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Reviews – II Tone – New Direction-My World Overcometh

ii-tone-new-direction

II Tone is back with a brand new solo album in 2017! Black Rain Entertainment and II Tone have been puttin’ it down for years, and always represents Memphis Tennessee to the fullest! This album is crunk as fuck to start off with! The production is done by different producers including Jack Daniels, DJ Cree and St. Kittz but the majority of this dope production was done by Cuttoffurmind! It captures that classic M-Town Get-Buck sound, so if you are a fan of dope Memphis rap then this is a must! 

One of the songs I cant stop bumpin’ is Water Off featuring Mac Montese and T-Rock because it is about how people change when you quit doing shit for them. Basically goin’ in on them snakes that lay around waiting for your downfall! Another one I’m feeling is Different because he opens up about alot on here including having Vitiligo which is the same condition that Krizz Kalico of Strange Music has. The album is packed full of heat, including the fire track Take A Puff featuring Mr. 4Twenty and Mac Montese, this one is a real smoker’s anthem! 

I’m feeling at least 90% of this album, even the couple songs I’m not into are bumpin’, but then again I’ve never known II Tone or Black Rain to put out anything wack. He even has Lord Infamous(RIP) on here whom was a huge part of Black Rain Entertainment.I love the beats, the dope rhymes, but also the quality. This is the first II-Tone solo I’ve heard in a minute and I strongly recommend it to anyone who is into hard street shit. Definitely a breathe of fresh air for the new year! 

Make sure to hit up Itunes and cop this album!
also check out II Tone on Facebook 
And Twitter

RapReviews.com

 

II Tone :: New Direction: My World Overcometh :: Black Rain Entertainment 
as reviewed by Matt Jost

[New Direction] Although the course of history forces many a popular artist to confirm to prevalent tastes, established genres like blues, rock or jazz offer a career option that lets artists do what they're best known for and hopefully best at. Playing into their hands is the fact that their fanbase advances with them in years, people who love them for what they do and are grateful that they haven't abandoned it yet. They play in a league of their own and even calling it the senior divison won't diminish their standing. And if they're truly lucky bastards, what they do is so compelling, genuine and timeless that they continue to garner new fans, some born long after their initial breakthrough.

American rap acts have had a hard time prolonging their careers substantially. It remains to be seen whether some rappers will be able to succeed the likes of Duke Ellington, Tony Bennett, John Lee Hooker, Johnny Cash, or the Rolling Stones in terms of extended longevity. Gang Starr would have been viable candidates, before unfortunate and then tragic circumstances befell the duo. A Tribe Called Quest just recently took a shot at it with promising prospects despite or because of Phife's death. A few others seem to have a somewhat stable future ahead of them which a chance of rejuvenating their fanbase.

But while individual careers don't last particularly long, the musical movements they are part of often endure. This is quite obvious in rap music's East Coast branch, where chopped samples are still a common sound. Other regions developped their own characteristic sonic styles. Houston, New Orleans and Atlanta all have a rich history that ultimately propelled southern rap to the top, and so does Memphis, via seminal groups Three 6 Mafia and Eightball & MJG. II Tone has been a visible part of the Memphis scene for over 15 years, his most pivotal role being that of co-founder of Black Rain Entertainment together with the late Mafia member Lord Infamous. His solo debut dates back to 2000 ("In Too Deep"), and he executive-produced all Lord Infamous releases on their label. You wouldn't be wrong to expect a certain sound from II Tone, but what you might not expect is such a straightforward old fashioned album. "New Direction: My World Overcometh" is sure to remind listeners of rap from the south circa 2005-2010.

Which is potentially good news for II Tone. Despite there being seemingly fewer variety in the proud genre of hip-hop, the fans of yesterday haven't simply vanished. And they have their own expectations. If someone specifically yearns for that Hypnotize Minds sound, II Tone has got them at least partially covered. Echoing, spooky mid-tempo synths open the album while II Tone offers insight into his biography and philosophy with the pace of a shaman and the tone of a pitchman. "Hangin' in Da Hood" comes equipped with enough menace to match threats like "I'm masked up, super crunk, smokin' chunks, I'm through with blunts / Ridin' round town with your body in the fuckin' trunk." "Ridin' in Da Black Rain" hits the right notes for an epic, melancholic track (altough the effect is diluted once the rhythm section sets in). And plus "Frosty" is a posthumous Lord Infamous feature. The sample for "Criminal Mind" is well chosen and converted and contrasts the rapper's relentless (but not breathless) rapping. The superbly programmed percussion of "Cut Your Water Off" alone is worth paying attention to the song, early on solidifying the album's musical diversity, further verified by the rhythmically stuttering, musically stunting "Top Back." The type of classic soul interpolation behind "Ain't No Dope Like I Got" can almost be called a southern staple, while "Can You Stand the Rain" is the uncorrupted '80s quiet storm cover that harks back to '90s rap. Speaking of, "Take Ah Puff" makes sure to include Muggs-type shrieks for some proper Cypress Hill allusions.

So yes, "New Direction" is musically solid - if resistant to newer trends. Tone's problem is that he's not a classic artist. He's as generic as they come. He can keep a sound alive, perhaps even an attitude. But he lacks any feature that would make him stand out in the supraregional music scene that he's part of. It is a typical case of shooting yourself in the foot when you name an album "New Direction" and open it with a song called "Different" but don't do anything to substantiate those terms. When you instead fill said album with rhymes from the phraseology of a million and one street rap albums. Any rapper approching a 16 with the building block method has to expect that certain lines don't fit. It is not our intent to lambast well meaning artists, so let's just say that II Tone's rhymes don't always add up. And when they do you'll very rarely think you've witnessed something worth remembering. For the sake of it, let's pick out "You can gossip 'bout my lifestyle, you hate it and you're bitter / but the shit I'm goin' through, I wouldn't wish it on you, nigga" or "Money getters, wig splitters - Martin Luther had a dream / Not that fuck shit you be doin' leadin' to a crime scene." Interesting lyrical impulses that unfortunately go absolutely nowhere.

A classic artist can make these things work, including contradictions and clichées. In "Criminal Mind" II Tone references the legendary Scarface with the arbitrary line "This the diary of a madman, money and the power." Not so long ago Scarface summed up Tone's basic configuration which he fails to verbalize in one rhyme: "Greatest ever done it, you can learn from it / Dope game - ran it, rap game - run it." II Tone says it himself - there's levels to this shit. You can take every one of his attributes (defiance, intimidation, ignorance, swag, insight, empathy) and think of another artist who took it to whole 'nother level. That's why II Tone can, like so many hidebound hip-hoppers, cater to your nostalgia only for so long.

Music Vibes5 of 10 Lyric Vibes3 of 10 TOTAL Vibes4 of 10

Originally posted: February 14, 2017
source: www.RapReviews.com

www.ugs4life.com

Reviews – Club House Click – Ovaworked Undapaid

club house click

Black Rain Entertainment, II Tone, Mac Montese and a whole crew of features
make up this new Club House Click project “Ovaworked Undapaid” and if you are
a true fan of that Memphis sound, this will not disappoint you. 

I have been bumpin II Tone’s music for years and even though the late great
Lord Infamous is no longer with us, Tone and Montese keep the flame lit with
a real solid album and best part is the whole thing is packed full of dope
tracks and you can cop it on Itunes for only $5.99 

Some of my favorite tracks include “Blow Ah N-gga Ass Off” which goes straight
for the jugular, then you gotta bump “Sacrifice” which goes in on gossipers. I
also cant stop listening to the final track on the album “Finna.” The beats on
this album can’t be fucked with and like I said it’s only $5.99, no excuse not
to get this album if you like that real shit! 

For 2015 I am pleased to see another real dope solid project such as this new
Club House Click “Ovaworked Undapaid” If you have been listening to Black Rain
ENT projects this is a must for your collection. Hat’s off to them for this one! 

Club House Click “Ovaworked Underpaid” on Itunes

Themusic.com.au

Three 6 Mafia Founder Dies Of Heart Attack

Dec 22nd 2013 | 1:11pm | Staff Writer

Billboard has confirmed that rapper Lord Infamous of Memphis hip hop outfit Three 6 Mafia died on Friday night.

Born Ricky Dunigan in 1973, he formed rap group Three 6 Mafia in 1991 with his half-brother DJ Paul, Juicy J and Koopsta Knicca. Originally known as Backyard Posse, the band completed its line-up with Crunchy Black and Gangsta Boo ahead of their debut album Mystic Stylez in 1995.

Following a stint in jail, Infamous was found in breach of contract with Sony and was forced out of the group. His departure came just after the band had won a Best Original Song Oscar for their track It's Hard Out Here For A Pimp, which was used in the 2005 film Hustle And Flow.

Infamous set up his own label in 2006, issuing releases for fellow Memphis rappers Mac Montese and T-Rok.

Infamous had only recently reformed Three 6 Mafia as Da Mafia 6ix. The reunited crew dropped a mixtape earlier in the year and were reported to be working on a new studio album.

Gangsta Boo tweeted the news of his musical partner's death, asking that people show respect for family and friends "during this tragedy".

Infamous, age 40, was found dead at his mother's home and the cause of death is as yet undetermined.

[UPDATE] DJ Paul has confirmed to The Hollywood Reporter that Infamous died of a heart attack in his sleep. Paul told THR, " "He said he was tired, he wanted to sleep. He sat down at the kitchen table, put his head in his arms to lay down ... to get some sleep."

He added that the group was getting ready for a show next week outside of Memphis, "He got a chance to see the group back together like he wanted to and be back in the studio with everybody and be back making music like he always liked to do."

RapReviews

 

Mac Montese :: On a Mission :: Black Rain Entertainment 

as reviewed by Steve 'Flash' Juon

[On a Mission] Mac Montese is the latest artist hailing from the Black Rain Entertainment family, the label best known as the musical home of their co-CEO Lord Infamous. He in turn is best known for being one of the founding members of Three 6 Mafia, but relations between the founders have been strained for more than a minute now. As such it's never surprising if DJ Paul and Juicy J aren't seen on a Black Rain released album, but not at all surprising when former Hypnotize Minds artists like Gangsta Boo and Koopsta Knicca do. Personally I wouldn't mind seeing all the past and present Memphis family members peace it out and get together in the studio again, but in 2011, it is what it is.

The impression one gets of Montese from "On a Mission" is that he's being groomed as a successor to Lord Infamous. That's far from a bad idea given Infamous has had some serious health issues of late and could probably use someone to carry the torch for his label in the event of his untimely demise. Of course Montese can't simply be "Scarecrow Part Deux" and expect to earn the respect of devoted Southern hip-hop fans, let alone a national or worldwide following for his music. That's why throughout this 18 track album almost every other song finds him going for dolo. We'll address the guest star situation momentarily, but let's first see how Montese plans to keep it "Real" in rap:

"When you real you don't say you real; real you don't fake the deal
Real if you keep it 100 after you make a mill'
Real when you stayin down, real if you come back 'round
Really, on the outside they smilin, but inside is a frown
I got some issues on my mind and now it's time for you to pay attention
You didn't want to listen, so now I guess I gots to mention
Ev-ery-thing-I-done-did was off the fact that I was real
STILL, I feel, like I'm the one that's left up out of the deal
Hell - takin my credit for shit I done done
Playin my hit but they say it's his song
What's goin on? Tell me I'm wrong
It's got me off up in the zone
Now it's time to make a song where everybody know it's me
Mac Montese I'm from the streets, a beast up on these damn beats"

There's a good news/bad news type situation going on here I'll have to break down for you the reader in detail. Here's the good news - Montese is competent at delivering a verse, his accent and diction are mostly clear, his vocal tone is not unpleasant and he doesn't embarrass himself lyrically. The bad news is that puts him somewhere in the middle of the pack for rappers from any region of the United States. He tries so hard not to be corny that it may be working against him here. "I get plenty of ass, so call me an astronaut" may be one of Dr. Dre's worst lines of all time, but no one forgets that line or the funky-ass song from the "Friday" soundtrack he said it on.

Montese proves himself adequate to hold the stick as a soloist, but he fits very well into the other half of this album's songs where he shares the spotlight. "White House" with Yung Madness sounds like a cross between a Gucci Mane and a Three 6 song, and that's even more true on "Smokin Song" when Koopsta Knicca gets added to the mix. "Mean Mug" features the two chiefs of Black Rain joining him on the song, Lord Infamous and II Tone, while "Heavy Metal" is a posse song with the aforementioned Tone and Madness plus Slim Money, Fullclip and (speaking of cornball) Big Cheese. As with other Black Rain releases liner notes are all but non-existant for the CD, but a small note at the bottom of the back cover reads "Produced by St. Kittz, Maniak, Shun Flames & T-Magic." We have no way of knowing who produced which, but for "On a Mission" it hardly matters anyway. Every song has a similar dark and sinister edge which both Infamous and his ex-friends in the Mafia are best known for.

A few songs stand out a little from the pack when the whole of "On a Mission" is examined closely. Montese has a convincing amount of swagger with the ladies on "Put It In" and the mellow tinkling melody belies a rather coarse sexual appetite. "Mackin" would pass for a hard hitting Three 6 produced song on any of their major label albums, as would the sinister keys and notes of "Swag Up." "Night" has an uncredited crooner which gives an extra mellow flavor to the song, and Montese picks up his flow to the point he sounds more like a Bone Thugs affiliate than a Black Rain one. A lot of the songs are interchangeable though and that's a big problem - if the rap on one fits perfectly on the beat for another without even changing the chorus or tempo "formulaic" creeps on into the discussion. Once again that may be the fault of a young rapper trying to do way too much, as 18 songs is really more than anyone needs from Mac Montese when he's only just starting to emerge from the Scarecrow's shadow. If Mac Montese stays "On a Mission" to improve as an artist then he'll be worthy to lead the future of Black Rain Entertainment, but more work is required.

Music Vibes: 5.5 of 10 Lyric Vibes: 5.5 of 10 TOTAL Vibes: 5.5 of 10

Originally posted: April 5th, 2011
source: www.RapReviews.com

RapReviews

Lord Infamous :: Futuristic Rowdy Bounty Hunter :: Black Rain Entertainment 
as reviewed by Steve 'Flash' Juon

[Futuristic Rowdy Bounty Hunter] In June of 2010 the word went out to RapReviews and scores of other hip-hop sites that Lord Infamous suffered a heart attack AND kidney failure. With such a deadly double dose of medical maladies to deal with, it was entirely understandable that his PR people wanted us to all know "Futuristic Rowdy Bounty Hunter" would be pushed back and there was no longer a definitive release date. The health and well-being of one of the founding members of Three 6 Mafia was (and still is) far more important than any new songs or a brand new album. Since "Bounty Hunter" landed on my desk this week I have to assume his health improved enough in the interim to either finish the CD or master the already available material and put it out to the public. That's no indication of whether he would (or even should) tour to support the release, but one can at least hope that it's a sign of things improving - or at the very least one of those cases where the phrase "no news is good news" rings true.

"Ringing" is definitely one of the things a Lord Infamous album does. L.I. has been known since his earliest days as a lyrical leader at the forefront of hip-hop's occult side. Even though the Mafia's style evolved over the last two decades to become more commercially friendly, with only the name itself implying any kind of Satanic side, there was definitely a time in their history where they explored the mysteries of the dark side. Infamous stood out in the group for being willing to push their exploration of these themes to the maximum, and since being on hiatus from the group (it's never been clear if he was asked to leave or parted ways on amicable terms to do his own thing until an eventual reunion) he's kept that darkness alive. Even his label's name Black Rain Entertainment implies an unnatural and ominous storm coming down on your head. Normally the only time of year I get into occult symbolism is Halloween, but if a black rain was coming down on my head I'd certainly wonder if it was the end of days. Infamous definitely enjoys spooking people - after all one of his many nicknames is 'Scarecrow' - a fact he references on the heavy beats and rhymes of "Don't Stop":

"When I grab the pad and pencil, oh it's so essential
That the Scarecrow show you bitch-ass niggaz my credentials
Phrases and these metaphors I use 'em as utensils
Like a butcher as I carve in corpses my initials
Like I said before a nigga likely with a nympho
Sicker than them niggaz with that cell they call sickle
Toss you in the pond you hit and then the water ripple
Only way you walkin out this piece is as a cripple
When I walk into the rhyme get cold and harden nipples
Wicked shit is complicated, you niggaz too simple"

While Lord Infamous' rhymes aren't "too simple" they are definitely predictable to a degree, as he's always proud to boast how hard he is and how much more gruesome he will get compared to his foes. It should be self-evident that it's boasting, because if he was really tossing bodies in ponds he'd either be in jail or he'd be on the FBI's most wanted list with a national manhunt out to find him. Nevertheless when it comes to macabre grim tales, few rappers can match his level of depravity on "Niggaz Like You":

"My name is the Scarecrow, some say that I'm deranged
And if you come step in my slaughterhouse I'll make sure that you not comin out mayne
I'm reppin up like Rain, bloody Memphis, Club House Click
Forever I came out to use up real bodies like you with the bitches real quick
A menacing menace to murderers, Lord and I'm comin real fuckin slick
I'm doin these niggaz real dirty, man I'll shoot you in yo' dick!
Listen closely punk bitch, you don't want no parts of 'Ric
Come and get with these killers, make you split your own wrists"

The one thing that might definitively be "too simple" about Lord Infamous' "Futuristic Rowdy Bounty Hunter" is the liner notes. There's absolutely NO production credits or guest appearance credits, even though the album's cover promises contributions from Chamillionaire, Koopsta Knicca and Gangsta Boo among others. It's not hard to pick out guests when you hear them, but it smacks of gross oversight to not list each track's producer and credit each artist - they have to be to get any royalties coming their way anyway. Surely Black Rain Entertainment kept records of everything, and given this album was delayed there was no reason to rush it out without putting the info inside, let alone giving Infamous a chance to write a list of thank yous to people who supported him while he was in bad shape.

It's hard to fathom why it was done, but more than that it's impossible to either praise the producers who did well or blame the ones who did poorly in supporting L.I.'s efforts. "Bout It" has a classic Mafia sound, "Cry" sounds like a gothic bloody rap opera, and "In Da Hood" is the kind of anthemic song Infamous' fans will undoubtedly love. There's not much on "Bounty Hunter" that could cross over with a radio edit or music video, but "Jump" comes as close as any of them in terms of the sound and the tempo. Unfortunately the tempo is at times a drawback on this album, as "I Be" and "War Love" are two among many that seem to have no variance in pace at all. If you listen to this album straight through from start to finish for 50 minutes many of the songs blend together, and not in a mixtape kind of way. This is one of the few times I actually think more skits on an album would have been helpful. Still just in time for Halloween in 2010, Lord Infamous is back with an album creepy enough to keep his many fans and admirers happy while he continues to rest and recuperate so he can keep making more grim raps.

Music Vibes: 6 of 10 Lyric Vibes: 6 of 10 TOTAL Vibes: 6 of 10

Originally posted: October 26, 2010

mvremixmedia

Lord Infamous & Black Rain Entertainment Releasing Blood Money July 28th

Lord Infamous & Black Rain Entertainment Releasing Blood Money July 28th

Memphis rapper and former Three 6 Mafia member Lord Infamous is scheduled to release his fourth solo effort, Blood Money, on July 28th via his own record label, Black Rain Entertainment. His first solo project, Lord of Terror, was released as an underground tape in 1994, and his second album, The Man, The Myth, The Legacy, dropped in October of 2007. Lord’s third album, After Sics, was released this past January.

Featuring guests like Chamillionaire, Mac Montese, and more, Blood Money is led by Lord Infamous, with II Tone and T-Rock by his side.

Blood Money will mark the fourth solo project from Lord Infamous since he broke away from the rap group Three 6 Mafia. As a founding member of the group, Lord helped propel them to win an Academy Award in 2006. His violent, often horrific lyrics are one reason behind the “666” in the original name “Triple 6 Mafia.” Although he continues to collaborate with members of the group, he has recently been focusing on his own endeavors.

Blood Money Track Listing

1. Blood Money
2. Niggas Like You
3. Love My Whip feat. Chamillionaire
4. Chopper Talk feat. Mac Montese
5. Ball Off Remix
6. Heen Bout It
7. I Need Drugs
8. What You Bitches Wanna Do
9. Get It Crackin
10. Show Up feat. Mac Montese
11. Workin feat. Scrilla Man, Suga, Mac Montese
12. 1-900
13. Do This
14. No Problems feat. Mac Montese, Big Cheese, C-Mob
15. Crunk N Throwed
16. The Streets feat. Mac Montese, Flo Dawgs

Mvremix.com

Lord Infamous & Black Rain Entertainment Releasing Blood Money July 28th



written by 

Lord Infamous & Black Rain Entertainment Releasing Blood Money July 28th

Memphis rapper and former Three 6 Mafia member Lord Infamous is scheduled to release his fourth solo effort, Blood Money, on July 28th via his own record label, Black Rain Entertainment. His first solo project, Lord of Terror, was released as an underground tape in 1994, and his second album, The Man, The Myth, The Legacy, dropped in October of 2007. Lord’s third album, After Sics, was released this past January.

Featuring guests like Chamillionaire, Mac Montese, and more, Blood Money is led by Lord Infamous, with II Tone and T-Rock by his side.

Blood Money will mark the fourth solo project from Lord Infamous since he broke away from the rap group Three 6 Mafia. As a founding member of the group, Lord helped propel them to win an Academy Award in 2006. His violent, often horrific lyrics are one reason behind the “666” in the original name “Triple 6 Mafia.” Although he continues to collaborate with members of the group, he has recently been focusing on his own endeavors.

Blood Money Track Listing

1. Blood Money
2. Niggas Like You
3. Love My Whip feat. Chamillionaire
4. Chopper Talk feat. Mac Montese
5. Ball Off Remix
6. Heen Bout It
7. I Need Drugs
8. What You Bitches Wanna Do
9. Get It Crackin
10. Show Up feat. Mac Montese
11. Workin feat. Scrilla Man, Suga, Mac Montese
12. 1-900
13. Do This
14. No Problems feat. Mac Montese, Big Cheese, C-Mob
15. Crunk N Throwed
16. The Streets feat. Mac Montese, Flo Dawgs

 


Tags: 

IGN

Date Posted: Mar 30, 2009 #1

Whether spitting demonically twisted twists as The Scarecrow or abrasive crunk couplets as Keyser Soze, South Parkway Village-South Memphis legend, Triple Six Mafia co-founder and part-time psychotic prescription drug fanatic Lord Infamous has always taken his and Three 6 Mafia’s music to another realm and is a hardcore fan favorite.

Having given his brother DJ Paul’s group some distance while he saw to some personal and legal issues, Lord hasn’t stopped grinding. In 2007, he dropped ‘The Man, The Myth, The Legacy’ a whole 13 years after his solo debut ‘Lord Of Terror’. Then, in January this year, Lord released ‘After Sics’ with Black Rain Ent artist showcase crew the Club House Click, leading to suspicions that, musically at least, he wouldn’t be dealing with Three 6 in the near future.

And with some harder-core Three 6 fans feeling ill at ease with some of the single choices the group, now consisting of only Paul and Juicy, have gone for, there was a collective sigh of relief, mixed with intense delight, that on the promotional run-up to Paul’s upcoming solo album ‘Scale-A-Ton’ the pair were reunited on the excellent ‘Pop A Pill’ and in both audio and low-fi video glory on ‘You On’t Want It’.

We caught up with the man born Ricky Dunigan while he was at a cousin’s house in East Memphis:


What’s your current status with Three 6?
I never left Three 6. I’ve always been a part of Three 6. I did some time and that was holding the group back and I don’t wanna hold my brother back – you know Paul’s my half-brother. They just went on doing they thing, and it’s like a breach of contract when you go to jail so it f***ed up things with Sony. They had just released a double platinum album and the Oscar single for the Hustle & Flow soundtrack and stuff, so I just had to wait. But I’m about to join back up with ‘em though. Me and my brother at least are gonna do some more of that underground stuff that we did in the first place, you know, the ‘Come With Me To Hell’ type stuff, and maybe there may be a surprise Three 6 thing in the future, but we still discussing that.


As someone who was there from the very beginning, do you regret not reaping the rewards of the Oscar and chart success the group has had more recently?
Of course, of course. Even though if it wasn’t for what happened previously, all the success we had previously, it’s not like you can come straight from an underground record to Oscar status and be recognized by the people at the Academy. Me and Paul had a conversation about this actually when I got out of jail. I congratulated him because I came out like the day before it came on and I was like: ‘I’m proud of you’. And he told me: ‘Well don’t be proud of me because we couldn’t have did it without all the stuff you did’.


So do you still speak to Paul often?
Yeah. I just wanna say RIP to Juanita Beauregard; that’s our mother and she just passed February 2nd and I want the world to know about her. She was a good woman.


How did she influence your music?
She put up with all our noise in the bedroom, because we started off with a little studio in our bedroom. And our room was right next to her and pops’ bedroom, so they couldn’t stand the noise because we made a lot of racket and we had other rappers coming in all the time, and they put up with that. And plus, she listened to a lot of soul music when we was growing up so that influenced us. And in church. She tried to make us go to church but we just didn’t tend to stick with it.


So how did she react when you started putting out music talking about the devil and that kind of stuff?
She was proud of us, but at the same time you know how older people are. She didn’t really pay attention to what we was saying. She would hear about it but she wouldn’t really give us any strife about it or nothing. And she knew it was just music.


When did you write your first ever verse?
Man, I been rapping since I was 15. At the time I was listening to a lot of New York rappers, like Eric B and Rakim, and I was listening to a lot of DOC and NWA and Slick Rick, people like that. Public Enemy… The first rap I ever did was a Chuck D verse. I used to rap ‘My Uzi Weighs A Ton’ in school and people used to like it so I said: ‘Well f*** that I’ma start writin’ my own s***’. People seemed to like my s***. I’m not saying I’m better than Chuck D, but people seemed to like my own s***. Down south we have our own kind of music, you know, we talk about different subjects than what people talk about up north.

There was a few underground rappers popular down here, guys like Gangsta Pat, Eightball and MJG was already doing they thing, and you got Skinny Pimp and I used to hear their little tapes. There was a deejay named Sunny D and a deejay named Spanish Fly and they used to sell people mixtapes; so I used to get them and say: ‘How hard can this be? How do they loop the beats and how do they program the drum machines?’. So we started going over to a deejay’s house named Just Born and we would watch everything he would do and what kind of equipment he would have and watch how he would loop records and program the drum machine and what kind of boards he would use.

There was a couple of drug dealers in our immediate family who had a lot of money that we used to f*** around with. So we would hustle dope at school and we hustled up enough to buy us our own equipment and then we started making these mixtapes called ‘DJ Paul Killer Mixes’ and we would go back to high school to sell ‘em. And then as more people were buying them we bought ourselves a little tape-pressing machine; so we pressed up like four cassettes at a time.

And the demand got bigger and bigger so we started going to a place named S&W Distribution where they would press up large amounts of cassettes, and they would do it wholesale. Then we would go to Sam’s Wholesale Club and buy cassette tapes in bulk and press ‘em up. Then we started taking ‘em to these stereo stores where they do car stereos and they would sell our cassettes. And they would put up little posters of us and then they started selling out of stores real fast.

So we went from selling them out of high school, to selling them out of the trunk, to these stereo stores and then went from there to where it was just too much for S&W. People wanted it so bad that they couldn’t supply our demand, so we had to get a distribution deal. We didn’t really want to because we were making all the money but it gets to a point where you need it, so we went to Select-O, a local distribution company in Memphis, you know Johnny Phillips, Sam Phillips’s brother. You know Sam Phillips that did Elvis? His brother was called Johnny Phillips. And you know Sun Studios and all that, well Johnny Phillips had a distribution company called Select-O-Hits. We went to him and then that’s when we started making stuff like ‘Mystic Styles’ and then s*** just blew out of control. The next thing you know New York starts calling and LA starts calling and I believe we went to Relativity first, then we went to Loud, then we went on to Sony, you know how that s*** goes..


Was it your goal to make good music or money?
I always wanted to be good at what I did, I wanted to be different. At first I wasn’t in it for fame, I was really just trying to make some money ‘cause I dropped out of school and sometimes hard times will hit. But you get tired of selling drugs and God blessed me with a talent. I guess I used it in a way that he wouldn’t want me to use it, you know the devil thing, the satanic rap thing. But that was just my forté, it was just what I was good at, and I just felt like I liked doing dark music.

I don’t like all that chipper-ass, ring-a-ding-a-ding-ass music. I’m sayin’ that Will Smith type s***, you know? I don’t like that type of s***. And you know I liked NWA but I said I don’t wanna talk about gangbangin’. You know we got gangs here, I’m not gonna say what gang we were in but we were in a gang, but I didn’t wanna do that kind of gangbang type of thing so I said I’ma take it to another level, I’m gonna do something dark. What’s worse than a gangbanger? Evil, satan itself. So I said I’m gonna venture into that side of it and that’s how that came about.


Can you explain the zone you were in when you were writing some of those classic demonic lyrics?
[Laughs] Yeah, I can explain the high zone. Very high. Not all the time, well, a lot of the time [laughs]. You know, it gets to a point man to be real with you, when rapping is not fun no more, it became a job and when something becomes a job it’s not fun any more. So, I hate to say it but, I had to kinda get f***ed up before I got on stage or before I went in the studio because I used to do it because I enjoyed it but now I do it to pay the bills. Not no disrespect to my fans, ‘cause I love ‘em to death and I’m very happy they’re pleased with my music but it’s just what I do. It’s how I eat, it’s how I take care of myself. But I still enjoy it when I hear a good beat and I hear someone who’s doing it from the heart and I’m in the studio with some people with good energy.

But a lot of the time you’re around these record label types, these characters, they just look at you like a ***** slave, you know what I’m sayin? They might get along with you if you sell records and be your friend but if sales go down then it’s like ‘f*** you’, you know what I’m sayin?


So it must be good now to be doing independent stuff with Black Rain?
Yeah, but I’m not gon’ lie, I kinda miss Paul doing everything for me [laughs]. It’s cool but at the same time I have to talk to a lot of these assholes myself now and I can see why Paul used to be so hard on my about showin’ up to the studio and to shows and s***, being f***ed up sometimes. He used to have to come and find me ‘cause I didn’t give a f*** ‘cause we was making a lot of money, man… but I hate dealing with these distribution people and these f***in’, you know these f***in’ A&R agents and publicists and all that shit. But you have to do that. It is what it is.
Here's part 2

What was your favourite period musically with Three 6?
There was two good periods. I liked the ‘When The Smoke Clears’ time and the Tear Da Club Up Thugs time, I enjoyed that. Tear Da Club Up Thugs was more of a personal project of mine because with Tear Da Club Up Thugs I did like… a lot of people may not know this but I do a lot of the writing for Three 6, a lot of the choruses for Three 6, and you know Paul and Juicy write they own verses but me, Paul and Juicy mostly come up with all the choruses. And they used to use a lot of my input in most of the songs back when I was like really mainstream with the group but only to the point where I was helping them with a lot of the ideas. They came up with all the music, and Paul would come up with the hooks too, don’t get me wrong, I’m not saying I did all the writing, but I did a lot of it.



My brother started the group, you know, and I came up with the name. So me and Paul came up with that together. We came up with the name from an underground song we did, around the first time we met Juicy. I just happened to say that in a rap, like “Triple Six Mafia and a ’44 Mag, infra red and a silencer”. And then when he heard that line he was like: ‘Man that’s cool!’ – so we kept that name.

So what was the story with the Backyard Posse?
That was before Three 6, that was when we was with this cat name Homicide and this dude named ***** 9 and Gangsta Blac and Lil Fly and all that stuff – some cats outta South Memphis. But that didn’t last long. And we was growing as a group for bigger things so sometimes you have to clean house and make changes.

Did you help out with any of the newer Three 6 tracks when you were in jail?
When I was locked up? No, no, no, no… You know what? When I was locked up I didn’t make one phone call or write one letter. I didn’t want to hear from the outside world ‘cause I would look at the other *****s in there and motherfuckers… if you calling home and calling yo’ bitch every five minutes, it ain’t gon’ make the ho not fuck off on you. If you callin’ home and checkin’ and callin’ *****s, it ain’t gon’ make them come and put money on your books, you know what I’m sayin? You just makin’ it worse ‘cause the more you talk to the outside world, the more you gon’ miss the outside world. So all I did was work out and wrote and did my fuckin’ time. You know you can talk on the phone with her ass all day long but she can be fuckin’ with somebody while she on the phone wit you so [laughs]. So I didn’t worry about those little things.



Did you get a lot of respect in jail?
Aw yeah, I had no problems. Hell naw, I didn’t have no problems. I always trip off a lot of these rappers. They talk all this tough guy shit but as soon as they ass ‘bout to go to jail they wanna do all kinds of charity events and become philanthropists and talk to kids and shit – you know who I’m talkin’ about because a certain rapper ‘bout to go to the fed right now and now he all on TV talkin’ about guns and this and that.

And another certain rapper, you know what I’m sayin, they wanna be claiming gangs, but when the real gangs catch ‘em out in they city they wanna run, they get scared. So, if you ain’t true to it don’t do it. You know I’m not proud of it but I’ve been to jail a few times in my life and I know how to handle myself. And I’m only 5?5' so, you know what I’m sayin, these motherfuckers kill me, they talkin’ all that shit but as soon as they see it’s real, as soon as they don’t get no bond, and they ass got to stay in jail and they got to do some time, they bitch out. Or they be in they pen for protection and shit like that.

Before you dropped your last solo album, ‘The Man, The Myth, The Legacy’, it seemed like you were going through some personal problems, would you care to share anything you learned from that period?
[Laughs] Yeah, I learned run a little faster this time [laughs]. Being serious, I’ll put it this way, if you gonna… it’s no secret that I get high, right?

Right. 
It’s no secret, ok. Like ol’ folks in the south say: ‘It’s not what you do, it’s how you do it’. I just got to be a little more cool. I just got to be not so fucked up in certain situations where there’s gonna be police around and I have so many drugs on me. Let me keep it real witcha, I still get high, but not as high all the time, I’ll put it that way.

Is it still ‘always Coca Cola’?
[Laughs] Ahh, you know it [laughs]. But, you know, me I’m not much of a coke man as much any more, I’m a prescription drug kinda dude. I like Oxycottons and patches that are kinda like Morphine suckers, and I like yellow, I like ‘Tuss and that. I’m not a big ecstasy guy. I know that’s big out there where you from but y’all got better X out there ‘cause y’all get your shit from Amsterdam. The X out here is bullshit. Like back in the day, back in the late ‘90s and 2000, the X was wonderful. You could roll 24 hours, but now this shit man you might be rollin’ 15 minutes and then you just can’t sleep afterwards, you know?



You know a lot of the artists that have come and gone from Paul and Juicy’s inner circle have gravitated towards the New Prophet Posse. Do you feel like the Memphis underground is making a bit of a resurgence at the moment?
They not real. That’s the fake-ass Prophet Posse. You know I did something with him, the dude named Nick Scarfo. Let me tell you the truth about him, the only reason I did a song with them was that I didn’t want them to fuck up the Prophet Posse name. But he fuckin’ it up, he’s not taking care of his artists correctly, he’s not doing it right and the only reason he’s got the Prophet Posse from us anyway is because a long time ago he so-called invested in the label. So when we came to Hypnotize Minds we let him get that, but you know we thought he was cool but really he wasn’t cool.

He’s a sheisty-ass *****. He ain’t cool, I don’t fuck with him. The members of Prophet Posse, they cool, I don’t blame them for what one asshole’s doing. Scarfo himself, he’s not cool. Let your fans know this, they have nothing to do with Three 6 Mafia. They have nothing to do with the old Prophet Posse. And you may hear Gangsta Boo and her ass on that shit. You may even hear one verse he probably got from me but that’s only because I helped invent Prophet Posse. I helped invent that name Prophet Posse, so I hate to see them take something that I did and make a mockery of it. So I did a collaboration with him but knowing what I know now, in hindsight I wouldn’t have did it. He fuckin’ it up anyway. But they have nothing to do with Three 6. They have nothing to do with Hypnotize Minds. Let that be known.

And recently you’ve been doing a lot of work with T-Rock, who has previously dissed you for your old drug habits…
I can understand it, ‘cause with T-Rock, at least he did it like a man. You know, we had a fallin’ out, and the whole fallin’ out with T-Rock was between him and this other cat, I’m not gonna mention his name, and he was startin’ a whole lot of shit between us and T-Rock. So T-Rock went his way and he did some things. We handled it in the street, you know what I’m sayin’, and you know after that we squashed the shit and now everything cool. I ain’t the type of motherfucker that hold a grudge as long as you handle it like a man. If I see you in the street and you handle it like a man with me… you know, we got him up in the street and we did our thing and we had it out. You know, there was winners, there was losers, so I’m not gonna say who won or who lost but people know [laughs].

But T-Rock, he didn’t hold no grudge, he took it like a man, so therefore I’m cool with him. You know T-Rock is a very lyrical guy, he’s real gifted, he’s skilled, you know what I’m sayin’? And it’s about business, you know? This is a business. People get it confused. At the end of the day, when motherfuckers get through dissin’ and talkin’ shit this is a business. The only reason people diss is because they intimidated by another artist. They intimidated that you gon’ take their sales and take their fans so they diss ‘em to try to lower they credibility and make ‘em look like they pussies in the street to fuck they street credibility ‘cause once you a gangsta rapper and someone fuck with your street credibility your career’s over with. So if you wanna be like Chris Brown, be like Chris Brown, but don’t talk that gangsta shit if you ain’t a gangsta.

How do you feel about artists…
This is Paul texting me now… but anyway, say it again.

How do you feel about artists like Kia Shine…
I don’t like him.

I mean, how do you feel about artists like Kia Shine who are from Tennessee but are using a more generic ATL sound?
Right, right, right, but then he wanna claim Memphis. Motherfuckers like him and Yo Gotti kill me because the simple fact is those motherfuckers used to wanna be like us, they used to want autographs from us, they used to come to our studios trying to get us to sign them. Then they wanna make records to try to diss us. What you sayin’ motherfuckers? You used to be on our dick. So the same motherfuckers that wanna be like us make songs about us and then they shit flop ‘cause they tried to go commercial and shit. They tryin’ to sound like everybody else. But I’m not gon’ lie, there’s a lot of shit that reminds me of Memphis shit but I’m not gon’ hate on it. Whatever works for them. As far as them tryin’ to sound like Atlanta rappers, well there’s a lot of Atlanta rappers tryin’ to sound like Memphis rappers so I can’t knock nobody for that… But as a human being I don’t like his ass.



Are there any former HCP artists that you can’t make amends with?
You know what, I can make amends with all of them because I don’t let that bullshit get to me, but me and Boo don’t get along that great. We have trouble getting along. I got love for Crunchy, I got love for Koop, I got love for Gangsta Blac, but Boo, she just got some kind of chip on her shoulder. And she can be a little bitch sometimes. She wants to be more than what the fuck she is but that’s the reason she fucked up with the group – she thought she was like the Lil Kim of Three 6 Mafia but she was far from that and she got mad because her little solo album didn’t sell. She a hater, you know?

What about Chat?
That’s my girl. I love Chat. Chat’s a cool mu’fucker. Now Chat was originally with us from Mystic Styles but she had a jealous-ass boyfriend. So Chat was with us from the beginning, but she had went away but then she came back. Then Koch Records fucked some shit up for her and then like she got mad but Chat has always been cool.



Have you heard much of Paul’s album?
Yeah, I hear everything they do. You know I told Paul the other day, I’m not a big ‘Lolli Lolli’ fan because that’s not the kind of shit I’m used to doing with them, but then he told me it sold two million just in ringtones so I said: ‘Well I respect that then’ [laughs]. I respect that. I got kinda jealous [laughs].

How likely is it that you’ll do something underground with Paul?
Very likely, he just got through texting me while I was on the phone with you so very much likely.

How do you feel Memphis was represented on Hustle & Flow?
I feel Memphis wasn’t represented right on Hustle & Flow. I think they did a good job with the movie but it didn’t capture Memphis. It ain’t that easy to get a little hit here, it ain’t that easy to get a little studio and just make a little song like ‘Whoop that trick, whoop that trick’ – even though we made all that music but it ain’t that simple, it don’t work that way.

Certain parts of Memphis is like that but it’s not like that. I’m glad they came here and I’m glad they picked us and I’m proud of the project but I just feel like it coulda captured a deeper essence of Memphis. They made us seem like we just some simple country bumpkins. Memphis is much more complex than that. This is a major metropolitan city, people don’t realise it but this is not just a bunch of people with lawnmowers and cotton fields and raggedy houses and shit [laughs]. It’s much more than that.

Who are your top five Memphis rappers of all time?
Paul, Eightball and MJG, I’ma add me ‘cause I feel like I’m one of the good ones, and I’ma say Skinny Pimp.

What’s Black Rain Ent got planned for 2009?
Me and T-Rock and II Tone supposed to be doing a project, and we’re gonna work on a II Tone solo album, a Mac Montese solo album possibly in the future, and I’m looking for artists right now.

RIP to Juanita Beauregard, mother of two reigning kings of Memphis, from the whole Southern Hospitality family.

Hiphopdx

Lord Infamous Presents Tha Club House Click - After Sics

HIPHOPDX EDITOR'S RATING:

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AVERAGE USER RATING:

3.75 

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6 people gave it a perfect five.

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Save for a handful of songs that can appeal to listeners outside of the 901, the latest platform for the Black Rain roster to shine will likely only serve to ensure the Club House Click doesn't reach an audience beyond their M-Town stomping grounds

Being the older half-brother of Three 6 Mafia's [click to readDJ Paul (and fellow co-founder of Triple 6 alongside Paul and Juicy J), you would think it would be without question that you too would be as known to the commercial masses as your Oscar-winning, gold-selling baby bro'. But fate (along with multiple arrests, including a charge for domestic assault last March) hasn't been as kind to Ricky Dunigan a.k.a. Lord Infamous(b.k.a. Scarecrow), resulting in the Memphis native remaining more of a local sensation than a nationally-known, MTV reality show star living in Hollyhood and hangin' out with Paris Hilton.

Following in the footsteps of Koopsta Knicca, Gangsta Boo, La Chat, and Crunchy BlackInfamous severed ties with Paul and Juicy, last appearing as a full member of Three 6 on 2003's Da Unbreakables. However, unlike the aforementioned artists, Infamous appears to have fewer grievances with the Hypnotized leaders and maintains an open line of communication to Paul and Juicy, with rumors of a reunion of the original three heads of Triple 6 currently circulating.

But until that reunion happens, Infamous is grindin' independent (of both Three 6 and the major labels). The aspiring emCEO started his own label, Black Rain Entertainment, in '06 with childhood friend II Tone, and released his first post-Hypnotize project, The Man, The Myth, The Legacy, in '07. And now the Triple 6 o.g. is following up that release with the aptly-titled After Sics, another compilation-style offering designed to shine a light on his new label and its lineup of roughly a dozen acts, who have collectively billed themselves Tha Club House Click.

Unfortunately, the C.H.C. do little worthy of a national spotlight for the first half of After Sics, setting off the album with a half-dozen tracks driven by banal content (the stereotypical bitches-ain't-shit selection, "Uuugghh"), generic production (the equally stereotypical sound of ominous keys, rat-a-tat-tat snare rolls, triple-time hi-hats and 808 kicks heard on "Gonna Make It Shine"), and mostly unremarkable rhymes (Mac Montesestereotypically spitting "Now my top notch thugs, we came to burn the roll up/Load up, hold up, rough and rugged, they can't control us" on his painfully amateurish solo showcase, "Fed Up").

Thankfully, at the album's midpoint Scarecrow and his Club House Click begin to slightly shed the traditional M-Town sound and get a little less buck, broadening their sound and scope to include some good ole fashioned ridah music on the disc's sonic standout "High As A Fool." On the ride-and-smoke anthem, the C.H.C.'s most lyrically advanced member (and not surprisingly a onetime Hypnotize Minds signee) T-Rock delivers one of his two scene-stealing performances (the other can be heard on the first verse of the otherwise bland "The Streets") when he cleverly takes aim at the high-and-mighty critics of his way of life: "Take a peak at me now, I'm on cloud 11/Smokin' Ak-47, now I'm headed to heaven/Don't be tellin' the reverend, 'bout the dope in the place/Throw a stone at me I just might blow the smoke in his face."

The Atlanta native would've been a perfect fit with the A-Town sound of the organ-driven "Work Dat Scale," but mysteriously fails to appear alongside his Area 51 crew. In fact, Lord Infamous could have salvaged much more of the otherwise underwhelming After Sics by including T-Rock, and additional spitters of his caliber, on more of its tracks.

Save for a handful of songs that can appeal to listeners outside of the 901, the latest platform for the Black Rain roster to shine will likely only serve to ensure the Club House Click doesn't reach an audience beyond their M-Town stomping grounds. For now, it appears as though Lord Infamous will continue to stand in the shadow of his little brother's cross country success, still a little too hood for Hollywood.

RapReviews

Lord Infamous :: After Sics :: Black Rain Entertainment 
as reviewed by Patrick Taylor

"After Sics" is former Three 6 Mafia member Lord Infamous' third solo outing, and second since he left the Memphis group to form his own Black Rain Entertainment. Calling this a solo record is a little misleading, however, since labelmates Tha Clubhouse Click are heavily featured. So heavily, in fact, that there are five tracks that don't feature Infamous at all: Mac Montese, Area 51, II Tone, and Big Stang all have solo joints, and there is only one track where Lord Infamous handles the mic all by himself. As the man who proudly put the "triple six" in Three 6 Mafia's original name, you can bet that this will be raw, and he doesn't disappoint. Those familiar with Three 6 Mafia or Lord Infamous' 2006 album "The Man, the Myth, the Legacy," will recognize the themes on this album: tearing up the club, life on the streets, scandalous females, getting high, and getting laid. In other words, ignorant shit, but ignorant shit done well.

Maybe ignorant is too strong and judgemental a word: after all, Infamous makes no pretense at being anything thing other than street. Infamous and crew are all skilled at their craft, and they deliver their bars so convincingly that you can almost forget just how raw it is. Take "Uuugghh," a diss track to "pornographic-ass, nasty-ass, trifling-ass" women. Over deceptively pretty piano and a skittering hi-hat, Infamous, II Tone, and Mac Montese savage a "fifty-kids-having nut-guzzling-ass bitch." Their rapid-fire verses contrast nicely with the mid-tempo beat, and their disses are as funny as they are fucked up, so that you can almost forget how misogynistic the whole thing is. They get more laudatory towards women on "I'm Lookin'," about looking for "the baddest chick with the sexiest walk," with a "good mouth and pussy too/ the girl will even roll one/ she'll smoke a dro with you." Snuggles appears on the track to do a Southern version of Foxy Brown, minus the beautician assault. 

Infamous and the Click don't just focus their venom on females, however. On "This Ain't," Infamous warns haters, "I stab you so hard that your fucking head will spin around on your neck." "Try Me" continues on a similar theme, with Krysis summing up Tha Clubhouse Click philosophy, rapping:

"Yout try and play me I'm gonna show you 'bout that hood shit
Right after I get through rolling and smoking that good shit
I'm connected with Infamous but I ain't talking about Mobb Deep
Even though I mob deep with niggas who spark heat
If you 'bout that drama, boy
Bring it like Osama, boy"

It may not be Shakespeare, but he gets his point across. The track also features bars from Mac Montese, Santerria, II Tone, Mad Keyz and Lord Infamous. Santerria is the second female rapper in the Click, and like Snuggles she follows the Baddest Bitch template, holding her own on the mic amongst the male rappers. "Grimey" and "The Streets" both deal with life in the hood, while "All I Need" discusses that ever-important subject, money. On "Work That Scale," Area 51 gives a lesson in how to make money by moving bricks, a kind of drug-dealing infomercial. The content may not be brilliant, but Area 51's double-time rapping over organs and G-funk synth whines makes it one of the better tracks on the album. 

As with Infamous's rapping, the beats on "After Sics" tread familiar Southern rap territory, but do it well. "Gonna Make It Shine" has a stripped down beat, with marching snare, some atmospheric keyboard, and not much else; "Fed Up" and "This Ain't What You Want" are similarly sparse. On the other end of the production spectrum, tracks like "Try Me," "The Streets," and "High As A Fool" are full of swelling synths, clicking hi-hats, and bells. "I'm Out" even has what sounds like a theramin wailing in the background. A few beats sound a little generic, but that's the worst thing that can be said about them. The majority are as crisp and clean as Infamous' white T, and are a perfect example of the sound that the South has perfected. It's unfortunate that neither the Black Rain website nor the promo CD I got have any information about the producers who worked on the album. Based on their work here, they are worth keeping an eye on.

"After Sics" may not be the most morally defensible hip hop album of the year, but if you are a fan of Three 6 Mafia or Lord Infamous, then you are probably already prepared for the fact that all of the songs will be about drugging, thugging, or bitches. Wishing Southern rap was less materialistic and mysoginystic is sort of like wishing that Southern food would have less fat and sodium. Like a plate of fried pork chops, "After Sics" may not be the most nutritious meal, but it tastes good going down. 

Music Vibes8 of 10 Lyric Vibes7.5 of 10 TOTAL Vibes8 of 10

Originally posted: January 13, 2009
source: www.RapReviews.com

All Hiphop

lordinfamous-3

Lord Infamous Returns With ‘After Sics’

Former Three 6 Mafia member Lord Infamous will release a new album titled After Sics on his own Black Rain Entertainment. 

 

After Sics, which is the second release since his departure from Oscar Award winning group Three 6 Mafia, is the follow up to his 2007 release The Man, The Myth, The Legacy

 

The rapper, revered for his drug laced, dark lyrics, had been with Three 6 Mafia since the group’s inception in 1991. 

 

“This project was a must for all my fans,” Lord Infamous said of After Sics. “Everyone asked if I’m gonna keep doing the dark sound, but I never changed my music, it’s still the same.” 

 

The rapper, born Ricky Dunigan, experienced legal challenges while preparing his latest solo effort. 

 

Lord Infamous, who is half-brothers with DJ Paul, was arrested in March of 2008 during a domestic dispute with an unnamed family member. 

 

He insists that despite the album title After Sics, he still maintains a working relationship with the group, although the latest album introduces his new alliances. 

 

“With this album, we took it back to the underground days, and the only difference between this album and the last is that you get to hear all the Black Rain artists, Tha Club House Click,” Lord Infamous explained. 

 

Lord Infamous’ third solo album After Sics is due in stores January 27th on Black Rain Entertainment.

Pimpinpens

THURSDAY, JANUARY 17, 2008

Lord Infamous: The Man, The Myth, The Legacy


When I heard that Lord Infamous was dropping a new solo in 2007 I was elated. There is only one other LP in history that could rival my anticipation for the Lord solo junt, and that LP was the Wu Tang Clan's double disc sophmore effort Wu Forever (a masterpiece). Lord Infamous is undoubtebly the hardest emcee in the rap game period. His flow is so sick and demented and at the same time extremely versatile. For instance in his earlier Lord of Terror and Mystic Style days he would spit the fast tounge-twisting devil shit. In the Teardaclupupthugz Crazynthelastdayz era he switched up to a more raspy, deep, and ghoulish voice to match his Keyzer Soze persona. Fast forward to 2007 like 13 years after he dropped his first solo offering Lord of Terror he comes as cold on the mic as he ever did, with his trademark lyrical flow onpoint as ever. It seems that during his brief hiatus from the rap game he was sharpening his lyrical swords while the rest of his former clique got too big for the bridges in Hollywood.
Back to the story at hand which is The Man, The Myth, The Legacy. Overall this is a solid piece of work, lyrically Lord is still a savage on the mic. He isn't quite as devilish and sinister in his style this time around, which is okay. Nobody can worship the devil forever, not even Lord(I don't think he ever really worshiped the devil anyway), but he is definately still hardbody. The only setback that this album suffers from is the production. That's not to say that there isn't some nicely crafted compositions, but for the most part this isn't a sonic landscape that I feel compliments Lord's rap style enough. However, this is still a dope album and you should go cop it on principal alone, it is after all Lord Infamous; the futuristic rowdy bounty hunter. It is also nice to hear my boy Pancho Villa who was the main character in the straight to video release Choices. Pancho come in on several different interludes. The album feautures T-Rock, II Tone, Big Stang, Santerria, La Chat, D-Dirt, Enigma on the production tip, Mac Montese, and Da Crime-Click.

Pop Matters

Lord Infamous

The Man, The Myth, The Legacy

BY D.M. Edwards

10 December 2007

 

Confession time: as this disc was listed as “reggae” in the review list, I was looking forward to an uplifting old-school calypso album in the style of Lord Invader, Roaring Lion or Lord Kitchener. Instead, a cold, horrific rap narrative was unleashed upon my, er, ass. And real horrorshow it is o my droogies. Especially as my ass’ cup of tea is the swinging hip-hop of folks like De la Soul and Madvillain singing about such topics as dandruff and food, or the old school beat-politics of The Last Poets or Gil Scott Heron. Still, Lord Infamous’s 21st Century Darwinian psycho-capitalism is delivered with quick-as-a-flash tongue-twists and slow euphoric grooves of undeniable power. 

Already a massive seller with Three 6 Mafia, his second solo album may seem a little softer, at least musically. But lyrically, these boasts of cut-throat urban piracy in ruthless pursuit of money, sex and power are as defiant, nauseous, and bone-chilling as ever. This is an unflinchingly brutal vision of life in America. No more brutal than the long-lasting effects of racism, corporate pillage Enron-style, or push-button warfare, but I still hate to think of real people inhabiting these songs. In an artistic sense, though, it would be hypocritical of those critics who laud endless cinematic depictions of gangsters or serial killing, not to applaud Lord Infamous’s twisted vision of honor, instinct and survival.

cover art

LORD INFAMOUS

THE MAN, THE MYTH, THE LEGACY

(BLACK RAIN ENTERTAINMENT)
US: 23 OCT 2007
UK: 5 NOV 2007

 

THE MAN, THE MYTH, THE LEGACY 

Rating: 6/10

Rap Reviews

   
RapReview Of The Week

[The Man, The Myth, The Legacy]Lord Infamous :: The Man, The Myth, The Legacy
Black Rain Entertainment

Author: Justin 'Tha Shiznute' Chandler


This is the moment that diehard Three 6 Mafia fans have been waiting for, for a long time. As a co-founder of the hugely popular group, along with DJ Paul and Juicy J, Lord Infamous is often known as the most malevolently violent and convincing rapper of the group. He is the one that has historically put the 'triple six' in the mafia. His 1994 solo debut, "Lord of Terror", is still a local underground favorite in the streets of Memphis, though due to its limited release it is still essentially obsolete and unknown on a national level. Eventually Three 6 Mafia broke the barrier that separates regional popularity and national recognition, most notably for their work on the soundtrack for "Hustle & Flow"--an assignment that made them the first rap entity to win an Oscar at the Academy Awards. As a result of label politics and a fall out with group member Crunchy Black, Lord Infamous thought it be best that he leave Hypnotize for the time being and started Black Rain Entertainment with II Tone to make way for this, the long-awaited official solo "The Man, the Myth, the Legend." Is the legacy upheld or will the release go down in infamy?

Most would think that a solo disc from Lord Infamous, especially on his own label, would feature darker themes than the typical Three 6 Mafia stuff because of the nature of most of his verses. The cover of the new LP also suggests a brooding, ominous image of tattoo-ridden rapper amongst looming shadows and shallow graves. In actuality, as Lord Infamous trades away the production assistance of DJ Paul and Juicy J for lesser known beat makers like D.J. Sounds and Jae Bino, he finds a musical ground that seems to reach some kind of commercial appeal. It is a minor adjustment that will not change any fans opinions on the artist.

Infamous, AKA the Scarecrow, starts off this LP with a romping self-appreciative anthem entitled "Where Iz Da Love." His verses seem drowned out by the deep bass, compliments of producer Enigma. The chorus, however, remains extremely entrancing and will have listeners singing along the words of the song title. 

"Frosty" could easily be considered as a possibility for the first single. Not only does this song feature co-founder of Black Rain Entertainment, II Tone, but it also has that certain element of popular Southern rap. It is catchy in the way "Crank That (Superman)" is, with another triumphant and upbeat backdrop. This time Infamous' vocals seemed turned up to match the intensity of the instrumental and he sets it off with this radio-friendly hook:

"Neck, wrist, nice bling
White diamonds, ice cream
Frosty like the frosting on flakes
We call it icing
Yea we do our own thing
Toy with nothing but long chains
Long chains, long rings
Frosty like the iceman"

The term "Frosty" here refers to the 'coldness' of the jewels he ornaments himself with mostly, but also is associated with cocaine on the track. Okay, so it's not entirely ready to make its way to public events, yet one would assume that Soujaboy's track is not either if an angry mother understood the meaning of it. This is probably the most obvious cut that is specifically seeking popular support. To this end, the song succeeds. 

There are so many songs on this album that are immediately accessible. They all tend to hit the obvious subject matter like the misogynistic views of "These Hoes", featuring La' Chat. “Bank”, not surprisingly, focuses on making that dough over clashing cymbals. The song that might take the cake on the entire album "Yeah I'm Wit It" is simply a frantic Southern banger. The sounds of screeching tires, burning out, pierce through the ear and your head nods to a loose storytelling track about gunning down unsuspecting victims. 

One would think that some of the weaker moments would be a result of not being associated with his Three 6 Mafia stable; however, the problems with the album usually are a result of some unfocused and inspired lyricism. Aside from the rock-influenced "Jump" the production team comes through in a major way with a majority of thumpers. Both "Pussy Stank" (6:07) and "The Roll Song" (5:07) offer weak verbiage throughout their extensive clock time. The latter with ridiculousness like, "let me get your number/and put mines in your phone/ call me when you leave the club as soon as you get home/ we can be together, you don't have to be alone/pass the triple stacks and have a party of our own." The only other issue long-time fans may question is the lack of guest spots from his old fam, really just limiting extended invites to La' Chat and T-rock. The others that do make an appearance (II Tone, Da Crime Click and more) all do a fine job though and generally make you not worry so much about past affiliates. 

Infamous is such a strange word when put in the context of the rap world. Much like "notorious", a word with negative connotations is actually a positive trait. "The Man, the Myth, the Legacy" finds Lord Infamous not necessarily living up to his name as much as he has at times in the past. The LP reaches great peaks and low valleys. Still, as a whole, most will find the dirty south disc to have an entrancing quality well worth a listen.

Music Vibes8.5 of 10 Lyric Vibes7 of 10 TOTAL Vibes8 of 10

Originally posted: November 13, 2007
source: www.RapReviews.com 

Commercial Appeal

Infamous starts over in rap game

Three 6 Mafia co-founder not looking back on choices that sidelined his career 

A hooded sweatshirt covering most of his tattoos, Lord Infamous sprawls on a leather couch in a home in South Memphis, not far from his alma mater, Magnolia Elementary School.

Nearly three decades have passed since he's walked through those doors -- and what a long, strange trip it's been.

Reminiscing about the old days, Infamous (real name: Ricky Dunigan) explains how he and his younger half-brother, Paul Beauregard, were so determined to make it in the rap business that they would make reconnaissance missions to area recording studios to watch and learn.

"We didn't even know how to hook up equipment," Infamous says. "We'd go to places like On The Strength Records, and behind their backs, we'd write down which button to press, write down what kind of keyboard they had, and we'd go home and save up our money, buy our own keyboard, and stay up three or four days trying to figure out how to use it.

"While Paul was doing that, I'd write raps. We'd make these little tapes, and we'd take 'em to school and sell 'em."

"The next thing you know," he laughs, "Ol' Jed's a millionaire!"

It's an appropriate reference: Beauregard, aka Three 6 Mafia's DJ Paul, stars on MTV's "Adventures in Hollyhood," a fish-out-of-water reality program that chronicles the Academy Award-winning rapper's attempts to fit into Los Angeles society.

Back in 1991, Infamous co-founded Three 6 Mafia along with DJ Paul and friend Jordan "Juicy J" Houston, but while the latter two were onstage collecting their Oscars, he was cooling his heels at the Shelby County Penal Farm, doing time for a rap sheet that includes driving under the influence, possession of a controlled substance, contempt of court and weapons possession.

Yet unlike fellow Three 6 cohort Project Pat, who was locked up in federal prison during the same period, Infamous has failed to find his way back to the fold.

He expounds upon the situation on "Where Iz Da Love," the lead track on his first official solo album, The Man, the Myth, the Legacy, released last month on Black Rain Entertainment.

"It's about our relationship, how come certain things went wrong, certain things we might have prevented," Infamous confirms. "It's a song about moving on, about facing facts that happened in my life or in the past, and getting stuff off my chest.

"It's also about me. I'm dissing myself in the song because of a lot of dumb things I did. I cost myself millions. I cost myself homes, vehicles, doing dumb things because I didn't want people to say 'Lord Infamous, he fake. Lord Infamous, he this or that.'

"I was keeping it too real. Some (stuff), you can't do to please people -- you have to do it for yourself. Because when they're long gone and they've forgotten about Lord Infamous, Ricky still gonna be here. He's still got to live with the (stuff) Ricky did."

While "Where Iz Da Love" marks a definite stylistic departure, the majority of songs on The Man, the Myth, the Legacy draw upon the malevolent lyrics and horror-movie beats Infamous employed as a hallmark of Three 6 Mafia's initial sound.

"We weren't close-minded," says Infamous, listing Black Sabbath and Metallica along with Prince, David Ruffin and Curtis Mayfield as early musical influences.

"We didn't want to be like the L.A. version of gangsta rap, or the Texas version, standing on the street corner and shooting 'em up Glock style," he says. "We wanted to take gangsta rap to a different realm, something like the paranormal."

Mining ideas from Stephen King and C.B. Colby novels, and the plots of movies like "Nightmare on Elm Street" and "Children of the Corn," Infamous penned such songs as "Face To Face with Death" and "Drag 'Em From the River," which quickly set Three 6 Mafia apart from the pack.

Current offerings like "Parking Lot" and "You Don't Want None" continue the horror-core theme, incorporating lyrics worthy of a modern-day Edgar Allen Poe -- albeit delivered at rapid-fire speed -- with spooky-sounding keyboard riffs that might've been lifted from, say, Dario Argento's 1977 fantasy film "Suspira."

"Scary songs are my specialty," says Infamous, who worked with producers Enigma, D.J. Sounds and St. Kittz to complete the album.

"I have a vivid imagination, and I try to stick to my own script," he says. "If I change up and do something different, it would seem like I don't have faith in my own recipe. At the same time, I didn't want Paul and Juicy to think I'm riding off their style. I just want to show the world I can go and do my own thing, and be just as good and sell just as many records."

Of his notoriously breakneck MC style, Infamous says, "The reason I break down my tongue-twisters is so people can see that I can be intricate with my words, and pronounce 'em and flip 'em fast at the same time."

What frustrates him is the long-lasting popularity of Southern party rap, or crunk music.

"It's cool that Memphis is sticking to the blueprint, but people need to get a little more complex with their style," Infamous says. "I'm so sick of it -- you don't know nothing but how to wear chains and buy rims?"

He addresses that conundrum on new songs like "Frosty," a collaboration with his childhood friend and Black Rain Entertainment partner II Tone, aka Mario Reddick.

"I'm not gonna lie on a song, like I'm moving eight tons of heroin when I ain't got (anything) but a box Chevy and a three-room house," Infamous says. "Come on, man -- if you're selling that much dope, you wouldn't even have time to rap!"

Armed with that hard-won wisdom, he's determined to become more than a mere footnote in rap history.

"I'm happy for Paul and Juicy's success," Infamous says. "All of my mistakes have been my own."

"I have my own pathway back to the game," he proclaims. "It all goes back to doing good work. People know they dug me once upon a time, and they know I haven't let them down."

-- alisle@comcast.net

Theowlmag.com

ALBUM REVIEW: "The Man, The Myth, The Legacy" by Lord Infamous

October 09. 2007 | By Grant Inaba

Artist: Lord Infamous 
Album: The Man, The Myth, The Legacy
Label: Oarfin Records/Black Rain Entertainment
Rating: 

When you think of Memphis hip hop, it’s aight to think Hustle and Flow but be sure to pay homage to the reason why any of this even exists, the man due credit is Lord Infamous of Three 6 Mafia. How many dudes in the game can you name that has an Academy Award on the hip hop game after all? Truly this cat is high on a throne, a man, myth, and a legacy. Continuing on with his reign, this next solo release reflects all the same dirty that can be found on all his previous work in the scene, from his works with Three 6 and collabos with DJ Paul to all the Hypnotize Minds people. As a document to doing things like they always been done, the classic “Where is the Bud” is reworked into new prose describing the game in “Where is the Love.” New old school classics for a new school will surely arise from this album as every track reps dirty beats and strong lyrical flow in that Memphis way.

– Review submitted by Grant Inaba.