A guide (of sorts) to Bushwick Bill

Born December 8^th 1966 in Jamaica, Bushwick ‘Richard Stephen Shaw’ Bill is a Jamaican-American rapper who rose to prominence in the late 80s and early 90s as part of the rap group Geto Boys. A central figure in the Houston rap scene, Bushwick and the Geto Boys helped put Southern hip-hop on the map, paving the way for entire new generations of MCs. Overshadowed by his fellow Geto Boys member Scarface, Bushwick is an important figure in rap history in his influence on Southern, gangsta and horror-core rap, who since the dawn of the 21^st century has struggled to maintain the same importance and reverence that I feel he deserves from rap fans. The Geto Boys are a legendary group, essential listening for any hip-hop fan, with multiple classic albums, and Bushwick is the only member to remain since the groups first reformation in 1988 – admittedly he was only a hype man and dancer on the first album, but he would come into his own in the group with subsequent releases.

Interviews with Bushwick reveal some absurd stories from his life, including the now famous cover of We Can’t Be Stopped, which sees Bushwick being pushed through hospital by Scarface and Willie D after he had attempted to kill himself. The background to this story is that Bushwick forced his own girlfriend to shoot him in the eye by threatening to hurt their child so he could claim insurance money to help his mother; he even awoke in the morgue after doctors had declared him dead, now blind in one eye. He covers this event on his album Little Big Man in the song ‘Ever So Clear’.

Bushwick’s early solo albums are also impressive, the rapper tackling heavy themes of depression, suicide, and American politics, alongside his trademark gangster and horror-core blend of rap. His output has continued to persist into the 21^st century, if lacking the same relevancy he achieved in the 80s and 90s, but his dedication to the rap game has not dwindled. This guide aims to look at the essential works of Bushwick Bill, to shine insight onto an oft-forgotten MC who is a masterful storyteller, able to intertwine comedy, tragedy and horror with the deftest of touch. 

 Making Trouble (1988)

Critically panned and a commercial failure, the Geto Boys’ first album barely received any attention at the time of release, with the resulting changes to the group that occurred because of the disappointing reception leaving this record to be largely forgotten. Bushwick Bill does not feature until the final track, and even then he is only given a small speaking role – perhaps if the MC had been given more opportunities to rap the album wouldn’t have been such a failure, but then perhaps this would have stopped the later classics that were released? For what it’s worth, ‘Assassins’ has been called the first ever horror-core track, and ‘Why do we live this way?’ stills hold up today – the verses are reasonably basic, but the production carries the track, including a fantastic jazz-solo at the end over the beat. The album is by no means essential, but could be an interesting listen for fans interested in the history of the Geto Boys and Southern rap in general.

Grip It! On That Other Level (1989)

With the failure of Making Trouble, Scarface and Willie D were brought into the group, and the Geto Boys that we know and love today was born. Grip It! has been compared to Straight Outta Compton for its controversial, politically charged and shocking lyrics, and whilst it’s impact and influence was not as far reaching as the seminal NWA classic, it’s still an exceptional record. The production is very much of the period and may be off putting for new listeners unaccustomed with the Geto Boys’ sound, but it’s a fitting backdrop for the newly formed group, complimenting their blunt and brutal sound. Willie D and Scarface (then going as DJ Akshen) dominate the record, with Face’s flow and persona quite different to the artist he would transform into on follow up records. As for Bushwick, of the three MCs he’s given the least to do on the record, but when he does rap, he shines. ‘Size Ain’t Shit’ is all Bushwick, a hilarious track that sees Bushwick explain how easily he’ll fuck you up and please your woman if you take his size for granted. On ‘Trigga-Happy Nigga’ Bushwick brilliantly tells the story of a liquor store robbery, before rounding out the album on ‘Mind of a Lunatic’ with one of the most shocking, horrific stories verses ever laid on wax. I won’t spoil the content of it, because if you haven’t heard it you need to now; needless to say before Tyler, The Creator, Eminem or Big L there was Bushwick Bill and he was making everyone else look tame.

We Can’t Be Stopped (1991)

The follow up album to Grip It!, We Can’t Be Stopped is another essential album in the pantheon of Southern hip-hop, taking the core shock-rap the group made their name on and venturing deeper into the politics of it. The opening title track sees Willie D and Bushwick trading bars over their previous album, calling out the racist hypocrisy of major label Geffen Records, and the failure of the media to report the ugly reality of being black in America. The rest of the album follows in a similar fashion, the Boys saying what they feel and not apologising for it, and whilst sometimes this can make for uncomfortable listening, particularly in regards to the misogyny present throughout, it’s unsurprising for a group that tried to push the boundaries of what you can and can’t say. The album is best when it’s not trying to immediately shock for the sake of it, such tracks as ‘I Ain’t With Being Broke’ earnestly tackling poverty, and Bushwick’s solo track ‘Fuck A War’ ripping to shreds the United States military, which includes one of rap’s best intro skits. The delivery across the album from all three MCs is fast, angry and blunt, and the production holds up far better than Grip It!. It’s an album that’s a shock to the system and Bushwick, Scarface and Willie D are all on top form weaving politics, shock rap, storytelling and bleak comedy to form their unique sound. Finally, of course, the album includes ‘Mind Playing Tricks On Me’; the Geto Boys’ haunting, intoxicating tale of drug infused paranoia and violence. Simply one of the best songs ever made.

Little Big Man (1992)

 

Bushwick Bill’s first solo album is a fun, silly and solid effort. It’s far from a classic album or even essential, but fans of Bushwick and the Geto Boys will certainly enjoy it. There are some great hyped up tracks, including the titular ‘Little Big Man’ and ‘Call Me Crazy’, the latter of which has a really wild, enjoyable hook to rap along to. The production is fairly standard early 90s, but it holds up quite well, dominated by strong drums and basslines, with some funky and soulful samples laced throughout for good measure to break up the potential monotony of it. Bushwick covers his usual topics, including his relationships with women, his height difference and his crazier side; all of which are tackled in his juxtaposed style of black comedy. ‘Ever So Clear’ is the stand out track on the album, the most personal song that explains the story of how he lost his eye and the famous cover of the Geto Boys’ We Can’t Be Stopped album. The production on this track has underlying tender beauty to it, complimenting Bushwick’s honesty about his impoverished background, physical disabilities, depression, paranoia and other personal tragedies that is difficult to listen to, providing a new insight into the psychotic, gangster persona that is normally fronted. This sort of deeply intimate and personal track is indicative of Bushwick’s importance at the forefront of rap, willing to open his soul to the listener long before this became the norm.

  

Till Death Do Us Part (1993)

 

Bringing in Big Mike to replace the recently departed Willie D, the Geto Boys’ fourth album is a safe, solid effort in their already strong catalogue. Offering the cleanest production of their albums up until this point; a steady Southern boom bap laced with funky basslines, but it ultimately lacks the abrasiveness of their first few efforts, reflecting a lack of energy throughout the album. Scarface steps up as the main MC on the album, however, and he is impressive throughout, especially on tracks like ‘Street Life’ and ‘It Ain’t’ – setting the stage for his classic solo release The Diary a year later. Outside of Face, Bushwick and Big Mike are unimpressive, trading basic rhymes about the gangsta rap lifestyle, without any of the forced shock of their previous efforts. There’s very little to fall in love with or hate about this album, it’s simply a safe effort and it’s clear that the change in group dynamic put the Boys on the back pedal. This is a nice album if you’re in the mood for some mindless Southern hip hop, but it’s far from the best Bushwick and the Geto Boys have to offer.

Phantom of the Rapra (1995)

Returning to another solo album, Bushwick released the excellent Phantom of the Rapra, and I’ve often felt it acts as a companion piece of sorts to 2Pac’s classic 1995 album Me Against The World. I don’t think anyone is going to argue that this album is better than MATW, but if you’re in the mood for more brooding, dark, angry and emotionally raw music then Phantom of the Rapra is certainly worth a listen. Bushwick’s style is honed and refined on this album, flowing with a relaxed Southern drawl that sees him ride the beat as well as he has ever done in his career. He’s rapping near his peak on this album, carrying it with barely any features, and packing in an enormous breadth of content. The concept of an opera x rap crossover is an interesting one, and at times Bushwick truly embraces the performative nature of both genres, rapping as though he’s the last man on earth – a crazed messenger for the end of the world. Tracks like ‘Wha Cha Gonna Do?’, ‘Times Is Hard’ and ‘Only God Knows’ are brilliant, painful listening; ‘Who’s the Biggest?’ and ‘Subliminal Criminal’ are angry, posturing tracks; and the final track ‘Mr. President’ is a first amendment address attacking the hypocrisy in blaming the rap game for violent crime, with some fantastic synth filled production. The second half of the album undoubtedly is weaker than the first, ‘Inhale Exhale’ and ‘The Bushwicken’ are forgettable, and it can’t quite capture the cutthroat honesty of the first half. Ultimately, on this record Bushwick hones his craft as a rapper, pushing his boundaries in terms of concept albums, but still grappling with the themes that have defined his career until this point. Bushwick has never been a particularly nuanced or subtle MC, but when he’s on point he can cut right to the core of the listener as well as anyone else.

The Resurrection (1996)

The aptly titled fifth Geto Boys album sees the return of the most beloved three members: Scarface, Bushwick Bill, and Willie D. With production led by Mike Dean (of Kanye West collaborator fame), The Resurrection is arguably a Southern classic. Dean heralds the production on the album alongside N.O. JOE and Scarface, lending The Resurrection far better longevity than any of their other albums. Soul samples, funky basslines and a general sound that oozes Southern rap makes this feel like their most mature album. Largely gone are the pure-shock raps from their previous albums, instead the album switches back and forth between gangster rap and hard-hitting political songs. It perhaps feels less like a Geto Boys’ album because Scarface takes the lead on verses, and whilst he is clearly the most gifted member of the three, Bushwick and Willie D do feel somewhat side-lined. Bushwick’s verses are few and far between, but they’re really strong throughout; ‘The World Is a Ghetto’, ‘Time Taker’ and ‘I Just Wanna Die’ are brilliant, open-hearted tracks, with Bushwick continuing to follow on from his style in Phantom of the Rapra. There are a handful of good features throughout, including members of FACEMOB and Menace Clan, but the album is strongest when the three members are on the track together. At this point in time if you don’t like the Geto Boys, you probably won’t like this album, but on The Resurrection the Geto Boys refined their style to its peak, offering an ode to the South and Southern rap in general that stands the test of time.

Concluding Thoughts

If this guide seems somewhat short it’s because it is. There are already seven Bushwick Bill albums that I have recommended to varying degrees, and more than an enough content to get to grips with and become a fan of, despite his lofty career after 1996. In a matter of seven years Bushwick Bill was involved in seven original albums, as well as a remix of Grip It! that came out in 1990. Essentially releasing a new album every year, Bushwick not only has the quantity but also the quality, pioneering Southern hip hop with the Geto Boys and releasing three classic albums in this period. Whilst his solo albums have never quite reached the lofty heights of his work with the Geto Boys, there’s still a lot to be enjoyed, and in his heart-wrenching lyrical honesty Bushwick was at the forefront of brutally autobiographical rap, the likes of which 2pac, Nas and Scarface made a career out of. A legendary MC who has arguably been forgotten with time, emphasised by the fact that the Geto Boys were unsuccessful in Kickstarting an album recently, I hope that this guide sheds some light on Bushwick Bill and the Geto Boys, and encourages more people to give his and their work a chance.