Despre ei...

[Chill Will]

Large Professor




Eric B & Rakim. Biz Markie's 'All Samples Cleared'. Pete Rock & CL Smooth's 'Mecca and the Soul Brother'. Nas's 'Illmatic' and 'Stillmatic'. Diamond D's 'Stunts, Blunts & Hip-hop'. Kool G Rap. Big Daddy Kane. A Tribe Called Quest's Midnight Marauders. Rob Swift. The Beastie Boys. Roxanne Shante. Gang Starr. Main Source.

Sound familiar? Then you know Large Professor. Go ahead, check the credits. We'll wait.

Since high school student William Paul Mitchell broke in with Main Source as MC and producer, Extra P's been in demand. Think Lil' Bow Wow or Chi Ali was a prodigy? Hell, the Prof taught the real Prodigy -- the one out of Mobb Deep -- his way around a studio. And that was after he taught DJ Premier how to use his SP1200. A grateful Primo reciprocated, introducing LP to his record collection and brought Main Source to the attention of Wild Pitch.

Not impressed yet? Try this: at seventeen, going to school by day, LP spent his nights programming beats for Eric B & Rakim's Let the Rhythm Hit 'Em. That led to a call to work on Kool G. Rap's Wanted Dead or Alive. And by that time his rep was already growing amongst those in the know: 15-year old Nasir Jones -- uh, NAS -- had already enrolled with the Professor.

If Extra P was as business-minded as some, he'd have an empire. But for him, the art's always come first; LP's dedicated to his vision of the pure hip-hop sound, and neither bad industry deals nor changing styles have affected his mission. Don't feel bad for LP, though, and don't write him off as old school: he's classic.

LP's sound is as timeless as hip-hop gets. A beat scientist of first order, no one gets more out a drum machine, and he serves up his beats garnished with just enough melody to keep things moving. P's a chef: his creations breathe. They get your head noddin' and let the MC do the rest.

Twelve years since Main Source's Breaking Atoms, he returns with '1st Class', and it's vintage Large Professor: 16 tracks of first-class beats that any other MC would kill for, featuring old friends Nas, Q-Tip, Akinyele and Busta Rhymes.

He's a gracious host: Large Producer's greatest gift has always been fitting the track around the featured MC. If you can't distinguish yourself over an LP track, you don't deserve to be in the game. That's not a problem for '1st Class''s visiting faculty.

Wrapped around a relaxed beat and a choral melody on "In the Sun", Tip hasn't sounded this comfortable since The Low End Theory. Nas returns to his Queensbridge roots on "Stay Chisel", but he's not the same old Nasty Nas ' this is the grown-up version; he and LP sit on the stoop, trading verses and telling stories. Akinyele joins in, but it's fitting that he gets his own beat -- he's leaning out the window, screaming, yelling and telling it his way. And Busta Rhymes takes his turn in "On", with a beat that's as frenetic as the dreadlocked MC.

One thing's for sure: you're not going to find another hip-hop album like it this year. And that's not just because Ja Rule's not on it, neither.


Timeline:

First single (Main Source's "Think" b/w "Atom") spun by Marley Marl & Pete Rock on 98.7 KISS FM.
Taught DJ Premier his way around an SP1200, passing on what LP had learned from Pete Rock. Primo introduced LP to vintage vinyl, and hooked Main Source up with Wild Pitch.
St 17, programmed the beats for Eric B & Rakim's Let the Rhythm Hit 'Em -- high school by day, beats by night
Still in HS in Queens, got the call to work on Kool G Rap's Wanted Dead or Alive
Hot Prodigy (of Mobb Deep), Busta Rhymes -- among others -- more started in producing
Produced tracks for Akinyele, Slick Rick, Mobb Deep, Biz Markie, Roxanne Shante, Beastie Boys
Produced tracks for other noted producers: Gang Starr, A Tribe Called Quest, Pete Rock & CL Smooth, Eric B & Rakim.
Recorded two albums of old school beat science for Geffen in the mid-90s, only two singles released ("Mad Scientist" and "Ijuswannachill").

Current Extracurricular Activities:

Produced six tracks for the upcoming Nas album 'God's Son' (Christmas)
Produced one track for the upcoming Busta Rhymes album (November)
Featured vocalist on upcoming Beatnuts album (October)
Featured vocalist and producer for the new Cormega album (out now)
Froducer of the upcoming Akinyele album (2003)
Froduced "XL" track on the current X-ecutioners album
Froduced the upcoming Royal Flush album (2003)
Froduced five tracks and featured vocalist on the upcoming Neek The Exotic album

[Chill Will]

Slum Village



Rising from the rugged streets and rich musical tapestry of Detroit, Slum Village is poised to carry on the old-school, funk, and soul-filled hip-hop torch of genre pioneers A Tribe Called Quest, De La Soul, and the Pharcyde. Growing up in the Conant Garden neighborhood of Detroit and forming during high-school days at Detroit's Pershing High School, MCs Baatin, Jay Dee, and T3 quickly garnered praise and recognition in the local underground scene. In the mid-'90s, Jay Dee became part of the hip-hop elite as a member of the Ummah, the production team responsible for multiple hits by Q-Tip, A Tribe Called Quest, D'Angelo, the Pharcyde, De La Soul, and Common, as well as remixes for Janet Jackson and Brand New Heavies. In 1998, Slum Village gained further recognition as an opening act for A Tribe Called Quest's farewell tour. Two years later, after some record-industry politics, the group released Fantastic, Vol. 2, an album featuring appearances from D'Angelo, Q-Tip and DJ Jazzy Jeff. For fans with an ear to the underground and a few questions concerning the whereabouts of Fantastic, Vol. 1, the trio assumed an alias (J-88) to release Best Kept Secret.

Two more years went by before the group was heard from, but "Tainted" broke their silence in the summer of 2002 to become a growing hit on MTV2. The album that followed, Trinity (Past, Present and Future), boasted fewer guest appearances and a well-rounded combination of the first album's rough-and-tumble productions with the second album's soulful vibe. The record also featured Jay Dee in a reduced role, with new member Elzhi picking up the slack. Later that year, Slum Village released Dirty District, a compilation of Detroit MCs produced by T3 and compatriot RJ Rice. By the time recording began for their fourth proper album, Baatin was gone from the lineup, a victim of schizophrenia that briefly incapacitated him (he later mounted a solo career). T3 and Elzhi picked up the slack by inviting high-profile guests including Dirt McGirt and Kanye West, and Capitol released the results, Detroit Deli (A Taste of Detroit), in June 2004.

[Chill Will]

A tribe called quest



Without question the most intelligent, artistic rap group during the 1990s, A Tribe Called Quest jump-started and perfected the hip-hop alternative to hardcore and gangsta rap. In essence, they abandoned the macho posturing rap music had been constructed upon, and focused instead on abstract philosophy and message tracks. The "sucka MC" theme had never been completely ignored in hip-hop, but Tribe confronted numerous black issues -- date rape, use of the word nigger, the trials and tribulations of the rap industry -- all of which overpowered the occasional game of the dozens. Just as powerful musically, Quest built upon De La Soul's jazz-rap revolution, basing tracks around laid-back samples instead of the played-out James Brown-fests which many rappers had made a cottage industry by the late '80s. Comprised of Q-Tip, Ali Shaheed Muhammad, and Phife, A Tribe Called Quest debuted in 1989 and released their debut album one year later. Second album The Low End Theory was, quite simply, the most consistent and flowing hip-hop album ever recorded, though the trio moved closer to their harder contemporaries on 1993's Midnight Marauders. A spot on the 1994 Lollapalooza Tour showed their influence with the alternative crowd -- always a bedrock of A Tribe Called Quest's support -- but the group kept it real on 1996's Beats, Rhymes and Life, a dedication to the streets and the hip-hop underground.

A Tribe Called Quest was formed in 1988, though both Q-Tip (b. Jonathan Davis) and Phife (b. Malik Taylor) had grown up together in Queens. Q-Tip met DJ Ali Shaheed Muhammad while at high school and, after being named by the Jungle Brothers (who attended the same school), the trio began performing. A Tribe Called Quest's recording debut came in August 1989, when their single, "Description of a Fool," appeared on a tiny area label (though Q-Tip had previously guested on several tracks from De La Soul's 3 Feet High and Rising and later appeared on Deee-Lite's "Groove Is in the Heart").

Signed to Jive Records by 1989, A Tribe Called Quest released their first album, People's Instinctive Travels and the Paths of Rhythm, one year later. Much like De La Soul, Tribe looked more to jazz as well as '70s rock for their sample base -- "Can I Kick It?" plundered Lou Reed's classic "Walk on the Wild Side" and made it viable in a hip-hop context. No matter how solid their debut was, second album The Low End Theory outdid all expectations and has held up as perhaps the best hip-hop LP of all time.

The Low End Theory had included several tracks with props to hip-hop friends, and A Tribe Called Quest cemented their support of the rap community with 1993's Midnight Marauders. The album cover and booklet insert included the faces of more than 50 rappers -- including obvious choices such as De La Soul and the Jungle Brothers -- as well as mild surprises like the Beastie Boys, Ice-T, and Heavy D. Though impossible to trump Low End's brilliance, the LP offered several classics (including Tribe's most infectious single to date, "Award Tour") and a harder sound than the first two albums. During the summer of 1994, A Tribe Called Quest toured as the obligatory rap act on the Lollapalooza Festival lineup, and spent a quiet 1995, marked only by several production jobs for Q-Tip. Returning in 1996 with their fourth LP, Beats, Rhymes and Life, Tribe showed signs of wear; it was a good album, but proved less striking than The Low End Theory or Midnight Marauders. While touring in support of 1998's The Love Movement, the group announced their impending breakup.

[Chill Will]

GANG STARR




Never overly prolific nor overly popular, Gang Starr nonetheless became and remain one of hip-hop's most admired acts ever, the duo's legacy nothing short of legendary in terms of influence. DJ Premier and Guru, the duo's respective producer/DJ and lyricist/MC, set standards for early-'90s hip-hop with their two touchstone releases: Step in the Arena (1991) and Daily Operation (1992). Beginning with these releases, both listeners and critics heaped mounds of praise upon Premier and Guru -- the former because of his DJ-style beatmaking and jazzy sound, the latter because of his socially conscious lyrics and no-nonsense stance. Following these two undisputed classics, Premier became one of New York's most demanded producers and crafted hits for the city's finest MCs: the Notorious B.I.G., Nas, Jay-Z, KRS-One, and more. Guru likewise collaborated with plenty of famous artists -- Roy Ayers, Donald Byrd, N'Dea Davenport, and more -- on his solo debut, Jazzmatazz, Vol. 1. After this point, however, Gang Starr became somewhat of a side project for Premier and Guru, who both forged on with their respective solo careers. More albums came -- each impressive, beginning with the tough Hard to Earn album in 1994 -- yet Gang Starr had already attained their summit of popularity and acclaim in the early '90s and, as a result, continually battled their own growing legacy, as fans billed every successive album as a comeback.

Premier and Guru began humbly enough, releasing No More Mr. Nice Guy (1989), an ambitious debut album seeking to heavily incorporate a jazz aesthetic into hip-hop. Ambitious or not, the formative album didn't impress too many (though there were promising moments like "Manifest" and "DJ Premier in Deep Concentration"), and Gang Starr took two years to reconsider their approach. The duo then returned with a new record label and a fresh approach. It worked marvelously as Step in the Arena (1991) set new standards with not only its beats but also its lyrics. Premier had blossomed into one of New York's most savvy producer/DJs, capable of using samples in ways never before imagined and garnered much acclaim for his subtle use of jazz. Similarly, Guru's literate, thoughtful, and, most of all, earnest lyrics stood out among the brash materialism increasingly plaguing the genre, and his trademark monotone delivery didn't hurt either. A year later came Daily Operation (1992). If Step in the Arena had been and remains a masterpiece, this album is nothing short of that mark; in fact, it's generally viewed as Gang Starr's crowning achievement.

While both Step in the Arena and Daily Operation astounded critics and street-level listeners, the albums never inspired any big breakthrough hits, and Gang Starr remained somewhat of a cult favorite. Songs like "Just to Get a Rep," "Step in the Arena," "Take It Personal," and "Soliloquy of Chaos" became underground classics but never crossed over to the mainstream. Despite Premier's reputation as a hitmaker, Gang Starr openly spurned "mass appeal" and refused to adjust their style to any sort of trend. Hard to Earn (1994) strongly confirmed this anti-commercial stance, especially the "Mass Appeal" single, and the duo didn't return until four years later with Moment of Truth (1998) and Full Clip (1999) shortly after. The former album and its big single, "You Know My Steez," proved that, despite Gang Starr's long absence, Premier and Guru could still make excellent hip-hop -- an entire album of it, in fact. The latter album, a double-disc retrospective commemorating Gang Starr's ten-year anniversary, showcased some of the duo's best moments and added some bonuses for long-time fans.

Following the best-of collection, Premier and Guru quietly rested the Gang Starr moniker. Even so, they remained active over the years: Guru continued releasing star-studded solo albums, and Premier continued producing countless tracks for New York's finest. While it's somewhat ironic that Premier produced so many across-the-board hits for others but not himself, Gang Starr never attained Nas- or Jay-Z-level stardom because of their uncompromising, somewhat highbrow style, something which the two refused to dilute with mass appeal, precisely the reason why their influence has proven so timeless.

[Chill Will]

Pete Rock & C.L. Smooth




Mt. Vernon, New Yorkers Pete Rock (a producer/DJ) and rapper C.L. Smooth emerged in 1992 as both a powerhouse performance duo and as prolific producers. Their 1992 album Mecca and the Soul Brother was a hip-hop classic with great cuts including "They Reminisce Over You (T.R.O.Y.)" and "Straighten It Out." They later collaborated with Mary J. Blige for a remix of her song "Reminisce" that effectively merged the two tracks in a re-edited hit. Their next album, The Main Ingredient, appeared in 1994, but they split for solo careers one year later. They also recorded many productions for both hip-hop acts and urban contemporary artists like Johnny Gill.

[Chill Will]

Brand Nubian



The Five Percent Nation of Islam was a popular inspiration for numerous thinking-man's rap groups during the early '90s, and Brand Nubian was arguably the finest of the more militant crop. Although they were strongly related to the Native Tongues posse in style and sound, they weren't technically members, and were less reserved about spotlighting their politics and religion. Their outspokenness led to controversy, on an even larger scale than similarly minded groups like the X-Clan or Poor Righteous Teachers, in part because Brand Nubian's sheer musicality made them so listenable regardless of what their messages were. The hoopla surrounding their aggressive Afrocentrism sometimes overshadowed the playful and positive sides of their work, as well as the undeniable virtuosity of lead MC Grand Puba's rhymes -- all showcased to best effect on their highly acclaimed debut, One for All.

Brand Nubian was formed in 1989 in the New York suburb of New Rochelle. Grand Puba (born Maxwell Dixon) had previously recorded with a group called Masters of Ceremony, and was joined by Sadat X (born Derek Murphy, originally dubbed Derek X), Lord Jamar (born Lorenzo DeChalus), and DJ Alamo (Murphy's cousin). The group signed with Elektra and released their debut album, All for One, in 1990. Most reviews were glowing, but the stronger rhetoric on the album -- especially the track "Drop the Bomb" -- drew fire from some quarters, including some white Elektra employees reluctant to promote what they saw as reverse racism. Ultimately, the uproar didn't really hurt Brand Nubian's career, but neither did it produce a wider hit with pop or R&B audiences, despite the high regard in which the singles "All for One," "Slow Down," and "Wake Up" are held. A far more serious blow was Grand Puba's departure from the group in late 1991, owing to tensions that had arisen over his handling the lion's share of the rapping. Not only did Brand Nubian lose their clear focal point and chief producer, they also lost DJ Alamo, who elected to continue working with Puba.

Puba released his solo debut, Reel to Reel, in 1992; meanwhile, Lord Jamar and Sadat X regrouped with DJ Sincere (born Terrence Perry) and issued In God We Trust in 1993. It sold fairly well, just missing the Top Ten on the R&B chart, and the single "Punks Jump up to Get Beat Down" was something of a hit, though it also drew fire for its anti-gay slurs. In Puba's absence, the pro-Islam rhetoric grew stronger, with more explicit support for the controversial Minister Louis Farrakhan. By the time of 1994's Everything Is Everything, they'd gotten downright dogmatic, and critics who'd previously defended the group now found them difficult to stomach, both lyrically and musically.

In the wake of the icy reception afforded Everything Is Everything, the remaining members of Brand Nubian drifted apart. Sadat X reunited with Grand Puba for "Play It Cool," a track on the latter's second solo album; Sadat also released his solo debut, Wild Cowboys, in 1996, and subsequently guested on records by a new wave of underground hip-hoppers. Lord Jamar, meanwhile, moved into production, and also landed a recurring role on HBO's prison drama Oz. In 1998, with a new alternative rap movement gaining prominence, the original four members of Brand Nubian reunited for the Arista album Foundation, which received highly positive reviews. Grand Puba and Sadat X both subsequently returned to their solo careers, but they returned with Jamar and Alamo for 2004's Fire in the Hole.

[Chill Will]

MC Solaar




The best and most popular French rapper, MC Solaar found success in America among fans of acid jazz and jazz-rap (if not the larger hip-hop community) after guesting on Guru's acclaimed Jazzmatazz project. His fluid phrasing makes up for his lack of English, and the production on his solo work (by DJ Jimmy Jay and Boom Bass of La Funk Mob) surpasses that of most of his hip-hop contemporaries.

Born Claude M'Barali in Senegal, Solaar later moved to Paris and released his first single, "Bouge de La," in 1990. Two later tracks became French hits, prompting the release of his first album, Qui Seme le Vent Recolte le Tempo, in 1991. Introduced to the U.S. by way of two compilations (Tommy Boy's Planet Rap and Island's The Rebirth of Cool), MC Solaar recorded "Le Bien, Le Mal" for 1993's Jazzmatazz LP. His second album, Prose Combat, earned an American release on Cohiba by 1994. Paradisiaque followed in 1997, and Solaar returned a year later with a self-titled effort. La Tour de la Question appeared in 1999.

[Chill Will]

The Roots




Though popular success has largely eluded the Roots, the Philadelphia group showed the way for live rap, building on Stetsasonic's "hip-hop band" philosophy of the mid-'80s by focusing on live instrumentation at their concerts and in the studio. Though their album works have been inconsistent affairs, more intent on building grooves than pushing songs, the Roots' live shows are among the best in the business.

The Roots' focus on live music began back in 1987 when rapper Black Thought (Tariq Trotter) and drummer ?uestlove (Ahmir Khalib Thompson) became friends at the Philadelphia High School for Creative Performing Arts. Since the duo had no money for the DJ essentials -- two turntables and a microphone, plus a mixer and plenty of vinyl -- they recreated classic hip-hop tracks with ?uestlove's drum kit backing Black Thought's rhymes. Playing around school, on the sidewalk, and later at talent shows, the pair began to earn money and hooked up with bassist Hub (Leon Hubbard) and rapper Malik B. Moving from the street to local clubs, the Roots became a highly tipped underground act around Philadelphia and New York. When the group was invited to represent stateside hip-hop at a concert in Germany, they recorded an album to sell at shows; the result, Organix, was released in 1993 on Remedy Records. With a music-industry buzz surrounding their activities, the Roots entertained offers from several labels before signing with DGC that same year.

The Roots' first major-label album, Do You Want More?!!!??!, was released in January 1995; forsaking usual hip-hop protocol, the album was produced without any samples or previously recorded material. It peaked just outside the Top 100, but was mostly ignored by fans of hip-hop. Instead, Do You Want More?!!!??! made more tracks in alternative circles, partly due to the Roots playing the second stage at Lollapalooza that summer. The band also journeyed to the Montreux Jazz Festival in Switzerland. Two of the guests on the album who had toured around with the band, human beatbox Rahzel the Godfather of Noyze -- previously a performer with Grandmaster Flash and LL Cool J -- and Scott Storch (later Kamal) became permanent members of the group.

Early in 1996, the Roots released Clones, the trailer single for their second album. It hit the rap Top Five, and created a good buzz for the album. The following September, Illadelph Halflife appeared and made number 21 on the album charts. Much like its predecessor, though, the Roots' second LP was a difficult listen. It made several very small concessions to mainstream rap -- the band sampled material which they had recorded earlier at jam sessions -- but failed to make a hit of their unique sound. The Roots' third album, 1999's Things Fall Apart, was easily their biggest critical and commercial success; The Roots Come Alive followed later that year. The long awaited Phrenology was released in late November 2002 admist rumors of the Roots losing interest in their label arrangements with MCA. In 2004 the band remedied the situation by creating the Okayplayer company. Named after their website, Okayplayer included a record label and a production/promotion company. The same year the band held a series of jam sessions to give their next album a looser feel. The results were edited down to ten tracks and released as The Tipping Point in July of 2004. A 2004 concert from Manhattan's Webster Hall with special guests like Mobb Deep Young Gunz and Jean Grae was released in early 2005 as The Roots Presents: A Sonic Event in both CD and DVD formats.

[Chill Will]

Rahzel



Probably best known in the semi-mainstream world as a member of the Roots, Rahzel is an MC that specializes in the "fifth element" of hip-hop culture -- beatboxing (which comes after graffiti spraying, DJing, MCing, and breakdancing). He actively discourages classification of his sound, attempting to remain on the eclectic edge of the commercial music. According to the artist, his influences include Biz Markie, Doug E Fresh, Buffy of the Fat Boys, Bobby McFerrin, and Al Jarreau. His goal is to gain respect for beatboxing as a true art form on its own merits. Growing up, Rahzel looked up to his cousin Rahim of the Furious Five, and went to Grandmaster Flash's shows regularly. He later became a roadie for the Ultramagnetic MCs. Rahzel has in fact mastered the art of beatboxing, able to recreate full songs, with accompaniment by himself without instrumentation, able to sing a chorus and provide a backing beat simultaneously, able to invoke impressions of singers and rappers on a whim. Any fan of hip-hop should definitely invest in his Make the Music 2000 album.

[Chill Will]

N.W.A.




N.W.A, the unapologetically violent and sexist pioneers of gangsta rap, are in many ways the most notorious group in the history of rap. Emerging in the late '80s, when Public Enemy had rewritten the rules of hardcore rap by proving that it could be intelligent, revolutionary, and socially aware, N.W.A capitalized on PE's sonic breakthroughs while ignoring their message. Instead, the five-piece crew celebrated the violence and hedonism of the criminal life, capturing it all in blunt, harsh language. Initially, the group's relentless attack appeared to be serious, vital commentary, and it even provoked the FBI to caution N.W.A's record company, but following Ice Cube's departure in late 1989, the group began to turn to self-parody. With his high-pitched whine, Eazy-E's urban nightmares now seemed like comic book fantasies, but ones that fulfilled the fantasies of the teenage white suburbanites who had become their core audience, and the group became more popular than ever. Nevertheless, clashing egos prevented the band from recording a third album, and they fell apart once producer Dr. Dre left for a solo career in 1992. Although the group was no longer active, their influence -- from their funky, bass-driven beats to their exaggerated lyrics -- was evident throughout the '90s.

Ironically, in their original incarnation N.W.A were hardly revolutionary. Eazy-E (born Eric Wright), a former drug dealer who started Ruthless Records with money he earned by pushing, was attempting to start a rap empire by building a roster of successful rap artists. However, he wasn't having much success until Dr. Dre (born Andre Young) -- a member of the World Class Wreckin' Cru -- and Ice Cube (born O'Shea Jackson) began writing songs for Ruthless. Eazy tried to give one of the duo's songs, "Boyz-n-the Hood," to Ruthless signees HBO, and when the group refused, Eazy formed N.W.A -- an acronym for Niggaz With Attitude -- with Dre and Cube, adding World Class Wreckin' Cru member DJ Yella (born Antoine Carraby), the Arabian Prince, and the D.O.C. to the group.

N.W.A's first album, N.W.A. and the Posse, was a party-oriented jam record that largely went ignored upon its 1987 release. In the following year, the group added MC Ren (born Lorenzo Patterson) and revamped their sound, bringing in many of the noisy, extreme sonic innovations of Public Enemy and adopting a self-consciously violent and dangerous lyrical stance. Late in 1988, N.W.A delivered Straight Outta Compton, a vicious hardcore record that became an underground hit with virtually no support from radio, the press, or MTV. N.W.A became notorious for their hardcore lyrics, especially those of "Fuck tha Police," which resulted in the FBI sending a warning letter to Ruthless and its parent company, Priority, suggesting that the group should watch their step.

Most of the group's political threat left with Cube when he departed in late 1989 amid many financial disagreements. A nasty feud between N.W.A and the departed rapper began that would culminate with Cube's "No Vaseline," an attack on the group's management released on his 1991 Death Certificate album. By the time the song was released, N.W.A, for all intents and purposes, was finished.

In the two years between Cube's departure and the group's dissolution, N.W.A was dominated by Eazy's near-parodic lyrics and Dre's increasingly subtle and complex productions. The group quickly released an EP, 100 Miles and Runnin', in 1990 before following it up early the next year with Efil4zaggin ("Niggaz 4 Life" spelled backward). Efil4zaggin was teeming with dense, funky soundscapes and ridiculously violent and misogynist lyrics. Naturally, the lyrics provoked outrage from many critics and conservative watchdogs, but that only increased the group's predominately male, white suburban audience. Even though the group was at the peak of their popularity, Dre began to make efforts to leave the crew, due to conflicting egos and what he perceived as an unfair record deal.

Dre left the group to form Death Row Records with Suge Knight in early 1992. According to legend, Knight threatened to kill N.W.A's manager Jerry Heller if he refused to let Dre out of his contract. Over the next few years, Dre and Eazy engaged in a highly publicized feud, which included both of the rappers attacking each other on their respective solo albums. Ren and Yella both released solo albums, which were largely ignored, and Eazy continued to record albums that turned him into a complete self-parody until his tragic death from AIDS in March 1995. Before he died, Dre and Cube both made amends with Eazy. With his first solo album, 1992's The Chronic, Dre established himself as the premier hip-hop producer of the mid-'90s, setting the pace for much of hardcore rap with its elastic bass and deep, rolling grooves. Gangsta rap established itself as the most popular form of hip-hop during the '90s -- in other words, N.W.A's amoralistic, hedonistic stance temporarily triumphed over the socially conscious, self-award hip-hop of Public Enemy, and it completely rewrote the rules of hip-hop for the '90s.

[Chill Will]

Boogie Down Productions




Boogie Down Productions was one of the most important and influential hip-hop groups of the latter half of the '80s. Led by the often brilliant and incendiary MC KRS-One, BDP were pioneers of both hardcore and political (or "conscious") rap -- and if that seems contradictory, it also illustrates the scope of KRS-One's talent for chronicling and even shaping his culture. Musically, BDP usually employed spare, minimal backdrops that accentuated KRS-One's booming delivery, and they were also among the very first hip-hop artists to incorporate elements of Jamaican ragga and dancehall into their style. Early on, BDP devoted itself to brash but realistic narratives of ghetto life, which made them a street-level sensation; however, after the murder of original DJ Scott La Rock, KRS-One -- who now essentially was BDP -- devoted himself to socially and politically conscious material that earned him the nickname "the Teacher." In the process, he helped pave the way for both gangsta rap and the positive, Afrocentric Native Tongues movement -- a legacy no other rapper can claim. KRS-One retired the Boogie Down Productions moniker in the early '90s to release records under his own name; to this day, he remains one of hip-hop's most outspoken and respected intellectuals.

KRS-One's real name is Laurence Krisna Parker, or simply Kris Parker; some accounts hold that he was born with the "Krisna" moniker, while others suggest it was a nickname given to him during his youth for his interest in spirituality. Born in Brooklyn's Park Slope area in 1965, his Trinidad-born father was deported not long after his birth, and he later adopted his stepfather's last name of Parker. Early in his teens, he dropped out of high school and left home, migrating to the South Bronx; although he survived mostly on the streets and in homeless shelters, he continued his education by studying extensively in public libraries. During this period, he became interested in hip-hop culture, writing his own raps and tagging graffiti under the name KRS-One (originally an abbreviation for "Kris Number One" but later turned into the acronym "Knowledge Reigns Supreme Over Nearly Everyone"). At 19, he spent a brief time in jail for selling marijuana; after his release, he met social worker Scott Sterling at a Bronx shelter in 1985. Sterling was also a DJ who performed under the name Scott La Rock, and when the two became friends, they decided to form a rap group, which they called Boogie Down Productions.

BDP's first independently released single was 1986's "Crack Attack," and they soon completed a full-length album for the small indie label B Boy Records (which was rumored to be a front for a pornography operation). The record, Criminal Minded, earned them a rabid cult following on the streets when it appeared in 1987, and today is considered an early classic of hardcore rap. KRS-One's detailed depictions of urban realities -- drugs, survival through violence, promiscuity, hip-hop turf wars -- were sometimes harsh and sometimes gleefully celebratory. He hadn't yet developed a unified message, but his was the voice of a rebellious, intelligent young street poet, and it connected mightily with his audience. Meanwhile, La Rock's bare-bones production sometimes interpolated pop and rock samples, and the ragga inflections of the classic "9mm Goes Bang" produced a groundbreaking early fusion of hip-hop and reggae. The record's strong street buzz attracted the attention of RCA affiliate Jive, which signed the duo to a record contract. Unfortunately, not long afterward, La Rock was shot dead trying to break up an argument at a party in the Bronx.

Shattered by the loss of his best friend, KRS-One picked himself up and decided to continue Boogie Down Productions as a tribute to La Rock's memory. He recruited his younger brother Kenny Parker as a regular DJ, and also employed side members like D-Nice and Ms. Melodie (the latter, born Ramona Scott, was also his wife for a time). Convincing Jive to stick with his new crew, KRS-One completed By All Means Necessary in 1988, which marked the first time he took on the role of "the Teacher." Also considered a landmark, By All Means Necessary was one of the first rap albums devoted primarily to social commentary, and contained militant, deeply personal message tracks like "My Philosophy" and "Stop the Violence." The same year, during a BDP/Public Enemy concert, a young fan was killed in a fight; galvanized into action, KRS-One founded the Stop the Violence Movement and organized the all-star charity single "Self-Destruction," which raised half a million dollars for the National Urban League in 1989.

Also in 1989, Boogie Down Productions returned with an even more politicized, intellectual album, Ghetto Music: The Blueprint of Hip Hop. BDP's auxiliary personnel expanded to include several more members, like Scottie Morris and Ms. Melodie's sister Harmony, but the sound wasn't any more fleshed out; in fact, it was resolutely skeletal, the antithesis of what KRS-One perceived as a new, unhealthy pop-crossover mentality overtaking hip-hop. Taking on issues like black-on-black crime, police brutality, education, and spirituality, KRS-One found his audience growing and the mainstream paying attention to his message. The New York Times invited him to write editorials, and he found intense demand for his views on the college lecture circuit. However, many critics found that his intellectual credibility got the better of him on the next BDP album, 1990's Edutainment. Despite a minor hit single in "Love's Gonna Get'cha (Material Love)," Edutainment was roundly criticized as being full of preachy, didactic lecturing, which also came at the expense of compelling musical backing. KRS-One further alienated his audience via a 1992 altercation with hippie-fied pop-rappers P.M. Dawn. After the group jabbed at him as "a teacher of what?" during a magazine interview, KRS-One and part of BDP stormed P.M. Dawn's New York concert, physically throwing frontman Prince Be off the stage and launching into their own set. KRS-One later explained that he was opposed to hip-hop taking such a soft, crossover-oriented direction, although P.M. Dawn had never claimed street credibility, and it seemed an odd approach from the founder of the Stop the Violence Movement. Amid negative reaction from his own fans, he later apologized publicly.

In the meantime, BDP kept recording. 1991 saw the release of Live Hardcore Worldwide, one of the first live hip-hop LPs. It was basically a way to get the material from Criminal Minded back in print, in a format where royalties could be collected (an ongoing dispute with B Boy Records was tying up the original recordings). The same year, he made a high-profile guest appearance on R.E.M.'s "Radio Song," and recorded the album Civilization vs. Technology with the education-oriented side project H.E.A.L. Bowing to requests from fans, BDP returned to the harder-hitting beats of its earlier material on 1992's Sex and Violence, which some critics hailed as a return to form, but failed to recapture his former audience. By this time, KRS-One was divorced from Ms. Melodie, and had pared down his supporting cast to Kenny Parker and Willie D. For his next project, KRS-One decided to simply put Boogie Down Productions to rest and record under his own name; his solo debut, Return of the Boom Bap, was released in 1993. Since then, he's released several more solo albums, and maintained an active presence in the media and on the lecture circuit.

[sunrah]

mai poti dooh`? vezi ca slabesti

[Chill Will]

Big Daddy Kane



Emerging during hip-hop's massive creative expansion of the late '80s, Big Daddy Kane was the ultimate lover man of rap's first decade, yet there was more to him than the stylish wardrobe, gold jewelry, and sophisticated charisma. Kane possessed a prodigious rhyming technique honed from numerous B-boy battles; he could also be an Afrocentric consciousness-raiser versed in the philosophy of the Nation of Islam's Five Percent school, or a smooth urban soul crooner whose singing was no match for his talents as an MC. While he never scored much pop-crossover success, his best material ranks among the finest hip-hop of its era, and his sex-drenched persona was enormously influential on countless future would-be players.

Big Daddy Kane was born Antonio Hardy in Brooklyn on September 10, 1968; the stage name "Kane" was an acronym for King Asiatic Nobody's Equal. In 1984, he met Biz Markie, and the two struck up a friendship. Kane would go on to co-write some of the Biz's best-known raps, and both eventually became important members of the Queens-based Juice Crew, a collective headed by renowned producer Marley Marl. Kane signed with Marl's Cold Chillin' label in 1987 and debuted the following year with the 12" single "Raw," which became an underground sensation. His first album, Long Live the Kane, followed not long after and was equally well-received, producing another underground classic in "Ain't No Half-Steppin'." Kane consolidated his success with 1989's It's a Big Daddy Thing, which spawned arguably his most effective love-man song in "Smooth Operator" (and also found him working with new jack producer Teddy Riley on "I Get the Job Done"). 1990's A Taste of Chocolate was a wide-ranging effort, highlighted by Kane's duets with Barry White and comedian Rudy Ray Moore, aka Dolemite.

Kane's first major misstep came with the 1991 album Prince of Darkness, a mellower, more R&B-based collection that failed to play to the rapper's strong suits; however, he maintained his sex-symbol status by posing for Madonna's notorious 1992 photo book Sex, as well as Playgirl magazine. 1993's Looks Like a Job For... was something of an artistic comeback, but it failed to re-establish his status in the hip-hop community, which was in the midst of a Dr. Dre-inspired love affair with gangsta rap. Kane moved to the MCA label for 1994's Daddy's Home, and dabbled in an acting career with appearances in Mario Van Peebles' 1993 black Western Posse and 1994's Gunmen. However, he largely retired from the scene over the next few years. Kane resurfaced in 1998 on Blackheart Records, releasing what was ostensibly his farewell album, Veteranz Day.

[Chill Will]

mai poti dooh`? vezi ca slabesti

numa bine...o sa aibe K. concurentza!

[Chill Will]

EPMD



On the surface, the sample-reliant productions and monotone rapping styles of Erick Sermon and Parrish Smith had little to recommend them, but the duo's recordings as EPMD were among the best in hip-hop's underground during the late '80s and early '90s. Over the course of four albums (from the 1988 classic Strictly Business to 1992's Business Never Personal), they rarely varied from two themes: dissing sucker MCs and recounting sexual exploits. But a closer look reveals that the duo's rhymes were nothing less than incredible, simply undervalued because of their lack of intonation during delivery. EPMD also had a feel for a good groove, and created numerous hip-hop classics, including "It's My Thing," "You Gots to Chill," "Get the Bozack," "Strictly Business," and "Rampage."

Though EPMD's hardcore style influenced the urban-oriented gangsta '90s, Erick Sermon (aka E Double E; b. Nov. 25, 1968) and Parrish Smith (aka Pee MD; b. May 13, 1968) were both raised in the Long Island suburb of Brentwood. They moved into rap separately, with Smith DJing for Rock Squad on a single for Tommy Boy. After coming together in 1987 -- naming themselves EPMD, short for "Erick and Parrish Making Dollars" -- the duo recorded their debut "It's My Thing" in three hours. The single was later licensed to Chrysalis, and EPMD signed to Sleeping Bag/Fresh Records for debut album Strictly Business. Propelled by several strong singles ("You Gots to Chill," the title track), the album eventually went gold, as did 1989's follow-up, Unfinished Business. Signed to Def Jam by the beginning of the '90s, EPMD returned in 1990 with Business As Usual and Business Never Personal two years later. By 1992, they presided over an extended family dubbed the Hit Squad, including Redman, K-Solo, and Das EFX. The duo split later that year, however, prompting solo careers for each; Sermon debuted in 1993 with No Pressure, and Smith made his statement on 1994's Shade Business. The duo re-formed EPMD in 1997, recording a strong comeback LP, Back in Business. Out of Business followed in 1999.