bone thugs n harmony east 1999 lyrics meaning

Bone thugs n harmony east 1999 lyrics meaning code#

You can imagine the beefed-up low-end rhythms, the way-left piano and pounding toms - along with the occasionally blasting guitar and perpetually screeching sax - accompanying some really cool and smartly shot (though often pointless) action sequences and car chases. The new stuff on their self-titled PCP debut still swings, only to the frantic and trilling rhythms of the greatest of second-rate spy flicks. Now, Parker Valentine and Lily Wolf have resurfaced in New York heading up the Valentine Six, a combo as far removed from the schlock as two years and two thousand miles can put them. The King Valentine Octet dispersed and disappeared from the local swing/lounge scene about two years ago, just as the cheese showed the first signs of mold. If you are, better scope out some tombstones - just in case. Mixed in with all the weed, gunshots, and Mo Thug (their extended rap family) checks are these fascinating harmonies and breathtaking arrangements, especially 'Handle the Vibe,' 'Look Into My Eyes,' and 'Clog Up Yo Mind.' If you're not a playa hata, enjoy. 1999 Eternal and its stratospheric single, 'Tha Crossroads.' Now, on the 2-CD The Art of War, tha Thugs rework the classic coke jingle, 'If I Could Teach the World to Sing,' as well as Whodini's classic 'Friends' jam, and hail Tupac on 'Thug Luv,' a gunshot-punctuated rave-up that scared the bejesus out of my next door neighbor one Sunday morning. It's a jarring juxtaposition, but it's worked to the tune of millions on 1995's E.

Bone thugs n harmony east 1999 lyrics meaning code#

R & B and gospel foundations imagine four auctioneers spewing gangsta/spiritual code fast as a computer with Harold Melvin & the Blue Notes as backing band. The Bone thugs pray, then they spray, spelling out long chains of Ajax-harsh lyrics over supple, lush

This month's featured bout is Cleveland's Bone Thugs-N-Harmony versus the elusive, yet pervasive, species of rap animal known as the 'playa hata.' The Cleveland 'thugstas' aren't exactly clear who these 'hatas' are - except cops - but the explicit detail of 'Body Rott' and 'Hatin' Nation' suggests there may be a lot less of such folk in the future. It's The Art of War and that's right, it's on. And yes, he does show his age with a dance remix of 'We Are the Boys,' but fear not, traditionalists, you'll enjoy that just as much as the straight stuff. Recording since age 10, Ardoin plays full-throttle zydeco, the bulldozer type crafted by Boozoo Chavis and Beau Jocque, leveling anything in its path with five-minute jams that leave dancers gasping for breath. Regardless of cause, the result is indisputable: Chris Ardoin is the future of zydeco.

Unlike blues, which is dead among black youth, young Creoles still pack the zydeco dance halls in Louisiana, giving the young Ardoin great motivation to keep family tradition alive. Of course, it's probably not just genetics the argument can be made for environment, too. The tree then branches to Améde's cousin Bois Sec, passing down each generation until the family's musical genius is eventually bestowed upon 17-year-old, red-hot accordionist, Chris. The story of recorded Creole/zydeco music begins with the Ardoin family - with Améde Ardoin's 1929 recordings, made in a New Orleans hotel room.

If Chris Ardoin were a race horse, he'd be one of Secretariat's descendants.