As golden age rap suddenly gave way to West Coast gangsta in the early '90s, an East Coast variety of hardcore rap arose in turn, with Mobb Deep initially standing tall as one of New York's hardcore figureheads on the basis of their epochal Infamous album. Released in April 1995, The Infamous was released almost exactly a year after Illmatic and... [+] Read More

As golden age rap suddenly gave way to West Coast gangsta in the early '90s, an East Coast variety of hardcore rap arose in turn, with Mobb Deep initially standing tall as one of New York's hardcore figureheads on the basis of their epochal Infamous album. Released in April 1995, The Infamous was released almost exactly a year after Illmatic and about a half year after Ready to Die -- the debut masterpieces of Nas and the Notorious B.I.G., respectively, both albums likewise of momentous significance for East Coast hardcore rap. On The Infamous, Mobb Deep (comprised of Prodigy and Havoc) set the tone for future generations of hardcore New York rappers, from G-Unit to Dipset. Subsequent releases from the duo were likewise influential, especially Hell on Earth (1996). However, by the late '90s, Mobb Deep was no longer setting trends; in fact, they seemed to be following them, and they lost some of their stature as subsequent generations of hardcore rappers arose. For a few years, Mobb Deep struggled to reclaim their commercial standing, until they eventually drifted into the G-Unit camp, where they signed a lucrative deal to join 50 Cent and company. Blood Money (2006), Mobb Deep's first release under the G-Unit banner, rekindled interest in the veteran duo, who enjoyed a substantial uptick in sales and airplay.

Prodigy (Albert Johnson, born November 2, 1974) and Havoc (Kejuan Muchita, born May 21, 1974) grew up in Queens, specifically the Queensbridge area, yet met in Manhattan, where both were students at Graphic Arts High School. Their shared love of hip-hop resulted in a natural companionship, and while they were still teens, the two young men had themselves a record deal with 4th & Broadway, a major rap label affiliated with Island Records. In 1993, the label released Juvenile Hell, a confrontational album featuring noteworthy production work by DJ Premier and Large Professor, who both within a year's time would move on to produce the debut of another young Queensbridge rapper, Nas. Not much came of Juvenile Hell, however, and it would be two more years before Mobb Deep would return.

When they did return in 1995, it was on a different label, Loud Records, and with a significantly developed approach. The Infamous featured a mammoth street anthem, "Shook Ones, Pt. 2," but it was a solid album all around, featuring also the in-house production work of Havoc and a couple high-profile features (Nas, Raekwon). The Infamous was more hardcore than its two key predecessors, Illmatic and Ready to Die; the beats were darker and harder-hitting while the rhymes were downright threatening yet still inventive and crafty. Moreover, there were no crossover hits like "Big Poppa" or "Juicy." In fact, there were no light moments at all. The Infamous was an uncompromising album for the streets, and it was championed as such.

A year later, in 1996, Mobb Deep returned with a follow-up, Hell on Earth, which was a little slicker than The Infamous yet still emphasized hardcore motifs. It spawned a couple hit singles that were given appropriately theatrical videos. At this point, hardcore rap was at its peak, with Death Row Records flourishing on the West Coast and a legion of New Yorkers jumping into the scene, following the lead of Nas, the Notorious B.I.G., and Mobb Deep. So when it took over two years for Mobb Deep to return with a new album, Murda Muzik, not released until April 1999, the rap landscape had changed significantly. Mobb Deep now had significant competition, and since Murda Muzik offered few innovations and lacked the spark of the duo's past two albums, it was met with some disappointment. By and large, fans enjoyed it, yet the album didn't appeal beyond the already established fan base, as the album only offered one major hit, "Quiet Storm." The following year, Prodigy released a solo album, H.N.I.C. It got a lukewarm reception, appealing to the duo's fan base yet spawning no hits.

When Mobb Deep resurfaced, in December 2001 with Infamy, they showcased a new willingness to reach beyond their fan base. "Hey Luv" was issued as a single, and it was the first Mobb Deep song to flirt with R&B crossover, or even to mention love, for that matter. The song got some airplay, thanks in part to its hook, which is sung by the R&B act 112, and its video, which played up the song's air of seduction. Nonetheless, Infamy proved to be a relative disappointment commercially, and it seemed like Mobb Deep was beginning to see their popularity erode with each passing year. It didn't help, either, that around this time the duo -- and Prodigy, in particular -- had been attacked by Jay-Z on "Takeover." And too, that Loud Records would go out of business, leaving Mobb Deep without a label deal. For the next few years, from roughly 2002-2005, Prodigy and Havoc tried to regain their footing. There were one-off albums released via various label arrangements -- Free Agents: The Murda Mix Tape (Landspeed, 2003), Amerikaz Nightmare (Jive, 2004), and The Mix Tape Before 9/11 (X-Ray, 2004) -- that made minimal impact. By this point, not even the fan base was all that interested; it had been eroded with each passing year, leaving few faithful.

Then came a surprise announcement that 50 Cent had signed Mobb Deep to his G-Unit family and that an album would be forthcoming. First came a quick remix featuring the latest G-Unit signing, "Outta Control," which supplanted the original version when The Massacre was reissued in 2005 as a CD/DVD. Too, Mobb Deep had become omnipresent on the New York mixtape scene, releasing all kinds of streets-only material in attempt to re-establish themselves. It evidently worked, as Blood Money debuted in the Top Ten of Billboard's album chart and brought more exposure to Mobb Deep than the duo had enjoyed since their late-'90s heyday. Not everyone was convinced by the group's makeover, however, as the G-Unit approach was substantially more polished than the Mobb Deep of The Infamous. Still, Mobb Deep found a new generation of younger listeners -- the large G-Unit market base, in particular -- who were mostly unfamiliar with them. It had been over a decade since The Infamous, after all, and Mobb Deep had been out of the spotlight for years. ~ Jason Birchmeier, All Music Guide [-] Hide

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... [+] Read More

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. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Onyx's shouting, in-your-face brand of high-volume rapping proved to be more at home in the slam pit than on the dancefloor and brought the rap quartet instant chart success. Originally formed in Queens, NY, during 1990, the members of Onyx (Fredro Starr, Sticky Fingaz, Big DS, and DJ Suave Sonny Caeser) met while working as barbers. The band... [+] Read More

Onyx's shouting, in-your-face brand of high-volume rapping proved to be more at home in the slam pit than on the dancefloor and brought the rap quartet instant chart success. Originally formed in Queens, NY, during 1990, the members of Onyx (Fredro Starr, Sticky Fingaz, Big DS, and DJ Suave Sonny Caeser) met while working as barbers. The band honed their rhyming skills and act by performing at local clubs, which eventually gained the attention of Run-D.M.C.'s Jam Master Jay, who signed the group to his label, JMJ Records, and even helped produce Onyx's debut full-length, Bacdafucup, in 1993. The album turned out to be a platinum-certified smash, spurred on by the runaway success of the hit single "Slam," which went on to become one of the year's biggest rap hits. The group confirmed that they were just as content attracting a heavy metal audience by a pair of collaborations with the N.Y.C. hardcore metal outfit Biohazard (a remix of "Slam" credited to Bionyx, and the title track to the motion picture Judgment Night). The album even beat out such stiff competition as Dr. Dre's rap classic The Chronic at the Soul Train Awards for Best Rap Album that year. But Onyx was unable to continue their commercial success as such subsequent albums as 1995's All We Got Iz Us and 1998's Shut 'Em Down came and went without much fanfare. The late '90s saw members Sticky and Fredro try their hand at acting, landing spots on HBO's Strapped, Spike Lee's Clockers, the Rhea Pearlman/Danny De Vito-directed Sunset Park, and Brandy's hit TV show Moesha. The various members tried to launch solo careers, but the records never connected with audiences. With the rap genre's continuous changes and shifts, they decided to try a comeback and reappeared with 2002's Bacdafucup, Pt. II. ~ Greg Prato, All Music Guide [-] Hide

Public Enemy rewrote the rules of hip-hop, becoming the most influential and controversial rap group of the late '80s and, for many, the definitive rap group of all time. Building from Run-D.M.C.'s street-oriented beats and Boogie Down Productions' proto-gangsta rhyming, Public Enemy pioneered a variation of hardcore rap that was musically and... [+] Read More

Public Enemy rewrote the rules of hip-hop, becoming the most influential and controversial rap group of the late '80s and, for many, the definitive rap group of all time. Building from Run-D.M.C.'s street-oriented beats and Boogie Down Productions' proto-gangsta rhyming, Public Enemy pioneered a variation of hardcore rap that was musically and politically revolutionary. With his powerful, authoritative baritone, lead rapper Chuck D rhymed about all kinds of social problems, particularly those plaguing the black community, often condoning revolutionary tactics and social activism. In the process, he directed hip-hop toward an explicitly self-aware, pro-black consciousness that became the culture's signature throughout the next decade.

Musically, Public Enemy were just as revolutionary, as their production team, the Bomb Squad, created dense soundscapes that relied on avant-garde cut-and-paste techniques, unrecognizable samples, piercing sirens, relentless beats, and deep funk. It was chaotic and invigorating music, made all the more intoxicating by Chuck D's forceful vocals and the absurdist raps of his comic foil Flavor Flav. With his comic sunglasses and an oversized clock hanging from his neck, Flav became the group's visual focal point, but he never obscured the music. While rap and rock critics embraced the group's late-'80s and early-'90s records, Public Enemy frequently ran into controversy with their militant stance and lyrics, especially after their 1988 album, It Takes a Nation of Millions to Hold Us Back, made them into celebrities. After all the controversy settled in the early '90s, once the group entered a hiatus, it became clear that Public Enemy were the most influential and radical band of their time.

Chuck D (born Carlton Ridenhour, August 1, 1960) formed Public Enemy in 1982, as he was studying graphic design at Adelphi University on Long Island. He had been DJing at the student radio station WBAU, where he met Hank Shocklee and Bill Stephney. All three shared a love of hip-hop and politics, which made them close friends. Shocklee had been assembling hip-hop demo tapes, and Ridenhour rapped over one song, "Public Enemy No. 1," around the same time he began appearing on Stephney's radio show under the Chuckie D pseudonym. Def Jam co-founder and producer Rick Rubin heard a tape of "Public Enemy No. 1" and immediately courted Ridenhour in hopes of signing him to his fledgling label.

Chuck D initially was reluctant, but he eventually developed a concept for a literally revolutionary hip-hop group -- one that would be driven by sonically extreme productions and socially revolutionary politics. Enlisting Shocklee as his chief producer and Stephney as a publicist, Chuck D formed a crew with DJ Terminator X (born Norman Lee Rogers, August 25, 1966) and fellow Nation of Islam member Professor Griff (born Richard Griffin) as the choreographer of the group's backup dancers, the Security of the First World, whom performed homages to old Stax and Motown dancers with their martial moves and fake Uzis. He also asked his old friend William Drayton (born March 16, 1959) to join as a fellow rapper. Drayton developed an alter-ego called Flavor Flav, who functioned as a court jester to Chuck D's booming voice and somber rhymes in Public Enemy.

Public Enemy's debut album, Yo! Bum Rush the Show, was released on Def Jam Records in 1987. Its spare beats and powerful rhetoric were acclaimed by hip-hop critics and aficionados, but the record was ignored by the rock and R&B mainstream. However, their second album, It Takes a Nation of Millions to Hold Us Back, was impossible to ignore. Under Shocklee's direction, PE's production team, the Bomb Squad, developed a dense, chaotic mix that relied as much on found sounds and avant-garde noise as it did on old-school funk. Similarly, Chuck D's rhetoric gained focus and Flavor Flav's raps were wilder and funnier. A Nation of Millions was hailed as revolutionary by both rap and rock critics, and it was -- hip-hop had suddenly became a force for social change.

As Public Enemy's profile was raised, they opened themselves up to controversy. In a notorious statement, Chuck D claimed that rap was "the black CNN," relating what was happening in the inner city in a way that mainstream media could not project. Public Enemy's lyrics were naturally dissected in the wake of such a statement, and many critics were uncomfortable with the positive endorsement of black Muslim leader Louis Farrakhan on "Bring the Noise." "Fight the Power," Public Enemy's theme for Spike Lee's controversial 1989 film Do the Right Thing, also caused an uproar for its attacks on Elvis Presley and John Wayne, but that was considerably overshadowed by an interview Professor Griff gave The Washington Post that summer. Griff had previously said anti-Semitic remarks on-stage, but his quotation that Jews were responsible for "the majority of the wickedness that goes on across the globe" was greeted with shock and outrage, especially by white critics who previously embraced the group. Faced with a major crisis, Chuck D faltered. First he fired Griff, then brought him back, then broke up the group entirely. Griff gave one more interview where he attacked Chuck D and PE, which led to his permanent departure from the group.

Public Enemy spent the remainder of 1989 preparing their third album, releasing "Welcome to the Terrordome" as its first single in early 1990. Again, the hit single caused controversy as its lyrics "still they got me like Jesus" were labeled anti-Semitic by some quarters. Despite all the controversy, Fear of a Black Planet was released to enthusiastic reviews in the spring of 1990, and it shot into the pop Top Ten as the singles "911 Is a Joke," "Brothers Gonna Work It Out," and "Can't Do Nuttin' for Ya Man" became Top 40 R&B hits. For their next album, 1991's Apocalypse 91...The Enemy Strikes Black, the group re-recorded "Bring the Noise" with thrash metal band Anthrax, the first sign that the group were trying to consolidate their white audience. Apocalypse 91 was greeted with overwhelmingly positive reviews upon its fall release, and it debuted at number four on the pop charts, but the band began to lose momentum in 1992 as they toured with the second leg of U2's Zoo TV tour and Flavor Flav was repeatedly in trouble with the law. In the fall of 1992, they released the remix collection Greatest Misses as an attempt to keep their name viable, but it was greeted to nasty reviews.

Public Enemy were on hiatus during 1993, as Flav attempted to wean himself off drugs, returning in the summer of 1994 with Muse Sick-n-Hour Mess Age. Prior to its release, it was subjected to exceedingly negative reviews in Rolling Stone and The Source, which affected the perception of the album considerably. Muse Sick debuted at number 14, but it quickly fell off the charts as it failed to generate any singles. Chuck D retired Public Enemy from touring in 1995 as he severed ties with Def Jam, developed his own record label and publishing company, and attempted to re-think Public Enemy. In 1996, he released his first debut album, The Autobiography of Mistachuck. As it was released in the fall, he announced that he planned to record a new Public Enemy album the following year.

Before that record was made, Chuck D published an autobiography in the fall of 1997. During 1997, Chuck D reassembled the original Bomb Squad and began work on three albums. In the spring of 1998, Public Enemy kicked off their major comeback with their soundtrack to Spike Lee's He Got Game, which was played more like a proper album than a soundtrack. Upon its April 1998 release, the record received the strongest reviews of any Public Enemy album since Apocalypse '91: The Enemy Strikes Black. After Def Jam refused to help Chuck D's attempts to bring PE's music straight to the masses via the Internet, he signed the group to the web-savvy independent Atomic Pop. Before the retail release of Public Enemy's seventh LP, There's a Poison Goin' On..., the label made MP3 files of the album available on the Internet. It finally appeared in stores in July 1999. After a three-year break from recording and a switch to the In the Paint label, Public Enemy released Revolverlution, a mix of new tracks, remixes, and live cuts. The CD/DVD combo It Takes a Nation appeared in 2005. The multimedia package contained an hourlong video of the band live in London in 1987 and a CD with rare remixes. The new album New Whirl Odor also appeared in 2005. The "special projects" album Rebirth of a Nation -- an album with all rhymes written by Bay Area rapper Paris -- was supposed to be released right along with it, but didn't appear until early the next year. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

New Jersey rapper Redman made his initial impact with Whut? Thee Album in 1992. He blended reggae and funk influences with topical commentary and displayed a terse, though fluid rap style that was sometimes satirical, sometimes tough, and sometimes silly. Redman returned in 1994 with his second album, Dare Iz a Darkside, which was a harder album... [+] Read More

New Jersey rapper Redman made his initial impact with Whut? Thee Album in 1992. He blended reggae and funk influences with topical commentary and displayed a terse, though fluid rap style that was sometimes satirical, sometimes tough, and sometimes silly. Redman returned in 1994 with his second album, Dare Iz a Darkside, which was a harder album than his debut. Muddy Waters, Redman's third album, followed in 1996; he returned two years later with Doc's Da Name. ~ Ron Wynn, All Music Guide [-] Hide

Mobb Deep became a street-level sensation with its second album, The Infamous, and the duo saw no reason to tamper with its signature style on the follow-up, Hell on Earth. The first words on the record announce "You know how we did on the Infamous album, right? All right, well, we gon' do it again," and that's exactly what they do. Hell on... [+] Read More

Mobb Deep became a street-level sensation with its second album, The Infamous, and the duo saw no reason to tamper with its signature style on the follow-up, Hell on Earth. The first words on the record announce "You know how we did on the Infamous album, right? All right, well, we gon' do it again," and that's exactly what they do. Hell on Earth refines the Mobb Deep formula, amplifying much of what made The Infamous a success. The bleak street narratives are even more violent and extreme, and the production is even grittier and creepier. It's still indebted to -- but more dramatic than -- the RZA's work with the Wu-Tang Clan: eerie strings and bits of piano, underpinned by deep, echoing beats. Although the overall flavor is pretty much the same as before, it's a bit more sophisticated and cinematic. For those reasons, some Mobb fans actually prefer Hell on Earth over The Infamous, although it's missing some of the thematic unity and clearly emphasized details that made the world of The Infamous so cohesive. Hell on Earth also lacks some of the freshness, but even if Mobb Deep is repeating itself, it's doing so very effectively. The album is superbly moody and haunting, with the swirling horror-film atmospherics of "G.O.D., Pt. III" and the hypnotic "Hell on Earth (Front Lines)" standing out in particular. "Drop a Gem on 'Em" is another highlight, an answer song in the 2Pac beef that happened to appear not long before the rapper's murder. Special guests Method Man, Raekwon, and fellow Queensbridge native Nas all put in worthy appearances. Even if it isn't quite the landmark that The Infamous was, Hell on Earth is nearly its equal in many other respects. ~ Steve Huey, All Music Guide [-] Hide

The first Wu-Tang Clan solo album to follow the seismic impact of Enter the Wu-Tang, Method Man's Tical similarly delivers an otherworldly wallop, one that instantly sets the madcap MC apart from his clansmen as the collective's shining star. Not only is Meth madcap, both in terms of mentality and delivery, he's also incredibly witty and wordy.... [+] Read More

The first Wu-Tang Clan solo album to follow the seismic impact of Enter the Wu-Tang, Method Man's Tical similarly delivers an otherworldly wallop, one that instantly sets the madcap MC apart from his clansmen as the collective's shining star. Not only is Meth madcap, both in terms of mentality and delivery, he's also incredibly witty and wordy. Here he inspires hilarity as well as astonishment, and the way that he fires off his rhymes with such seemingly spontaneous ease compounds this sense of wonder. Just as Meth is quite clearly leagues above practically every other rapper in 1994 sans a small handful, if that, so is his producer, Wu-Tang abbot RZA, who produces the entirety of Tical: from the antiquated flutes and kung fu flick samples that open the album, to the pulse-accelerating beats of "Bring the Pain" and the fist-pumping ones of "All I Need" (the b-boy version rather than the radio-geared one featuring Mary J. Blige), to the rallying, warlike horns of "Release Yo' Delf." Despite a few outside contributions, most notably from Raekwon on the rowdy spar-fest "Meth vs. Clef," Tical is strictly a two-man show, Meth bringing da ruckus and RZA the swarming soundscapes, and that's precisely what further makes this album such a treasure amid the many Wu-Tang gems. Where most of Meth's clansmen delivered guest-laden albums that sounded more like group efforts than solo ones, Tical strictly spotlights the group's two stars and does so with refreshingly straightforward flair. There's none of the epic overreaching that mars so many rap albums of the era; rather, there's just over a dozen tracks here, and they're filled to the brim with rhymes and beats and little else -- no pop-crossover concessions nor any heady experimentation for the sake of experimentation, just good ol'-fashioned hip-hop, albeit with a dark, dark deranged twist. ~ Jason Birchmeier, All Music Guide [-] Hide

DJ Premier's first album-length production outside of Gang Starr was his best by far. Where Premier's productions hadn't shone underneath the cracking, over-earnest vocals of Guru, with a superior stylist like Jeru these tracks became brilliant musical investigations with odd hooks (often detuned bells, keys, or vibes), perfectly scratched... [+] Read More

DJ Premier's first album-length production outside of Gang Starr was his best by far. Where Premier's productions hadn't shone underneath the cracking, over-earnest vocals of Guru, with a superior stylist like Jeru these tracks became brilliant musical investigations with odd hooks (often detuned bells, keys, or vibes), perfectly scratched upchoruses, and the grittiest, funkiest Brooklynese beats pounding away in the background. Of course, the star of the show was Jeru, a cocksure young rapper who brought the dozens from the streets to a metaphysical battleground where he did battle with all manner of foe -- the guy around the corner on "D. Original" or an allegorical parade of hip-hop evils on "You Can't Stop the Prophet." The commentary about inner-city plagues arising from spiritual ignorance only continued on "Ain't the Devil Happy," with Jeru preaching knowledge of self as the only rescue from greed and violence. Jeru also courted some controversy with "Da Bichez," at first explaining, "I'm not talkin' 'bout the queens...not the sisters...not the young ladies," but later admitting his thoughts ("most chicks want minks, diamonds, or Benz"). His flow and delivery were natural, his themes were impressive, and he was able to make funky rhymes out of intellectual hyperbole like: "Written on these pages is the ageless, wisdom of the sages/Ignorance is contagious." It lacks a landmark track, but The Sun Rises in the East stands alongside Nas' Illmatic (released the same year, and also boasting the work of Premier) as one of the quintessential East Coast records. ~ John Bush, All Music Guide [-] Hide

Given his subsequent superstardom, culminating in no less than an Academy Award, it may be easy to overlook exactly how demonized Eminem was once his mainstream debut album, The Slim Shady LP, grabbed the attention of pop music upon its release in 1999. Then, it wasn't clear to every listener that Eminem was, as they say, an unreliable narrator,... [+] Read More

Given his subsequent superstardom, culminating in no less than an Academy Award, it may be easy to overlook exactly how demonized Eminem was once his mainstream debut album, The Slim Shady LP, grabbed the attention of pop music upon its release in 1999. Then, it wasn't clear to every listener that Eminem was, as they say, an unreliable narrator, somebody who slung satire, lies, uncomfortable truths, and lacerating insights with vigor and venom, blurring the line between reality and parody, all seemingly without effort. The Slim Shady LP bristles with this tension, since it's never always clear when Marshall Mathers is joking and when he's dead serious. This was unsettling in 1999, when nobody knew his back-story, and years later, when his personal turmoil is public knowledge, it still can be unsettling, because his words and delivery are that powerful. Of course, nowhere is this more true than on "97 Bonnie and Clyde," a notorious track where he imagines killing his wife and then disposing of the body with his baby daughter in tow. There have been more violent songs in rap, but few more disturbing, and it's not because of what it describes, it's how he describes it -- how the perfectly modulated phrasing enhances the horror and black humor of his words. Eminem's supreme gifts are an expansive vocabulary and vivid imagination, which he unleashes with wicked humor and unsparing anger in equal measure. The production -- masterminded by Dr. Dre but also helmed in large doses by Marky and Jeff Bass, along with Marshall himself -- mirrors his rhymes, with their spare, intricately layered arrangements enhancing his narratives, which are always at the forefront. As well they should be -- there are few rappers as wildly gifted verbally as Eminem. At a time when many rappers were stuck in the stultifying swamp of gangsta clichés, Eminem broke through the hardcore murk by abandoning the genre's familiar themes and flaunting a style with more verbal muscle and imagination than any of his contemporaries. Years later, as the shock has faded, it's those lyrical skills and the subtle mastery of the music that still resonate, and they're what make The Slim Shady LP one of the great debuts in both hip-hop and modern pop music. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Even though he spends a good 90% of the album boasting about his skills and abilities on the microphone, and cutting those of other MCs, Big Daddy Kane consistently proves himself a thrilling artist on his debut album, Long Live the Kane, one of the most appealing creations from the original new school of rap. This debut captures the Big Daddy... [+] Read More

Even though he spends a good 90% of the album boasting about his skills and abilities on the microphone, and cutting those of other MCs, Big Daddy Kane consistently proves himself a thrilling artist on his debut album, Long Live the Kane, one of the most appealing creations from the original new school of rap. This debut captures the Big Daddy Kane who rocked the house at hip-hop clubs and verbally cut up any and all comers in the late '80s with his articulate precision and locomotive power -- the Big Daddy Kane who became an underground legend, the Big Daddy Kane who had the sheer verbal facility and razor-clean dexterity to ambush any MC and exhilarate anyone who witnessed or heard him perform. There are missteps here, to be sure -- especially "The Day You're Mine," on which Kane casts himself as a loverman over a stilted drum machine and lackluster, cheesily seductive singing (offering a glimpse of the particular corner into which he would eventually paint himself). But there are also plenty of legitimate early hip-hop classics, none of which have lost an ounce of their power, and all of which serve as reminders of a time and era when hip-hop felt immediate, exciting, fresh, and a little bit dangerous (in the figurative, rather than literal, sense), and when hip-hop spawned commercial tastes of the moment rather than surrendering to them. Although his next album would be nearly the artistic equal of the debut -- and, in many ways, even bettered it -- Big Daddy Kane would never sound as compelling or as fresh as on this first effort. ~ Stanton Swihart, All Music Guide [-] Hide