We take a closer look at the sub-genre and its protagonists.
US rap from the 90s – for many the golden era of hip hop. The raw, hard sound of East Coast boom-bap and the party-ready G-Funk of the West Coast usually define this period. And rightly so, but this ignores a sub-genre whose influence and history should not be overlooked – Memphis rap, also known as Memphis horrorcore. The ominous, almost devilish beats, as well as the brutal lyrics that the rappers perform with the typical Memphis flow, continue to shape hip hop to this day.
The origins of Memphis rap
DJ Spanish Fly is widely regarded as the founding father of the sub-genre. The original house DJ developed a dark, slow sound towards the end of the 80s, which he repeatedly incorporated into his sets. For example, he popularized the Roland TR-808 drum machine, whose hard-hitting samples have become an integral part of the hip-hop scene today. DJ Squeeky, a fan of Fly, saw the potential for rap instrumentals. At the beginning of the 90s, the first independent mixtapes were quickly created, featuring artists like 8Ball & MJG and Kingpin Skinny Pimp. Squeeky and his colleagues made all the recordings themselves, produced the tracks in their home studio and were even responsible for distribution themselves. The number of many of these tapes is less than 100, making them real collector’s items. Some of them are (fragmentarily) available online, such as VOLUME 1, whose DIY character cannot be ignored.
The first rap stars from Memphis: Three 6 Mafia
The sinister Memphis sound was perfected by DJ Paul & Juicy J, who founded the rap crew Backyard Posse in the early 90s – together with Paul’s half-brother Lord Infamous – which later became the Three 6 Mafia. Paul Duane Beauregard (DJ Paul), Jordan Michael Houston III (Juicy J) and Ricky Terrell Dunigan (Lord Infamous) took the horror elements that were already found in Fly and Squeeky’s mixtapes to a new level. Paul and J processed samples from scary movie soundtracks and hard TR-808 drum loops into dark, trance-like beats that Lord Infamous and soon other artists embellished with rap parts about the brutal life in their city.
The circle around the Backyard Posse quickly expanded: Crunchy Black, Gangsta Boo and Koopsta Knicca joined the trio to eventually form Three 6 Mafia. A collective formed around the core group, which included well-known rappers such as Project Pat, Kingpin Skinny Pimp, Gangsta Blac, Frayser Boy and many others.
Other artists were also able to establish themselves independently of the Mafia pioneers. Important names here include DJ Zirk, Al Kapone, MC Mack, Princess Loco and Tommy Wright III. They all shared the sound of their local hip-hop scene.
This is what makes the typical Memphis sound
The producers from Memphis were very limited in their options. The home studios in which most of the productions were made only had simple equipment, such as simple 4-tracks or the already mentioned TR-808. So they had to find ways to implement their vision despite the limited scope. The devices were alienated from their original purpose in order to open the door to a new sound. DJ Paul & Co played their drum loops programmed on the 808 in halftime – i.e. at half the speed – to create the aggressive basic atmosphere. The resulting consistent hi-hat pattern, which has influenced mainstream hip-hop in recent years, has its origins here. The 808 bass, as hip-hop heads know it today, was also an invention of the Memphis beatmakers. Another element is the cowbell of the Roland drum machine. By pitching it was converted into a melodic component. Tommy Wright III’s 1994 track “Murder in the First” is a good example that uses all of these techniques.
Sampling was also a common technique for producing beats in Memphis. However, the DJs there had a different approach to it: Instead of jazz classics á la East Coast, or soul and funk like in the West, producers in Memphis resorted to horror film soundtracks or similarly dark-sounding music. In contrast to their colleagues in the hip-hop strongholds, they only chopped their samples very roughly and sometimes even let them run completely unchanged over their drum loops. In general, the beats are monotonous, there are few switch-ups or B-parts. “Shit Popz Off” by DJ Zirk exemplifies this type of beat. The (still unknown) sample runs here for almost five minutes.
Fun fact: Efro and radio father Frank have the beat for it Gianni Suave track “The Hills Have Eyes” processed.
Soul and jazz samples can also be heard here and there – see the iconic track “Sippin’ on Some Syrup”which uses Marvin Gaye – but they are by no means as relevant as in other parts of the USA at the time.
Sampling as homage
The song also shows another phenomenon that can be found in this genre: individual vocals from older tracks are picked out and put together to create hooks. Using “Sippin’ on Some Syrup” as an example: The hook, which only consists of the line “Sippin’ on some sizzurp”, actually comes from that Track “Ballers” by Project Pat and Gangsta Boo. Some of Memphis’ most famous acts use this technique.
Another example: “Powder” by Gangsta Blac is almost entirely riddled with the vocal sample “Powder get you high”. It says so in the original track “Dirty South” by Goodie Mob actually “Powder gets you hyper”.
The flow and the lyrics
It wasn’t just the producers from Memphis who made use of special techniques. The rappers also contributed their part to the characteristic sound. The flows used are more diverse than a first listen to some of the tracks would suggest. Lord Infamous, for example, popularized the so-called triplet flow. He rapped three syllables for every quarter note in the beat. A technique that the Migos in particular later adopted.
An example of the triplet flow can be found on “Where’s Da Bud” by Three 6 Mafia:
Aside from that, the MCs coined more monotonous flows in which they included as many syllables as possible to support the trance-like vibe of their music. These can sometimes be presented more, sometimes less aggressively.
Thematically, Memphis rap mostly revolves around topics such as drugs and violence, but sometimes drifts into the occult. What is certain is that the artists from this city – rappers and producers alike – were strongly influenced by their immediate surroundings.
From Memphis out into the wide world
The influence of this music can be unmistakably heard in current mainstream hip hop. No matter whether it’s about the drum loops, the 808 bass or the triplet flow – Memphis rap has shaped today’s hip hop and yet flies under the radar for many, especially younger rap fans. For example, anyone who celebrates 21 Savage, Migos, Future and A$AP Rocky should at least give this genre a chance.
You can find a playlist that offers you a short introduction to Memphis rap here:
Not only American mainstream artists find a lot of inspiration here, music genres such as cloud rap, mumble rap, and phonk also have their roots in Memphis. Even in our latitudes we find artists who follow in the footsteps of DJ Paul, Juicy J & Co. Lugatti & 9ine for example, they often refer to it in their verses. Traya, who produces for the two, samples old Memphis songs for his hooks, in the tradition of his role models. The hook from “AK” is, for example, the track “Hit The Blunt” taken from Gimisum Family.