what gucci mane albums should i listen to

You can use it as a template to fill in the rest, I suppose. It illustrates which rappers you should and shouldn’t listen to with your children, should you so choose to listen to rap with your children. And we’ve been doing it long enough that we already know which rappers we can listen to without the threat of too much inappropriate material, and which ones to avoid. Now, let me be clear when I say that we don’t listen to rap often, but when we do it’s that way. Mystikal was very frank: “Shake ya’ ass,” and while “Shake it fast” isn’t the most egregious alteration from his mission statement, it’s still an alteration. And there’s even - hold on to your pants - actually just talking to your kids.īut should I find my heart being squeezed by the desire to listen to No Limit music, then we’ll listen to that, and we’ll listen to the unedited version, because a man’s art is his art. There’s the most recent D’Angelo album, which I suppose is dangerous philosophically but generally safe as far as inflammatory language is concerned. There’s Fela Kuti, and let me tell you that a 2-year-old humming a Fela Kuti song is basically the best thing I have seen in my entire life. There’s lots of old soul, and they like that a bunch. So mostly that means I don’t listen to rap music when I’m, say, driving my kids around. The only time the censored version of a song has ever been better than the uncensored version of a song was Drake’s “Best I Ever Had” (the uncensored version was counterintuitive to the entire premise of the song). More specifically: Which rap music is OK to play for kids? I thought about that conversation a lot in the time afterward, and I’ve come back to it on several occasions, and I come back to it now because it has to do with what this article is about: Playing rap music for kids. He said, “A man’s art is his art,” and when he said that I knew he was right. Matt thought on it for half a second, said “no,” and then said six more words that I have not forgotten and will never forget. So, the way I saw it, that meant it was an indirect (if not accidental) confirmation of Pimp C’s brilliance, which is why I felt it was important. I explained that it was like taking a bunch of junkyard parts and building a Mercedes. I told him I knew about that, but that it seemed to be more for my argument than against it. We talked about it, mostly about how it was a piecemeal album that Rap-A-Lot Records, Pimp C’s record label, put together while he was in prison without much (if any) input from Pimp C.

He asked who the last couple were and I told him and he said, “Nope,” and I felt less good.

I told him and he said, “Good,” and I felt good. He asked me who the first three picks were, because that’s always what anyone asked when I told them about it. I explained what I was working on, talked about this or that, and so on. It was a fun enough thing to work on, if not occasionally cumbersome.Īfter a few entries, I happened my way into a conversation with Matt Sonzala, a writer and culture curator with very strong ties to Houston who I’d always appreciated and respected. Every week, I’d write about one of the albums, explaining why it was important, counting backward from 25 to 1. One of the bigger projects I worked on while I was there was this thing (unfortunately) titled The H-Town Countdown, where I was supposed to figure out the top 25 Houston rap albums of all time and write about each one. Several years ago, I was working as a freelancer for an alt weekly in Houston called the Houston Press.

What gucci mane albums should i listen to