A visual spinning loader indicating that the page is performing an action.Some myths are particularly persistent. Doin It Big & Pimp Tight (Deluxe Edition) - Album by 8Ball & MJG, 8Ball, MJG Spotify. Where did 8 ball come from The term appears to have originated in the mid-1980s, at least in print, and, as the citations below indicate, the going rate for such an item at that time ranged. An 8 ball (also commonly called eight ball) is approximately an eighth of an ounce (ranging from 3 to 3.5 grams) of an illegal drug, most often cocaine.

On April 1, 2008, 8Ball released Doin It Big with E.D.I. In September 2007, 8Ball & MJG signed deals in Sacramento, California with Real Talk Entertainment. Ridin High (International Explicit Digital) 04:50 Writer: Chad Butler - Marlon Goodwin - Premro Smith - Tracey Sewell. Ridin High (International Explicit Digital). And Project Pat) 8Ball & MJG. Relax and Take Notes (feat.

A listening preference that ultimately influenced much of Western and Southern rap, but that’s another story. You could play them in your car. In June 2008, the duo announced that While your typical East Coast head may have held on to tapes because that was what bootleggers sold and that was how you made your music portable, in other regions tapes were popular for a very specific reason.

The front says 8 Ball and Organized Rhyme and bears the title “Listen to the Lyrics”. It’s not clear what it’s called and who’s it by. The label is On The Strength Records out of Memphis, Tenn. Let’s take this inconspicuous specimen I’m holding in my hands right now. You couldn’t go national with just a tape release, but in regional and local markets the tape was often the only format an album was released in.

In 1997, by the time Eightball & MJG were known nationwide, their former label On The Strength (OTS Records) repackaged the duo’s earliest efforts under the title “Lyrics of a Pimp”. Although, I’m afraid the only leads I have are the aforementioned tape and the compilation that I’m making, for lack of a better candidate, the object of this review. This is about what they did before they were “Comin’ Out Hard” in 1993. That’s right, it’s none other than Eightball & MJG getting their b-boy stance on somewhere in Memphis way back in 1991.The tale of how Eightball & MJG left Memphis for Houston to sign with Tony Draper and make hip-hop history has been told many times. The cover photo shows a slender guy doing business on a public phone, one hand resting on the groin area of his stone-washed pair of jeans which he combines with a pink tee, with another, portly fella standing next to him, his hands buried in the pockets of a black hoodie, his locks tucked beneath a baseball cap worn backwards, facing the camera with a defiant look on the face.

In 1997, they contributed “Reason for Rhyme” to the “Rhyme & Reason” soundtrack. Like any rapper who has come a long way, they tend to ponder the past. Apart from this hard evidence, we also have Eightball and MJG relating their history first hand.

By the 1940s, 40,000 people lived in that area, making Orange Mound second only to Harlem in New York in terms of the number of black residents. It was one of the first neighborhoods in the South where blacks could own homes. MJG is “the young black brother who pimpin’ the rap game,” while his partner states: “My category is defined as bein’ a hustler / and my territory just became a rhyme / From the mind of a Orange Mound veteran / take out a sucker, then go lookin’ for another one.” This symbiosis between rap and the underworld has been stressed to no end ever since, and obviously some people will always object against crime being glorified through this medium, but these people often fail to see the bigger picture.Orange Mound used to be part of the 5,000 acres-spanning Deadrick Plantation that held over 1,000 slaves and was divided after the Civil War to make realty available to former slaves. If certain grooves evoke the term ‘gangsta’, this one is definitely up there with the best, well orchestrated from beginning to end, topped by the cut-up Cool J line “Roll me up and puff me, and then I’ll annoint.” “Witness my Memphis pimpology,” MJG invites us, describing himself as “a rhyme writer with a passion for poetry” who’s “droppin’ the lyrics like a dime” and uses cusswords “so the truth can be heard.” But he’s also a “hard black brother with a curl and a real limp…” In other words: “…you’re witnessin’ the lyrics of a pimp.”One of the most interesting aspects of “Listen to the Lyrics” is that like many before and especially after them, Ball and MJG view themselves as pimps and hustlers of the music biz. By today’s production standards, MJG’s boast that “the sound of the boom is hittin’ you hard like an avalanche” seems shallow, but supported by a pair of potent subwoofers, “Listen to the Lyrics” will rattle any trunk. Beginning with the earliest documents, there’s certainly “Listen to the Lyrics”, a typically sparse but still booming beat with hard, rhythmic bass stabs accompagnied by kick drums and hi-hats.

And Eightball & MJG were by no means the only Memphis representatives. Even though Memphis, home of Beale Street and Graceland, of Sun Records and Stax Records, already has one of the richest musical legacies in the United States, hip-hop fell on fertile soil. It is obvious how these two young men could relate to rappers from New York, Los Angeles and Houston who came from a similar background.

On “Lyrics of a Pimp”, “Armed Robbery” is a MJG solo, on “Comin’ Out Hard”, more episodes were added, to the point where MJG had to explain: “You think it’s over, but it ain’t.” Then in 1999, there appeared yet another “Armed Robbery” on an Eightball & MJG album, with even more ‘robbers’ involved. “Niggaz Like Us” was originally a posse cut that invited guests J Smooth and Killa Bee to form Organized Rhyme, “real niggas with a thang for guns and shit / but also gettin’ funky on the lyrical tip / Orange Mound-born, so I warn stupid suckers / you can test OTS and be a dead muthafucka,” to quote Eightball. Apparently Eightball & MJG recycled a couple of old song titles and concepts for their Suave Records debut. Notice that this version is different from “Pimps in the House” off “Comin’ Out Hard”, which featured all new (and highly political) lyrics. The former has Ball flowing relatively fast over a keyboard/drum machine combo, the latter is a slowly prowling MJG solo. Interestingly, both are solo cuts.

A number of other tracks sound very much like what DJ Paul and Juicy J have been doing for years (especially “Smokin’ Chicken”). The “Listen to the Lyrics” tape was produced by Tyrone ‘Psyco’ Bell and MJG, with turntable work provided by J Smooth and DJ Zirk. Few clues are left as to who produced these tracks.

8Ball & Mjg Pimps