Remember Onehunnidt's Legacy of a Legend?

Houston's history is dotted with albums that, fairly or not, have been swept aside. We'll examine them here. Have an album that you think nobody knows about but should? Email sheaserrano@gmail.com.

Onehunnidt Legacy of a Legend (Self-released, 2011)

Remember Onehunnidt? He's the uber-artist that was turned loose here back in May. At that time, he made mention of J.J., his younger brother who was murdered in February 2010.

Legacy of a Legend, released earlier this summer, is Onehunnidt's musical eulogy for J.J. It is poignant and effective and cathartic. You could argue that there are good parts and there are bad parts, but no one can argue that there are any parts that are not without intent or emotion. And that makes even the imperfections in Legacy interesting.

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Best Song on the Album:


is not an exceptionally innovative song. It's mostly an acoustic guitar, a female R&B singer, and some spoken word. But the sorrow is elephantine. It was actually the first song recorded, before there was even an idea to record a tribute album to J.J.. Said Onehunnidt of its gravitas:

"I was spazzing out all of last year [after the murder]. I had trust issues. Me and dad stopped talking. It was some F-the-world-type stuff. After I made that song, it helped me. It helped me get my tears out, helped me get my words out."

The album grew organically from there.

Song That You Have Listen To While Sitting Completely Still To Fully Appreciate: "Movie Credits"

It is the album's closer, and it Onehunnidt re-walks through the crime scene, talking through the blurriness, bundled up in his own hurt. It is humanizing and just about the most appropriate end there could've been. Onehunnidt isn't healed here, but that's not the point. He's alive and he's aware and he's potentially ready for whatever is next, and he's working towards it.

Strangest Incidental Point To Consider: This may either be profound or prophetic or hindsight prophesying, but the last tweet that J.J. ever posted, done the day before he was shot twice in the back and, according to Onehunnidt, while he was in the middle of a spiritual enlightenment of sorts, reads as such [sic'd]:

"take your time.. and it will come."

I mean, come on.

An aside: Onehunnidt, speaking candidly about the rawness of his hurt, said that he still visits J.J.'s Twitter page, retweeting old messages when he feels compelled to do so. There's a bit of clever commentary in there about our accelerated culture and the increasing role that technology plays in even the most basic human emotions, but really it's just heartbreaking.

Best Feature on the Album: On the thumping thump, thump of

"Get Money or Something,"

Niceguys Yves, perennially fresh, doctors his wounds and cranks his cool up to nuclear. His words tumble out of his mouth, barely concerned with or bothered by anything at all, including themselves. It is remarkable. He doesn't explicitly say that he's better than you, but he pretty much does.

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On Drake's Thank Me Later album, he calls J.J.'s name, saying "Forever in our hearts, J.J. We love you, boy."

The album opens with "Fatal Shots," a montage of audio clips of news people discussing the shooting, similar to the "Give My Last Breathe Intro" that comes at the midway point of Trae's Life Goes On.

You get 15 songs into the album before someone that's not a news anchor says J.J.'s full name. It serves two purposes, even though neither of them were intentional: First, it shows that even in his most expository moment, Onehunnidt is still guarded, which is completely understandable given the hazy context of his brother's death (there were dozens of people around when it happened, but none offered witness accounts, nor did anyone call an ambulance or render aide).

Second, it extinguishes any possibility that this tape could be viewed as exploitative.

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