Under Ground Kingz: Pimp C (rap vocals, drum programing, keyboards); Bun B (rap vocals); Bird (scratches, rap vocals).
Additional personnel: Infinity (rap vocals); Mike Dean, Tim Harris (guitar); Bernie Bismark (keyboards, drum programming); Anthony Sapp (bass); Shetoro Henderson (drum programming); Bruce Lattin, Brenda Bee, "Fifty" (background vocals).
Recorded at Track Designs, Inc., Houston, Texas; Track Designs, Inc. and Dallas Sound Lab, Dallas, Texas.
Personnel: DJ Bird (vocals); Infinity (rap vocals); Mike Dean (guitar); Pimp C (keyboards, programming, drum programming); Bernie Bismark (keyboards, drum programming); Shitoro Henderson (drum programming); Bruce Lattin (background vocals).
Audio Mixers: Bernie Bismark; Shitoro Henderson.
Audio Remixer: Pimp C.
Recording information: Dallas Sound Lab; Pimp C Family Productions; Track Designs, Inc, .Dallas, TX.
Arranger: Pimp C.
Truth in advertising, Too Hard to Swallow is UGK before they got funked up, grinding over some minimal, hard beats that aren't as complementary to their delivery as the smoother production they would later favor. Still, thanks to members Bun B and Pimp C's ability to write memorable rhymes, the album -- which repeats some tracks from their impossible to find indie release The Southern Way -- is a winner with three mammoth singles so important to the UGK story. "Something Good" puts a crooked beat under Rufus' most popular number, "Use Me Up" tells its pissed-off tale over a Bill Withers sample, and "Pocket Full of Stones" is a classic tale of crack rocks, Cadillacs, and making bail. The mucho macho "Cramping My Style" is a fan favorite with "hump and dump" lyrics that didn't really play nice with radio, and the snide "I'm So Bad" is a great example of how well Pimp C can offend and amuse at the same time. While most will prefer the Kingz' later sound, this is some fans' favorite album thanks to its unforgiving punch and visceral, controversial, cop-killer lyrics. ~ David Jeffries
The Wire (p.44) - "[T]he juxtaposition of Bun's bluff, authoritative lyrical presence and Pimp's nasal haranguing was like nothing that had come before."