Willie Nelson Rap Remix on the Road Again
A History of Country-Rap in 29 Songs
Country music and hip-hop accept long vacillated betwixt looking to each other for inspiration and staring at each other warily. Here are 29 examples that run the gamut: Billboard nautical chart-toppers and anthems from insular microscenes; shiny, opportunistic pop collaborations and mud-soaked obscurities; novelty records and sincere simpatico way unions. Each one, in its own mode, shifted the idea of what country-rap comity could audio like.
Sir Mix-A-Lot, 'Foursquare Trip the light fantastic toe Rap' (1985)
From "I Simply Love My Beat" 12" single
I of the nigh bizarre conceptual collisions of hip-hop and country was "Square Dance Rap," a latter-24-hour interval electro-rap number by Seattle's Sir Mix-A-Lot, long before "Babe Got Back." In both versions of the song — the original, and a reworked one on his 1988 debut album, "Swass" — he adopts the rapping phonation of a white country boy, and so addresses himself repeatedly as "cotton picker," an unerringly odd and discomfiting option.
Rappin' Duke, 'Rappin' Duke' (1985)
From "Que Pasa?"
An early novelty rap in which the Rappin' Duke rapped in the screwed-up drawl of John Wayne and was … really funny. "Two hundred punks, well, what you gonna practice?/I got two six-shooters that'll meet me through/That's 12 dead … and 188 pallbearers." This is the rare one-act song so skillful it ends upwards existence function of the lore of the genre it was parodying, fifty-fifty rating a mention past Biggie Smalls.
Bellamy Brothers, 'Land Rap' (1986)
From "Country Rap"
Trivial surprise that the first fourth dimension country music directly nodded at hip-hop was with a lightly arched eyebrow. Bellamy Brothers had been making winking, witty country hits for a decade when they offered this deadpan rural tale — "Neighbor downwards the road'due south got a moo-cow for sale/Twenty dollars more than, you go the horns and tail" — that only underscored the throughlines between talking dejection, country and rap.
Kool Moe Dee, 'Wild Wild West' (1987)
From "How Ya Like Me Now"
The hip-hop cowboy aureate standard from a Harlem hip-hop originator who took a vocal almost around-the-way squabbles and, via a video filmed at a Western theme park in New Jersey and plenty cowboy hats for the whole coiffure, remade it equally an ominous outlaw fantasy. It was later sampled past Will Smith on his own, far chintzier, "Wild Wild West."
Intelligent Hoodlum, 'The Posse (Shoot 'Em Upward)' (1993)
From "Posse: Original Motility Motion-picture show Soundtrack Album"
The kickoff to the soundtrack of the blackness western "Posse" is this history lesson on "black gunslingers" — "One out of every three cowboys were black/But if y'all lookout Television set, you'll never know that" — that name-drops Britton Johnson, the Rufus Cadet Gang and others.
Mo Thugs Family unit featuring Bone Thugs-N-Harmony, 'Ghetto Cowboy' (1998)
From "Chapter 2: Family Reunion"
"Stop my equus caballus/Whoa, nellyyyyyyyy": on this full-fledged cowboy fable, Krayzie Bone reimagines himself as a banking company robber on the run, bumping into trouble everywhere he goes. He stumbles upon Thug Queen, a horse-stealing, sheriff-killing vagabond, and they squad upward for adventures out beyond the margins of the police.
Kid Rock, 'Cowboy' (1998)
From "Devil Without a Cause"
Kid Rock began his career in late-'80s Detroit as a white rapper at a time when that was still novel. And he pivoted away from hip-hop early too: "Cowboy" was a rap song with country instrumentation, and information technology prefigured his wholesale transformation into a pseudo-Southern-rocker who's left hip-hop all merely in the rear view.
Outkast, 'Rosa Parks' (1998)
From "Aquemini"
"Rosa Parks," the lead unmarried from Outkast's 3rd album, is 1 of the duo's deepest and nigh resonant homages to the long lineage of Southern music — a jubilant blend of fast-blues guitar, porch-stomp percussion and a bridge featuring a plow on the harmonica past André 3000's stepfather.
Tow Down featuring Big Pokey and H.A.West.Thou., 'Country Rap Tune' (2000)
From "Past Prescription Merely"
Ane of the first hip-hop songs to make explicit the thematic similarities betwixt hip-hop and country featured H.A.W.Thousand. and Big Pokey of the Screwed Up Click rapping alongside the white Houston rapper Tow Down, who wore a gigantic chugalug buckle and bragged, "I'thou not Garth Brooks, but I got friends in low places.".
Wyclef Jean, 'Kenny Rogers — Pharoahe Monch Dub Plate' (2000)
From "The Ecleftic: 2 Sides 2 a Book"
Early in his solo career, Wyclef Jean was keen to show off just how wide-ranging his ear could be. And so on his 2d solo album came this alloy: Kenny Rogers singing his gentle striking "The Gambler" juxtaposed confronting and interspersed with Pharoahe Monch'south "Simon Says," with its thunderous "Godzilla vs. Mothra"-sampling vanquish.
Lil' Black featuring Willie Nelson, 'Back on the Route' (2000)
From "On the Road Again"
Later in life, Willie Nelson would keep to befriend and rap with his boyfriend marijuana enthusiast Snoop Dogg. But his first advent on a hip-hop vocal was alongside the Austin, Tex., rapper Lil' Black, who recorded regularly at Pedernales, the studio owned past Nelson'south nephew. Lil' Black wrote Nelson'due south quick rap: "I'm rolling in the tour bus, you're rolling in your Benz/And I can't await to go on the road again."
Nappy Roots, 'Awnaw' (2002)
From "Watermelon, Chicken & Gritz"
Throughout the 1990s, Southern rap was coming into its own, but still largely eschewed rural themes. Nappy Roots, who met while in college in Kentucky, adult a style wholly built on them, full of earnest down-abode imagery and earthy product.
Bubba Sparxxx, 'Comin' Round' (2003)
From "Deliverance"
"Deliverance," the second major-label album by the Georgia rapper Bubba Sparxxx, still stands every bit the loftier-water mark of country-rap standoff. It was a fully realized musical world — on "Comin' Round," Timbaland sampled the bluegrass-jam outfit Yonder Mountain String Ring for a song that felt intimate and communal all at once.
Moonshine Bandits featuring E-40, 'Kleptomaniacal Swerve' (2003)
From "Soggy Crackerz"
Before country-rap mutated into its own stand-alone cottage industry, rural-identified artists like Moonshine Bandits, a California duo, occasionally institute themselves in dialogue with rappers closer to hip-hop's mainstream. This collaboration finds common footing with Vallejo's Eastward-forty, one of hip-hop's premier linguists, who politely raps circles around them.
Nelly featuring Tim McGraw, 'Over and Over' (2004)
From "Suit"
A dreamy sad-boy duet between the hip-hop melody-maker Nelly and Tim McGraw, one of country music's premier gentlemen, "Over and Over" became a phenomenon, reaching No. 3 on the Billboard Hot 100. "It ain't goose egg land nigh this vocal," McGraw said at the fourth dimension — lilliputian did he know.
Cowboy Troy featuring Large & Rich, 'I Play Chicken With the Train' (2005)
From "Loco Motive"
When the MuzikMafia arrived in Nashville in the mid-2000s, the coiffure was a sunburst of musical imagination, presenting country music as a big tent, and a large party. This song — the showtime country-rap song to land on the Billboard Hot Country Songs Chart — was an exuberant blast of fun from a blackness cowboy rapper and his singing buddies.
Colt Ford featuring John Michael Montgomery, 'Ride Through the Country' (2008)
From "Ride Through the State"
Past 2008, the conversation around state-rap had evolved to where a new move of performers made music that confidently and happily lived on the outskirts of both genres. "We was dirt-road poor and pikestaff-switch raised," Colt Ford rapped here, on a song that brought coincidental rap swagger to country balladry.
Large Smo, 'Honky Tonkin'' (2010)
From "American Made"
A onetime associate of the white Tennessee rapper Haystak, Big Smo emerged every bit a promising country rapper in the early 2010s, and eventually even had his own reality-TV show. "Honky Tonkin'" is charming and funny, a friendly celebration of rowdy country nights at the bar where the jukebox is rocking. "Who is that, ol' Hank?" Big Smo is asked. "Hell naw, that's me," he replies.
Jason Aldean, 'Dirt Route Anthem' (2010)
From "My Kinda Political party"
The original "Dirt Road Anthem" was past Filly Ford and Brantley Gilbert, a sturdy state-rap song that was well-liked just never cracked land'south mainstream. When Jason Aldean chose to embrace it, however, he catapulted rapping to the center of the land chat: His was a No. 1 Hot Country Songs hit, and made information technology plain that hip-hop was an inevitable — and surprisingly welcome — influence on the genre.
The Lacs, 'Kickin' Up Mud' (2011)
From "Land Male child's Paradise"
Musically, the Georgia duo the Lacs looked to the past on "Kickin' Up Mud," their quantum single after a decade of independent releases — crunchy kickoff-wave rap-rock of the mid-1980s, flickers of Miami bass. The rapping is smooth, and the video is exceptionally muddy: "We get riled up when it starts to pelting."
Taylor Swift, 'Super Bass' (2011)
Taylor Swift hadn't made her full pop pivot yet when she stopped in at Nashville radio station 107.5 The River in February 2011. During the interview, she was offered the chance to play a vocal of her liking, and she chose Nicki Minaj's "Super Bass," rapping 3 bars of it and helping kick-start its pop ascent.
Jawga Boyz featuring Bottleneck and Immature Gunner, 'Ridin High' (2011)
From "Kuntry"
Another hip-hop canticle most flamboyantly tricked-out vehicles, except here, they're pickup trucks, and they're raised upwardly on giant wheels to make them better able to navigate thick, viscous mud. The production is influenced by early Atlanta trap, and the verses — particularly Bottleneck's — are buoyantly fun boasts.
Brad Paisley featuring LL Cool J, 'Accidental Racist' (2013)
From "Wheelhouse"
We all make mistakes.
Blake Shelton featuring Pistol Annies & Friends, 'Boys 'Round Here' (2013)
From "Based on a True Story …"
If Aldean's "Dirt Road Anthem" was the song that ensured hip-hop had to be taken seriously on Music Row, "Boys 'Circular Here" demonstrated just how adaptable Music Row truly is. Written by 3 top songwriters and rapped by Blake Shelton, one of land's biggest stars, it's brutally efficient, and somehow embraces traditionalist values in radical form. Asked if he knew how to do the dougie, Shelton smarmed back, "No, non in Kentucky."
Dee Jay Argent featuring Alabama and Nappy Roots, 'Dixieland Please (Dee Jay Silver Mix)' (2013)
From "Country Club"
As the two genres became more and more than intimate, a micro-generation of D.J.s emerged who specialized in blending them. Dee Jay Silvery toured with Aldean, hosted a syndicated radio evidence, and released some of his own blends, including this recasting of a country-harmony classic with sharp rhymes from Nappy Roots.
Florida Georgia Line featuring Nelly, 'Prowl (Remix)' (2013)
From "Here's to the Practiced Times … This Is How We Curlicue"
The original version of Florida Georgia Line'southward "Cruise" was plain merely potent — tremendous tune, just a slight sprinkle of rhythm. The remix, however, proved foundational: Nelly delivers an enthusiastic verse, but likewise clever ad-libs throughout. In the video, he looks euphoric — he knows exactly how effective this hustle can exist.
Sam Chase, 'Have Your Time' (2014)
From "Montevallo"
Information technology had to happen: a performer arrived astonishingly comfortable in both idioms, toggling dorsum and forth between them with ease. Sam Chase'due south "Montevallo" was ane of the nearly achieved Nashville debut albums of the past decade, precisely considering information technology managed — on songs similar "Take Your Fourth dimension" — to apply the most modern and forrad-sounding structural strategy to securely classic songwriting.
Sarah Ross, 'Shotgun' (2015)
From "Calm Before the Storm"
Country-rap has i thing in mutual with the country mainstream: little oxygen for female person performers. Sarah Ross sings and raps on this song most exacting revenge on a cheating man — "I was set up to say 'I practice'/Now I wanna cutting him every mode simply loose" — that'south a strong addition to the lineage of washed-me-wrong-just-never-once more feminist country anthems.
Lil Tracy and Lil Uzi Vert, 'Like a Farmer Remix' (2018)
In the identity playground — minefield? — that is SoundCloud rap, this ethereal number predated Lil Nas X's bold crossover. Lil Tracy is in graphic symbol here, dreamily rapping about horses and trucks. And Lil Uzi Vert puts on a fake drawl, simply but for a few moments — he'due south cowboy enough without it.
Source: https://www.nytimes.com/2019/04/17/arts/music/country-rap-playlist.html
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