After single-handedly redefining "warped" as the mind and mouth behind the Bronx-based Ultramagnetic MC's, "Kool" Keith Thornton -- aka Rhythm X, aka Dr. Octagon, aka Dr. Dooom, aka Mr. Gerbik -- headed for the outer reaches of the stratosphere with a variety of solo projects. A onetime psychiatric patient at Bellevue, Keith's lyrical thematics... [+] Read More

After single-handedly redefining "warped" as the mind and mouth behind the Bronx-based Ultramagnetic MC's, "Kool" Keith Thornton -- aka Rhythm X, aka Dr. Octagon, aka Dr. Dooom, aka Mr. Gerbik -- headed for the outer reaches of the stratosphere with a variety of solo projects. A onetime psychiatric patient at Bellevue, Keith's lyrical thematics remained as free-flowing here as they ever were with the N.Y. trio, connecting up complex meters with fierce, layers-deep metaphors and veiled criticisms of those who "water down the sound that comes from the ghetto." His own debut single, "Earth People" by Dr. Octagon, was quietly released in late 1995 on the San Francisco-based Bulk Recordings, and the track spread like wildfire through the hip-hop underground, as did the subsequent self-titled full-length released the following year.

Featuring internationally renowned DJ Q-Bert (also of the Invisibl Skratch Piklz) on turntables, as well as the Automator and DJ Shadow behind the boards, Dr. Octagonecologyst's left-field fusion of sound collage, fierce turntable work, and bizarre, impressionistic rapping found audiences in the most unlikely of places, from hardcore hip-hop heads to jaded rock critics. Although a somewhat sophomoric preoccupation with body parts and scatology tended to dominate the album, Keith's complex weave of associations and shifting references is quite often amazing in its intricacy. The record found its way to the U.K.-based abstract hip-hop imprint Mo'Wax (for whom Shadow also recorded) in mid-1996 and was licensed by the label for European release (Mo'Wax also released a DJ-friendly instrumental version of the album titled, appropriately, The Instrumentalyst: Octagon Beats). The widespread popularity of the album eventually landed Keith at Geffen splinter Dreamworks in 1997; the label gave Dr. Octagonecologyst its third release mid-year, adding a number of bonus cuts.

In early 1999, however, Keith's alter ego Dr. Dooom unfortunately "killed off" Dr. Octagon on the opening track of the 1999 album First Come, First Served (released on Thornton's own Funky Ass label). Kool Keith signed to Ruffhouse/MCA for his second album under that alias, 1999's Black Elvis/Lost in Space. Records released as Kool Keith followed in 2000 (Matthew) and 2001 (Spankmaster), while the 2002 collaboration Game appeared as KHM (Kool Keith plus H-Bomb and Marc Live). A variety of releases from Keith's myriad alter egos came in the following years, including Kool Keith Presents Thee Undatakerz and Diesel Truckers, the latter of which he did with KutMasta Kurt and both of which were issued in 2004, and the 2006 records Nogatco Rd. and the long-awaited Return of Dr. Octagon, which was produced by One Watt Sun and recorded in a 12th century tower in Prague, Berlin, and Australia. ~ Sean Cooper, All Music Guide [-] Hide

Members of the prodigiously talented Solesides/Quannum collective, Latyrx went sorely underrecognized for their restlessly experimental brand of hip-hop. Their lone album was far too eccentric for the masses, but even in underground circles, it fell prey to poor distribution (it went out of print twice) and poor timing (Quannum mates DJ Shadow... [+] Read More

Members of the prodigiously talented Solesides/Quannum collective, Latyrx went sorely underrecognized for their restlessly experimental brand of hip-hop. Their lone album was far too eccentric for the masses, but even in underground circles, it fell prey to poor distribution (it went out of print twice) and poor timing (Quannum mates DJ Shadow and Blackalicious hadn't yet secured their status with hip-hop fans). The name Latyrx was a combination of its members' performing monikers, Lateef the Truth Speaker (born Lateef Daumont) and Lyrics Born (born Tom Shimura). The roots of their partnership lay in the formation of the Solesides collective at the University of California-Davis. The crew's charter members -- which also included DJ Shadow and the future Blackalicious team -- were all involved in student radio and shared a progressive-minded approach to hip-hop. Lateef and Lyrics Born initially recorded as solo artists; under the name Asia Born, the latter released the first single on the Solesides label, "Send Them," in early 1993.

The first proper Latyrx release came in 1996, and was actually the B-side of Lateef's solo single "The Wreckoning." For the track in question, also called "Latyrx," both MCs recorded completely different raps that were played back simultaneously. Coupled with DJ Shadow's trippy production, the effect was mind-bending and started to build an underground buzz for the duo. More solo sides followed that year -- Lateef cut "The Quickening (The Wreckoning, Pt. II)" with Shadow on the boards, and Lyrics Born produced his own 12" release, "Balcony Beach" b/w "Burnt Pride." Most of these solo sides, along with a raft of new material, appeared on the duo's debut LP, The Album, which was released in 1997. DJ Shadow produced a total of four tracks, and Chief Xcel (later of Blackalicious) helmed two, while Lyrics Born handled the rest himself. The Album earned rave reviews for its adventurous, electronic-flavored production and the distinctive flows of both rappers. It was followed closely by the Muzapper's Mixes EP, which contained the boundary-pushing single "Lady Don't Tek No." Muzapper's Remixes appeared in 1998, but unfortunately, The Album didn't stay in print much longer; it was reissued briefly in 1999 before disappearing again. Meanwhile, Solesides was reconfigured into a new label, Quannum Projects, and the collective officially changed its name to Quannum as well.

Latyrx didn't record much following their brief reign as an underground sensation. They guested on "8 Point Agenda," a 1999 single by the Herbaliser, and also contributed new material to the Quannum Spectrum compilation that year. Meanwhile, The Album became something of a Holy Grail to the West Coast underground, with used copies selling for exorbitant sums. Quannum Projects finally reissued it in 2002, allowing it to take its place alongside the new crop of experimental hip-hop that included El-P's Def Jux crew, Anti-Pop Consortium, and Anticon. By that time, both Lateef and Lyrics Born were reportedly working on solo projects, the former with Blackalicious' Chief Xcel. ~ Steve Huey, All Music Guide [-] Hide

New York-based turntable group the X-ecutioners were, along with San Francisco's Invisibl Skratch Piklz, among the first all-DJ outfits to sign a recording contract, and the first to release a full-length album focusing on the art of turntable tricknology. Formerly known as the X-Men (they changed their name, for copyright reasons, when they... [+] Read More

New York-based turntable group the X-ecutioners were, along with San Francisco's Invisibl Skratch Piklz, among the first all-DJ outfits to sign a recording contract, and the first to release a full-length album focusing on the art of turntable tricknology. Formerly known as the X-Men (they changed their name, for copyright reasons, when they signed with the Asphodel label in 1997), the four-person group consists of Mista Sinista, Rob Swift, Total Eclipse, and Roc Raida; a world-renowned crew whose past credits include national and international titles for trick and battle DJing, as well as live and studio work with artists such as Organized Konfusion, Large Professor, the Beatnuts, and Artifacts. Originally formed in 1989 by Roc Raida with Steve D, Johnny Cash, and Sean Cee, the group adopted the name X-Men on the occasion of a battle with another New York crew, the Supermen (that battle never happened). They went to return the DJ to a position of prominence in hip-hop, a position largely usurped in the '80s and '90s by MCs and producers, as rap grew into one of the largest and most profitable genres in the American music industry. Making entirely new tracks from bits and pieces of other records manipulated by hand (rather than with a sampler and sequencer), the X-ecutioners combine state-of-the-art scratching with the hip-hop DJ's bedrock of cutting, mixing, and beat juggling. The group play live often, and have performed in clubs, exhibitions, and competitions on four continents. ~ Sean Cooper, All Music Guide [-] Hide

After single-handedly redefining "warped" as the mind and mouth behind the Bronx-based Ultramagnetic MC's, "Kool" Keith Thornton -- aka Rhythm X, aka Dr. Octagon, aka Dr. Dooom, aka Mr. Gerbik -- headed for the outer reaches of the stratosphere with a variety of solo projects. A onetime psychiatric patient at Bellevue, Keith's lyrical thematics... [+] Read More

After single-handedly redefining "warped" as the mind and mouth behind the Bronx-based Ultramagnetic MC's, "Kool" Keith Thornton -- aka Rhythm X, aka Dr. Octagon, aka Dr. Dooom, aka Mr. Gerbik -- headed for the outer reaches of the stratosphere with a variety of solo projects. A onetime psychiatric patient at Bellevue, Keith's lyrical thematics remained as free-flowing here as they ever were with the N.Y. trio, connecting up complex meters with fierce, layers-deep metaphors and veiled criticisms of those who "water down the sound that comes from the ghetto." His own debut single, "Earth People" by Dr. Octagon, was quietly released in late 1995 on the San Francisco-based Bulk Recordings, and the track spread like wildfire through the hip-hop underground, as did the subsequent self-titled full-length released the following year. Featuring internationally renowned DJ Q-Bert (of Invisibl Skratch Piklz) on turntables, as well as the Automator and DJ Shadow behind the boards, Dr. Octagon's left-field fusion of sound collage, fierce turntable work, and bizarre, impressionistic rapping found audiences in the most unlikely of places, from hardcore hip-hop heads to jaded rock critics. Although a somewhat sophomoric preoccupation with body parts and scatology tended to dominate the album, Keith's complex weave of associations and shifting references is quite often amazing in its intricacy. The record found its way to the U.K.-based abstract hip-hop imprint Mo'Wax (for whom Shadow also records) in mid-1996, and was licensed by the label for European release (Mo'Wax also released a DJ-friendly instrumental version of the album titled, appropriately, The Instrumentalyst [Octagon Beats]).


The widespread popularity of the album eventually landed Keith at Geffen splinter DreamWorks in 1997; the label gave Dr. Octagon (retitled Dr. Octagonecologyst) its third release mid-year, adding a number of bonus cuts. In early 1999, however, Keith's alter ego Dr. Dooom unfortunately "killed off" Dr. Octagon on the opening track of First Come, First Served (released on Thornton's own Funky Ass label). Kool Keith signed to Ruffhouse/MCA for his second album under that alias, 1999's Black Elvis/Lost in Space. Records released as Kool Keith followed in 2000 (Matthew) and 2001 (Spankmaster), while the 2002 collaboration Gene appeared as KHM (Kool Keith plus H-Bomb and Marc Live). His next project was a four-rapper group named Thee Undatakerz with Keith taking on a new persona, Reverand Tom. Kool Keith Presents Thee Undatakerz hit the streets in May 2004. Keeping busy, Keith released Diesel Truckers in August of the same year with old friend/producer KutMasta Kurt. As if 2004 weren't filled with enough Kool Keith releases, some truly oddball ones started to appear that year. The Official Space Tape borrowed from previous releases to create the ultimate Keith mixtape, the R&B-leaning Personal Album was released in a limited edition of 500 and with a high price tag, plus the Real Talk label issued Dr. Octagon, Pt. 2, an unauthorized release that had little to do with the original and was quickly pulled from the shelves by court order. The next year was much calmer with the Global Enlightenment, Pt. 1 DVD being released at the beginning of the year, followed by Lost Masters, Vol. 2 in the summer. Nogatco Rd. from 2006 introduced a new character, Mr. Nogatco (Octagon backward). The U.F.O.-obsessed album was a collaboration with producer Iz-Real. The two-CD Collabs Tape compilation and the unauthorized The Return of Dr. Octagon followed soon after. ~ Sean Cooper, All Music Guide [-] Hide

Beginning his career as a DJ for Stetsasonic, rapper and producer Prince Paul has lent his skills to albums by Boogie Down Productions, Gravediggaz, MC Lyte, Big Daddy Kane, and 3rd Bass, among others. Paul's big break came when he produced De La Soul's 3 Feet High and Rising album. Shattering the acknowledged rules of hip-hop production, he... [+] Read More

Beginning his career as a DJ for Stetsasonic, rapper and producer Prince Paul has lent his skills to albums by Boogie Down Productions, Gravediggaz, MC Lyte, Big Daddy Kane, and 3rd Bass, among others. Paul's big break came when he produced De La Soul's 3 Feet High and Rising album. Shattering the acknowledged rules of hip-hop production, he sampled not only funk, but all types of music to create fresh and original backing tracks. By throwing in comedy sketches as well, Prince Paul and De La Soul completely ushered in a new era for hip-hop. In 1994, Paul returned to rapping, joining RZA and Stetsasonic member Frukwan in Gravediggaz, a side project that debuted with 6 Feet Deep. He also began working with the new elite in underground rap, recruiting the Automator, New Kingdom's Scott Harding, and Spectre for his debut solo album, 1997's Psychoanalysis: What Is It? A Prince Among Thieves followed in 1999, and later that year Paul formed Handsome Boy Modeling School with the Automator to release the album So...How's Your Girl?. His own Politics of the Business, another concept album that was more bitter than biting, surfaced in 2003 (a year after a second Handsome Boy Modeling School album), and was followed by 2005's Itstrumental, as well as the archival compilation Hip Hop Gold Dust. ~ Steve Kurutz, All Music Guide [-] Hide

After three cultishly revered albums with Organized Konfusion, underground legend Pharoahe Monch cut a solo deal with Rawkus and delivered his debut, Internal Affairs, in late 1999. Both Monch and Rawkus seemed to want to push their music farther above ground, and some longtime followers were shocked to hear a harder, angrier, more profane... [+] Read More

After three cultishly revered albums with Organized Konfusion, underground legend Pharoahe Monch cut a solo deal with Rawkus and delivered his debut, Internal Affairs, in late 1999. Both Monch and Rawkus seemed to want to push their music farther above ground, and some longtime followers were shocked to hear a harder, angrier, more profane Monch, who seemed to be courting a more thugged-out audience. But it's a reinvention that doesn't compromise his high lyrical standards, making Internal Affairs a success on its own terms. Sounding like it was sampled from a monster-movie soundtrack, the club smash "Simon Says" sets the tone for the album; Monch delivers rapid-fire, intricately rhymed lines in between shouts of "get the f*ck up!" and "girls, rub on your titties!" It proved to be the most successful crossover bid of Monch's career, and much of the rest of Internal Affairs manages to straddle the underground/mainstream divide surprisingly well. Even when he's just giving shout-outs to Queens, or enlisting guests like Canibus and M.O.P. to help pummel a track into submission, Monch lives up to his reputation as one of hip-hop's most technically skilled MCs. Nowhere is this balancing act more evident than on "Rape," a rather disquieting extended metaphor for his mastery of hip-hop (other MCs just "ain't f*ckin' it right"). A more benign theme track is "Official," whose carefully constructed barrage of sports references demonstrates the cleverness that made Monch a cult legend. Not everything sits well together -- the sophomoric "The Ass" is an odd way to lead into the love song "The Light," the Organized Konfusion reunion "God Send," and the reflective "The Truth," which features guest appearances by Common and Talib Kweli. But in terms of bringing an underappreciated hip-hop great to a (somewhat) wider audience, Internal Affairs generally gets it right. ~ Steve Huey, All Music Guide [-] Hide

Dilated Peoples' debut album was hugely anticipated in the hip-hop underground, thanks to a handful of excellent singles and guest appearances that began several years prior. When it was finally released in 2000, The Platform thrilled some and mildly disappointed others. Dilated is very much a part of the back-to-basics, old-school-worshipping... [+] Read More

Dilated Peoples' debut album was hugely anticipated in the hip-hop underground, thanks to a handful of excellent singles and guest appearances that began several years prior. When it was finally released in 2000, The Platform thrilled some and mildly disappointed others. Dilated is very much a part of the back-to-basics, old-school-worshipping wing of the underground, most often compared to fellow southern Californians the Jurassic 5. They've got DJ Babu of the Beat Junkies working turntables, adding an extra dimension of authenticity to Iriscience and Evidence's well-honed microphone technique. Therein lies the rub: The trio's skills are all beyond question, but sometimes the album can feel like a formalist exercise. That's largely due to the lack of variety in lyrical content, which generally consists of one purist-friendly battle rhyme after another. It's all well-executed, but considering how far hip-hop has come, it's hard not to want a more personal statement, or a few topics other than wack MCs and keeping the culture real. But other than that, The Platform is an excellent debut. The production (chiefly by Alchemist) is lean and inventive throughout, supporting the two MCs' abstract poetics with a subtle flair. Plus, their single-minded love of hip-hop brings a tremendous enthusiasm to the best tracks. The title track, "Triple Optics," and the underground classic "Work the Angles" are particular highlights, and guests B Real, tha Alkaholiks, Planet Asia, and Aceyalone all put in memorable appearances (especially tha Alkaholiks, on "Right On"). If it's occasionally uneven, The Platform is still better than the vast majority of its competition, and whether or not they ultimately prove to be the saviors of hip-hop (as some would have it), their promise is undeniable. ~ Steve Huey, All Music Guide [-] Hide

Mos Def's partnership with Talib Kweli produced one of the most important hip-hop albums of the late '90s, 1997's brilliant Black Star. Consciously designed as a return to rap's musical foundations and a manifesto for reclaiming the art form from gangsta/playa domination, it succeeded mightily on both counts, raising expectations sky-high for... [+] Read More

Mos Def's partnership with Talib Kweli produced one of the most important hip-hop albums of the late '90s, 1997's brilliant Black Star. Consciously designed as a return to rap's musical foundations and a manifesto for reclaiming the art form from gangsta/playa domination, it succeeded mightily on both counts, raising expectations sky-high for Mos Def's solo debut. He met them all with Black on Both Sides, a record every bit as dazzling and visionary as Black Star. Black on Both Sides strives to not only refine but expand the scope of Mos Def's talents, turning the solo spotlight on his intricate wordplay and nimble rhythmic skills -- but also his increasing eclecticism. The main reference points are pretty much the same -- old-school rap, which allows for a sense of playfulness as well as history, and the Native Tongues posse's fascination with jazz, both for its sophistication and cultural heritage. But they're supported by a rich depth that comes from forays into reggae (as well as its aura of spiritual conscience), pop, soul, funk, and even hardcore punk (that on the album's centerpiece, "Rock n Roll," a dissection of white America's history of appropriating black musical innovations). In keeping with his goal of restoring hip-hop's sociopolitical consciousness, Def's lyrics are as intelligent and thoughtfully crafted as one would expect, but he doesn't stop there -- he sings quite passably on several tracks, plays live instruments on others (including bass, drums, congas, vibraphone, and keyboards), and even collaborates on a string arrangement. In short, Black on Both Sides is a tour de force by an artist out to prove he can do it all. Its ambition and execution rank it as one of the best albums of 1999, and it consolidates Mos Def's position as one of hip-hop's brightest hopes entering the 21st century. ~ Steve Huey, All Music Guide [-] Hide

After killing off his Dr. Octagon alias and resurrecting himself as an intergalactic Little Richard named Black Elvis (coiffured appropriately), Kool Keith returned in 1999 with his much-anticipated debut for Ruffhouse. Compared to the scatological bombast sprayed all over his First Come, First Served LP (released as Dr. Dooom on his own Funky... [+] Read More

After killing off his Dr. Octagon alias and resurrecting himself as an intergalactic Little Richard named Black Elvis (coiffured appropriately), Kool Keith returned in 1999 with his much-anticipated debut for Ruffhouse. Compared to the scatological bombast sprayed all over his First Come, First Served LP (released as Dr. Dooom on his own Funky Ass label earlier that year), Black Elvis/Lost in Space is remarkably tame. And despite jettisoning cohorts the Automator and DJ QBert, the results sound surprisingly similar to the Dr. Octagon album: sparse 808 beats, a few bizarre, faintly menacing organ lines for hooks, and a sample or two the likes of which have never been heard on a Dr. Dre record (like the odd banjo pickings on "Livin' Astro"). Also cropping up are a few of Keith's patented psychedelic nightmares (reminiscent of "Blue Flowers" and "Earth People"), including "Lost in Space," "Rockets on the Battlefield," and "I'm Seein' Robots." For "Supergalactic Lover," Keith injects a bit of stuttered Timbaland funk into the mix, though this tale of sexual prowess is appropriately schizoid. If Black Elvis/Lost in Space doesn't make quite the splash of 1996's Dr. Octagon, it's mostly because there's a distinct sense that Kool Keith is retreading familiar (through incredibly fun) territory. One thing's for sure, DJ QBert's scratching is definitely missed. ~ John Bush, All Music Guide [-] Hide

Although some versions of the songs on Muzapper's Remixes occasionally make Latyrx sound a bit more standard than the originals did, it's overall a welcome addition to the duo's slim discography. ~ Steve Huey, All Music Guide

Although some versions of the songs on Muzapper's Remixes occasionally make Latyrx sound a bit more standard than the originals did, it's overall a welcome addition to the duo's slim discography. ~ Steve Huey, All Music Guide [-] Hide