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8Ball & MJG - Comin' Out Hard CD Cover Art CD music music CDs songs album

8Ball & MJG Comin' Out Hard CD

 8Ball & MJG Discography of CDs
4.7 stars (14 Customer Reviews)

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Personnel: Eightball, MJG.
Audio Mixers: 8Ball; Fresh; MJG; T-Money.
Along with OutKast's Southernplayalisticadillacmuzik (1994) and Goodie Mob's Soul Food (1995), Eightball & MJG's debut, Comin' Out Hard, is one of the most influential rap albums to come out of the South. It wasn't as widely heard as those others albums, nor was it as professional-sounding; however, its independent release by Suave Records, based in Houston, and its basement-level production were influential in their own way. A generation of underground Southern rappers would arise by the end of the '90s, many of them following the template of Comin' Out Hard: underground hardcore rap modeled after West Coast gangsta rap yet delivered in a distinctly Southern manner, released via an indie label with major ambitions. Even the cover artwork of Comin' Out Hard, courtesy of Pen & Pixel Graphics, was influential, as the company would go on to design all the bling-blinging No Limit and Cash Money albums of the late '90s. Unfortunately, Comin' Out Hard is more historically significant than it is impressive from a strictly musical point of view. The production is admittedly lo-fi, credited to the rappers themselves, and while the raps are effective, the hooks leave room for improvement. Eightball & MJG would indeed improve in the years that followed, ultimately releasing a classic at the end of the decade, In Our Lifetime, Vol. 1 (1999). Comin' Out Hard pales in comparison, yet it's an interesting album to hear from a historical perspective and is certainly noteworthy for its widespread influence, especially throughout the South. ~ Jason Birchmeier
Comin' Out Hard Music


Detailed Comin' Out Hard Music Information



List Price $18.98 (You save $4.69)
Category Rock/Pop Albums, R&B CDs, Rap, Urban Soundtrack, Gangsta, Southern Rap
Label Suave
Orig Year 1993
All Time Sales Rank   8340  
CD Universe Part number 1078175
Catalog number 1
Discs 1
Release Date Jul 06, 1993
Studio/Live Studio
Mono/Stereo Stereo
Producer Eightball; MJG
Engineer Eightball; Fresh; T-Money
Recording Time 41 minutes
Personnel T.I.
MJG
Eightball
Outkast - 1994 and Goodie Mob's Soul Food
Comin' Out Hard
Fresh
8Ball & MJG Comin' Out Hard Songs


8Ball & MJG Comin' Out Hard Album Track Listing



1.Intro  
2.9 Little Millimeta Boys
3.First Episode, The
4.Armed Robbery  
5.Pimps
6.Comin' Out Hard
7.Mr. Big
8.Nigga's Like Us
9.Pimps in the House
Comin' Out Hard Music Review


Customer Comin' Out Hard Reviews 




Average Rating: (4.7 out of 5 stars) 4.5 stars

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5 stars Southern Classic
This is a Southern classic. Their next two albums had more songs but this one is just tight and raw. If you are a dirty south fan, there are some albums that you just have to have in your collection. 400 Degreez, Ghetto D, Mista Dont Play......and definitely this one.
Submitted by patrickperry (Sunflower, MS)
Was This Review Helpful? Yes No  1 of 1 found this helpful.

5 stars CLASSIC
This is what started the Legends legacy. Pimp tight!
Submitted by mrhoward11 (Los Angeles, Ca via Pensacola, Fl) Verified Buyer
Was This Review Helpful? Yes No

5 stars cool
the cd was good and it sound nice in my car
Submitted by trombone38109 (memphis, tn usa) Verified Buyer
Was This Review Helpful? Yes No

5 stars Changed my life
This is one of those cd's that you must have
Submitted by a reviewer (Chicago, IL, USA) Verified Buyer
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5 stars GANGSTA CLASSIC!!!!!!!!!!!!
they did came out hard in 1993 but 8ball got it wit that song "mr.big" now thatz really gangsta classic
Submitted by antone ((Natchez, Ms))
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The Om label is one of America's best sources for underground downtempo electronica and nu-jazz, and since 1998 the Om Lounge series has offered a consistently useful window into the type of quality and variety you can expect from the label's catalog. The tenth volume in the series is one of the strongest yet. On the album's opening track, Samantha James sets a high standard with her lush and gorgeous "Rise," a laid-back tune with a simple but gloriously catchy hook. Impressively, almost all of the other artists meet or come close to that level of chilled-out funky brilliance. Other highlight tracks include Jianda & Patchen's "Wish," which incorporates some subtly ...

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From her days as the lead singer of the cult act Crowsdell, Shannon Wright has always seemed like the best kept secret of indie rock. A talented, idiosyncratic singer with overtones of everyone from Lucinda Williams to Bjork, Wright really comes into her own on the outstanding LET IN THE LIGHT. Three years on from her last solo record, LET IN THE LIGHT has a wide-screen sound and depth of feeling that suggest the singer-songwriter has been hard at work in the interim. Highlights include the quietly intense piano ballad "They'll Kill the Actor in the End" and the sweeping waltz "Idle Hands."
Let in the Light is that very place where Shannon Wright -- onetime punk rocker and now longtime singer/songwriter of sparse, emotionally loaded, simple productions -- arrives in a creative place she perhaps never imagined. The album is recorded by Andy Baker (Steve Albini has either moved on or been replaced), who is sensitive to Wright's lyrics and her aspirations toward a more expansive sound world that embraces rock, cabaret, folk, and whatever else she feels like folding into the mix. Baker also plays bass, and Wright also uses drummer Kyle Crabtree and violinist Amanda Kapousouz here. Despite the relative -- everything is relative, especially here -- density of her mix, Wright is more disciplined than ever. Her songs include the beautiful "St. Pete," where rock & roll guitars -- played by Wright, who also plays vibes and keyboards -- power chord their way through 5/8 time only to be interrupted dynamically by shimmering moments of elegant musical interludes. The opener, "Defy This Love," begins as a simple piano ditty that gives way to a song that owes a nod to Kurt Weill and Bertolt Brecht. One can imagine this torch song being performed in front of a small crowd in a smoke-filled room in the early '30s. When the drum roll and electric guitar enter, the drama of the tune increases, and it becomes not a request, not a supplication, but a demand by the protagonist to look at the big picture and dare him to walk away. "Let in the Light" is as skeletal as it gets here, with Wright's electric guitar playing its own lyric line as she begins to offer her own voiced one. It's counterpoint that melds in beauty, not angularity. Its sadness is offset by the nursery rhyme melody that is deceptively sophisticated. Drums enter three-fourths of the way in, but by then this poetic look at love, admiration, and perhaps desperation is utterly moving and deeply haunting.
"Steadfast and True" glances once more toward the cabaret song, as Wright sings just atop her piano in triplets: "Come now/Won't you try/To forget...Steadfast and true/Gentle are few/When everything just slips away...So glad to see you smiling/On this/New morning/With me...." Snare drums enter the chorus and she plays knotty scales before reasserting the melody instrumentally. She's changing the shape and feel of the tune, making those drums follow her down ...

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