By: Lacy The Great

Lacy The Great has released a fire new record titled “No City Girls”. Drawing influences from Lauryn Hill, Nas, UGK, and 8 Ball & MJG, the southern-bred artist has an authentic sound destined for greatness. At this point in his career he has matured as a man, which has heavily influenced his decision making when it comes to women.

As a result, Lacy offers up a more vulnerable track showing a softer side to his music. He exclaims that this single was sparked after a conversation with one of his homeboys. “I told him how she was different. She wasn’t trying to twerk everywhere she went. She wasn’t loud and ghetto and saying n*ggas ain’t sh*t. She was literally a girl my mom would want me to date. I told my homeboy I’m done with “city girls,”.

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Right now, Lab Music’s Eree Boyz are tired of the talking. Group members Yak (short for Maniac) and Verse trade bars over an addictive melodic chorus admonishing the social media age. Midwest upstart Broskii Da Prince adds his youthful energy on the infectious backing vocals. “Y’all Ain’t Talkin Bout Nothin” is the latest single from the duo’s debut project Eree World arriving later this month.

Eree Boyz closed out last winter with performances alongside Slim Thug and Paul Wall and hit the stage this year for SXSW at the Urban Fetes SXSW Showcase. Catch the duo performing alongside labelmate Knowledge in Seguin Texas June 11th for the Sport Coat Willie tour presented by Lyph Of The Part. Stay tuned for the official release of ‘Eree World’ arriving Tuesday April 19th.

If you like what you hear, make sure you head over here to check out last night’s drop from ScHoolboy Q, a music video for a brand new single, “Groovy Tony,” right here on RESPECT.

Also, check out Chris Miles’ “Can’t Catch Me” visuals, right here.

The post Eree Boyz Silence Competition with ‘Y’all Ain’t Talkin Bout Nothin’ appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

December 4th, 2007 marks the day legendary rapper Pimp C passed on to greater pastures and left the hip hop game hurting with his absence. Before making his heavenly transition, the UGK emcee left behind a collection of his work not only including that of which we’ve already heard, but enough unreleased material to keep his legacy alive for years after his passing. To celebrate the 8th anniversary of his departure, Pimp C’s Wife Chinara Butler teamed up with long-time friend/producer of Pimp’s Mr. Lee and rapper Juicy J to compile a project that allows the southern artist to breathe some new life into hip hop titled, Long Live The Pimp. Featuring such artists as Nas, Lil Wayne, A$AP Rocky, Ty Dolla $ign, T.I., 8Ball and MJG, and more, Pimp C is definitely delivering a posthumous mixing of some old with a little bit of new on this album. Giving RESPECT. Magazine an exclusive look into the late Chad Butler‘s life and work, Mrs. Butler and Mr. Lee recently took the time to speak on the upcoming project.

RESPECT. Magazine: Long Live The Pimp comes out on December 4th. What was the importance of releasing the project on the 8th anniversary of Pimp C’s death?

Chinara Butler: Well, normally every year recently after Chad passed, I started doing Chad ‘Pimp C’ Butler Hip Hop, Health & Wellness event. Me and him had a daughter together, and…her birthday is also on the 15th (of December). When he died, her birthday was a day after the funeral. After that, I felt like we should honor him and it should be–I didn’t want it to be a sad situation. We still do the Chad Hip Hop Health event, but I thought this would be the perfect time to celebrate him as an artist and why not do it on the day he passed?

RM: What was the significance of the artists you chose to feature?

CB: The whole process was basically to broaden Chad’s audience to keep his legacy alive so I wanted to mix a little old with a little new so, I feel like, what UGK and Chad had already done in his career. We have a little A$AP, 8Ball and MJG, got a little Nas; I probably went different directions people wouldn’t expect Chad to, but I’ve always been through the process so this wouldn’t be foreign for him.  

RM: Mr. Lee, being one of the co-executive producers, what was your vision behind putting this project together?

Mr. Lee: The biggest agenda I had was making sure that it was something that Pimp C would have wanted to do. Also, having the mindframe of kind of seeing the future a little bit to being able to move into the future of what Pimp C would have wanted and not stay where he was…He didn’t believe in doing things that he did yesterday. He always thought ahead. That’s why his verses and the music that he’s done during the years before he passed is still relevant because he was out the box and he always thought ahead. So, I had to stay in the mindframe of that. We use to always talk on the phone all the time about music…It was really a blessing for me to even be a part of the project. Also, even being an executive producer is an honor for me and it’s a pleasure working with his wife because I feel like Pimp C was reborn in her again because of the way she talks; she’s just like Pimp C to me. It was a real good thing for me. I enjoyed every moment of it.

RM: Mrs. Butler, everyone has their own view on Pimp C being the legend he is. How would you describe him?

CB: Oh god. The truth. Trill. Also, I don’t feel ‘trill’ is just a word, it’s a lifestyle. To wrap it up, the truth, trill, trill shit (laughs). Yeah, that’s the best way I can wrap it up all the way. The real definition of trill.

RM:  In spite of Pimp C’s passing, the use of codeine (for recreational use) has seemed to increase in popularity. Do you have any message for those out there who use lean being that you’ve dealt with losing a loved one using it first hand?

CB: I try to talk about stuff that’s relevant. I really do a lot of research. I educate myself on anything I’m about to do or even say and they don’t even make drank anymore so it shouldn’t be affecting anybody because it doesn’t exist.

RM: A lot of artists cite Pimp C as being a legendary influence when it comes to rhyming. How do you feel about Pimp C still having an influence on current artists in hip hop and just hip hop in general today years after his passing?

CB: It’s funny you ask that because I see it in a lot of different artists. I still see it in [Lil] Wayne. That’s probably the last part of the process for me in picking people, unbeknownst to myself. I see it in A$AP. I think it’s a beautiful thing. I think Chad really stood for, he always said, “Fuck the clone,” and it’s not to say, “Fuck somebody that’s trying to be like me.” It’s really saying God created everybody different. We all have something else to bring to the game so do you. I think that’s a beautiful thing to do. If you’re gay, be gay. If you’re straight, be straight. Whatever, just do you. Be proud of you and go in for you.

RM: What is the importance of keeping Pimp C’s brand relevant in the genre for you?

CB: It’s vital for his legacy. Just doing this project it means a couple of things. I, also, want to inspire other widows and wives to actually take control of their families and their late husbands or loved ones’ legacy. I’d like to think I’ve created another lane for myself and, like I said, other widows. I don’t think widows and wives get any credit in this business. I definitely feel like that’s what I’m doing, as well. Definitely inspire (widows) to be resilient. I think it’s super important to understand everybody has their strengths, everybody’s here for a reason and really, you should inspire other people. I think Chad’s whole story is inspiring. You know, we’re coming from Port Arthur, TX; there’s not even 100,000 people in the city. From everybody in the world knowing your name to going to jail to coming out; as soon as you get out of jail, going in, working hard, and grinding hard. I think just doing this whole project and keeping Chad’s legacy alive is to inspire people.

RM: What’s coming up next?

CB: What’s next is the new single featuring Nas and Juicy. The video [for it] is next. We’re going to be shooting a few videos. We have such a cool concept that we’re about to run with, as well. We’re going to do Player’s Ball album release party, which is going to be really dope. We also have an exhibit with Rice University, which will be doing archives of some of Chad’s stuff. Also, we have the Chad ‘Pimp C’ Hip Hop Health event in Houston that’s coming up. We have a short film special with Complex, as well. More music. This not the last project either! Also, I’ll be doing a book too on how to boss up.

Official Long Live The Pimp Track List:

1.  Long Live The Pimp
2.  3 Way Freak (feat. Lil Wayne)
3.  Ain’t Said Shit (feat. Ty Dolla Sign and Devin The Dude)
4.  Wavybone (feat. A$AP Rocky, Juicy J and Bun B)
5.  Spittin’ Game (Interlude)
6.  Trill (feat. A’Doni, Slim Thug, ESG and Lil KeKe)
7.  Bitch Get Down (feat. Bun B, 8 Ball and MJG)
8.  PayDay  (feat. Juicy J)
9.  Slab Music (feat. Lil KeKe)
10.  True To The Game (feat. David Banner)
11.  Triflin’ Hoe (Interlude)
12.  To Lose A Whore
13.  Friends (feat. Juicy J and Nas)
14.  Southside
15.  Butta Cookies
16.  Country Thang (Outro)
17.  Twerk Something (feat. TI) [iTunes Exclusive]

Long Live The Pimp releases December 4th via Mass Appeal Records.

Listen to Pimp C’s new track, featuring Nas and Juicy J, “Friends” below:

The post Trill & True: RESPECT. Talks with Pimp C’s Wife Chinara Butler and Producer Mr. Lee About New Project, ‘Long Live The Pimp’ appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

A$AP Rocky builds further anticipation for his upcoming album “A.L.L.A,” as he finally blesses us with the coveted tracklist. Pretty Flacko is at the apex of his musical career and with the tragic and untimely loss of his business partner and brother Yams, (RIP) Rocky’s newest album is positioned to be that much more personal and impactful. “A.L.L.A” enlists the help of some heavyweights including Future, Kanye West, Juicy J, UGK, Miguel, Rod Stewart, (yes, Rod Stewart) Schoolboy Q, and the addition of Lil Wayne to the previously released “M’$.” Eclectic looking cuts like “Canal St.” featuring Bones and “Westside Highway” with James Fauntleroy are going to add deeper elements to an album that we’re sure is geared to once again push musical boundaries. Peep the Tracklist Below:

1. Holy Ghost (Feat. Joe Fox)
2. Canal St. (Feat. Bones)
3. Fine Whine (Feat. M.I.A., Future, & Joe Fox)
4. L$D
5. Excuse Me
6. JD
7. Lord Pretty Flacko Jodye 2
8. Electric Body (Feat. Schoolboy Q)
9. Jukebox Joints (Feat. Kanye West & Joe Fox)
10. Max B (Feat. Joe Fox)
11. Pharsyde (Feat. Joe Fox)
12. Wavybone (Feat. Juicy J & UGK)
13. Westside Highway (Feat. James Fauntleroy)
14. Better Things
15. M’$ (Feat. Lil Wayne)
16. Dreams (Interlude)
17. Everyday (Feat. Rod Stewart & Miguel)
18. Back Home (Feat. Mos Def, Acyde, & Yams)

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Houston Rap is a detailed compilation of the ups, downs and in-betweens faced by not just those involved in the rap game, but the entire community. The book is divided into sections covering topics ranging from gang violence, the daily hustle, the struggle to rise above government conspiracies, bling, beautiful women and the lives of Houston’s most talented. Featuring interviews with Z-Ro, Geto Boys, Bun B, members of the South Park Coalition, the Screwed up Click and more, this book gives Houston rap the recognition it deserves, beyond just a playlist or an article. Read our interview with Peter Beste, the book’s photographer and Houston native.

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RESPECT: When you and Lance started this project back in 2004, what did you expect to find going into Houston?

Peter: We tried to go in without too many expectations.  One of my goals was to track down some of these old school characters, some of which who had faded into obscurity, and document them in their own environments. For example, Willie D‘s former protege, female rapper Choice, who released an album on Rap-A-Lot in the early 90s was one of the first people I tried to find.  She predated Lil Kim by many years rapping about sex and that kind of stuff.  We tracked her down and she was working some corporate desk job and hadn’t rapped for years.  We visited Pharoah from Street Military who is currently serving 60 years in prison, as well as many other legends and founders.  We wanted to find the people who created this amazing sound and document their everyday lives. We wanted to make it more than just a documentary about hip-hop, as we’ve all seen endless examples of those. I think the many years we spent with this project allowed us to dig a lot deeper and to get into these peoples’ lives, witness and document the struggles of their neighborhoods, and really try to avoid the typical, superficial topics we see everyday on MTV and in the mainstream rap press.

The book essentially covers a 24 hour period from dawn until dawn,  and covers topics of philosophy, religion, neighborhood gentrification and many heavier more personal topics – all in the rappers’ own words. Of course it’s filled with neighborhood mythology and tons of Houston rap history, but we really wanted to get a broader, more sociological, or anthropological picture of this really special time and place in American history.

Choice, Houston rapper

RESPECT: The book includes a lot of what many would refer to as eye-opening pictures; were you prepared for that level of violence and extremeness?

Peter: We knew what we were getting into as far as the drugs and the violence and the other stuff that we would inevitably run into. I think what shocked me the most was the extreme nature of the police state and the effect of the prison-industrial complex on these neighborhoods. It’s an incredibly vicious cycle, and it’s almost like they are preyed upon by the system in order to fill the private prisons. That was really disheartening for me. We took that topic head on and published letters from various rappers who were incarcerated at the time and talked to a lot of the wiser, more awakened rappers about the uneven playing field they are faced with. Of course this applies to more than just Houston –  it’s countrywide, and even worldwide, to a degree. The private prison industry is such a huge money- maker for a very few people, and to be blunt,  I believe there is a trap set to fill the prisons and to gentrify these neighborhoods.

Guns-n-Syrup

RESPECT:  Bun B makes an excellent point in the foreword when he says,

“A lot of times, when we see these books or documentations of certain scenes, or if you go deep into the inner city, there’s always a wonder in the back of one’s mind if this is for the expansion of the understanding or just simply an exploitation of the environment. I’ve always handled these type of things with a little trepidation because the inner city community is already exploited. The people in the community are already being exploited.” 

What precautions did you as a photographer have to take to maintain a sense of respect towards the people in Houston?

Peter: Lance and I went into this project with a genuine respect for these people. We want to see them succeed. At the same time, we wanted to document their world in an accurate way without sugarcoating it. We show the good, the bad and the ugly. I think it was a really fine line to walk, but this approach came pretty naturally to both of us. We went in there without putting any of these artists on a pedestal, and approached them as real people. We developed some genuine relationships in the process, and this book was a natural byproduct of that.

Dat Boy Grace, Houston Rapper

RESPECT: I can attest to the book’s remarks that Houston and especially the cities’ rap scene go widely unnoticed by outsiders. After seeing the various neighborhoods and the city for yourself, what do you think inhibited awareness of the talent in Houston?

Peter:  Houston is geographically isolated, and was more or less ignored by the mainstream until the 2005 popularity explosion, with the exception of the Geto Boys and UGK. This isolation allowed Houston’s aspiring artists to develop on their own, creating their own sound, their own business model, their own CEOs, their own distribution networks, their own record labels, and even their own drugs. It was this fierce independent spirit we were attracted to – a kind of hustler, do it yourself mentality, building something out of nothing. Over time people all around the world started seeing the unique qualities and the interesting nature of the music and lifestyle. Nowadays rappers all around the world are slowing their music down, sampling DJ Screw, talking about purple drank, and various other Houston elements. Many Houston rappers are smart businessmen who realized the major labels had a history of screwing artists, especially inner-city black artists. Many of them realized that they could sign to a major label and get 50 cents per album sold, or they could cut out the middle man and learn how to do it all themselves. They learned how to produce their own records, selling them out of their trunks and through their own distribution networks, which made them $7 or $8 an album, while maintaining their integrity and doing things on their own terms.

K Water’s Recording Studio

RESPECT: How different do you think the genre of Rap would be if every artist had to pave their own way like the rappers in Houston did, and still do?  In the book, Z-Ro touches on the element of authenticity found among Houston rappers;  “There’s a difference between you know, drawing a stick figure and then painting a portrait. I’m trying to paint a portrait.” What would you say is the most noticeable difference between the mentalities of rappers of more major cities compared to Houston?

Peter: Some rappers get “lucky” and get signed immediately, and they don’t really have to pay dues the same way. They basically sign this contract that gives the major label rights to basically every bit of their entire creative output, from their merchandise sales to live concerts – everything. Many artists in this position are hooked up with certain producers and become more of a hired gun rather than a self- sufficient individual artist. I think if everybody had to follow the underground Houston model, there would be more wise and well-rounded rappers in this world. I’m not trying to say Houston is the only city like this, but they definitely cut their own teeth and figured out a thing that works for them through trial and error.

The bottom line is that they didn’t have an external script to follow. That is respectable to me. I’m not into popstar rappers,  I’m interested in the raw, underground, street rappers who tell stories about their life and their struggles without the sugarcoating.  There are very few local artists who signed major label deals right off the bat in Houston – very few before the 2005 explosion. The Geto Boys exploded nationally in the early 90s, but were on Rap-A-Lot, which is a local independent label which had some major label backing. Once the Geto Boys broke nationally around 1991 or so, it made the average aspiring rapper in the Third Ward, Fifth Ward, or South Park realize that maybe they can do it too – maybe the world can take a Houston artist seriously. Geto Boys were a huge inspiration for a lot of people.

Z-Ro, in his kitchen

RESPECT: I know this is a difficult question, but if you had to pick, what would you say is the most influential song or album to come out of Houston?

Peter: I’d say my two favorite Southern rap albums are UGK’s Ridin Dirty and DEA‘s Screwed For Life. UGK are from nearby Port Arthur but they moved to Houston and are heavily associated with the Houston scene and sound. DEA, or Dead End Alliance consisted of DJ Screw, Fat Pat, Hawk and Kay-K. Sadly, Kay-K is the only one who is still alive from that original line-up. Dead End is probably the roughest section of South Park and their 1998 album Screwed for Life is one of their classic soundtracks. This album features a young Z-Ro, Lil Keke, Big Pokey, and many other members of the Screwed Up Click.

DEA

RESPECT: You mentioned DJ Screw. Talking more about him, what do you think has allowed his legacy to live on so strongly?

Peter: Screw had a profound effect both musically and spiritually on Houston as a whole. He brought people together. Up until the early ‘90s, there was this massive beef between the North side and the South side of town. Constant carjacking’s and shootings – it was really nasty. Screw is partially credited with squashing that beef and bringing people together, and making what they were doing about Houston as a whole rather than just one neighborhood. He was a selfless visionary who brought up everybody with him, which is pretty rare in the rap game. What became the Screwed Up Click was a loose association of aspiring local rappers and friends who would come hang out at Screw‘s house all night while he was making his mixes and  freestyle over Screw’s beats. He would record them on a little grey tape and then sell them around the neighborhood. Before long it became the soundtrack to ride around the streets of South Park, and it spread like wildfire – first throughout the city, then throughout the world.  People would be like, “Who’s this guy? Oh, that’s Lil Keke, that’s Fat Pat.” All these people and many more became  huge sensations based on the midnight sessions at Screw’s house. He made dozens of people famous and started a whole movement.

Many people would say that Screw was his own radio station. He made dubbed tape copies of his mixes, and if you were lucky enough to get a Screw tape, you would dub it for all of your friends and then they would dub it for theirs, and there would be 10^th generation tape copies spreading around the world.

DJ Screw’s grave

RESPECT: Thanks to DJ Screw, music that is Chopped and Screwed has become somewhat of a phenomenon. Why do you think syrup and screwed tracks took off so quickly in Houston?

Peter: A lot of people say that Screw music was kind of a soundtrack to the hot weather and sprawling highways of Houston, and was essentially theme music for the landscape and lifestyle of the city. There’s so many different components to it and it goes so deep, but the bottom line is that is communicates to a lot of people, even 13 years after his death. Lots of folks can relate to it.

RESPECT: Now that you’ve completed the book and finished this journey, what do you think is the main thing people need to know about the culture of Houston and more specifically the rap culture?

Peter: There are so many different artists, so many different neighborhoods, and so many different styles of rap the city has invented and perfected. What I want the average person to know is that Houston goes much deeper than candy painted cars and purple drank, which is sadly what is focused on by the mainstream. All one has to do is scratch the surface and you will find one of the richest and most culturally relevant musical styles of the 20th/21st century.

C-Note in South Park

RESPECT: Where do you see the Houston rap culture going in the next couple of years?

Peter: Mainstream attention comes and goes, but I believe that the average Houston rapper will continue to do what they do regardless of that outside attention. Texas is big enough to support its own.  They’ve built this from nothing, and at the end of the day they are still going to continue making their own music, promote it their own way and do what they want to do. The styles and the sounds and the names and the faces will change over time, but I think that the do- it-yourself mentality and that drive to succeed on their own terms will stick around for a very long time. The underdog story of artists succeeding on their own terms is inspiring for anyone.

Bun B and Friends

Houston Rap is currently in stores. You can order the “Sinecure Exclusive” edition which includes Houston Rap in a beautiful slipcase painted by Gonzo 247 (pictured above), a fold-out poster, and a DJ Screw/ Fat Pat 7” vinyl record. You can also order the “Deluxe Bundle” which features the slipcased Houston Rap book, the  DJ Screw/ Fat Pat 7”,  DJ Screw ALL SCREWED UP 2LP, a signed print,  the companion book Houston Rap Tapes, and a Fat Pat: Ghetto Dreams documentary DVD, which all comes in a Sinecure Books Tote Bag. Both of these special editions are super limited and are available at www.sinecurebooks.com.  If you want a signed copy of only the book itself, you can order it directly from www.peterbeste.com.

Rarely do you find such a real, accurate, and eye-opening book on the rap culture. RESPECT. sincerely hopes you don’t pass up the opportunity to broaden your rap knowledge with this extraordinary book.

The post Interview: Photographer Peter Beste Goes Beyond the Music appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Over the weekend, fans celebrated the life of the legendary DJ Screw on the 13th anniversary of his death. Aside from furthering Houston’s presence in the rap scene, the DJ was the innovator behind one the most recognizable sounds ever: chopped and screwed. The hazy, slowed vocals over jarring cuts and chops take on a life of their own and bring an entirely new dimension to songs. The sound is ubiquitous within Houston music and is generally the first thing that comes to mind when fans think of the city’s music (save for, perhaps, grillz). Following Screw’s innovation, many other DJs ran with the sound, from the likes of Michael Watts of Swishahouse fame to OG Ron C, who is carrying on the tradition today. While the difference between great and terrible screwed remixes is vast, a properly-executed one can be even more enjoyable than the original. Therefore, in honor of DJ Screw, we’ve compiled a brief list of some familiar songs that are better slower.If you’re looking to get your feet wet in the sound, this is the pool for you. Enter the land of Screwston below.

Westside Connection – “Bow Down”

DJ Screw takes the piercing horns provided by Bud’da on the original version and muffles them in a sea of dirty sprite. The result is a much more menacing and scary threat than Westside Connection’s angry original.

UGK – “One Day”

UGK’s classic off Ridin’ Dirty is already melancholy, but DJ Screw manages to milk a little more sorrow out of Bun and Pimp’s vocals. The high-pitched harmonizing of the chorus is gone and replaced by tortured crooning.

Chamillionaire featuring Z-Ro – “Denzel Washington”

As mentioned, DJ Screw was the pioneer, but plenty of other DJs followed suit and put their own twist on the screwed & chopped sound. Michael “5000” Watts goes back a long way with Chamillionaire, and has remixed plenty of his records. “Denzel Washington,” though, off Cham’s Mixtape Messiah 7, is one of the standouts. Accompanied by another Texas legend in Z-Ro, Chamillionaire’s fast-paced flossing stops to smell the purp here.

Drake – “Marvin’s Room”

Houston may be home to the screwed sound, but you don’t need to be from there for your music to fit. Drake’s music has been screwed and chopped plenty of times. In fact, Ron C has chopped up all of the Toronto rapper’s albums in full. The undeniable winner, though, is “Marvin’s Room” (okay, “Trust Issues” is up there, too). The drunk dial has never sounded sadder and more desperate than it does right here.

The Weeknd – “Wicked Games”

Continuing with Ron C’s Toronto connections, here he manages to make The Weeknd’s music sound even darker. “Wicked Games” gets turned on its ear as Abel‘s vocals cry out in pain over a plethora of chops.

Bonus: Big HAWK – “I’d Rather Bang Screw”

Another fallen Houston legend, Big HAWK, delivered a classic when he professed his love for DJ Screw and the whole chopped and screwed sound. While it doesn’t have a non-screwed counterpart to compare it to, it’s only right to pay homage to the song as it encapsulates the entire city and sound.

The post 5 Songs That Sound Unfathomably Better When Chopped & Screwed appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.