Next to Master P (and maybe C-Murder), Silkk the Shocker (born Vyshonne Miller) was the preeminent rapper on No Limit Records, the underground hardcore rap label that became a sensation in the late '90s. Since he is the brother of Master P, the founder of the label, you'd expect nothing less, actually. As a member of Tru, as a guest rapper, and... [+] Read More

Next to Master P (and maybe C-Murder), Silkk the Shocker (born Vyshonne Miller) was the preeminent rapper on No Limit Records, the underground hardcore rap label that became a sensation in the late '90s. Since he is the brother of Master P, the founder of the label, you'd expect nothing less, actually. As a member of Tru, as a guest rapper, and as a solo artist, Silkk the Shocker appeared on most of No Limit's most successful records. His omnipresence says more about the way No Limit was run than it does about his skills. No Limit aggressively marketed each of its artists so they appeared to be superstars before they ever released an album; Silkk was no different. A modestly gifted rapper, Silkk never wanted to break boundaries, only to work within the confines of gangsta rap, and that's exactly what he did, turning out a series of records that celebrated all the clichés gangsta critics dismissed. Obviously, that's what his audience wanted, since his first two records went platinum without support from radio, MTV, or the music industry at large.

Like his brothers Master P and C-Murder, Silkk the Shocker was born and raised in New Orleans. He began rapping as a teenager, joining a number of gangsta crews including the Down South Hustlers. He also joined Master P's group Tru, which also featured C-Murder. Before he launched his solo career, he had appeared on albums by the Down South Hustlers, the West Coast Bad Boyz, and Tru. In 1996, Silkk released his debut, The Shocker, on No Limit Records. Shortly after its release, he appended "The Shocker" as a surname. The Shocker slowly became an underground success, largely based on strong word of mouth. Throughout the course of 1997, Silkk the Shocker was all over No Limit releases, appearing on the I'm Bout It soundtrack, Tru's Tru 2 da Game, Mia X's Unlady Like, Mystikal's Unpredictable, and Master P's Ghetto D. His long-awaited second album, Charge It 2 da Game, finally appeared in February 1998, after being promoted by No Limit for nearly eight months. My World, My Way was released three years later. Based on a True Story hit the streets in 2004. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Originally one of the leading rappers on Master P's No Limit record label, Mystikal quickly evolved beyond the label's clichéd thug trappings and found himself one of the Dirty South's most recognized rappers, alongside Juvenile. Like No Limit itself, Mystikal is a New Orleans native. He released an eponymous debut on the independent label Big... [+] Read More

Originally one of the leading rappers on Master P's No Limit record label, Mystikal quickly evolved beyond the label's clichéd thug trappings and found himself one of the Dirty South's most recognized rappers, alongside Juvenile. Like No Limit itself, Mystikal is a New Orleans native. He released an eponymous debut on the independent label Big Boy in 1995. It earned the attention of Jive Records, who signed him later that year. His official, major-label debut, Mind of Mystikal, was released early in 1996 and became a major hit in the rap underground, falling just short of going gold. He then hooked up with Master P and No Limit; the union produced Unpredictable, which was released in the fall of 1997 and helped the rapper build a substantial following. Ghetto Fabulous followed in early 1999, falling just short of debuting at number one on the album charts. Consolidating his status as a hot property, Mystikal wasted no time in issuing a follow-up; Let's Get Ready appeared in the fall of 2000, eclipsing his preceding releases in sales terms, as expected. Driven by the James Brown-like "Shake Ya Ass" as a lead single -- an MTV staple before the album even hit the streets -- it had become increasingly difficult to trace Mystikal's roots back to the trademark sound and motifs of the thuggish No Limit camp. Let's Get Ready demonstrated the wide-reaching ambitions that had only been hinted at in successive releases, eliminating the No Limit stigma and finally making his unique rhyme delivery accessible enough to cross over to the masses. In 2001, Mystikal's bombastic rap stylings came together for a fifth album, Tarantula. "Bouncin' Back (Bumpin' Me Against the Wall)" was one of 2002's hottest singles; the next year Mystikal garnered two Grammy nods for Best Male Rap Solo Performance and Best Rap Album. The hit-grabbing compilation Prince of the South dropped in 2004 with the new single "Oochie Pop." ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Goodie Mob's earnest and reverent approach made them one of the more admired groups of their era, and undeniably one of the most respected groups in the often irreverent and scoffed at Dirty South scene, if not the most respected. The Atlanta group's first album, Soul Food (1995), stands as one of the earliest Southern rap albums to... [+] Read More

Goodie Mob's earnest and reverent approach made them one of the more admired groups of their era, and undeniably one of the most respected groups in the often irreverent and scoffed at Dirty South scene, if not the most respected. The Atlanta group's first album, Soul Food (1995), stands as one of the earliest Southern rap albums to emerge on a major label and, along with OutKast's debut, essentially proved that rap was no longer a West and East Coast phenomenon. Besides being pioneering, Soul Food also stood out for its quality -- the album dealt with serious themes and featured an undeniably unique aesthetic, attributed as much to producers Organized Noize as group members Cee-Lo, Khujo, T-Mo, and Big Gipp. Goodie Mob's sincerity continued with Still Standing, their 1998 sophomore album, as did their still-unique sound. By this time, the Dirty South movement had been put in motion and the group suddenly found themselves with a considerable following, most newcomers astounded by Goodie Mob's thoughtfulness relative to their Southern peers. As the '90s came to a close, Goodie Mob's close allegiance to fellow Atlanta rappers OutKast proved noteworthy in the wake of that group's breakthrough with Stankonia. No longer was Goodie Mob a cult phenomenon but rather a mass phenomenon. This commercial consciousness that had first surface on 1999's World Party had now become a more glaring issue for Goodie Mob, a group that had always prided themselves on sincerity rather than calculation. The pioneering yet increasingly conflicted group sadly broke up at this point, and the members embarked independently, beginning with Cee-Lo, who debuted in 2002 with Cee-Lo Green and His Perfect Imperfections. A new album from the remaining three was promised in December of 2003. Pushed-back more than once, One Monkey Don't Stop No Show finally arrived at the end of June 2004. Big Gipp was next to leave the group, leaving Khujo and T-Mo to carry on as a duo. Their early 2005 album Livin' Life as Lumberjacks was a "Goodie Mob Presents" affair and the first step towards a permanent name change to Lumberjacks. The street-level mixtape Nuttin But Dat G appeared around the same time, collecting unreleased tracks by the original, four member Mob. ~ Jason Birchmeier, All Music Guide [-] Hide

Though the controversial subject matter of gangsta rap wasn't much of a barrier to popular success during the '90s, the Geto Boys' recordings proved almost too extreme for widespread exposure. Blocked from distributing their 1990 major-label debut by Geffen -- who insisted that a track dealing with necrophilia as well as murder was a step too... [+] Read More

Though the controversial subject matter of gangsta rap wasn't much of a barrier to popular success during the '90s, the Geto Boys' recordings proved almost too extreme for widespread exposure. Blocked from distributing their 1990 major-label debut by Geffen -- who insisted that a track dealing with necrophilia as well as murder was a step too far -- the group was saved by producer Rick Rubin, who arranged another distributor for the album, released on his own Def American label. The controversy, which occurred two years earlier than similar censorship incidents involving Ice-T and 2 Live Crew, gave the Geto Boys a large amount of publicity. Their follow-up, We Can't Be Stopped, eventually hit platinum, though the trio of Scarface, Willie D., and Bushwick Bill began to fracture by 1993. After releasing solo albums during the mid-'90s, the Geto Boys reunited in 1996 for their most praised album yet, The Resurrection.

When the Geto Boys came together in 1986, though, it was with a completely different lineup. Formed as the Ghetto Boys in Houston by rap entrepreneur James "Lil' J" Smith (and signed to his Rap-A-Lot label), the group originally consisted of Prince Johnny C., the Slim Jukebox, and DJ Reddy Red. During 1987-1988, both Johnny C. and the Jukebox quit, forcing Smith to add a dwarf-dancer-turned-rapper named Bushwick Bill (born Richard Shaw, Jamaica) and two Rap-A-Lot solo acts: Ackshen (aka Scarface born Brad Jordan, Houston) and Willie 'D' Dennis (born Houston).

After the Geto Boys' Grip It! On That Other Level caught the ear of hip-hop impresario Rick Rubin (LL Cool J, Beastie Boys), Rubin re-mixed and re-recorded tracks from the album. He was ready to release it on his Def American label in 1990 when distributor Geffen balked at "Mind of a Lunatic," a track which described necrophilia with a murder victim. By late 1990, Rubin had found another distributor, Giant Records, and the album was released -- as The Geto Boys -- that same year.

The Geto Boys' association with controversy was far from over, though; rap groups were a hot topic for moral-minded politicians during the early '90s, and several leaders used the Geto Boys as an example to decry the state of modern music. The fires were fanned in 1991 with the release of the group's second proper LP, We Can't Be Stopped. Before the release of the album, Bushwick Bill had lost an eye in a shooting incident with his girlfriend, and the cover featured Willie D. and Scarface wheeling Bill into an emergency room, with a prominent shot of the damaged eye. Inside the album, proceedings were among the most extreme in the history of recorded music. Obviously, radio airplay was non-existent, but We Can't Be Stopped still went platinum in early 1992 -- thanks to the underground hit "Mind Playing Tricks on Me," one of the most effective inner-city vignettes in hip-hop history.

By 1993, all three members had begun solo careers, though Willie D. was the only one completely separated from the band, citing artistic differences. Scarface and Bill continued with new member Big Mike, releasing Uncut Dope in 1993 and Makin' Trouble the following year, but split late in 1994. Just one year later, Willie D. returned to the fold for another Geto Boys release, The Resurrection, which showed the group in fine form. Now it was Bushwick Bill's turn to leave the group. DMG took his place for 1998's Da Good, Da Bad & Da Ugly but returned for the group's 2005 reunion album, The Foundation. ~ John Bush, All Music Guide [-] Hide

New Orleans-based gangsta rapper Juvenile was born Terius Gray. After beginning his performing career while in his teens, he released a 1995 album on Warlock titled Being Myself. He eventually crossed paths with Cash Money label owners Ronald "Suga Slim" and Brian "Baby" Williams, who issued 1996's Solja Rags; the album became a major... [+] Read More

New Orleans-based gangsta rapper Juvenile was born Terius Gray. After beginning his performing career while in his teens, he released a 1995 album on Warlock titled Being Myself. He eventually crossed paths with Cash Money label owners Ronald "Suga Slim" and Brian "Baby" Williams, who issued 1996's Solja Rags; the album became a major underground hit, and set the stage for the release of 1998's 400 Degreez. In 1999, with Juvenile's popularity growing, Solja Rags was reissued nationally, and Warlock jumped on the bandwagon with a remixed version of Being Myself. The year ended with the release of a new studio effort, Tha G-Code, followed by Project English two years later in 2001. In 2002 he left Cash Money and formed his own collective, the UTP Playas (Uptown Project Playas), with whom he recorded a posse album, The Compilation. The album went nowhere and a year later he was back on Cash Money and releasing Juve the Great, which featured the chart-topping hit "Slow Motion." The 2005 "Noila Clap" single from the UTP Playas was another big track, and Juvenile was ready once again to shop for a new label. As he was signing a new contract with Asylum, his Slidell, LA, home was destroyed by Hurricane Katrina. The hurricane and its grim aftermath were hot topics on his chart-topping 2006 album Reality Check. ~ Jason Ankeny, All Music Guide [-] Hide

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Goodie Mob's debut album was a production masterpiece that ranks as perhaps the most Southern-sounding Southern rap album ever recorded; similarly, lead rapper Cee-Lo is one of the most Southern MCs on record, with a raspy, nasal, rural-sounding drawl that's utterly distinctive. The follow-up album, Still Standing, is mostly more of the same... [+] Read More

Goodie Mob's debut album was a production masterpiece that ranks as perhaps the most Southern-sounding Southern rap album ever recorded; similarly, lead rapper Cee-Lo is one of the most Southern MCs on record, with a raspy, nasal, rural-sounding drawl that's utterly distinctive. The follow-up album, Still Standing, is mostly more of the same great stuff, with producers Organized Noize refining the soulful, organic blueprint laid out on Soul Food. There are some more up-tempo percussion tracks here, with a few detours into more typical Southern bounce tracks; it's mildly disappointing to hear Goodie Mob following trends instead of setting them, but they're well-executed all the same. When the results are more imaginative, as on the hit single "They Don't Dance No Mo'" and "Ghetto-ology," it's a terrific expansion of the group's sound; so is the heavy, guitar-driven rocker "Just About Over." The hardcore themes that occasionally popped up on Soul Food are a smaller presence on Still Standing; even so, while the group may be progressive in sentiment, they still aren't gentle in language. And their trademark social and spiritual awareness is very much in evidence. "The Experience" is a nimble meditation on the word "nigga"; "Black Ice," "Fly Away," and "Inshallah" have the deep gospel feel that makes Goodie Mob so unique; "Beautiful Skin" professes deep respect for women who respect themselves; and "Gutta Butta" and "Greeny Green" are reflections on neighborhood pride (by way of not littering) and materialism, respectively. Cee-Lo is even more of a breakout individual presence on Still Standing, and his unique style can sometimes overshadow his bandmates; plus, a few tracks just aren't that engaging. But overall, Still Standing is an excellent follow-up to a major artistic statement. ~ Steve Huey, All Music Guide [-] Hide

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The cover of the Geto Boys' We Can't Be Stopped shows a member with his eye poked out. It's grotesque, but realistic -- a realistic cover for an album whose violent, profane lyrics paint a vivid and accurate picture of life as the Geto Boys knew it growing up in Houston's tough ghetto known as the 5th Ward. This CD isn't as thought-provoking as... [+] Read More

The cover of the Geto Boys' We Can't Be Stopped shows a member with his eye poked out. It's grotesque, but realistic -- a realistic cover for an album whose violent, profane lyrics paint a vivid and accurate picture of life as the Geto Boys knew it growing up in Houston's tough ghetto known as the 5th Ward. This CD isn't as thought-provoking as Ice-T's, N.W.A's, or Ice Cube's can be -- nor is it the Geto Boys' best offering. But it's an engaging, disturbing effort that comes across as much more heartfelt than the numerous gangsta rap albums by the N.W.A and Cube clones and wannabes who jumped on the gangsta bandwagon in the early '90s. We Can't Be Stopped serves as an unsettling reminder of the type of ugly social conditions that were allowed to fester in poor inner-city neighborhoods. ~ Alex Henderson, All Music Guide [-] Hide

When Uncut Dope was released in 1992, the Geto Boys had four records behind them, and they were riding high on the success of We Can't Be Stopped. This was thanks in large part to the touching "Mind Playing Tricks on Me," a song clean enough to be played on mainstream radio that managed to be almost as psychologically grim as the horrifying... [+] Read More

When Uncut Dope was released in 1992, the Geto Boys had four records behind them, and they were riding high on the success of We Can't Be Stopped. This was thanks in large part to the touching "Mind Playing Tricks on Me," a song clean enough to be played on mainstream radio that managed to be almost as psychologically grim as the horrifying "Mind of a Lunatic." This is a lean collection of a dozen tracks, most of which are pulled from The Geto Boys and We Can't Be Stopped, which makes perfect sense. Making Trouble was a debut that barely hinted at the group's potential, and 10/12ths of Grip It! On That Other Level was altered and/or re-sequenced for release as The Geto Boys. With the addition of a few at-the-time new tracks -- including "Damn It Feels Good to Be a Gangsta" -- this provided a decent look at a group that hadn't released a full-blown masterpiece. However, the two albums that immediately predated this disc had plenty of strong material to make for a called-for overview, including "My Mind Playing Tricks on Me," "Assassins," "Mind of a Lunatic," and "Do It Like It G.O." Though 2002's Greatest Hits covers the group's last three albums of the '90s, it has its career-spanning scope going for it, but none of the material from those albums stack up to the scattered greatness that came before it. ~ Andy Kellman, All Music Guide [-] Hide