Dirty Roots: Southern Hip-Hop Part I -- The 12" Era (1979-1983)

As far as my ears can tell, pretty near every rapper from Inglewood to Plumstead nowadays owes more than a little something to the rise of the Dirty South sound that pretty much took over hip-hop in the late1990s. As anyone with more than a passing familiarity with the genre knows, however, southern hip-hop was for many years primarily a regional concern. In the 1970s the hip-hop scene was firmly centered in the Northeast. In the early 1980s it made its way to the West Coast but as far as mainstream audiences were concerned, skipped the third and fourth coasts. In the 1990s, many casual fans and scholars alike will tell you, there was a war between the East and West Coasts during some Southern upstarts crashed the party and, despite the efforts of the backpack Taliban, restored a sense of fun to a genre which had increasingly grown joyless and conservative. 

The Sequence

In actuality, southern rap is almost as old as rap itself. Hip-Hop might've been born in the Northeast but it was quickly recognized and received throughout the urban centers of the US, Canada, and the UK. In the 1970s, hip-hop was primarily experienced live -- or on amateur recordings made of live performance -- and hip-hop clubs and radio shows appeared in many American cities. Although vinyl records were central to hip-hop as sources of DJ samples it wasn't until 1979 that the first hip-hop recordings themselves began to make their way to the 12" single format. That year groups like Funky Four Plus One More, Spoonie Gee, Jazzy 4 MC’s, Grandmaster Flash and The Furious Five, First Class, Jocko, Mr. Q, and others recorded the first hip-hop singles. One of the rap releases of that year was The Sequence’s “Funk You Up.” The Sequence --Cheryl “Cheryl The Pearl” Cook, Gwendolyn “Blondy” Chisolm, and future soul star Angie “Angie B.” Brown Stone -- were a group of high school cheerleaders from Columbia, South Carolina who signed toSugar Hill and were likely both the first female rap group and the first southern rap group on record. 

In 1980 all rap was still primarily party music and given much of the South's acceptance on equal terms of partying and preaching, it should surprise no one that the first rap record cut in the south, Danny Renée And The Charisma Crew's "Space Rap," was a disco-rap tune that did little to challenge that perception. However, although Renée and the Charisma Crew (Theresa McKie, Otis Johnson, and Marty Williams) weren't exactly musical pioneers, they were quietly progressive in their gender-integration and their lyrical preoccupations with "bass in the face," booty-shaking, and sex -- themes which would soon develop into the tropes of southern hip-hop. And although bass wouldn't emerge as a rap sub-genre until around 1985, the alien robot (by Robotron from the planet, Rap-On) introduction on "Space Rap" and science-fiction concerns would even later be common features of many an electro bass record. I could find almost nothing about this group but it seems to have been the group's only release, the only song recorded at Atlanta’s Melody Recording Studios, and one of the few singles recorded for that city’s Shurfine Records.

The future arrived some time in 1981 CE. That was the year that Grandmaster Flash & the Furious Five released what was likely the first electro song, “Scorpio.” In Detroit, Number of Names released what many consider to be the first Detroit techno record, “Sharevari.” Somewhat surprisingly then, given the fact that electronic hip-hop production was ultimately embraced nowhere more than in the south, the only southern rap release that I know of from that year was The Flame and The Dynamite Three's funky but fairly standard disco-rap single, “Work Your Body,” recorded for Chattanooga, Tennessee’s Bronco Records. 

Several important developments occurred in black, underground music in 1982. Firstly, Peech Boys’ "Don't Make Me Wait” was perhaps the first garage recording. Secondly, Arthur Baker and John Robie created, with Boston's Planet Patrol, perhaps the first freestyle song, "Play At Your Own Risk." Whilst garage remained for many years associated almost wholly with New York and New Jersey, freestyle would make its way (thanks to Baker, Robie, and Freeez) to the UK and (thanks to Pretty Tony) to Florida. Freestyle, orLatin hip-hop -- essentially salsafied electro --  was a natural fit in sunshine state and Tony (Anthony Butler) crafted hits for Debbie Deb, himself, and his group Freestyle, who released “When I Hear Music,”“Fix It In The Mix,” and “Freestyle Express,” respectively.

1983 proved to be a significant year in hip-hop not as far as the freestyle explosion but across the entire rap genre and even the western world. Wild Style was released in theaters in the US, Canada, Denmark,Hungary, Italy, Spain, and West Germany. In November 1982, Afrika Bambaataa, Fab 5 Freddy, Grandmixer DST, Mr Freeze, and the Rock Steady Crew embarked on the New York City Rap Tour which brought them to France and the UK where the first British rapper on record (although it should be noted Adam Ant and George Michael had previously rapped on record), Dizzy Heights, released “Christmas Rapping” in time for the 1983 holiday season (and teamed up with The Style Council). 1983 also, by most estimations, marked the end of the 12" Era and the beginning of the New School Era, characterized by an increased focus on cohesive LPs rather than novelty, disco-rap singles. In the South, there would a market for the latter and its antecedents, which in the New School Era often mean bass, and in later eras lead to the South's takeover.

Stay tuned for Part II of Dirty Roots: A History of Southern Hip-Hop

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Eric Brightwell is a writer, rambler, explorer, cartographer, and guerrilla gardener who is always seeking writing, speaking, traveling, and art opportunities. He is not interested in writing advertorials, clickbait, or listicles and jobs must pay more than slave wages as he would rather write for pleasure than for peanuts. Brightwell’s written work has appeared in Amoeblog, diaCRITICS, and KCET Departures. His work has been featured by the American Institute of Architects, the Architecture & Design Museum, the Craft & Folk Art Museum, Form Follows Function, Los Angeles County Store, Skid Row Housing Trust, and 1650 Gallery. Brightwell has been featured in the Los Angeles Times, Huffington Post, Los Angeles Magazine,LAist, Eastsider LA,Boing Boing, Los Angeles, I’m Yours, and on Notebook on Cities and Culture. He has been a guest speaker on KCRW‘s Which Way, LA? and at Emerson College. Art prints of his maps are available from 1650 Gallery and on other products from Cal31. He is currently writing a book about Los Angeles and you can follow him on Facebook, Instagram, and Twitter.

Black Hillbilly - or - What you really know about the Upper South?

The first non-Native American settlers of Appalachia and later, the Ozarks, were of primarily of three ethnicities: Scots-Irish, English, and German. These hard-working farmers and craftsmen created a distinct culture which in the 19th Century came to be named “hillbilly.” Although the Northern European roots of hillbilly are routinely acknowledged, even scholars on the culture are far less likely to recognize hillbilly’s other significant place of ancestral origin, West Africa.

Hillbilly music’s biracial parentage should be immediately evident to anyone with any knowledge of the music’s primary instruments, the fiddle and the banjo. The modern fiddle (or violin) may have originated in 16th Century Italy but similar bowed instruments preceded its development by several centuries and the violin made its way to the Americas thanks to English colonists. The banjo, descended from the numerous plucked instruments of West Africa such as the akonting, ngoni, and xalam, was introduced to the Americas by African slaves.

Famous slave owners like George Washington, Thomas Jefferson, James Madison, James Monroe, Andrew Jackson, Martin Van Buren, William Henry Harrison, John Tyler, James K. Polk, Zachary Taylor, and Andrew Johnson routinely required their forced laborers to learn to play violin to entertain their friends and themselves at plantation balls and the White House.

The fiddle and the banjo soon made their way to the mountains of the Upper South where they were played at barn dances and frolics by free men. Although it’s probably a widely held assumption that free blacks all hightailed it to the North, most actually remained in the South. Many free black southerners came from the Caribbean or had lived in France’s La Louisiane, where blacks were free until it was purchased by the US. Even more were freed former slaves who either elected to remain or were unable to leave. In 1860, 84% lived not in the Deep South, however, but in the hilly Upper South (Arkansas, Kentucky, Missouri, North Carolina, Tennessee, and Virginia).

Although black musicians were influenced by white minstrels — often adding minstrel compositions to their repertoire — white minstrels of course took most of their inspiration from black culture. Although the earliest known document of the banjo and fiddle being played together is by The Virginia Minstrels in 1840, black banjo players were documented as having played both the banjo and fiddle in the proximity of one another as early as 1774, at a barbecue near the Florida-Georgia border. The Virginia Minstrels’ first banjoist, Bill Whitlock, also had learned his instrument from black musicians when he was a member of a traveling circus.

The Armstrong Brothers Band

Although hillbilly music, then, had revolved around the pairing together of the fiddle and banjo for many years, in the recording age record companies segregated music into racially-specific genres to simplify their marketing. Companies marketed “race music” to the black, record-buying public — which included blues, gospel, and jug band music among other genres. “Hillbilly music” was targeted toward the white public. Black hillbilly musicians, then, quickly learned some other tunes if they hoped to cut music for anyone besides field recorders and ethnomusicologists.

The Ebony Hillbillies (image source: Canberra Jazz Blog)

Take the case of DeFord Bailey. Bailey was the first black musician to play on the Grand Ole Opry, had a grandfather who’d been a champion Tennessee fiddler in the 1880s, and as a child played alongside relatives at the Wilson County Fair with The Bailey Family Band. In 1975 he revealed to an interviewer, “I never heard the blues till I came to Nashville to work. All I heard as a boy back then was what we called black hillbilly music.”

The Carolina Chocolate Drops (image source: MTV)

Beginning in the 1910s, all of hillbilly culture had begun to vanish along the hillbilly highway, an exodus from the mountains in which many hill folk moved to cities in search of work in the industrial sector and led to a good deal of popular entertainment based on regionalist stereotypes. In the 1940s, field recorders documented some black hillbillies, whose music by then often blurred the lines between blues and jazz. More musicians passed on and few of their descendants followed in their ancestors’ musical footsteps — although a few taught white musicians with whom hillbilly music came to be almost exclusively identified, musicians like A. P. Carter (taught by Lesley Riddle), Bill Monroe (taught by Arnold Shultz), and Hank Williams (taught by Rufus “Tee-Tot” Payne).

If you’re interested in hearing black mountain music, here’s a discography which includes examples from all eras of recorded music:

Blind James Campbell and his Nashville Street Band: Blind James Campbell and his Nashville Street Band (1995)

Butch Cage and Willie B. Thomas: Old Time Black Southern String Band Music (2006)

Cannon’s Jug Stompers: The Best of Cannon’s Jug Stompers (2001)

Cats and the Fiddle: Killin’ Jive: 1939–1940, Complete Recordings, Volume 1 (1999)

Carl Martin: Carl Martin / Willie "61" Blackwell - Complete Recorded Works In Chronological Order (1994)

Carolina Chocolate Drops: Dona Got a Ramblin’ Mind (2006), Carolina Chocolate Drops & Joe Thompson (2008), Genuine Negro Jig (2010), Heritage (2011), Leaving Eden (2012),

The Chicago String Band: Chicago String Band (1966)

Deford Bailey: The Legendary DeFord Bailey (1998)

The Ebony Hillbillies: Sabrina's Holiday (2004), I Thought You Knew (2005), and Barefoot And Flying (2011)

Elizabeth Cotton: Freight Train and Other North Carolina Folk Songs and Tunes (1989)

Gus Cannon: Complete Recorded Works In Chronological Order: Volume 1 (November 1927 To 20 September 1928) (1990)

Henry Thomas: Texas Worried Blues: Complete Recorded Works 1927-1929 (1991)

Howard Armstrong: Louie Bluie (1995)

Joe Thompson: Family Tradition (2009)

Martin, Bogan & Armstrong: Barnyard Dance (1972), Martin Bogan & Armstrong (1974), and That Old Gang Of Mine (1978)

Mississippi Sheiks: Complete Recorded Works Presented In Chronological Order, Vol. 5 (1991), Mississippi Sheiks & Chatman Brothers - Complete Recorded Works In Chronological Order: Volume 4 (26 March 1934 To 15 October 1936) (1991), Complete Recorded Works In Chronological Order Volume 3: 25 October 1931 To 2 6 March 1934 (1991), Complete Recorded Works In Chronological Order Volume 2: 15 December 1930 To 24 October 1931 (1991), Complete Recorded Works In Chronological Order Volume 1: 17 February To 12 June 1930 (1991)

Peg Leg Howell & Eddie Anthony: Complete Recorded Works In Chronological Order: Volume 1 (8 November 1926 To 13 August 1928) (1993)

Sankofa Strings: Colored Aristocracy

Spirits of Rhythm: The Spirits Of Rhythm 1932-34 (1985), Spirits Of Rhythm 1932-1941 (1996)

Tommie Bradley - James Cole Groups: 1928-32 (Complete Recorded Works In Chronological Order (1991)

Various Artist Compilations:


Ain’t Gonna Rain No More: Blues and Pre-Blues from Piedmont North Carolina (2006), Altamont: Black Stringband Music From The Library Of Congress (1989), Before the Blues: The Early American Black Music Scene, vol. 1–3 (1996), Black & White Hillbilly Music: Early Harmonica Recordings from the 1920s & 1930s (1996), Black Banjo Songsters of North Carolina and Virginia (1997), Black Fiddlers (The Remaining Titles Of Andrew & Jim Bxter, Nathan Frazier & Frank Patterson. The Complete Recorded Works Of Cuje Bertram) (1929-c.1970) (1999), The Cornshuckers’s Frolic: Downhome Music and Entertainment from the American Countryside, vol. 1 and 2 (1999), Country Negro Jam Session (1993), Deep River of Song: Black Appalachia: String Bands, Songsters and Hoedowns (1999), From Where I Stand: The Black Experience in Country Music (1998), Old Time Black Southern String Band Music (2006), String Bands: 1926–1929 (1993), and Virginia Traditions: Non-Blues Secular Black Music (1995)



Further Reading:

African Banjo Echoes in Appalachia: A Study of Folk Tradition (1995), by Cecelia Conway

Hidden in the Mix: The African American Presence in Country Music (2013), edited by Diane Pecknold

Slaves Without Masters: The Free Negro in the Antebellum South (1974) by Ira Berlin

Sinful Tunes and Spirituals: Black Folk Music to the Civil War (1977), by Dena Epstein

“Black String Bands: A Few Notes on the Lost Cause” (1987) and “Rural Black String Band Music” (1990), by Charles K. Wolfe

*****

Eric Brightwell is a writer, rambler, explorer, cartographer, and guerrilla gardener who is always seeking writing, speaking, traveling, and art opportunities; however, job offers must pay more than slave wages as he would rather write for pleasure than for peanuts. Brightwell’s written work has appeared in Amoeblog, diaCRITICS, and KCET Departures. His work has been featured by the American Institute of Architects, the Architecture & Design Museum, the Craft & Folk Art Museum, Form Follows Function, Los Angeles County Store, Skid Row Housing Trust, and 1650 Gallery. Art prints of his maps are available from 1650 Gallery and on other products from Cal31. Brightwell has been featured in the Los Angeles Times, Huffington Post, Los Angeles Magazine, and on Notebook on Cities and Culture. He has been a guest speaker on KCRW‘s Which Way, LA? and at Emerson College. He is currently writing a book about Los Angeles and you can follow him on Facebook, Instagram, and Twitter.