This might be due to the fact that the two have spent most of their career recording for the independent Suave House Records an influential yet financially troubled label but one could. As a 1994 issue of The Source dedicated to Miami touted as "hip-hop's hidden hotbed" on the cover indicated, Bass was enjoying a level of exposure and interest in the rap world that was unprecedented for a place outside of the East Coast / West Coast framework. Rap Music and the Poetics of Identity. 2, April 18, 2005. The artists and bands on this list might be pop, rap, rock, electronic or any other genre, but what they all have in common is that they were signed by Suave House Records. tippy('#footnote_plugin_tooltip_1518_1_92', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_92').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); While it could very well accommodate this dimension of meaning (as well as the related etymology of combining marijuana ("chronic") with alcohol (drunk), it should be clear by now that this represents only one dimension of a open-ended concept.93Steve Dollar, "Cool 2 Know," Newsday, sec. Club DJs/producers like Kizzy Rock and DJ Smurf began to cement the city's reputation as a source for uptempo dance music that could hold its own against Miami Bass. Rap artists and companies selling their music profited from the place-based authenticity that association with established centers of production provided. Southern scenes incorporated and absorbed the changes and products of the national rap music industry, accepting or rejecting them according to their own preferences. Elements from Houston's "screw" style have influenced other rap being produced there, as in this track by Michael "5000" Watts featuring Archie Lee. Members of Goodie Mob make more explicit the understanding of "dirtiness" as it relate to the racist history of the South symbolized by the rebel flag. Continue with Recommended Cookies. Sample from Project Pat Featuring La Chat, "Chickenhead," Relativity, 2001. It was released on July 15, 1996 via Loud Records. Houston also had an embryonic rap scene by the mid to late 1980s. Growing up in a very fashion-stimulating environment, she succeeded in developing a passion for fashion and creativity. Indeed, Miami artists had to compete with increasingly prominent artists and labels from, most notably, Atlanta, New Orleans, and Houston. The 2004 song ''Still Tippin','' by Mike Jones with Slim Thug and Paul Wall, featured elements drawn from or insired by the screw style and represented a breakthrough for national awareness of the Houston subgenre. The Album of the Year is a compilation album presented by American hip hop record label Suave House Records. The emergence of the South as a credible geographical imaginary in rap music requires a strong repudiation of the white racist baggage of the "Old South" represented by rebel flags and white-columned plantations popularized by the movie Gone with the Wind all subjects of symbolic destruction, as in the cover of the DVD for the 2004 documentary Dirty States of America. The Dirty South served as a marketing hook and an alternate political imaginary, but as its proponents have achieved goals of genre inclusion, acceptance, and a piece of the commercial action, they have moved on to a different set of concerns. . It was released on November 5, 1996 through Suave House/Relativity Records. New York retained a symbolically and structurally central position, but suburbs like Long Island and nearby places like New Jersey and Philadephia began to be grouped with New York-based artists to form a cultural-industrial bloc called "the East Coast." The descriptions of crunk as "simple, catchy," "crude," or even "outrageously puerile" often imply a distinction between two broad classes of music, which correspond to the intellectual and the corporeal (metaphorized as high and low, respectively): "like Lil Jon, and more than a few of his other Southern brethren, [Georgia rapper Pastor] Troy's aiming for that grossly reactive section of the brain that governs activities below chest level. Sample from Geto Boys, "Do It Like a G.O," Rap-A-Lot Records, 1990. Not only did an increasing number of Atlanta-based artists including Ludacris, T.I., Bonecrusher, Gucci Man, and Young Jeezy find national audiences, but the exposure of stylistic subgenres associated with Atlanta far outstripped that enjoyed by other cities in the South. Explore Suave House Records's discography including top tracks, albums, and reviews. Sample from Clipse featuring Pharrell Williams, "Mr. Me Too," Re-Up Gang / Star Trek, 2006. The use, for instance, of the Confederate Battle Flag, or the "stars and bars" (which I abbreviate to "rebel flag") as a nostalgia-laden symbol for white dominance has persisted decades after the end of de jure segregation. F, June 11, 2006. tippy('#footnote_plugin_tooltip_1518_1_63', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_63').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); The website for a cover band from Northeast England called The Dirty South advertises "moonshine-laced southern rock" and features imagery and language that engage facile southern stereotypes (rebel flags, cowboy hats, "geetar," "hollerin'") in a manner somewhat comparable to blackface minstrelsy or the movie The Blues Brothers. The experiences of blacks in the South and their relationships with whites could easily be metonymically construed to represent black experience and black/white relations in the United States generally. "26Catherine Chriss, "For Houston's Geto Boys, Anything Goes in the World of Gangsta Rap," Houston Chronicle, Texas Magazine section, April 17, 2005. tippy('#footnote_plugin_tooltip_1518_1_26', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_26').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Rap-A-Lot continued to release music by Geto Boys veteran Scarface ("the label's biggest star"), as well as the significantly less angry Odd Squad, and found regional support for subsequent efforts by Odd Squad member Devin the Dude and a variety of Houston-based artists, including Ganksta N-I-P and The Fifth Ward Boyz.27Patoski, "Money in the Making," 1998. tippy('#footnote_plugin_tooltip_1518_1_27', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_27').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); In 1995, Smith broke with Priority and negotiated a deal with Noo Trybe/Virgin to distribute Rap-A-Lot. "55Alex Markels, "Protesters Carry the Fight to Executives' Homes." It was released on October 22, 1996, through Priority Records. Artists including Lil Jon, The Ying Yang Twins, Juvenile, Trina, Trick Daddy, and David Banner benefited from the creative work of earlier rappers who made more literal and direct reference to southern signifiers. Early rappers like Mojo and the club DJ known as King Edward J attracted local audiences, but remained obscure outside the city. "119Peter Stallybrass and Allon White, The Politics and Poetics of Transgression (London: Methuen, 1986), 23. tippy('#footnote_plugin_tooltip_1518_1_119', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_119').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); While crunk's representation of the body is particular and strongly tied to previous expressions within rap, its "fundamentally constitutive" role lends itself to Patricia Yaeger's observations about southern women's fiction in Dirt and Desire.120Richardson, Black Masculinity and the U.S. South, 215. tippy('#footnote_plugin_tooltip_1518_1_120', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_120').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Like the writers Yaeger considers, crunk artists often portray "irregular models of the body, . Regardless, The Geto Boys was nothing if not controversial as one critic observed, it "was so verbally abusive that Geffen severed all ties with Def American, which never worked with Rap-A-Lot again."24Ibid. In the case of the Alabama-based duo Dirty, a reviewer on the website www.down-south.com used a local Montgomery, Alabama slang term to describe the group: "Dirty is Gump. "6Kyra D. Gaunt, The Games Black Girls Play: Learning the Ropes from Double-Dutch to Hip-Hop. However, in New York, California, and other places where rap scenes coalesced, women and girls played a central role as part of rap's audience. Discography. The "southern turn" in rap music involved, in addition to a complex and highly strategic play of identities, stereotypes, and imagery, a rearrangement of values within the music. One of Houston's top rap acts moved to the city from Memphis in the early 1990s along with their record label. Rap scenes, styles, and local industries coalesced in Atlanta, Houston, Memphis, New Orleans, Miami, and Virginia Beach. . Bornt and remained a family-run business since the beginning, starring colorful designs with their zigzag trademarks made them known as the luxury brand from Milan, Missoni. The album was composed of o, Suave House Records, better known as The Legendary Suave House, is a record label located in Houston, Texas founded by Tony Draper. It was released on July 30, 1996 through Suave House/Relativity Records. you have to look at it from a spiritual perspective . In 1998, New Orleans' second remarkable partnership formed between major labels and a local independent. tippy('#footnote_plugin_tooltip_1518_1_43', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_43').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Virginia Beach Audio Samples (Warning: Some of these audio samples contain explicit content.). These uses existed simultaneously with the appropriation of the flag as a generic symbol of a marginalized, underdeveloped territory of rap music geography. Recording sessions took place at Chung King Studios, at D&D Studios, at Platinum Island Studios and at Greene St. Recording in New York, and at Chris Biondo Studios in Washington, D.C. Production was handled by Diamond D, Buckwild, DJ Ogee, Ali Malek, Ant Greene Father Time, Da Beatminerz, Dante Ross, DJ Alamo, Minnesota, Pete Rock, Showbiz and Sadat X himself. The imagination of space (and the relative centrality or marginality of particular interpretations of imaginary spaces) lies not at the periphery of larger inequalities of economic, cultural, or political power, but is central and constitutive. (Accessed electronically through LexisNexis Academic on 13 April 13, 2007.) . Connect your Spotify account to your Last.fm account and scrobble everything you listen to, from any Spotify app on any device or platform. One critic described snap as "a dance-centric form of hip-hop, defined by light but propulsive beats and lyrics that often revolve around playful chants. 2, December 5, 2004. tippy('#footnote_plugin_tooltip_1518_1_100', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_100').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Another writer connected crunk to an earlier generation's version of the archetypal southern, African American musical bogeymen, 2 Live Crew: These points deserve serious consideration, although I would argue that "grotesque" is a more appropriate frame for the representations in crunk than "parody." ), Kim O. Middletown, CT: Wesleyan University Press, 2002. If you would like to change your settings or withdraw consent at any time, the link to do so is in our privacy policy accessible from our home page.. How, for instance, to interpret Ludacris' 2005 appearance on the Vibe Hip-Hop awards in a leather suit with rebel flag motif, a suit he discarded at the end of his performance for one in African nationalist colors red, black, and green?114Mosi Reeves, "Luda Disturbing tha State," Creative Loafing Atlanta, December 7, 2005. tippy('#footnote_plugin_tooltip_1518_1_114', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_114').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Acknowledging the imbrication of much southern rap music within the corporate structures and values of the music industry, how much change or consciousness raising is possible from the most self-consciously political displays of destruction and violation of the rebel flag? Production was handled by Focus, Eminem, Black Jeruz, DJ Khalil, Domingo, Havoc, J. R. Rotem, LT Moe, Megahertz, Punch, Ron Browz, Sam Sneed, Sebb, Studio 44, and Sha Money XL, who also served as co-executive producer. Rapper Bun B and rapper and producer Pimp C had grown up in Port Arthur on the Texas-Louisiana border, but as UGK they gravitated to Houston's rap scene. We end our selection with the Milan fashion brand that dressed the worlds biggest superstar, Valentino. . Sample from 2 Life Crew, "Ghetto Bass," Luke Skywalker Records, 1986. This song instructs listeners on the dance and associated style of music that took Memphis by storm in the late 1980s. Besides the line of clothing, and accessories, he has expanded to luxury hotels and restaurants. At its peak, Campbell's rap empire encompassed multiple record labels and various nightclubs (including a 'teen club' called the Pac Jam). Composed of eleven songs, the album featured ten exclusive tracks performed by Suave House artists The Fedz, 8Ball & MJG, NOLA, Tela, Nina Creque, Thorough and Randy, with the exception of South Circle 's "Geto Madness", which appeared on their 1995 album Anotha Day Anotha Balla . Washington Post, sec. the extreme local. . By the time Campbell's legal troubles had wound down, Miami bass was hitting its stride. However, California-based artists and independent record label owners took advantage of the opportunity and in turn helped to develop what would become known as the "gangsta rap" subgenre. "97Murray, "Lil Jon, Crew Crank Up Chant with A-List Assist." . "54Elizabeth Merrill, NU Rookie I-Back Lights Up Backfield." Nashville: Vanderbilt University Press, 2004. It's like a ball of fire in your spirit. He had dreamed to become an extraordinary designer, nowadays its seen all around the world, especially on magazine covers. Like other rap impresarios, he tried to expand upon his success in the music industry through branding and marketing products like the "energy drink" Crunk Juice (which was also the title of his 2004 album), as well as "a clothing line, a porn DVD, . Beats and basslines are augmented by minimalist synthesizer riffs. For all of its novelty in the areas of vocal performance, narrative voice, and musical backing, rap was strongly tied to previous genres of African American music, a fact which helped make the music accessible to Black southern audiences. In addition to Atlanta-based artists like Lil Jon, The Ying Yang Twins, Bone Crusher, and Pastor Troy, Mississippi's David Banner and Memphis' Three 6 Mafia (arguably the uncredited inventors of the genre) also rode the crunk wave in the late 1990s. 8Ball & MJG were the label's flagship. Yaeger, Patricia. Have fun! West-coast artists E-40 and Mac Mall both make appearances on this album, along with Big Mike a one-time member of Geto Boys. ", Hattie Collins, "Crunk in Charge," London, Soren Baker, "Interview with Lil Jon & The East Side Boyz Feature,", Kelefa Sanneh, "Critic's Notebook: 'Laffy Taffy:' So Light, So Sugary, So Downloadable,", Beth Reingold and Richard S. Wike, "Confederate Symbols, Southern Identity, and Racial Attitudes: The Case of the Georgia State Flag,", Ron Wynn, "Reclaiming Confederate Flag Angers Older Black Generation,", Mosi Reeves, "Luda Disturbing tha State,", Rodney Ho, "Rapper Has Big Plans to Lighten Up His Look,", Photograph of Atlantas Lil Jon & the East Side Boyz, Comparison of imagery from mid-2000s CD and book covers, The English southern rock cover band The Dirty South, Billboard, Memorial Drive and Midway Road. . Sample from Mr. Scarface, "I'm Black," Rap-A-Lot Records, 1990. No Limit and Cash Money began to decline in terms of relevance and market share as 2000 approached. "37Sarig, Third Coast, 103. tippy('#footnote_plugin_tooltip_1518_1_37', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_37').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); As Atlanta's rap scene began to gain momentum, a generation who took rap as their primary frame of musical reference came of age. "21Janine McAdams, "Let's Talk About Sexism On Recent Raps; Wreckx-N-Effect, Disco Rick, Duice, Dre Revealed," Billboard 105:4 (January 23, 1993): 21. tippy('#footnote_plugin_tooltip_1518_1_21', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_21').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); The bass music produced in the city divided into two distinct camps: a raucous, chant-heavy variety oriented towards rowdy nightclub crowds who demanded salacious lyrics, and a more understated style that often eschewed lyrics entirely so that club or car-based listeners could enjoy the booming bass tones without distraction. Production was handled by Marley Marl, DJ Bobcat, Quincy Jones III, Andrew Zenable and Chris Forte. This style was characterized by lyrics which emphasized criminality, violence, and rebellious anger, tempered by a celebration of the extravagant lifestyles of pimps and drug dealers. Jermaine Dupri, a producer who founded the So So Def record label in 1992, represents another important node in the Atlanta rap network. A sample-heavy, "East Coast" production style and a lack of references to club life, partying, and dancing signified the group's disconnection with local aesthetic and thematic priorities, and while their first album achieved critical acclaim and high sales numbers, their long-term effect upon the local Atlanta scene was minimal. 8Ball & MJG discography - Wikipedia Wild Cowboys is the debut solo studio album by American rapper Sadat X of Brand Nubian. Lil Jon and other crunk artists like the Ying Yang Twins have forged close ties with strip-club-culture and have not hesitated to make the eroticized, objectified female body (or parts thereof) central subjects of their expressions. New York or Los Angeles. Wicked Wayz is the debut solo studio album by American rapper Mr. Mike. Imagined in a different way, the economic, material, and cultural resources of the South, once reserved for an entrenched white elite, open to the possibility of other claimants. G. Koch, "New Rap for Nick Travers; Glitzy, Druggy Milieu Works," Houston Chronicle, May 2, 2004; Collette Bancroft, "Twenty-One Hours to Live." Former 1 of the Girls member Nina Creque also appears on the album. One commentator who supported her argument with many songs and videos by Miami- and Atlanta-based groups observed, "there remains a thin line between sex and sexism, and what's troubling, judging from the videos, is that the women in these clips don't have any clearer a sense of the difference than the men holding the mikes. The pair founded the Star Trak label, distributed by Arista, and signed Virginia rappers Clipse as their debut artists. Explore. (V.A.) Suave House: The Album Of The Year (1997) The mutability of the Dirty South allows the "abyss" that Yaeger observes to be mapped onto other overlapping social and geographical divisions, from regional identity and class among African Americans, to that which exists between established and ascending rap scenes. Property maintenance in Italy from 1% to 3% of the property price per annum. Read Full Biography. Trick Daddy is one of the more recent Miami rappers to rise to national prominence. Comin Out Hard was a southern classic and it put Suave House Records on the map. The Tidewater region has not sustained a grassroots scene capable of providing an ongoing supply of aspiring artists and producers, and its relationship to rap's Dirty South is tenuous and fragile. . Changes in place thus influence changes in musical sounds and styles. Throughout, musical and visual examples provide contextual support. Sample from Lil' Jon & the East Side Boys, "Get Crunk," Ichiban Records, 1997. "60Patrick Anderson, "Southern Living and Dying," Washington Post, sec. Minneapolis-St. Paul, Robert Christgau, "Consumer Guide: Inter-Century Freundschaft,". Chicago: University of Chicago Press, 2000. This combination made the brand spread the Italian tag in the world of fashion. "94Collins, "Crunk." Gay male "sissy" rappers have achieved local popularity in recent years. "13Kelefa Sanneh, "Memphis Bleak," Village Voice (June 20, 2000), 144. tippy('#footnote_plugin_tooltip_1518_1_13', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_13').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Many of the most prominent of these local styles were located in various urban areas of the US South. of N.C. Press, 2007): 28. tippy('#footnote_plugin_tooltip_1518_1_109', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_109').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Her insight applies equally to the visual culture of southern rap. Their 1992 debut on local label Big Tyme Recordz caught the attention of Jive Records, who released several albums by the group, including the highly acclaimed Ridin' Dirty in 1996. The label was founded in 1990 when Draper was sixteen years old. Moreover, all the designer luxury brands in Milan are set as part of art heritage, for their vision and attention to detail. In the late 1980s and early 1990s, the rap scene slowly expanded and took root in New Orleans. We started calling ourselves a crunk group, so we kind of paved the way. [and] fractured, excessive bodies telling us something that diverse southern cultures don't want us to say." Crunk songs often use tempos around 75 b.p.m., which, being relatively slow within the rap spectrum, allows for sparse beats to be accented with double-time hi-hat parts and bass drum fills. Mystikal, on the Big Boy label, became one of the earliest artists from the Crescent City to break nationally, possibly due to the fact that he eschewed the bounce sound almost entirely. Italy Best was founded in 2021, and its the online magazine that brings you everything thats the best about Italy. Jon then describes the plotline for the video produced to promote the 2002 song "I Don't Give a F---," in which the artist and his rather nondescript and burly sidemen "aren't on the guest list" and eventually "rush the VIP [the most exclusive section of the club]", demonstrating, to some degree, a resistance to the glorification of wealth and status that has often characterized rap culture.90Celeste Fraser Delgado, "Crunk Candy: On Location with Lil Jon, Trick, Hootchies, and Director Mamas," Miami New Times, June 23, 2003. tippy('#footnote_plugin_tooltip_1518_1_90', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_90').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); The association of crunk with the lower social orders mirrors its association with the lower regions of the body or with previous stages in human evolution. First and foremost, the city must produce rap music which is of interest to outside audiences. Production was handled by Smoke One Productions, E-A-Ski & CMT, with Tony Draper serving as executive producer. Many participants credit 2 Live Crew's "Throw the D" (1986) as the first bass record, but it was joined by efforts from early Miami artists like Gigolo Tony, MC A.D.E., Clay D., The Gucci Crew, and veteran DJ and producer Pretty Tony. Ultimately, the distinctiveness of crunk has as much to do with the ways in which it has been marketed and discussed as with its musical qualities.102Negus, Music Genres and Corporate Cultures, 28. tippy('#footnote_plugin_tooltip_1518_1_102', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_102').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); The forces that propelled crunk from the underground to the mainstream were multiple and intertwined. Riley was inspired to relocate to the beach town after attending the Labor Day bash known as "Greekfest," which by the late 1980s had become "an anarchic event attracting tens of thousands of students and fun-seekers." 8Ball & MJG were the label's flagship act, beginning with Comin' Out Hard (1993), the duo's debut album and the label's inaugural release. Orlando-based producer DJ Magic Mike crafts instrumental pieces that showcase exceptionally deep and long bass tones. Artists, producers, and record label owners in those urban centers depended upon relationships with other like-minded folks in the cities' hinterlands in order to stage concerts and sell recordings. Recording sessions took place at X Factor Studios, Echo Sound, Half Oz. New York: Da Capo Press, 2007. Despite their status as "one of the key acts defining southern hip-hop" in the mid-1990s, UGK was not able to fully capitalize on their popularity.29Sarig, Third Coast, 56. tippy('#footnote_plugin_tooltip_1518_1_29', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_29').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Five years passed before they released another album, and in 2002, Pimp C was sent to prison for aggravated assault. The debut album from a Mississippi-based artist named Dirty South was advertised in XXL magazine in early 2002. It was released on July 29, 1997 through Suave House/Relativity Records. The consent submitted will only be used for data processing originating from this website. A lot of these small towns got crazy niggas killing and cutting each other's throats. Enjoy the made in Italy tag! 6, November 28, 2004; Andrew Pettie, "Reviews: Music," Daily Telegraph (London), January 22, 2005; Collins, "Crunk," 11; "Box Office: The Lowdown," Independent on Sunday, 27; Loza, "Pitbull." The emerging Miami Bass scene is the lyrical subject of the b-side of "Throw the D.". Some user-contributed text on this page is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. The Album of the Year - Wikipedia The World Ain't Enuff is the third studio album by American rapper Tela. In late 1991, the New Orleans scene and style changed dramatically due to the impact of a song called "Where Dey At" by MC T Tucker and DJ Irv. . As detailed in a later section, "Get Crunk," Atlanta's position at the center of the southern rap spotlight made it easier for artists like Lil Jon or D4L to pitch their approaches to making music as a subgenre of rap (crunk and snap, respectively). New York Times, sec. Sample from Missy Mist, "Gettin' Bass," Never Stop Productions, 1989. While it is not impossible for an artist or record label from a marginal place to become successful in rap, the process of mutual reinforcement favors already-established places. As the popularity of Arrested Development demonstrated, national critics and audiences were more comfortable with representations of southernness in textual or visual imagery than they were with engagements of the musical style increasingly associated with southern rap scenes. What is at stake in the creation of imagined spaces of rap? tippy('#footnote_plugin_tooltip_1518_1_49', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_49').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); While it seems just as logical to connect a "dark sound" (or contemporary Memphis conditions) to the historical legacy of racism and poverty in the Delta region, either explanation conflicts with Kim O. List of compilation albums, with selected chart positions Title Album details Peak chart positions US R&B; The Album of the Year (with Suave House Records) . The innovative designs from this Milan fashion brand are made through a mix of art, surrealism, and charm.