UNLV Wind Orchestra - Biography
By Eric Brightwell
New Orleanian rappers and childhood friends Tec-9 (Reginald Manuel) and Lil Ya (Yaphet Jones) were, as UNLV (an acronym for “Uptown Niggas Livin’ Violent”), one of the first acts to record for the now famous Cash Money Records. Their early recordings (like those of their labelmates Lil Slim, Pimp Daddy and PxMxWx) bridged the musical gap between bounce and gangsta rap, pairing violent, reggae-accented Yat vocals with irresistibly danceable beats. Eager to be recognized for their pioneering role in the rise of gangsta bounce, they aggressively encouraged rivalries with many of their contemporaries; perhaps worried that one of their rivals would grow successful with the formula they claimed credit for. In the end, their fears proved warranted and, at the same time, the violence they seemed to invite almost destroyed them. Despite considerable misfortune and tragedy, UNLV continue to this day.
In 1992, Tec-9 and Lil Ya began performing together at block parties, clubs and gong shows as UNLV, representing the uptown intersection of 6th & Barrone. Shortly after the group’s inception, they were joined by the brash Yella Boyee (aka Yella Boy, born Albert Thomas), a talented but mouthy rapper with an undeniable penchant for creating drama. UNLV’s songs relied heavily on chants and call-and-response vocals, reflecting the strong influence of New Orleans’s Second Line brass bands. Coupled with Mannie Fresh’s bounce-influenced production, UNLV helped forge a recognizably New Orleans rap sound, as evinced on their first single, 1993’s “Eddie Bow.”
Their debut record, 6th & Baronne (1993-Cash Money) sold 40,000 copies, a respectable showing for a group with hardly any promotion. On the track, “UNLV Style,” they angrily accused others of biting their sound. In a performance that was attended by the members of Partners-N-Crime, UNLV seemed to single out their former friends in particular. PNC subsequently signed with Cash Money’s cross-town competition, Big Boy Records, igniting a longstanding rivalry between the labels, their rosters and fans and the wards. Straight out tha Gutta (1994-Cash Money Records) benefitted from clearer production and sold 60,000. Mac Melph Calio (1995-Cash Money) sold 80,000 copies.
As the ranks of their fans swelled, so did those of their enemies, with UNLV and Yella Boy in particular attacking others, especially the rappers on Big Boy. On The B.G.z’ bluntly obvious “Fuck Big Boy,” the members of UNLV attacked Big Boy and PNC in particular. PNC responded with "Fuck UNLV (Talk that Shit Now),” which mocked Yella for having been a dancer at Eastern and Tec-9 for both an alleged crack addiction and for having received a beating from a guy named Glenn. PNC’s "Pussy N a Can" mocked them further, making fun of Lil Ya's weight. Tec-9's 1995 solo record, Straight from the Ramp!!!, featured B.G. further mocking Sporty T (also at Big Boy). Having believed themselves to be the subject of a vague diss on Mystikal’s “Beware,” UNLV responded with “Drag ‘Em in the River,” probably their greatest song in the minds of most fans. As attention-grabbing as the violent threats against the braided Big Boy rapper and the label head were, its success owed at least equally to Mannie Fresh’s highly original, electronic-based production, which combined elements of electro, bass and the themes of Dragnet and Halloween with a sound that had no equal at the time.
Similar, winning production was evinced throughout the attendant album, Uptown 4 Life (1996-Cash Money) and it sold 200,000 copies. The same year, Mannie Fresh produced Juvenile’s Solja Rags which was another considerable success for the label. As a result, Cash Money caught the attention of Universal, by then eager to crack the south just as Priority had earlier in the year with Master P’s No Limit, who’d recently relocated to the city from Richmond, California. After entering into talks with Cash Money, the members of UNLV hoped (perceiving themselves as the primary attraction at the label) that they’d receive a large share of the money made in the ensuing deal. To their displeasure, Cash Money’s founders, Slim and Baby, proved uninterested in breaking bread and the entire label roster (except for new signee Juvenile and the underage rappers B.G. and Lil Wayne) either quit or were let go, depending on whom one believes. UNLV didn’t go quietly though. Yella Boy supposedly pistol-whipped Baby and shot holes in one of his trucks as it was parked in front of the Melpomene projects. In April of the following year, after having bought some dope, Yella Boy was shot dead in his vehicle while parked near Washington and Dryades. He was only 22 years old.
On July 1st, Universal began distributing Cash Money, making all involved parties millions of dollars. Both the timing of Yella Boy’s murder, the circumstances leading up to it, and Baby’s verse on B.G.’s “Made Man” fuelled rumors that Baby was behind his killing. One thing is certain, in addition to Slim and Baby, Yella Boy had beefed with Big Boy, Jubilee, Master P, Mystikal, No Limit, PNC, Sporty T, Take Fo’, the 9th ward and by extension, all of their followers. His death also occurred in a period of increased violence in a city already known for its endemic crime. In any case, as with most murdered rappers – especially those in New Orleans – no one was ever arrested. Lil Ya, distraught by the loss, voluntarily institutionalized himself soon afterward and Tec-9 got himself thrown in jail over some other business.
Both original members first returned to the music scene several years later with solo releases. First was Lil Ya’s Another Massacre in 1999. Whilst the surviving members’ lyrics seemed to suggest that they were unmoved by the violence surrounding them, Tec-9 released his second solo record, Ready 4 War on Take Fo’ and the remaining duo made peace with PNC. It wasn’t until 2001, with The Return of U.N.L.V.: Trendsetters (Blazin’ South Records) that UNLV recorded again as a group. Tracks like “Booty Bop,” showed they were capable of still making quality music on their own but the label soon folded, leaving UNLV, once again, without a home.
Keep It Gutta (2003-B Real Entertainment), and Gutta 4 Life (2004-B Real Entertainment) also showed UNLV to be capable of still producing good music, despite success remaining elusive. And though they may’ve made peace with some of their former rivals, tracks like “Drag ‘em II - Fuck CMR” (featuring B.G.) suggest that reconciliation with the Williams brothers is unlikely to happen any time soon.
In 2005, Lil Ya and Tec-9 both lost their homes in Katrina and subsequently moved to Houston, Texas. On July 3rd, 2007, they settled with Cash Money over unpaid royalties. As a result, Tec-9 announced his attention to re-master and re-release their highly sought after, long out-of-print records recorded for Cash Money. Their next album of new material, tentatively titled Gutter Muzik, is to feature appearances by B.G., Juvenile and Lil’ Boosie.
