Rappers from the South are often subjected to the greatest disapproval when hip-hop aficionados start doing intra-cultural critiques. The embodiment of “bad” hip-hop comes in the form of a rapper named Lil’-So-And-So who talks about his car and bejeweled teeth while residing in one of the former Confederate states. Mind you, many of those making such claims also have a hard time conceptualizing the existence of anything beyond the Hudson River. That’s why when Little Brother made their initial impact in 2002, jaded Northerners started to question their preconceived notions.

Based in Durham, North Carolina, Little Brother started as a trio consisting of producer/DJ 9th Wonder and rappers Phonte and Big Pooh. After creating a buzz in the Research Triangle area, their debut, The Listening, got big endorsements from tastemakers like The Roots’ ?uestlove and BBC Radio 1’s Gilles Peterson. Those seals of approval helped attracted fans and garner them rave reviews as being a throwback to the good ole days of early 1990s hip-hop with 9th’s Pete Rock-esque beats and emcees who seemed more interested in having an enjoyable time than getting rich by any means. While some listeners’ could perceive that Little Brother was slighting their Southern brethren, the group asserted they weren’t exactly in step with the hip-hop bohemian types. On “The Yo-Yo”, Phonte expressed his desire to kick Trick Daddy verses during the next open mic poetry night in what had to be one of the best lyrical jabs at the “smarty-art” segment of hip-hoppers who tended to discount the South.