not impossible.
S hea Serrano 1. Out k ast Aquemini (1998)
Outkast goes places. Southernplayalisticadillacmuziklets listeners ride shotgun through streets of Atlanta. ATLiens blasts them into orbit. But Aquemini transfers them to a parallel dimension where time has folded in on itself. A civil-rights-themed party anthem featuring a 30-second harmonica hoedown shares space with an Auto-Tuned screed about the dangers of technology, and it works. A nostalgic, breezy ode to a pair of lost loves is paired with a screeching apocalyptic sequel about the last song recorded on earth, and it works. A gospel-inspired dirge about the tensions between celebrity and art is followed by a wailing electric guitar solo, and it works. There was no idea too strange or genre too distant for Aquemini , which still manages to be more than the sum of its many excellent parts. People just couldnt understand how we were making the type of music we were making, Big Boi said in a 2010 oral history of the album. By that time wed gotten to a point where we were in our own world, Andr 3000 added.
The Outkast world is hard to pinpoint; this is a group that made a prototypical trap song before it was subgenre but is also being played at a wedding in Nebraska this weekend, without question. Their best work always traces back to Atlanta and the centuries of creative contributions by black Southern musicians. Aquemini plumbs this lineage more deftly than any of their other work, offering an earthy, down-home sensibility spliced with a funky futureshock that feels both retro and forward-looking. (Can some hacker/burglar please get access to the unreleased collaborations between Kast and George Clinton?) Theres a reason Outkast albums never sound of their era.
The impact of Aquemini is so disparate that its hard to quantify (besides the ubiquitous SpottieOttieDopaliscious horns, that is). The album marked the transformation of Dre into Andr 3000, the cerebral weirdo who inspired Young Thug, Lil Yachty, and a whole generation of off-kilter Atlanta rappers. Its sprawling scope smashed notions of what a rap album could and couldnt be, paving the way for modern genre-benders like Kanye Wests My Beautiful Dark Twisted Fantasy and Kendrick Lamars To Pimp a Butterfly. And it firmly discarded any lingering notions that important rap emerged from only the coasts, becoming the first Southern LP to earn five mics from The Source . Soon enough the growing creative differences between Big Boi and Andr would cause an irreparable fissure, but here, for the last time, the two dope boys were one.
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