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In their follow ups, they made more spiritual, introspective songs, political songs at the caliber of Public Enemy scattered throughout their ultra violent and nuts-hanging machismo. I figured why be so repulsive if you want people to respect Texas? …but I guess the saying “you got to make 'em fear you before they feel you” holds true. To keep it 100, I was disappointed with the first albums, despite being impressive in their own right, for being over-the-top explicit in every way. He created or encouraged the inception of three rap personas: Willie D, the kickass-type of country brawler who can’t wait to hurt you and clean up your girl, Scarface, the manic depressive dope dealer who singularly could describe the internal pain of the Dope game, and lastly in J’s own words Bushwick Bill, "the clown.” (Hence the Chucky references in the first albums). This inspired Atlanta and Memphis to make independent labels, No Limit, and so on. The second iteration of the Ghetto Boys-turned-Geto Boys, and most popularly known one, was a movement started by J-Prince, the first independent rap label owner who blazed a trail for Southern Rap artists to sell national records and go platinum with no radio play. This requires something of a history lesson to establish context. To make a proper hip-hip retro review, it’s important to understand two major things in determining when a music artist(s) released a solid album. One of its cleanest lines is as follows: "She begged me not to kill her, I gave her a rose - then slit her throat and watched her shake 'til her eyes closed." The rest of the album helped draw the lyrical blueprint that countless groups either mimicked or borrowed from, from the yuks served up by Bushwick in "Size Ain't Shit" to the ridiculously misogynistic rhymes in "Gangster of Love," which are delivered over the guitar lick from Lynyrd Skynyrd's "Sweet Home Alabama." You can also either blame them or thank them for the endless flurry of Scarface samples that have littered/adorned so many hip-hop records.Review Summary: Finding their optimal sound, standing in 96’-arguably the most contentious year in hip-hop, and making an album that every region, not just the east and west coast, would respect.and would inspire the South to try harder. A horror fantasy of grim, graphic proportions, it's a gangster flick and a psychological thriller rolled into the form of a song. "Mind of a Lunatic" is one such song, and it's one of the primary tracks that caused the Def American-affiliated Geffen to pull the plug on distribution. This works like a charm - the album is expertly sequenced, and some songs seem to have twice the impact of their original incarnations.
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Rick Rubin stepped in, signed the group to Def American, and proceeded to tweak some of the tracks some other tracks were simply lifted from Grip It!, while a couple went so far as to have new vocals recorded. This is a revamped version of Grip It! On That Other Level, an album released earlier in the year on Rap-A-Lot.