“Ridin’ Dirty had a major influence on the sound of Texas music. It didn’t have the major label song formula. It wasn’t polluted by major label politics or top 40 radio hit records. Ridin’ Dirty represents Texas rap in its rawest and purest form.” - Chamillionaire “ONE DAY” This song displays the soul of Southern rap, showing the introspective side of UGK. “MURDER” Heralded as many people’s all-time favorite UGK song, Pimp C showed that the Kingz’ movement extended from N’awlins (“holla at Master P cause we got money to make”) to the West Coast (“just got back from California, kicked it with B-Legit”). “FUCK MY CAR” A middle-finger to every gold-digger, this is one of those rare songs where an artist speaks on behalf of everyone that can relate. Harsh words were said, but all of them very true.
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ESSENTIAL SOUTHERN ALBUMS
UGK RIDIN’ DIRTY Jive Records - 1996
by Maurice G. Garland
“DIAMONDS AND WOOD” This slow-rolling classic had Pimp C crooning on the hook and Bun admitting that he rolls a fucked-up blunt once in a while. The most memorable moment is Pimp speaking on the all-too-familiar broken relationship where “she says she loves me but all we do now is fuck and fight.” “HI LIFE” Sometimes 16 bars just won’t do. Pimp and Bun shared so much of themselves on this song.
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didn’t fall prey to none of that pistol play / But who is to say that tomorrow they won’t be blastin’ this a way” and “But still the fact remains it’s all about the ‘caine / Swang and back, peace to ESG and all the victims of the game, mane.”
With more than a few anthems already under their belts, Chad “Pimp C” Butler and Bernard “Bun B” Freeman were already looked upon as rap royalty below the Mason-Dixie line. Which meant to some that Ridin’ Dirty was probably just a continuation of the brash shit-talking that fans had grown to love and expect from the duo. But when you popped the CD (or tape) in the deck and heard a smoky voice say, “Live from the muthafuckin’ pen…” you knew that this effort was going to change a life or two.
UGK even went as far to have pictures of themselves getting carjacked inside the album cover to show that no matter how hard you may think you are, anyone can get caught slipping. But, as they told listeners how much they hoped to escape the entrapment of their ‘hood, UGK also let it be known that they’re weren’t going to stand by and get victimized either. Songs like “That’s Why I Carry” and “Touched” served as warning shots to anyone under the impression that they were sitting ducks. However, unlike their previous releases, UGK slipped in a hint of responsibility. They used the commentary of convicted criminals who were indeed speaking “live from the muthafuckin’ pen” to remind new jacks (and old fools) that there is a consequence for living the life of a gangster.
ou could easily argue that 1996 was the year that the Southern takeover officially began. With the fabled East Coast vs. West Coast conflict in full effect, Hip-hop’s soil was primed for the South’s seeds to sprout up and grow into the fruitful tree that it is today. Outkast’s ATLiens, numerous No Limit and Suave House releases and a host of other albums let it be known that the South was on the rise. But, the most powerful record to emerge from that groundbreaking year was UGK’s third nationally released album, Ridin’ Dirty.
Straying away from the popular trend of starting an album on an uptempo and/or aggressive note, the Kingz opened with the somber reflection “One Day.” It featured the original creator of the song, 3-2 (Blac Monks, Convicts) and showed a side of UGK that many did not know existed. With perhaps the illest Ronald Isley sample ever serving as the soundtrack, both of them opened up and let listeners into their personal lives by speaking on the loss of loved ones and the realization that their lifestyles may lead them to dreadful fates. Bun hit it on the nail with perhaps one of the realist lines ever spat: “My brother been in the pen for damn near ten, but now it look like when he come out, man, I’m going in.” Vulnerability was also displayed on “Hi Life.” The usually invincible Pimp C started the song saying: “I’m tired of living fucked up, tired of living bad / Tired of my grandmama telling me, ‘When you gonna go to church, Chad?’” and later admitting: “I never wanted to be a G, but niggas depend on me.” Keeping in that tone on “Diamonds & Wood,” Bun B spoke as a hustler thankful for making it home, still knowing that his situation has not changed with lines like: “I lucked up today and
Lyrically, this was also UGK’s strongest effort to date. Pimp C used his pen like never before to illustrate an accurate portrayal of life in Texas. As for Bun? He practically used this album as a coming out party and delivered one of the most mesmerizing versus in hip-hop history on “Murder.” That performance, as well as his nimble wordplay on “Pinky Ring,” had every aspiring rapper trying to mimic his now trademarked syllable-based flow pattern. Musically, this was again UGK’s best. They introduced a large part of the country to Screw music with “3 In The Morning” and the literally syrupy “Diamonds & Wood.” They also showed their deep music knowledge in sampling Wes Montgomery’s “Angel” for the title track which closed the album. Due to record label politics and bullshit, the world would not get to hear another UGK album for six long years after this release. Fortunately, Ridin’ Dirty was put together so well that it actually kept hungry fans satisfied through all of those years. Now that, my friend, is what you call a classic, timeless record. OZONE
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