No Limit Rapper Krazy: The New Orleans Lyricist Who Became a Member of the 504 Boyz

#NOLAZINE - During the late 1990s and early 2000s, No Limit Records assembled one of the deepest rosters in hip-hop. Master P’s company introduced the world to nationally recognized artists such as Mystikal, Mia X, Silkk The Shocker, C-Murder, Fiend, Soulja Slim and Mr. Magic.

One talented New Orleans rapper who joined the No Limit family during its transition into the new millennium was Krazy.

Born Michael Wilson, Krazy had already spent years building his reputation in the New Orleans underground before joining Master P’s tank. His emotional delivery, street-centered lyrics and ability to create meaningful songs made him different from the average Southern rapper.

Although some listeners remember him primarily as a member of the 504 Boyz, Krazy’s career began years before the group’s biggest record.

Krazy’s Beginning With Murder Inc.

Krazy reportedly began his professional music career in 1994 under the name Crazy. He became a member of the New Orleans rap group Murder Inc., alongside Legend Man, MC L and female rapper Alamo.

This was not the later Murder Inc. label associated with Irv Gotti, Ja Rule and Ashanti. The New Orleans group existed before that company became nationally famous.

Murder Inc. released its debut album, Playin’ for Keeps, through Hard Head Records in 1995. The group followed it with Let’s Die Together in 1997. The second project was reportedly named in memory of Hard Head Records founder Roderick Smith, who was killed in 1996.

These early releases introduced Krazy as a serious street rapper with the ability to discuss violence, hardship, death and survival. His music reflected the environment around him but frequently approached those subjects with emotion and vulnerability.

Becoming a Solo Artist

After his time with Murder Inc., Krazy began establishing himself as a solo performer.

He released I Shed Tears for the World through Ruff Era Records. The project included “Chopper City,” one of the early songs that helped bring attention to his name. He followed it with Please Don’t Kill Me, an album that continued his willingness to address serious social and personal subjects.

While many rappers were creating music designed mainly for clubs or neighborhood popularity, Krazy frequently wrote from a more reflective perspective. Even his album titles suggested that he wanted listeners to think about life, death and the conditions affecting their communities.

His early independent work helped him develop the identity that would eventually bring him into Master P’s organization. AllMusic

Joining Master P and No Limit Records

By 2000, No Limit Records was entering a new era. Several artists from the label’s famous late-1990s roster had departed, and Master P began introducing a new generation of performers.

Krazy became part of that movement and joined the 504 Boyz, a New Orleans supergroup originally built around Master P, Mystikal and Silkk The Shocker. The group’s name came from the city’s original 504 telephone area code.

The 504 Boyz released their debut album, Goodfellas, in May 2000. The project featured contributions from several members of the No Limit family and gave Krazy an opportunity to reach a much larger audience.

His association with the group placed him inside one of Southern hip-hop’s most powerful organizations. However, Krazy was not simply a new rapper created by No Limit. He was already an experienced New Orleans artist who had released multiple projects before joining the label.

The Success of “Wobble Wobble”

The 504 Boyz achieved their biggest commercial success with “Wobble Wobble.”

The record became a national club anthem and reached No. 1 on Billboard’s Hot Rap Songs chart. It also climbed to No. 17 on the Billboard Hot 100, becoming one of the most successful singles released during the later period of No Limit’s original run.

“Wobble Wobble” introduced the 504 Boyz to mainstream listeners and brought more national attention to New Orleans’ dance-driven musical culture. Although Master P, Mystikal and Silkk The Shocker were the most recognizable stars connected to the group, Krazy became an important member of its extended lineup.

The song remains a memorable part of early-2000s Southern hip-hop and continues to receive attention at parties, concerts and New Orleans-themed events.

Releasing Breather Life

In 2001, Krazy released Breather Life through Soulja Army Records, a No Limit-affiliated label.

The album included production from Carlos Stephens, Donald “XL” Robertson, Myke Diesel, Suga Bear and Ezel Swang, with Master P serving as an executive producer. It also featured appearances by Snoop Dogg, Master P, Big Ramp and other artists.

Among the project’s most notable songs were “What Y’all Want” featuring Snoop Dogg and “I Luv My Project” featuring Master P and Ezel Swang.

Breather Life reached No. 91 on Billboard’s Top R&B/Hip-Hop Albums chart and No. 31 on the Independent Albums chart. Those numbers showed that Krazy had developed an audience beyond his earlier underground following. Discogs

The album gave listeners a better understanding of him as an individual artist. He could deliver aggressive street records, but he also possessed an emotional side that allowed him to discuss pain, loyalty and the realities of growing up around poverty.

Working With Other No Limit Soldiers

Krazy appeared on several projects connected to No Limit’s post-2000 era.

He joined Soulja Slim and X-Conn on “Get Cha Mind Right,” which appeared on Soulja Slim’s 2001 album The Streets Made Me. The collaboration united two distinctive New Orleans voices who had experienced the city’s independent rap scene before reaching a national audience.

Krazy also appeared alongside Master P and Terrar—who later became internationally known as Pusha T—on the remix of Silkk The Shocker’s “D-Game.” The collaboration has become an interesting piece of hip-hop history because it connected an established No Limit rapper with a future member of Clipse.

“D-Game (Remix)” remains respected enough to have been included in a 2025 list of songs proposed for No Limit’s battle against Cash Money Records. Uproxx

In 2002, Krazy appeared with 5th Ward Weebie on Master P’s “Rock It,” from the album Game Face. The song reached No. 72 on Billboard’s Hot R&B/Hip-Hop Songs chart.

These appearances made Krazy one of the recognizable voices from No Limit’s second major chapter.

Life After No Limit

After his period with No Limit, Krazy continued making music independently.

In 2004, he released Us Killin’ Us through Breather Entertainment. The project’s title followed the socially conscious direction heard throughout much of his earlier catalog.

Rather than depending entirely on the No Limit name, Krazy returned to the independent approach that had started his career. He continued recording, performing and maintaining connections within New Orleans hip-hop.

Years later, he also became affiliated with No Limit Forever, the updated version of Master P’s musical movement. Songs such as “Scale,” featuring Master P and T.E.C., showed that the relationship between Krazy and the No Limit family continued beyond the label’s most commercially successful period.

An Underrated New Orleans Rap Veteran

Krazy may not be mentioned as frequently as some of No Limit’s biggest stars, but his career deserves recognition.

He survived multiple stages of the New Orleans music industry. He started with an independent group, became a solo artist, joined one of hip-hop’s most famous labels and contributed to a group that produced a No. 1 rap single.

More importantly, Krazy never sounded like an artist who was simply added to fill space on the No Limit roster. He brought years of experience, an established identity and a genuine New Orleans perspective to the tank.

His catalog includes music created before, during and after his No Limit run. That history makes him more than just a former member of the 504 Boyz. Krazy represents the generation of New Orleans rappers who built their names independently before Southern hip-hop received full respect from the national music industry.

For longtime No Limit fans, Krazy remains a real soldier from an important era. For younger listeners discovering the label’s history, his story proves that some of its most talented artists existed beyond the platinum album covers and nationally promoted stars.

Krazy’s journey is another chapter in the larger story of New Orleans hip-hop—one that deserves to be remembered.