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Pimp and Bun have a great chemistry here, like two kids trying to outdo each other, seeing who could come up with the most withering put-downs without cracking a smile. Pimp’s production sound was so warm and intuitive that even a song like this one, all graphic unsettling death-threats, works as total comfort-food music, its lazily dangling blues guitars and heavy walking bassline mashing on all sorts of pleasure-centers. UGK: “I Left It Wet for You” Preview/Buy from iTunes Pimp was like 18 when he put this thing together, and that’s just scary.ģ. This beat on this song is just amazing: evil rumbling electro-bass, gasping ethereal “Moments in Love” keyboards, synthetic horns, slow-rolling triggered drums. If that dream is a symptom of a guilty conscience, Pimp doesn’t show it the laugh he lets out when he realizes he’s OK is awesome. (He also kills a whole lot of people in various fucked-up ways.) Pimp also gives himself a triumphant ending: he wakes up and realizes that he’s been dreaming the whole time.

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The twist is that here he’s a crack dealer who keeps feeling the effects of the drug he’s doing even though he’s pretty sure he’s not actually smoking the stuff. This song, from UGK’s 1992 Jive debut Too Hard to Swallow, is a Pimp solo showcase, and it follows the same basic narrative template as the Geto Boys’ “Mind Playin’ Tricks on Me”: Pimp paranoid and hallucinating, not sure he can trust himself. Pimp, meanwhile, arrived more or less fully formed, sinking his distinctive nasal drawl deep into his beats, stretching out his syllables in a mocking singsong and displaying a serious eye for lyrical detail. There’s something vaguely awkward and tentative about Bun’s delivery early on, at least compared to the insanely on-beat authoritative preacher’s rumble he’d develop soon enough. One of the weird things about really early UGK is that at the beginning, Pimp was pretty much just as good a rapper as Bun. UGK: “Feel Like I’m the One Who’s Doin’ Dope” Preview/Buy from iTunes Consider, for example, the piano that noses around the corners of “It’s Supposed to Bubble,” never settling into one basic figure, or the murmuring blues-guitar curls buried in “Diamonds and Wood.” Pimp’s beats could be intense and vicious, but even then they always subtly mutated and evolved. And rather than just looping up his tracks, Pimp kept new elements fading in and out for his tracks’ entire running time. But Pimp’s tracks sounded even fuller and more layered than those guys’ work. Dre, DJ Slip and the Unknown DJ, the Rap-A-Lot stable of house producers, a few others. In the early 90s, a few other producers were playing around with live instruments and warmer, expansive tones: Dr. Put some goddamn melody in that shit and maybe you can get some money.” Pimp took that suggestion and ran with it.

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There’s a great moment in the interview where Pimp talks about something his stepfather, who was also Pimp’s music teacher, told him when he first started producing rap records: “Put some music in that shit, you know you know how to read music. In this Noz interview, Pimp talked about being a kid and playing around with his father’s jukebox and piano, singing in his choir, and playing trumpet in his school band. His father was a trumpet player for Burke, among others.

Pimp grew up steeped in music, particularly Southern soul music. Solomon Burke: “Got to Get You Off of My Mind.” Preview/Buy from iTunes Over on the XXL blogs, Noz is doing an amazing job unearthing all manner of Pimp-related rarities, and you owe it to yourself to dig a little deeper and check it out.ġ. A quick note: This isn’t by any means a definitive Pimp C playlist.