Warren Mayes - Biography
By Eric Brightwell
Warren Mayes was one of the earliest rap stars in New Orleans and a primary architect of the New Orleans rap sound. He was also the first New Orleans rapper to be signed to a major label. Unfortunately, he was also one of the city’s many casualties.
In the mid-1980s, though hip hop was still primarily an east coast phenomenon, it was quickly taking hold in other locales including, not surprisingly, musically rich New Orleans. In 1984, Mannie Fresh, Mia X, DJ Wop and New York-transplant Denny D formed New Orleans' first rap crew, New York Incorporated. Two years later, The Ninja Crew (Gregory D, Sporty T and DJ Baby T (aka DJ Lil Daddy)) released the first New Orleans rap recording, "We Destroy," on the Ft. Lauderdale bass label, 4-Sight. Other local rappers began emerging in a rapidly expanding field including MC J' Ro J', Tim Smooth, 39 Posse and, most popular of all, Warren Henry Mayes.
Warren Henry Mayes III (along with Ann, Lisa, Travis, Eldridge, Bernell J, Melanie , Izell, Stella "Sunshine" and Renaldo ) was born to Melba "Ann” Mayes and Warren “Swingin’ Gate” Mayes Jr. The large Mayes family lived in the 4th ward's Iberville projects and the family patriarch was a dancer and songwriter. Like his father, Warren III (aka Stone) began writing songs, releasing his debut album, Doin Them Right (Touchdown Records) in 1986. As his local popularity grew, he and his flashy Camaro Iroc-Z were frequent sights at venues like Club Adidas and Club Polo, where he won over crowds with his charisma and energy.
Mayes released the single, “Get it Girl (Don’t Stop)” b/w “Jam” in 1989. The song wasn’t quite bounce - it doesn't use the triggerman or brown beats, for example, but is one of the earliest intrinsically New Orleanian rap songs, extensively employing repetitive chants and shout outs (albeit to various signs of the zodiac instead of projects, neighborhoods and wards) in its coda. The song, produced by the legendary Bobby Marchan for Manicure Records, also got picked up by The Re-Birth Jazz Band, who a year later would also record a song by Warren Mayes Jr, “(You Got the) Same Thang On.” In New Orleans, second line bands and rappers often have close ties share a similarly cheerful antagonism as conveyed in chants like "If you ain't gonna roll get the fuck on out the way” and Warren Mayes pioneered a brand of New Orleanian hip hop that often used second line bands for accompaniment. In 1991, “Get it Girl” got picked up by Atlantic Records, in the process making Warren Mayes the first New Orleanian rapper signed to a major label – narrowly beating out Gregory D & DJ Mannie Fresh.
In 1994, Warren released the thirteen-track album, Back for the 94’ (Party Time Records). By then, Mayes had proven himself easily capable of pleasing both bounce-fans and rap traditionalists. At this time, he dropped the “e” from his last name, using the “e”-less spelling for all subsequent releases. In 1995, he appeared (alongside DJ KLC and Serv-On) on Magnolia Slim’s debut over at Parkway Pumpin’, Soulja 4 Lyfe.
He released Warren Mays and the Canivin' Boys (1995) on Hot Crescent Records. On songs like “Let it Hang,” not only did Mays employ Re-Birth to accompany him in his unique mix of bounce and second line, he even included some tracks where Rebirth unaccompanied. In 1996, he appeared on Pimp Daddy’s posthumous release/tribute, Pimpin' Ain't E Z, with “Keep on Kick It" which paired him with producer Mannie Fresh.
The double album, Ain’t No Stoppin’ Us Now – See Me When I Get There appeared in 1999, credited to Warren Mays and Da Posse. With 8th Ward Villian, Von Ness, YTs and a host of others, it's in reality an epic compilation more than a solo record. Surprisingly, given mainstream media’s generally dim view and ignorance of the southern rap, it was reviewed by Neil Strauss in The New York Times when he included it in his article “The Pop Life: Undeservedly Obscure; Pop Critics List the Worthwhile Albums Most People Missed.”
Unfortunately, like so many New Orleanians, Warren Mays lost his life an early age when he was killed in early 2000. Similarly, as with many rappers in the city, his status as a local legend hasn’t yet translated to more than a cult following beyond the region and his albums currently remain very hard to come by.
