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Louis had never had a rap hope before Nelly. Everything around him seems to move with him. He moves with a self-assured lope, and he never stops, even for a second. In the video, he’s handsome and athletic and energetic. Instead, he stays right on top of the beat, bouncing along with it, broadcasting pure exhilaration. His voice is strained and raspy, but he never sounds like he’s working. On “Country Grammar,” Nelly takes the Bone Thugs approach to harmony and he sells it like he’s a chitlin-circuit soul singer in 1965. People had sung on rap beats before Nelly his fellow Midwesterners in Bone Thugs-N-Harmony had made a careful and intricate art of it. He namechecks Beenie Man and Onyx and Hannibal Lecter and Billy The Kid. Louis to Memphis, Texas back up to Indiana. He shouts out localities that weren’t on the mainstream-rap map - St. He dizzily weaves through the track, veering shamelessly from one itchy and relentless cadence into the next. says on “Country Grammar” works as a hook. Practically everything the 25-year-old Cornell Hayes Jr. But the voice on the song was new - an exuberant holler, strained and melodic. “Down Down Baby” worked as pop music in 1959, when the R&B group Little Anthony & The Imperials adapted it into the doo-wop hit “ Shimmy, Shimmy, Ko-Ko-Bop.” And “Down Down Baby” worked again as pop music in 2000, when it seemed to be banging out of the trunk of every third car.īefore “Country Grammar (Hot Shit),” there was absolutely nothing like “Country Grammar (Hot Shit).” Producer James “Jay E” Epperson’s computerized brass-band stutter-step and blinky synth noises were familiar from the New Orleans bounce that Cash Money Records was just then taking mainstream.