#1 is that “die mf die mf KILL” style that bugged me at first, but enjoy now. My only gripe is the track listing for some songs, but that’s not the enough to keep it from a 5. Rather than a resurrection, this was a Culmination or J Prince’s experiment, it took a few albums but it is masterful. It’s 1996, Willie D finished his solo album run and is back, Bushwick Bill got shot in the eye and things were “ever so clear” for him now, all puns intended, and Scarface was being included in top 10 hip hop lyricists lists. 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. Regardless of the choice, some of the most brutally descriptive and alternately funny Southern hip-hop is in well-stocked supply.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. And neither Uncut Dope nor Greatest Hits are clear-cut first stops. Choosing where to go first with this group is a tough call: The Geto Boys is the group's best album, but going with that leaves one without some of the group's best material. Furthermore, this disc has five more tracks and has better sound quality - naturally so since it was released ten years after Uncut Dope. Those three albums were more patchy than the ones that came before them - with the exception of Making Trouble - and none of the highlights from them are of the caliber of earlier tracks like "Mind of a Lunatic," "My Mind Playing Tricks on Me," and "Trigga Happy Nigga." So, going strictly by pound-for-pound quality, Uncut Dope is the better of the two, but it's not as if later tracks like "Six Feet Deep," "The World Is a Geto," and "Gangsta (Put Me Down)" are entirely undeserving of anthology status. The first, Uncut Dope, covered the group through 1991's We Can't Be Stopped this opens it up to include tracks from 1993's Till Death Do Us Part, 1996's Resurrection, and 1998's Da Good da Bad & da Ugly. This is a second and more inclusive package of the Geto Boys' best moments.
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