I’m sure that a few of you readers were bothered by the slightly shady corporate sponsorship of this video. I’d bet that the inexplicably poorly scripted scene at the start offended at least some of you. But if any of you made it past that, I can only assume that you were blown away by the rest.

I chose this clip as the subject for my first Blargus post, because it’s an unrivaled showcase of the current Houston rap scene. It shows that the movement heralded by DJ Screw, Big Moe, and Pimp C lives on. This summer, I listened to a lot of old school screw (the lowercase “s” indicating the genre rather than artist) and bemoaned the deaths of these legends. When I found this video, I was relieved. It reminded me that Texas is still home to some of the greatest mcs in the world.

A few disclaimers. This isn’t a freestyle. It’s not a real track off any album. Also, to be fair, it’s not terribly well produced. I’d strongly advise you to get out of there as soon as Lil’ Keke finishes spitting his verse, as I’ve definitely got nothing nice to say about the last two on the mic (not just because they’re radio-rap/R&B artists, but because they’re doing radio-rap/R&B poorly).

At its best, this video is a challenge. It asks whether any city can step to the depth of talent of these mcs. Lets break this down.

Chamillionare and Lil’ Flip both prove that they’ve grown since the original Houston Mic Pass. Cham brings an energy and confidence to his verse that sets a solid tone for the rest of the video. Also, I really like his sung part on the hook, especially in contrast to Paul Wall’s goofy and loveable drawl. Lil’ Flip used to be known for his ability to freestyle for hours, and his flow still shows that. While Flip used to be the baby of the Screwed Up Click family, he brings some grown-up lyricism to his verse.

Paul Wall and Devin the Dude both come correct with their own usual styles—you can either love them or hate them. Personally, I can’t help but love Wall’s typically slow and silly flow. Devin, a local favorite in my hometown (Austin, Tx), keeps it simple with his usual style. I’ve never been a huge fan, but he knows what he likes (and you should probably check out his buddy cruising on the exercise bike.)

A minute and forty-odd seconds in, Z-Ro the Crooked takes this to another level, setting the pace for some original SUC style wreckage. From the second he breathes on the mic, one senses his lyrical abilities. This verse shows off the syncopation and tonality of his flows and his unpredictable rhythmic structures. While many mcs today fall back on predictable rhyming patterns, Z-Ro constantly brings his own voice and style to his work. He is one the true unsung heroes of hip-hop.

Ro passes the mic off to a string of H-town legends. As the oldest mc to spit, Bun-B also wrecks it with the least amount of effort. Using the opposite end of the rhythmic spectrum as Rother, he spits it with some quiet confidence and still works in a reference to his $900(…?) shoes. After Bun, Trae graces the mic with some straight genius: “I’m the king of whatever you call it/don’t get it twisted/I’m against the grain cuz so many others would never risk it.” With a double-time feel, Trae uses mad syncopations and pushes his flow against the beat effortlessly. He seems completely at home on the mic, true to himself and his style.

Lil’ Keke’ verse is my favorite of this whole video. Keke, a lesser-known original member of the SUC, spits it with that true 3rd-coast feel, channeling the late Pimp C’s gritty, southern flow. This is what its all about for me; it makes me even happier than last weeks S & C enchiladas. Whether you felt this, or not, I hope this opened your eyes to a new scene, and hopefully it made you smile.