Skip to main content

BIG RUBE VibeZ

Thirty tracks built around a voice most people have heard hundreds of times without knowing whose it is. Big Rube is the sound of the Dungeon Family thinking out loud.


Big Rube

Ruben Bailey is a founding member of Atlanta's Dungeon Family — the collective around Organized Noize that produced OutKast, Goodie Mob, Society of Soul and, through them, an enormous share of what Southern hip-hop became.

His role is unusual and essential: he is the collective's poet. Across three decades, Big Rube has opened, closed and punctuated other people's albums with spoken-word pieces delivered in an enormous, deliberate bass voice — dense, allusive, frequently apocalyptic. If you have heard an OutKast or Goodie Mob album, you have heard him, whether or not you noticed.

He is also a member of Society of Soul, the Dungeon Family's own group, whose Brainchild is a genuinely strange and excellent record.

What to listen for

OutKast's "SpottieOttieDopaliscious" is the essential and one of the greatest records the genre has produced — seven minutes, a horn line, André and Big Boi talking rather than rapping, and a mood nothing else has matched. Big Rube appears on the album it comes from.

"13th Floor/Growing Old" is the clearest showcase of what he does — his verse opens the track and sets the whole tone of ATLiens.

"Liberation" with CeeLo Green is the other monument: nearly nine minutes from Aquemini, closer to a church service than a rap song.

"Rollin'" credits the Dungeon Family collectively with André 3000, CeeLo and Society of Soul, and is the family portrait.

Rapsody's "Motivation" shows him still being called on by the best writers in the current generation.

"Infinite Power" and "Alpha Omega" are his own pieces, and Society of Soul's "Migratenation" and "Brainchild" are the group work.

Go deeper

OutKast's Aquemini (1998) is the album, and Goodie Mob's Soul Food (1995) is the other essential Dungeon Family document.

Society of Soul's Brainchild (1995) is the lost one and is well worth finding.

The documentary The Art of Organized Noize tells the production side of the story and is genuinely good.

For the spoken-word tradition he works in: The Last Poets, Gil Scott-Heron, Amiri Baraka and Sonia Sanchez. Big Rube belongs in that lineage and is rarely placed there.

A final note on why the poet matters to a rap collective. Most crews have a hype man; the Dungeon Family had a philosopher, and building that role into the architecture of their albums is part of why their records feel like documents rather than collections. Big Rube's verses are where the group states what it believes, and thirty years on they are still the passages people quote back.

Comments

Popular posts from this blog

Monty Alexander VibeZ

There is a moment on almost every Monty Alexander record where the jazz piano trio stops behaving like a jazz piano trio and starts behaving like a Kingston sound system. That moment is the whole point. Fifty tracks deep, this is the sound of a man who never asked permission to be two things at once. The pianist who brought Kingston to the Carnegie stage Monty Alexander was born in Kingston, Jamaica in 1944, and by his teens he was already gigging around the island — close enough to the birth of ska and rocksteady to have absorbed it in his bones rather than learned it from records. He moved to the United States in 1961, and the origin story that follows is the kind that sounds invented: Frank Sinatra heard him playing in a Miami club, and Jilly Rizzo, Sinatra's friend and club owner, put him behind the piano at Jilly's in New York. From there Alexander fell in with Milt Jackson and Ray Brown, two of the most demanding rhythm partners in the music, and never really ...

GuiltyBeatZ VibeZ

If you have danced to anything out of Accra in the last ten years, you have probably danced to GuiltyBeatz without knowing his name. Forty-seven tracks of a producer's fingerprints — and the fingerprints turn out to be the melody. The Ghanaian producer who made Afrobeats swing Ronald Banful, who records as GuiltyBeatz, is a Ghanaian producer and DJ whose sound sits at the crossroads where Ghanaian highlife, Nigerian Afrobeats, amapiano and UK dance music all meet. He came up producing for Mr Eazi — the Banku Music partnership is where a lot of listeners first heard him — and his breakout as a name in his own right came with "Akwaaba," the 2018 track with Mr Eazi, Patapaa and Pappy Kojo that spawned a dance craze and became one of the defining African club records of its year. His reputation went global when he worked on Beyoncé's The Lion King: The Gift , but the more interesting story is the consistency. A GuiltyBeatz beat is usually ide...

Kashif VibeZ

Kashif is the reason a lot of 1980s R&B sounds the way it does — and the reason you can hear the difference between a synth bassline played by someone who understood bass and one programmed by someone who didn't. This is a producer's playlist, and the producer is everywhere. The architect of the synthesized soul record Kashif was born Michael Jones in Brooklyn in 1956, raised in foster care, and taught himself music young enough that by his teens he was touring with B.T. Express. What he did next reshaped a decade. In the early 1980s, as a producer, arranger and multi-instrumentalist, he was among the first to build R&B records around programmed synthesizers — the Minimoog bass, the Linn drum machine, the Fairlight — without letting them sound cold. That distinction matters. Plenty of producers adopted the new gear; Kashif made it groove . His basslines are played with the phrasing of a funk bassist, full of slides and ghost notes, which is why rec...