But they were also funny, and charismatic even at their nastiest. The Geto Boys were irate, and they were nasty: You did not want to get caught with this tape in your Walkman at school. DJ Ready Red worked on the album but left before it was finished accounts vary, but in that Houston Rap Tapes book he cites “funky arithmetic.” But you can still hear his voice on the title track, and you can also hear the Geto Boys observe that Geffen Records proudly distributed the likes of Guns N’ Roses, or for that matter, shock-comic Andrew Dice Clay. Our manufacturer and distributor, however, do not condone or endorse the content of this recording, which they find violent, sexist, racist, and indecent.” The cover of Geto Boys, in fact, is remarkable in its own right: It looks like the Beatles’ Let It Be, except it’s Bill, Willie, Scarface, and Ready Red taking mugshots, and at one point the CD had a sticker that read, “Def American Recordings is opposed to censorship.
Geto Boys is a great album, but Geffen Records, which distributes Def American’s albums, refuses to distribute it, due to the murder and necrophilia and whatnot.
That’s another big philosophical change, in this era. And he works on a self-titled 1990 remix album, mostly reworked older songs, a few new ones, lyrical content spanning from murder to rape to necrophilia and whatnot. He suggests they change the spelling of their name from G-H-E-T-T-O to just G-E-T-O, for commercial purposes. He signs the Geto Boys to his new Def American label. That record also got Rick Rubin’s attention. Starting with 1989’s Grip It! On That Other Level, you know what the Geto Boys represent, and where they’re coming from, and where they want to go, and whom Willie D, for starters, is willing to steamroll to get there. They were proud to rep Houston and, of course, inspired thousands of other Houston rappers to be proud of being from Houston, but even better they helped establish the idea of being proud of wherever you were from, even if it wasn’t New York or L.A. The other big revelation was for the group to stop trying to sound like they were all from New York City, or sound like New York City, or sound like they wish they were in New York City. Here is an excerpt from a song called “No Curfew,” about their desire to not have a curfew. The album’s sound, as provided by DJ Ready Red with Sire Jukebox and Prince Johnny C rapping over top, is extremely Run-DMC. The group’s first song, from 1986, was called “Car Freak,” and their first album, from 1988, was called Making Trouble, and at this point Willie D and Scarface aren’t involved at all, and Bushwick Bill is only involved as a hype man and dancer. James Prince, the founder and CEO of Rap-A-Lot Records, put the first Geto Boys lineup together in the mid-’80s, and that lineup would mutate constantly.
Below is an excerpt from Episode 6, which looks at the backstory and legacy of the Geto Boys’ 1991 classic, “Mind Playing Tricks on Me.”
Geto boys the geto boys cover free#
Follow and listen free exclusively on Spotify. But what does it say about the era-and why does it still matter? On our new show, 60 Songs That Explain the ’90s, Ringer music writer and ’90s survivor Rob Harvilla embarks on a quest to answer those questions, one track at a time. “Wonderwall.” The music of the ’90s was as exciting as it was diverse.
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