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KLC

Craig Stephen Lawson (born July 15, 1969), known professionally as KLC, is an American record producer, DJ, drummer, and rapper from New Orleans, Louisiana.^[1] He rose to prominence in the 1990s as the lead producer and co-founder of No Limit Records' in-house production team, Beats by the Pound, contributing to the label's signature Southern hip-hop sound on numerous platinum albums by artists including Master P, TRU, Mia X, and Mystikal.^[2]^[3] KLC began his career as a DJ in the mid-1980s, using earnings to establish Parkway Pumpin' Records, an independent label that launched early acts like 39 Posse and Mystikal. After leaving No Limit in the early 2000s, he formed The Medicine Men and Overdose Entertainment, continuing to produce for artists such as Ludacris ("Move") and Snoop Dogg ("Down for My Niggas").^[2] His production style blends jazz, blues, funk, and hip-hop elements, influencing the bounce music scene in New Orleans.^[3] As of 2025, KLC remains active, having produced Jon Connor's album 24 and participated in a Verzuz battle against Mannie Fresh in New Orleans on November 15, 2025.^[4]^[5]

Early life

Childhood in New Orleans

Craig Lawson, known professionally as KLC, was born on July 15, 1969, in New Orleans, Louisiana.^[1] He grew up in the Melpomene Projects in the city's 3rd Ward, a vibrant neighborhood immersed in the rich musical heritage of the region, where the sounds of local traditions shaped his early worldview.^[3]^[6] Lawson's family background played a pivotal role in his introduction to music. His father was a saxophonist who performed in brass sections within New Orleans' local jazz scenes, exposing young Craig to the improvisational energy and communal spirit of these performances from an early age.^[6] This familial connection to music, combined with the pervasive influence of the city's brass band culture, fostered his innate rhythmic sensibilities. During childhood, Lawson frequently encountered New Orleans' iconic marching bands, second lines, and brass band traditions—lively street parades that blended African American, Caribbean, and European elements into a distinctive soundscape of percussion, horns, and collective celebration.^[3]^[6] These experiences, often unfolding in neighborhood gatherings and social events, ingrained in him a deep appreciation for syncopated beats and ensemble dynamics that would later define his production style. In addition to musical immersion, Lawson's adolescence in the 3rd Ward involved active participation in street culture, including breakdancing, where he honed his sense of timing and physical expression through competitive dance battles.^[7] As a high school student, he engaged in breakdancing rivalries that reflected the energetic hip-hop undercurrents emerging in New Orleans' urban youth scene. By middle school, this foundation led him to join marching bands, where he marched and further developed his percussive skills.^[6] These early pursuits in the 3rd Ward's dynamic environment laid the groundwork for his transition to more structured musical training.

Initial musical influences and training

KLC, born Craig Stephen Lawson, developed his foundational musical skills in the vibrant cultural milieu of New Orleans, drawing initial inspiration from his father's saxophone playing, which exposed him to jazz and brass traditions from an early age. This familial influence intersected with the city's second-line parades and marching band cadences, shaping his rhythmic sensibility and leading him to take up drumming in church and secular settings during his youth. By middle school, Lawson had earned the nickname "Drum Major" for his commanding presence behind the kit while participating in the Green Middle School marching band, where he honed his sense of groove through ensemble performances that echoed the polyrhythmic energy of local brass bands.^[8] Transitioning into his high school years, KLC became self-taught in DJing, often partnering with fellow New Orleans producer Mannie Fresh to spin records at school dances and local events in the late 1980s.^[9] These early gigs, held at venues like McDonogh 35 High School, involved setting up turntables and speakers in makeshift setups that transformed hallways into impromptu block parties, fostering his technical skills with affordable, rudimentary equipment such as basic turntables and mixers.^[9] Simultaneously, he began experimenting with basic production techniques, limited by the era's sampling technology that offered mere seconds of recording time per sample, which compelled him to innovate within constraints using whatever gear was accessible. KLC's artistic worldview was profoundly shaped by hip-hop pioneers like Run-D.M.C., whose raw, beat-driven sound resonated with his emerging style, alongside the explosive local bounce music scene that infused New Orleans rap with high-energy, call-and-response elements derived from second-line traditions. These influences culminated in his first formal performances as a drummer and DJ at neighborhood parties and community events in the late 1980s, where he blended imported hip-hop aesthetics with indigenous rhythms, laying the groundwork for his future production career. Through this period of hands-on learning, KLC bridged his personal upbringing in the Melpomene Projects of New Orleans' 3rd Ward with a burgeoning proficiency that emphasized rhythmic innovation over formal instruction.

Independent beginnings

Formation of Parkway Pumpin' Records

In the late 1980s, KLC (born Craig Lawson) partnered with MC Dart (Dartanian Stovall) to establish Parkway Pumpin' Records as a grassroots, independent operation within New Orleans' burgeoning hip-hop scene, emerging from their shared involvement in the local group 39 Posse. This DIY endeavor allowed the duo to produce and release music without relying on major label infrastructure, pooling resources to create an outlet for underground talent amid the city's vibrant pre-bounce rap culture. Central to the label's production process was the use of the Roland TR-808 drum machine, which KLC employed to craft beats that captured the rhythmic essence of New Orleans funk and emerging rap styles, enabling affordable and innovative sound creation in a home-based setup. Parkway Pumpin' operated from New Orleans, emphasizing cassette tapes for initial distribution through local networks, with the first release being 39 Posse's EP Got What It Takes to Make It in 1991, which highlighted the label's focus on raw, community-driven recordings.^[10] The label's philosophy centered on artist freedom, eschewing long-term contracts to foster flexibility and encourage cross-label collaborations among local musicians, a model that reflected the collaborative spirit of the New Orleans scene but also left it vulnerable to talent poaching by larger entities. This approach allowed talents like KLC himself to contribute to multiple projects simultaneously, prioritizing creative autonomy over restrictive agreements in the early 1990s underground market.^[11]

Early local productions and collaborations

In the early 1990s, KLC established himself as a key figure in New Orleans' burgeoning hip-hop scene through Parkway Pumpin' Records, producing debut tracks for local artists that captured the raw energy of the city's underground sound. One of his earliest significant contributions was to Mystikal, whose initial singles and recordings emerged from sessions at KLC's makeshift home studio, incorporating heavy basslines and martial snares characteristic of the emerging bounce style. These efforts laid the groundwork for Mystikal's presence in the local circuit before his move to other labels.^[8] KLC's collaborations extended to Soulja Slim, then known as Magnolia Slim, with whom he crafted the 1994 cassette release Soulja 'Fa' Lyfe, a pivotal underground project featuring bounce-influenced beats and tracks like "Kickin It For Them Hoes" that gained traction on local radio. Around the same period, from 1992 to 1994, KLC produced early mixtape-style recordings for Soulja Slim, emphasizing gritty, project-rooted narratives over TR-808-driven rhythms. He also partnered with emerging rappers like Fiend, contributing beats to their initial demos and singles that blended bounce elements with gangsta rap aesthetics, fostering a collaborative network in New Orleans' Third Ward and Magnolia Projects.^[12]^[8]^[13] Key releases under Parkway Pumpin' included underground cassettes and limited vinyls, such as 39 Posse's 39 Automatic (1993) and Lil Elt's "Get the Gat" (1992), which were primarily distributed through New Orleans clubs and block parties to build regional buzz. These projects faced substantial challenges, including limited funding that constrained studio time and production quality, as well as the absence of binding contracts that allowed artists to pursue opportunities elsewhere. Despite these hurdles, grassroots promotion via local DJs and venues led to modest successes, with tapes like Soulja 'Fa' Lyfe circulating widely in the city's hip-hop community and selling 90,000 units independently.^[8]^[14]

No Limit Records period

Role in Beats by the Pound

KLC was recruited by Master P in 1995 to serve as the lead producer and drummer for Beats by the Pound, No Limit Records' in-house production team, after previously selling beats to the label independently.^[15] This integration marked a pivotal shift for KLC, moving from freelance contributions—such as beats for Master P's 1996 album Ice Cream Man—to a full-time role within the collective.^[15] The team, based in New Orleans, comprised KLC alongside Mo B. Dick, O'Dell, Craig B., and Carlos Stephens, forming a tight-knit unit that handled the bulk of No Limit's production needs.^[16] Their collaborative dynamic emphasized individual strengths, with members often working on 3–4 tracks per album while maintaining a unified workflow.^[15] Beats by the Pound's core responsibilities centered on crafting beats to support No Limit's aggressive release schedule and establishing a consistent sonic identity for the label's output.^[15] This included developing the signature Southern hip-hop sound characterized by heavy bass, jazz-infused samples, and rapid-fire drum patterns, which became synonymous with No Limit starting in 1995.^[15] For instance, in 1998 alone, the team contributed to nearly two dozen album releases, enabling the label to flood the market with content from its expansive roster.^[17] KLC's shift from an independent producer to a salaried in-house member facilitated these accelerated production cycles, allowing Beats by the Pound to prioritize volume and cohesion over external collaborations.^[18] This structure supported No Limit's strategy of rapid artist development and distribution deals, particularly with Priority Records, by streamlining the creative process in their New Orleans studio.^[16]

Key productions and commercial success

During his tenure with No Limit Records, KLC played a pivotal role in producing key tracks for Mystikal's breakthrough album Unpredictable (1997), including "Ain't No Limit," which helped propel the project to commercial heights.^[19] The album achieved platinum certification from the RIAA, selling over one million units and peaking at number three on the Billboard 200.^[20] Similarly, KLC contributed production to the soundtrack for the film I Got the Hook Up (1998), featuring Fiend on tracks like "Itch Or Scratch" alongside Mac and Prime Suspect, as well as the title track "I Got the Hook-Up!" with Master P and Sons of Funk; the soundtrack itself reached platinum status with the RIAA shortly after release.^[21]^[22] KLC's broader contributions extended to over 20 No Limit albums as a core member of the Beats by the Pound production team, providing beats for high-profile releases such as Master P's MP da Last Don (1998), where he handled tracks like "Let My 9 Get Em" and "Make 'Em Say Uhh! #2."^[23]^[24] This double album debuted at number one on the Billboard 200 and earned quadruple-platinum certification from the RIAA, underscoring KLC's impact on the label's output.^[25] His work contributed to No Limit's impressive tally of certifications, including involvement in 18 gold and 12 platinum albums during the label's peak.^[26] Standout hits like Master P's "Make 'Em Say Uhh!" from Ghetto D (1997), fully produced by KLC, reached number 16 on the Billboard Hot 100 and supported the album's quadruple-platinum success.^[27] From 1996 to 1999, No Limit's commercial dominance, bolstered by KLC's productions, resulted in over 100 million units sold globally, with the label releasing dozens of albums annually and achieving multiple chart-toppers.^[28] This era marked the height of the label's influence, driven by the collective efforts of Beats by the Pound.^[29]

Later career and ventures

The Medicine Men and label transitions

Following the departure from No Limit Records in late 1999 amid creative and financial disputes with label founder Master P, the production team Beats by the Pound—led by KLC—rebranded as The Medicine Men in 2000 to pursue independent opportunities.^[30] This reformation allowed the group, consisting of KLC, Mo B. Dick, Craig B., O'Dell, and Carlos Stephens, to maintain their signature sound while distancing from No Limit's constraints. Shortly thereafter, The Medicine Men secured a multimillion-dollar distribution deal with Tommy Boy Records, a subsidiary of Warner Bros., enabling broader exposure beyond the Southern rap circuit.^[31] Under the new moniker, The Medicine Men expanded their production credits to high-profile artists outside the No Limit roster, contributing to the commercial resurgence of several acts. For instance, they handled multiple tracks on Mystikal's platinum-certified album Let's Get Ready (2000), including the lead single "Shake Ya Ass," which peaked at number 13 on the Billboard Hot 100 and helped the project sell over two million copies.^[32]^[33] Similarly, KLC and the team produced "Move B*tch" (featuring Mystikal and I-20) for Ludacris's Word of Mouf (2001), a gritty, bass-heavy track that became a crossover hit, reaching number 10 on the Hot 100 and exemplifying their adaptation to mainstream hip-hop demands.^[34] These efforts demonstrated The Medicine Men's versatility, blending New Orleans bounce elements with polished, radio-friendly arrangements. By the early 2000s, KLC shifted toward greater autonomy by founding Overdose Entertainment (later rebranded as Overdose Empire), an independent label focused on emerging Southern talent and his own projects.^[1] The venture released early works like 6-Shot's The Actual Meaning in 2001 and KLC's singles such as "Play It Loud" in 2006, emphasizing self-distribution amid major-label volatility.^[35] This move from No Limit's high-volume model to boutique operations reflected ongoing label disputes, including unpaid royalties claims from the No Limit era, as well as adaptation to post-9/11 industry shifts.^[30] The 2001 terrorist attacks triggered a 5% national drop in music sales that week—worsening to 16.2% in the New York area—and prompted stricter radio censorship and a pivot toward safer, patriotic content, challenging explicit Southern hip-hop's momentum.^[36] Despite these hurdles, Overdose Entertainment positioned KLC for sustained creative control in a consolidating market.

Solo projects and ongoing collaborations

Following his tenure with The Medicine Men, KLC established Overdose Entertainment as an independent label in the early 2000s, focusing on nurturing emerging Southern rap talent from New Orleans and surrounding areas. Through Overdose, he produced and released projects for regional acts such as Calicoe, whose mixtapes like Ground Hog Day (2007) showcased KLC's signature drum-heavy beats.^[37] The label continued operations into the 2010s, emphasizing self-contained productions that blended traditional Southern hip-hop elements with KLC's evolving sound, including releases for artists like 6-Shot on The Actual Meaning (2001).^[1] In 2021, KLC released his long-awaited solo album The Drum Major P1 via Overdose Entertainment, a self-produced effort that compiled tracks originally intended for an unreleased Asylum Records project from the mid-2000s. The 16-track collection features KLC handling all instrumentation and mixing, with standout cuts like "Holla At Me (Extended Version)" incorporating guest verses from Mystikal and B.G., and "Play It Loud" demonstrating his affinity for upbeat, brass-infused rhythms rooted in New Orleans funk.^[38] This release marked a personal milestone, allowing KLC to assert creative control and revisit his drum-major persona through introspective tracks like "I'Ont Hide," which reflect on his career trajectory. In 2025, KLC released singles including "Work", "Where You From", and "The Biggest Flex (feat. Dee-1)", continuing his solo output.^[39] KLC's collaborations extended to established artists, including production work on Curreny's 2015 album *Canal Street Confidential*, where he contributed beats emphasizing moody, atmospheric synths on tracks like "The Game (Bonus Track)." Earlier, in 2013, he produced Curreny's single "Trip to London" featuring Fiend, blending trap influences with his classic bounce-adjacent percussion for a crossover appeal.^[40] These partnerships underscored KLC's adaptability, bridging his No Limit-era style with modern Southern rap aesthetics. As of November 2025, KLC remains active in the New Orleans music scene, producing for bounce revival initiatives that revitalize the city's party rap tradition through updated drum patterns and live instrumentation. He has participated in high-profile panels, such as the 2024 Loyola University hip-hop producers' forum alongside Rockwilder and Deezle, discussing Southern production techniques. Additionally, KLC maintains DJ residencies at local venues, spinning sets that mix classic No Limit cuts with contemporary tracks to support emerging talent under Overdose Empire, his evolved imprint.^[41]

Musical style and impact

Signature production techniques

KLC's production style is defined by his extensive use of the Roland TR-808 drum machine to craft bass-heavy bounce rhythms, a hallmark of Southern hip-hop that emphasizes deep, resonant low-end frequencies. He often layers these synthetic elements with live drum fills, drawing from his background as a drummer to introduce dynamic, organic percussion accents that enhance rhythmic complexity and drive.^[42]^[15] A key aspect of KLC's approach involves sampling local New Orleans sources to embed regional authenticity, including jazz and funk records from artists like The Meters, along with marching band cadences that reflect his early experiences playing in brass bands. This technique infuses beats with a distinctive Southern flavor, blending gritty, syncopated grooves with cultural motifs from the city's musical heritage.^[42] KLC's workflow relied on Akai MPC samplers, such as the MPC 3000, enabling rapid beat construction within the collaborative Beats by the Pound team to support the label's high-volume album releases.^[43]^[44] In the 2000s, KLC transitioned to digital audio workstations like Pro Tools for post-production, facilitating cleaner mixes and precise editing while preserving the raw, gritty sonic character that defined his earlier analog-heavy work.^[45]

Influence on Southern hip-hop

KLC's production work with No Limit Records' Beats by the Pound team helped pioneer the "No Limit bounce" style, a high-energy fusion of New Orleans bounce rhythms and hip-hop beats that emphasized upbeat percussion, bass-heavy grooves, and regional flair, defining much of the label's output in the late 1990s.^[46] This approach laid foundational elements for Southern rap's sonic identity, influencing producers like Mannie Fresh, who incorporated similar bouncy, parade-inspired elements into Cash Money Records' sound while building on No Limit's commercial blueprint.^[47]^[48] The style's emphasis on rhythmic drive and local instrumentation extended to modern trap production, where layered, bass-forward tracks propelled the genre's global reach.^[49] Beyond stylistic innovation, KLC played a key role in mentoring emerging New Orleans artists, fostering the city's hip-hop scene through hands-on production and collaborations that preserved and evolved its unique sound amid challenges.^[3] His efforts contributed significantly to New Orleans' hip-hop identity post-Hurricane Katrina.^[50] KLC's impact is underscored by his accolades, including two Grammy Award nominations in 2003 for Best Rap Album— one for production contributions to Mystikal's Tarantula and another for work on Ludacris' Word of Mouf.^[51]^[52] He also earned multiple BMI Urban Awards for songwriting and production, recognizing hits like "Move Bitch" from Word of Mouf, which highlighted his ability to craft commercially successful Southern anthems.

Discography

Solo and group albums

KLC's early discography is rooted in his role as a founding member and producer for the New Orleans rap group 39 Posse, which released their debut full-length album 39 Automatic in 1993 on Parkway Pumpin Records, the independent label KLC established in the early 1990s. The 12-track album featured KLC's production throughout, including standout songs like "Stuntin' Stars," characterized by deep basslines and crisp, martial-style snares that foreshadowed his signature sound in bounce music.^[53] Earlier, the group issued the EP 39 Posse in 1992, with tracks such as "Got What It Takes to Make It," "Clockin'," and "Pass the Snake," highlighting collaborative group efforts from the Parkway Pumpin era (1992-1995) that captured the raw energy of Third Ward street rap.^[54] During the mid-1990s, KLC contributed to No Limit Records compilations that showcased his growing production influence.^[55] As part of the production collective The Medicine Men (formerly Beats by the Pound), KLC led releases like the 2004 promo single "Holla At Me" under The Medicine Men Present KLC, featuring verses from Mystikal, Calicoe, and B.G., with KLC handling production for Universal-distributed artists and delivering bass-driven beats tied to his Overdose Entertainment imprint.^[56] KLC's first major solo album, KLC the Drum Major P1, arrived in 2021 via Overdose Empire, comprising 16 self-produced tracks that blend introspective lyrics with his hallmark drum-heavy instrumentals, including collaborations with Juvenile, Snoop Dogg, Soulja Slim (posthumously), Mia X, and Lil Jon on songs like "Hold It Down" and "Bang Boogie."^[57]^[58] In the 2020s, KLC continued with collaborative efforts under Overdose Entertainment, such as the 2025 album 24 with Jon Connor, a 12-track release focusing on intense, drum-centric beats and shared verses that pay homage to Southern hip-hop's gritty foundations.^[59]

Notable production credits

During his tenure with No Limit Records in the 1990s, KLC, as the lead member of the Beats By the Pound production team, contributed beats to over 100 albums released by the label, shaping its signature Southern sound.^[60] Notable examples include the production of TRU's "I'm Bout It, Bout It" featuring Master P and Mia X from the 1995 album True, which became a cornerstone track for the label.) Another key credit is "Down 4 My N's" by Snoop Dogg featuring C-Murder and Magic, from the 1999 album No Limit Top Dogg, which propelled the project to platinum certification by the RIAA.^[61]^[62] In the late 1990s and early 2000s, amid crossovers between No Limit and Cash Money/Universal affiliations, KLC provided productions for artists transitioning from or linked to Cash Money, such as B.G. on tracks like "Do What You Wanna Do" featuring 6 Shot and Big Gipp from the 2004 album Life After Cash Money. He also worked with Juvenile on "For Everybody" featuring Skip and Wacko from the 2003 album Juve the Great, a Cash Money release following Juvenile's early tenure. KLC's broader career encompasses credits on more than 300 recordings across over 100 albums, including contributions to multiple multi-platinum projects during the No Limit peak.^[24] In recent years, he has maintained ties to Southern hip-hop through collaborations like "Smokee Robinson" on Curren$y's 2010 album Pilot Talk, part of the influential series. His catalog includes gold-certified works from the No Limit era, such as contributions to certified soundtracks and singles.^[63]

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### KLC Discography Summary
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