Master P was nothing if not a visionary.
After toiling in the West Coast underground for years and achieving moderate success, P moved back to his birthplace of New Orleans and scooped up the finest rap talent the city had to offer.
He repackaged them (in an assembly line fashion that would have made Berry Gordy proud) and sold his new sound back to young America. Though No Limit wasn't the first Southern label to gain national attention, they proved to be the most influential of the region's breakthrough acts, setting both a business model and an aesthetic for the artists and labels that followed.
P brought Louisiana hip-hop to the radio and lined the racks of Sam Goodys everywhere with blindingly blingish Pen N Pixel covers, releasing well over 100 albums during a relatively short reign.
Though the label fizzled by the early part of the century (with most of the core roster ending up dead, in jail, or on Nickelodeon), the catalog and legacy still stands, a reminder of a time when the phrase "ugghhh" still had meaning.
Although their run was short, No Limit laid the groundwork for the takeover that Cash Money—led by Baby playing the role of Master P—would execute in the '99 and the 2000s. On October 26th, at ComplexCon, the two legendary labels will face off in the return of Verzuz. In preparation for that showdown (tickets are still available), we’ve put together a list of the 25 greatest No Limit songs of all time.
[An original version of this story was published on June 6th, 2010. It has since been updated.]
25.TRU featuring Master P, "Swamp Nigga" (1997)
Producer: KLC
Album: Tru 2 da Game
By the time TRU—a collective that at one point felt like a Southern version of Wu-Tang, with nearly a dozen members—released their breakout album, Tru 2 da Game, they were down to just the Miller brothers: Master P, C-Murder, and Silkk the Shocker.
“Swamp Nigga” is a Master P solo cut where he not only shows love to the hoods he reps (New Orleans and Richmond, California), but also shouts out other cities and labels holding it down. He says it best when he raps: "From labels like No Limit to Suave to Rap-a-Lot / Independent, Black-owned, bitch, and we can't be stopped." —Dimas Sanfiorenzo
24.Choppa featuring Master P, "Choppa Style" (2003)
Producer: Full Pack Music
Album: Straight from the N.O.
Is this the last great No Limit song? “Choppa Style” was actually a BET Uncut classic before Master P jumped on with a verse. Whichever version you prefer, the track is driven by an absolutely infectious chorus and high-energy bounce beat. The song’s legacy lives on, of course—it’s become the unofficial (or maybe official?) anthem for the New Orleans Saints. —Dimas Sanfiorenzo
23.Kane & Abel featuring Mo B. Dick & Master P, "Gangstafied" (1996)
Producer: Mo B. Dick
Album: Gangstafied
Am I My Brother's Keeper, released during No Limit's dominant run in '98, was the breakout album from twin brother duo Kane & Abel. But don’t sleep on their first single under the gold tank. “Gangstafied” flips and exaggerates Al B. Sure!’s “Naturally Mine,” turning it into something harder and more street. To the group’s—and P’s—credit, the rapping is introspective, with Kane kicking things off with an all time great opening line: “Wasn’t never no ‘Mama, I wanna sing’ / It was ‘Mama, I wanna slang.’” —Dimas Sanfiorenzo
22.Master P featuring Silkk The Shocker, "The Ghetto's Tryin' To Kill Me!" (1994)
Producer: Big Nate
Album: The Ghettos Tryin’ to Kill Me!
There’s the down-south Master P—a rich, flashy commercial kingpin. And then there’s West Coast P, a corner-level dweller more focused on telling somber, deadpan tales from the streets. The self-titled track from his third album might be one of the better examples of that version of P. Not sure why there’s an exclamation point in the title—it doesn’t reflect his style on the song, which is more measured and laid-back. Little brother Silkk really shines here, delivering an emotional verse that’s actually mostly on beat. —Dimas Sanfiorenzo
21.Mr. Magic, "9th Ward" (1998)
Producer: O'Dell
Album: Sky’s the Limit
New Orleans is driven by neighborhood pride, and No Limit's snarling second-stringer Magic was all about his 9th Ward, going as far as giving himself the nickname "Mr. 9th Ward" and knocking out this anthem for his ’hood. When Magic says he's down to die for the 9th, you have no choice but to believe him. —Brendan Frederick
20.504 Boyz, "Wobble Wobble" (2000)
Producer: Carlos Stephens
Album: Goodfellas
Conventional wisdom says No Limit's run was basically over by the time everyone got over their Y2K fears. But that’s not entirely true. 504 Boyz was a supergroup from No Limit, featuring pretty much everyone on the label. And the delightfully charming “Wobble Wobble” was legit one of the biggest hits of 2000. The track combined NC-17-level raps with a goofy chorus so simple and catchy that even grade-school kids couldn’t help but sing along. —Dimas Sanfiorenzo
19.C-Murder featuring UGK & Master P, "AKickDoe!" (1998)
Producer: Pimp C and The Medicine Men
Album: Life or Death
Master P and UGK member Pimp C had a complicated, on-and-off relationship that may or may not have edged into real-life violence. But before things got knotty, the two Southern rap entities made some beautiful music together. Near the top of that list is “AKickDoe!”—a standout from C-Murder’s debut album Life or Death.
The rapping on this track is superb, with Pimp C absolutely blacking out. Outside of his verse on “Hi-Life” this might be the best rapping he’s ever put down on wax. —Dimas Sanfiorenzo
18.Master P featuring Silkk the Shocker, Mo B. Dick and Lil’ Gotti Gambino, "Burbons and Lacs" (1997)
Producer: Pimp C and The Medicine Men
Album: Mo B. Dick
Making a list like this and not including the entirety of Ghetto D is a difficult task in and of itself. But "Burbons" is essential. It turns the traditional car anthem into an emotional outing, firing off swerving memories over synth harpsichords. It's like the ’90s answer to "Be Thankful For What You Got." —Brendan Frederick
17.Mia X, “I'll Take Ya Man '97” (1997)
Producer: KLC
Album: Unlady Like
Often overlooked in the midst of the end-of-days true-school rhetoric haters pushed during the South's ascendancy was just how much No Limit drew on the golden age of New York hip-hop. In fact, Mama Mia was straight from that era, with her rhyming days dating back to ’80s house parties in New Orleans. Here, she pays homage to Salt 'N' Pepa with "I'll Take Ya Man." (Mia would probably be too humble to admit it, but she's always been a better rapper than either of them.) —Brendan Frederick
16.Mac featuring Mystikal, "Murda, Murda, Kill, Kill" (1998)
Producer: KLC
Album: Shell Shocked
In 2001, rapper Mac was convicted of manslaughter and sentenced to 30 years in prison. During the trial, prosecutors cited his song "Murda, Murda, Kill, Kill" as evidence against him. (Mac has always maintained his innocence.) That fact gives the track a bittersweet weight, as it remains one of the hardest releases from No Limit’s record breaking year, featuring elite verses from both Mac
15.Soulja Slim, "Soulja 4 Life" (2001)
Producer: Suga Bear
Album: The Streets Made Me
Soulja Slim might be one of the biggest "what ifs" in New Orleans rap history.He was a true lyricist, with an ability to tell hyper-specific, detailed stories from the streets. But he also had the potential to break out nationally. “Slow Motion,” his duet with Juvenile, hit No. 1 on the Billboard charts, just a few months after he was killed.
He was also a thinker, unafraid to tackle tough, uncomfortable topics. On “Soulja 4 Life,” he gets political while pointing fingers in all directions, rapping: “Black man kill a black man, it's cool, they lovin' that / Black man kill a white man, and they sentencing him to death / White man kill a black man, then scream about self-defense.” —Dimas Sanfiorenzo
14.Master P featuring UGK, "Break 'Em Off Something" (1996)
Producer: Pimp C and Mo B. Dick
Album: Ice Cream Man
Though, again, their relationship eventually deteriorated, the UGK/No Limit alliance was practically unstoppable when it was in full force. "Break ’Em Off Somethin'" might be the best of their collaborations, with P stealing the show with his all-too-memorable opening bars: "Hustler, baller, gangster, cap peeler / Who I be? Your neighborhood drug dealer." Something has to be said for his skillful simplicity. —Brendan Frederick
13.Fiend, "Talk It Like I Bring It" (1999)
Producer: KLC
Album: Street Life
Fiend might have been the most underrated rapper on No Limit. He only released two albums on the label, but both are cult classics—thanks largely to Fiend’s rapping, which blended an energetic, out-the-box delivery with real lyricism. “Talk It Like I Bring It” was the standout single: a rags-to-riches story cloaked in bravado, set against a bluesy backdrop courtesy of the workhorse KLC. —Dimas Sanfiorenzo
12.TRU, "Hoody Hooo" (1999)
Producer: Chantel Tremitiere and Beats By The Pound
Album: Da Crime Family
John Carpenter's iconic Halloween theme has a long and unexpected legacy in Southern hip-hop. From Miami (M.C. A.D.E.’s “How Much Can You Take?”) to Houston (Ganksta N-I-P’s “Horror Movie Rap”), to Memphis (Gangsta Pat's “Deadly Verses”), and eventually New Orleans (U.N.L.V.’s “Drag 'Em 'N' Tha River”), the eerie instrumental has become canon in the history of Dirty South rap. On “Hooty Hoo”—not to be confused with Outkast's “Hootie Hoo”—the beat gets a more modern, less haunting flip, thanks in part, and somewhat randomly, to WNBA point guard Chantel Tremitiere, who co-produced the song.
11.Young Bleed featuring Master P & C-Loc, "How Ya Do Dat" (1997)
Producer: Craig B, KLC & Happy Perez
Album: My Balls and My Word
Master P was a master at taking a local song, tweaking it slightly, adding a verse, and turning it into a national hit. This is the story of Young Bleed’s “How You Do That,” which started as a C-Loc solo cut and eventually became one of the most ubiquitous Dirty South rap records of the ’90s. The track is driven by a twisted-sounding synth line and an instantly quotable chorus—one that Compton rapper JasonMartin would later flip for his early-2010s hit “Like Whaaat.” —Dimas Sanfiorenzo
10.Soulja Slim, "From What I Was Told" (1998)
Producer: C-Los Beats
Album: Give It 2 ’Em Raw
Already a minor legend in New Orleans, Slim's No Limit coming out party was monumental. The chorus also proved to be eerily prophetic of the decade that
followed, mentioning both World Trade terrorism (the ’90s attack,
obviously) and a comparison to ’Pac that would predict Slim's own
similar martyrdom. —Brendan Frederick
9.TRU featuring Mia X, "No Limit Soldiers" (1997)
Producer: Beats By the Pound, K-Lou & DJ Daryl
Album: Tru 2 da Game
The magic behind many of No Limit's best songs can be credited to Beats By the Pound. The production collective—which included KLC, Mo B. Dick, Craig B, Odell, and Carlos Stephens—brought together a crew of local producers whose size allowed for a diverse and prolific output. “No Limit Soldiers” is a testament to that range: a track that feels almost spacey, with a sparse beat that sounds like TRU is sending SOS signals to aliens. When it comes to the rapping, it’s Mia X who, not surprisingly, steals the show, dropping a verse so cold, “even yo’ niggas call" her "momma.” —Dimas Sanfiorenzo
8.Mystikal, "The Man Right Chea" (1997)
Producer: Craig B
Album: Unpredictable
Mystikal was already a gold-selling artist on Jive before joining forces with No Limit Records, kicking off one of the more underrated commercial runs in hip-hop. Unpredictable was their first release together and still arguably Mystikal’s best album.
"The Man Right Chea" is prototypical Mystikal: a track driven by an understated, bass-heavy groove and his off-kilter, dynamite flow, packed with multisyllabic lyrics. —Dimas Sanfiorenzo
7.Snoop Dogg featuring Master P, Nate Dogg, Butch Cassidy & Tha Eastsidaz, "Lay Low" (2001)
Producer: Dr. Dre & Mike Elizondo
Album: Tha Last Meal
In the early '90s, Snoop was arguably the biggest star in rap—a genuine crossover figure, dropping radio hits and releasing classic albums. But after the fall of Death Row and the letdown of Doggystyle’s follow-up, Tha Doggfather, he hit a low point. That’s when Master P and No Limit stepped in, signing Snoop and giving him a new lifeline.
The albums released under Snoop’s No Limit run were hit-or-miss, but there were definitely standout songs. The poss cut "Lay Low," reunion with his mentor Dr. Dre, is so good it could’ve fit right in on 2001. —Dimas Sanfiorenzo
6.Master P featuring Pimp-C, Silkk The Shocker, Mo B. Dick, O'Dell & Sons of Funk, "I Miss My Homies" (1997)
Producer: Mo B. Dick, KLC & Odell
Album: Ghetto D
The beauty of P's "Ugghhh" battlecry lay in its adaptability. He mostly used it to express excitement, but on "Miss My Homies" it's all about pain. Alongside Pimp C and his brother Silkk, he pours out the O'Jays ode to "Brandy" and repurposes it in remembrance of the the fallen souljas. —Brendan Frederick
5.Master P featuring Silkk the Shocker, Mia X & Mo B. Dick, "Mr. Ice Cream Man" (1996)
Producer: Mo B. Dick & K-Lou
Album: Ice Cream Man
Even though Ice Cream Man was Master P’s fifth album, in many ways, it serves as his true introduction.Remarkably recorded over a single weekend, the album laid the blueprint for an entire era of Southern rap—less concerned with lyrical complexity and more driven by swagger, charisma, and authenticity. The title track is as metaphorical as P gets, likening his role as the neighborhood dope man to that of an ice cream truck driver.
Now, I’d be remiss if I didn’t mention that Yukmouth has claimed P stole the idea from him, even releasing some diss tracks in response. But that doesn’t take away from the fact that this is a classic.—Dimas Sanfiorenzo
4.C-Murder featuring Snoop Dogg and Magic, "Down for My N's" (1999)
Producer: KLC
Album: No Limit Top Dogg & Trapped in Crime
Maybe the most iconic No Limit beat, this track has transcended generations. It's been embraced by the Alabama Crimson Tide and the Miami Heat, flipped by Jay-Z and Beyoncé, and of course, sampled by Kanye West on "Blood on the Leaves." And why wouldn’t it be? KLC’s horn selection is monumental, enough to pump warm blood into the iciest veins. —Dimas Sanfiorenzo
3.Silkk The Shocker featuring Mystikal, "It Ain't My Fault" (1998)
Producer: Craig B
Album: Charge It 2 Da Game
Of course, P's younger brother Silkk took a lot of heat for his, uh, unconventional—aka offbeat—cadence on wax. But it’s no accident that he played a role on nearly every great, wildly popular No Limit track. In many ways, he had a knack for adapting to the energy of whoever he was collaborating with.
"It Ain’t My Fault," a single from Charge It 2 da Game, is partly carried by Mystikal’s caffeinated ad-libs and an infectious chorus steeped in New Orleans lore—borrowing its title and spirit from Dejan’s Olympia Brass Band local classic. —Dimas Sanfiorenzo
2.TRU featuring Mia X, "I'm Bout It, Bout It" (1995)
Producer: KLC
Album: TRUE
In 1995, Master P was still in his Cali bag. TRUE marked the end of P’s West Coast run—due in part to the influence of California-based members like King George, Calli G, and Big Ed, along with a guest appearance from C-Bo. But the eternal “Bout It, Bout It” stands out as the album’s most Southern moment. It carries that dramatic, anthemic sound that would come to define No Limit, anchored by a show-stopping performance from Mia X. P would later revisit the track on Ice Cream Man, and even link with Dipset for a remake. But nothing touches the original.
1.Master P featuring Fiend, Mia X, Mystikal & Silkk the Shocker, "Make Em' Say Uhh!" (1997)
Producer: Mo B. Dick
Album: Gangstafied
Lifted from Masterdon Committee's 1982 old-school hit "Funkbox," P's "MMake 'Em Say Uhh!" (yes, that's really the horribly-spelled title) refrain is guttural and divisive, quickly becoming the most-loved (and -loathed) adlib of 1998.
But more than a grunt, the track was a national introduction for the No Limit roster. As is often the case, Mystikal steals the show with a rapid-fire closing verse, but the rest of the crew hold their own as well. —Brendan Frederick