Author Archives: 1ncredible

Hip Hop History – LL Cool J

LL Cool J – short for “Ladies Love Cool James” – was born in 1968 in Long Island, New York, and grew up in Queens.  He started rapping aged nine, and music provided a way to escape the suffering he endured.  He had a tough childhood because his parents had a violent relationship.  His father shot his mother and grandfather with a 12-gauge shotgun, in front of him, when he was four years old.  Both survived, and in the hospital his mom met her second husband who was just as abusive.  He frequently abused LL mentally and physically while his mom left home to work.  “Roscoe’s constant beating changed me, I went from this normal kid who got straight A’s and loved school to a troublemaker.” wrote LL in his biography.

His grandfather who was a jazz saxaphonist, bought him $2000 worth of equipment including two turntables, an amplifier and a mixer which helped him get into making music.  LL said “By the time I got that equipment, I was already a rapper. In this neighborhood, the kids grow up in rap. It’s like speaking Spanish if you grow up in an all-Spanish house. I got into it when I was about 9, and since then all I wanted was to make a record and hear it on the radio.”  He developed a demo tape and aged just 16, signed to Def Jam, a new label set up in 1984 by Russell Simmons and Rick Rubin.

LL’s and Def Jam’s first single was “I Need A Beat” and it was an underground hit, selling 100,000 records:

The commercial success of “I Need a Beat”, along with the Beastie Boys’ single “Rock Hard”, helped lead Def Jam to establish itself and get a distribution deal with Columbia Records in 1985.


LL left school and recorded his first album, “Radio” which was “a hugely successful mix of conventional song structure and pop-oriented rap.” according to The album’s singles included:

“I Can’t Live Without My Radio”:

and “Rock the Bells” was also a single from the album “Radio”:

Wikipedia explains “The album was primarily produced by Rick Rubin, who provided a sparse and minimal production style. “Radio” also features a sound that is punctuated by DJ scratching, mostly brief samples, and emphasis of the downbeat. LL Cool J’s b-boy lyricism conveys themes of inncer city culture, teenage promiscuity, and braggadocio raps.

LL’s DJ on the album was Cut Creator. A Queens native and former trombonist, he met LL at a block party and they began performing together.  LL also had another DJ, Bobcat.

“Reflecting the new school and ghettoblaster subculture in the U.S. during the mid-1980s, Radio belongs to a pivotal moment in the history and culture of Hip Hop. Its success contributed to the displacement of the old school with the new school form and to the genre’s mainstream success during the period. Its success also served as a career breakthrough for LL Cool J and Rick Rubin. “Radio” has been recognized by music writers as one of the first cohesive and commercially successful Hip Hop albums.”

New School v. Old School

“The new school started in 1983-84 and was initially characterized in form by drum machine led minimalism, often tinged with elements of rock. It was notable for taunts and boasts about rapping, and socio-political commentary, both delivered in an aggressive, self-assertive style. In image as in song its artists projected a tough, cool, street b-boy  attitude. These elements contrasted sharply with the funk and disco influenced outfits, novelty hits, live bands, synthesizers and party rhymes of artists prevalent in 1984, and rendered them old school. New school artists made shorter songs that could more easily gain radio play, and more cohesive LPs than their old school counterparts. By 1986 their releases began to establish the Hip Hop album as a fixture of the mainstream.”

The album “Radio” sold 500,000 copies in its first five months and went on to go platinum.  It entered the Top R&B/Hip-Hop Albums chart in December 1985, and remained there for forty-seven weeks, while also entering the Pop Albums chart for thirty-eight weeks in January 1986.  Critics regard it as LL’s greatest work and it ranks in many lists of the best albums / best Hip Hop albums / best Rock albums of all time.

An iTunes reviewer has said of its sound, “Rubin’s production combined the sonic economy of punk rock with the malevolent bellow of a tricked out ghetto blaster, providing the sonic blueprint for an entire generation of Hip Hop producers”.

“Bigger and Deffer”

“Bigger and Deffer” was LL’s second album, released in 1987.  It sold 3 million records in the U.S. alone and was at #1 for 11 weeks on the Billboard R&B chart.  DJ Pooh produced this album.

“I’m Bad” was a single from the album (original video):

“I Need Love” was revolutionary as it is considered the first Hip Hop love ballad.  Wikipedia notes that “It was not the first rap love song, however; in 1982 the Sugarhill Gang had recorded “The Lover in You”, which reached Number 55 on the R&B charts.)  The drums were played with a Roland TR-808 and the keyboard tone was played with a Yamaha DX7.

“I Need Love”:

“Go Cut Creator Go” was another single featuring his DJ:

“Walking With a Panther”

“Walking With a Panther” was LL’s third album, released in 1989.

“Jingling Baby” was a single from the album (original video):

“Going Back to Cali” was also a single from the album.

“Going Back to Cali” (original video):


“The “Walking With a Panther” album however was often criticized by the Hip Hop community as being too commercial, materialistic, and for focusing too much on love ballads. The album peaked at #6 on the Billboard 200 and was LL Cool J’s second #1 R&B Album where it spent four weeks.  The previous album “Bigger and Deffer” , which was a big success, was produced by The L.A. Posse.  The L.A. Posse was made up of DJ Bobcat, Dwayne Simon, and Darryl Pierce.  But on ” Walking With a Panther” Dwayne Simon was the only one left willing to work on it.   Bobcat said he wanted more money for the album after realizing how much of a success the previous album really had become but Def Jam refused to change the contract which made him leave Cool J.  According to DJ Bobcat this is the reason that “Walking with a Panther was met with very mixed reception at the time of its release.

“I’m That Type of Guy” was another single from “Walking with a Panther” (original video):

“Big Ole Butt” was also a single (original video):

“One Shot at Love” was another single, a slow love ballad:

“Mama Said Knock You Out”

In response to the criticism levelled at the previous album, “Mama Said Knock You Out” featured one of the best producers at the time – Juice Crew’s Marley Marl.  Before “Mama Said Knock You Out” was released, many people felt that LL Cool J’s career was waning; his grandmother, who still believed in his talent, told him to “knock out” all his critics.

The title track, “Mama Said Knock You Out” (original video):

The diss record “To Da Break Of Dawn” was named number 11 on XXL ‘s 20 greatest diss records of all time:

“Around the Way Girl”, which sampled clips from the Mary Jane Girls song “All Night Long”:

“Six Minutes of Pleasure” (original video) was a single off the album:

“The Boomin’ system”, another single (original video):

Kool Moe Dee Beef

“LL became the target of choice for striving rappers, with no posse of his own to watch his back” according to The Vibe History of Hip Hop.

LL and Kool Moe Dee had beef, according to Wikipedia becasue “Kool Moe Dee was a member of one of the earliest hip hop crews, the Treacherous Three,  and noted that LL Cool J stole his style, while disrespecting lyricists who came before him by not showing any appreciation, and making claims of being the best, when he was too fresh of a face to have acquired such acknowledgment.  This  started a long-running feud between them. From different interviews and magazines at the time, Kool Moe Dee felt that LL was actually believing his own hype based on the popularity and success of the “Bigger and Deffer”  album.

LL responded to Kool Moe Dee’s attacks with “Jack The Ripper”, the B-Side to “Going Back to Cali”:

Kool Moe Dee fired back with an even more aggressive response entitled “Let’s Go”:

LL responded with “To The Break of Dawn” and “Mama Said Knock You Out”, to which Kool Moe Dee replied “Death Blow”:

LL then replied with “(NFA) No Frontin Allowed” and “I Shot Ya (Remix)”.

Another song where Kool Moe Dee mentioned the beef was “To The Beat Y’all”:

LL believed that his higher record sales proved superiority and that he won the beef.  Kool Moe Dee however believed that the fact LL refused to battle him, showed that his rapping skills were superior, and therefore he won.

Kool Moe Dee commented “I always said that the reason LL can never win a battle is because he talks so much about himself – that he can’t talk about anything else. He used his charisma, energy and vocabulary, which is basically a combination of my style, T La Rock, and Run, but in battling it’s more. Like when I hit him with the Ls (lower level, lackluster etc) it wasn’t just insulting, but it had poetic value to it”. He also continued that part of his issue with LL (as well as Run) were that ….he felt like “nothing that came before them mattered, and that his money could validate that.”

“14 Shots to the Dome”

‘”14 Shots” saw LL adopting the sound of his West coast gangsta rap contemporaries, especially that of Ice Cube and Cypress Hill . Many fans saw this as a jarring departure, and the album met mixed critical and commercial response compared to his previous releases, only being certified Gold by the RIAA’.

I love the beat on this single “Pink Cookies In a Plastic Bag Getting Crushed By Buildings” (original video):

“How I’m Comin'” was a single from “14 Shots” (original video):

“Back Seat” was another single (original video):

Mr Smith

In ’95 LL released “Mr Smith” having starred in a sitcom “In The House”.  The album sold 2 million copies and had several hits.

“Doin’ It” was a single from “Mr Smith” (original video):

“Hey Lover” won LL a Grammy.  It featured Boyz 2 Men and sampled Michael Jackson’s “The Lady In My Life”:

“Loungin’ was another single (original video):

LL collaborated with Keith Murray, Fat Joe & Foxy Brown on “I Shot Ya (Remix)”:


In 1996 LL released a Greatest Hits album.  Then in ’97 he released the album “Phenomenon”.

This is the title track from the album (original video):

“4,3,2,1” featured Method Man, Redman, DMX, Canibus & Master P.

“Father” was another single (original video):

Canibus Beef

“When LL perceived that Canibus’s verse on “4,3,2,1” was a thinly veiled diss against him, he came back with his verse on the same song.

Canibus responded with “2nd Round K.O.”:

LL responded with “The Ripper Strikes Back”:

Shani Saxon in Vibe said that “LL’s new role model status prevented him from getting raw and dirty”.

Wyclef got involved with “What’s Clef Got To Do With It?”:

and LL shot back with “Rasta Imposta” which Shani Saxon called “a welcome return to LL’s not-so-Mr.-Nice-Guy roots”.  But because the battle happened in the aftermath of the murders of Tupac and Biggie, all the artists involved made a point of saying that it wouldn’t get violent.

“Rasta Imposta”:


The G.O.A.T. album letters stood for “The Greatest Of All Time”.  It debuted at number one on the Billboard album charts,and went platinum. LL Cool J thanked Canibus in the liner notes of the album, “for the inspiration”.  LL Cool J prepared for the album by visiting the inmates at Rikers Island a week before writing material for the album. He returned to the basement of his grandmother Ellen Griffith’s house to write some of the tracks.

One single was “Imagine That”:

“Homicide” was another track:

“U Can’t Fuck With Me” is a diss on actor/singer Jamie Foxx, building on a feud between him and LL Cool J that started on the set of the 1999 movie “Any Given Sunday”.

“U Can’t Fuck With Me”, featuring Snoop Dogg, Xzibit and Yayo Felony Artist:

“Ill Bomb” was another track on the album:


LL Cool J’s next album 10 was released in 2002, was his 10th album  (10th including his greatest hits compilation All World).  The album reached platinum status.

“Luv U Better” was a single from 10 produced by Pharrell and The Neptunes:

“The Definition”

“The Definition” album was released in 2004. The album debuted at No. 4 on the Billboard charts. Production came from Timbaland, 7 Aurelius, R. Kelly, and others.

“Headsprung” was the lead single (original video):

“Todd Smith”

“Todd Smith” was released in 2006. It includes collaborations with  112, Ginuine, Juelz Santana, Teairra Mari and Freeway.

The first single was the Jermaine Dupri-produced “Control Myself” featuring Jennifer Lopez:

“Exit 13”

In 2006, LL Cool J announced details about his final album with Def Jam Recordings, the only label he has ever been signed to.

LL and DJ Kayslay teamed up to release his first mixtape as a prelude to “Exit 13” titled “The Return of the G.O.A.T.”.  The mixtape is available here:

Other contributors for this album included 50 Cent, Sheek Louch, Fat Joe, Ryan Leslie, Wyclef Jean, The-Dream, Lil Mo, KRS-One, Funkmaster Flex, Richie Sambora and Darlisa Blackshere.

“Rockin’ With The G.O.A.T. was a single (original video):

“Cry” was also a single:

“Feel My Heart Beat” was another single:

LL has released some other tracks since then.  He has also had a major acting career since 1985 when he played a rapper in the film “Krush Groove”.  He’s also had fashion businesses, written four books and started music businesses.  He has expressed support for both Republican and Democrat politicians but has said he is an Independent.  On his song “Mr. President” he raised political issues (original video):

LL Cool J was in the news in 2012 when he stopped an intruder attempting to burglarize his house , inflicting serious injury on the suspect.  In 2013, he has announced due to popular demand, he would run for Detroit Mayor in the next election. Quoting he will “use the Joe Louis fist to knock people out, with respects to his Momma’s request from years ago”.

He married his wife Simone I. Johnson in 1995 and they have four kids.

His official website is here:

He’s on Twitter here:

And Facebook here:


Hip Hop History ~ KRS-One [Part II]


This is [Part II].  If you missed [Part I] of this Hip Hop History article on KRS-One, go here:

“I am Hip Hop”

In ’94 KRS produced an untitled album for Supernatural and created the “I Am Hip Hop” philosophy, which holds that “Rap is something you DO, Hip Hop is something you LIVE!”  Therefore, if you live Hip Hop, then you can say “I Am Hip Hop”.  Some artists took offence at this statement, interpreting it as KRS-One being arrogant.  The same year, the first Hip Hop “Meeting Of The Minds” conference was held in Harlem.  The preservation of Hip Hop was discussed, as was the concept of a Hip Hop Museum and the building of Hip Hop into an authentic world culture.

In ’95 KRS released the album “KRS-One” which included “MCs Act Like They Don’t Know” (original video):

Having been recording for ten years at this point, he worked with younger artists for the album, and the production was fuller than on “Return of the Boom Bap”.

Track four on the album was “Ah-Yeah”,which was on the Black Panther movie soundtrack (original video):

another track was “R.E.A.L.I.T.Y”:

Track 6 was “Free Mumia”:

“Represent the Real Hip Hop” featured Das Efx:

“Build Ya Skillz” was track 11:

The album was originally meant to be titled “Hip-Hop Vs. Rap” and as well as this change, many tracks were scrapped from the album at the last minute.

The scrapped songs songs ‘include the Diamond D produced song “What I Know”, the ragga-flavoured “Dem Cubs” and a few interludes including “Kris Is…” and “Meta-physician”. All of these songs still remains unreleased to this day although they have all been posted at XXL Magazines webpage for streaming.’

“What I Know”:

“Strickly For Da Breakdancers & Emceez” was an instrumental album produced by KRS. It was first recorded and released in 95 as two separate vinyl records, Strictly For Da Breakdancers and Strictly For Da Emcees (The Goddess Set).

He also released his first book, “The Science of Rap” and produced tracks for Channel Live and Mad Lion in ’95.  He created the “Future Flavas” show for Hot 97 radio station and received a lifetime achievement award from Afrika Bambaataa at the Zulu Nation Anniversary celebration.

The Temple of Hip Hop

In ’96 KRS released a series of white labels – records with no titles, credits or label artwork.  Also the Temple of Hip Hop was also announced, which is a ministry, archive, School, and Society with the purpose of maintaining and promoting Hip Hop Culture. The Temple of Hip Hop maintains that Hip Hop is a genuine political movement, religion, and culture. The principles of the Temple are explained on KRS’s website:

In ’96 KRS produced tracks for many more artists and developed a lecture entitled “Hip Hop: Its Meaning And Purpose”.  Also “The Battle For Rap Supremacy: KRS-One Vs. MC Shan” was released (mentioned in Part 1 earlier) – a collection  made up of the classic diss records KRS-One/Boogie Down Productions and MC Shan/The Juice Crew made during the “Bridge Wars”.

In ’97 he released the album “I Got Next”,  became Ethics Editor of Blaze Magazine, and spoke out against C. Delores Tucker’s campaign against what she labeled “Gangsta Rap”.

“I Got Next” was more commercial / mainstream in its use of samples and collaborators.  It was certified Gold, and sold 94,000 copies in one week.

“The MC” was track three on the album:

Here is another track from the album, “Step into a World (Rapture’s Delight)” (original video):


“Come to da Party”(track 14):

Track 16 was “Over Ya Head”:

In ’98 he started working as A&R for Warner/Reprise and signed Kool Moe Dee, Lady Red and others.

He also released a Temple of Hip Hop album called “Criminal Justice”.

Hip Hop Appreciation Week & Hip Hop History Month

In the same year he established Hip Hop Appreciation Week every third week in May.   The purpose of the week is to encourage DJs and MCs to teach people about the culture of Hip Hop, to write more socially conscious songs, and for radio stations to play more socially conscious Hip Hop.

The Temple of Hip Hop also recognises Hip Hop History Month (November), founded by the Universal Zulu Nation.

In ’99 he was the keynote lecturer at Rock And Roll Hall of Fame’s Hip Hop Exhibition conference.  He also hosted a radio show called Temple of Hip Hop Kulture on The Beat (KKBT) Radio station, LA, until it became Hot 92.3.

In ’99, there were tentative plans to release an album called “Maximum Strength” – and a lead single from it, “5 Boroughs”, was released on The Corrupter movie soundtrack.  Eventually in 2008 an album called Maximum Strength was released but the tracks and cover art were different.

“5 Boroughs”:


in 2000 KRS declared himself “The Teacha” of the Hip Hop arts and sciences and attended a Hip Hop Summit.  He also was named Creative Director at the Riverside Church in Harlem and mentored young boys and hosted the Blaze Battle rap battle show.  He was released from Jive Records which had gone in a more Pop direction.

In 2000 “A Retrospective” compilation album was released, featuring many songs that were originally released under the Boogie Down Productions name, and some songs released as KRS-One’s.

In 2001 “The Sneak Attack” album was released, which included the track “Hot” produced by the original Jazzy Jeff from rap pioneers the Funky Four Plus One.  This year, KRS provided two educational programs for kids at Riverside church and Cleveland Elementary School.  And he attended the Hip Hop Hall of Fame conference focusing upon the creation of an accurate Hip Hop history.

“Hot” (original video) – this song goes hard!

“Hip Hop Knowledge” was track nine on “The Sneak Attack”:

“Hush” – track 15:

A couple of motivational songs on the album were “I Will Make It” and this one, “Get Yourself Up”:

“Shutupayouface” was track 17:

The last track on the album was “The Raptizm”:

The same year, KRS-One and many Hip Hop pioneers signed the Hip Hop Declaration of Peace at an event where the United Nations recognised Hip Hop as a legitimate international culture of peace and prosperity.

“KRS-One and The Temple of Hip Hop” also released the album “Spiritually Minded” in 2001 which charted in the Billboard Gospel charts at number four.   Wikipedia states that ‘ KRS-One’s Christian lyrical content came as a surprise to fans and critics, as he had previously written songs critical of Christianity and organised religion.’

“South Bronx 2002” was track 6:

“The Conscious Rapper” was track 11:

“Never Give Up” was track 7:

Track 3 was “Take Your Tyme”:

“Trust” was track 13:

“Aint Ready” was track 15:

The Temple of Hip Hop held its first “sermonar” around this time too.

Nelly battle

In 2002 KRS-One battled Nelly and released the “Mix Tape” album and “Prophets vs. Prophets”.  It is known for the song “Ova Here” which disses Nelly for being commercial and disrespecting KRS-One.  A very limited version of the street album was released in Europe under the title Prophets vs. Profits.

“Ova Here”:

Another Nelly diss from “Prophets vs. Prophets” was “You Don’t Really Want It”:

A pro-female song on the album was “womanology”:

“My People” was on the mixtape but not the album:

Track two was “Things Is About To Change”:

Track 3 – “Down the Charts”:

Track 10 “Problemz”:

In 2003, album “The Kristyle” came out and his second book, “Ruminations” published.

‘”The Kristyle” featured production by Da Beatminerz, DJ Revolution and KRS-One’s brother and long-time collaborator DJ Kenny Parker. The song “Ya Feel Dat” did not appear on some versions of the album’.

“How Bad Do You Want It” was a single:

“Underground” was track two on the album:

“Its all a Struggle”:

“Aint the Same” featured a young Joell Ortiz:

A song about diversity was “Somebody”:

“Gunnen’ Em Down” was track 13

The “D.I.G.I.T.A.L.” compilation album was released in 2003 which included songs previously only released on white label 12″ singles, and B-sides, plus some remixes and KRS-One cameos on other artists’ records.

Many of the tracks on the compilation were given different titles from their original releases.

In 2004, KRS-One, DJ Kool Herc, The Sugar Hill Gang and Chuck D were honoured by the first VH-1 “Hip Hop Honours”.  Rolling Stone also named KRS Hip Hop’s “institutional authority” and “self help guru” and Billboard named him “Pioneer of the Year”.

“Keep Right” was released this year.  ‘For a short time it was bundled with a free DVD. It peaked at #80 on Billboard’s Top R&B/Hip-Hop Albums.

“Illegal Business (Remix 2004)” (original video):

“Phucked” – track six on “Keep Right”

Track 13 – “Me Man”:

“My Mind Is Racing”, track 11 on the aln\bum:

Track 16 was “I Been There”:

Also in 2004 the album “Life” was released. ‘It was a collaboration with little known production team The Resistance.’

“I Am There” was a track on “Life”:

“My Life” was the last track:

“Still Slippin’” was another track:

“Bling Blung” was the first track on the album:

“Fucked Up” was another song:

“Freedom” was track 6:

Track 7 was “I’m On The Mic”:

September 11

In September ’04 KRS-One was criticised due to comments about 9/11.  He explains “I was asked about why Hip Hop has not engaged the current situation more (meaning 9/11), my response was “because it does not affect us, or at least we don’t perceive that it affects us, 9/11 happened to them”. I went on to say that “I am speaking for the culture now; I am not speaking my personal opinion.” I continued to say; “9/11 affected them down the block; the rich, the powerful those that are oppressing us as a culture.  Sony, RCA or BMG, Universal,  the radio stations, Clear Channel, Viacom with BET and MTV, those are our oppressors, those are the people that we’re trying to overcome in Hip Hop everyday, this is a daily thing. We cheered when 9/11 happened in New York and say that proudly here. Because when they were down at the trade centre we were getting hit over the head by cops, told that we can’t come in this building, hustled down to the train station because of the way we dressed and talked, and so on, we were racially profiled.  So, when the planes hit the building we were like, “mmmm, justice.” And just as I began to say “now of course a lot of our friends and family were lost there as well” I was interrupted…”

In 2005 he toured extensively and gave “sermonars” after shows and at events.

In late 2005, KRS was featured alongside Public Enemy‘s Chuck D on the remix of the song “Bin Laden” by Immortal Technique and DJ Green Lantern:

“Bin Laden (Remix)”:

In 2007 he appeared on the track “Classic”.  The following year BET introduces the “I am Hip Hop” award, after the term KRS coined in ’94.


“Hip Hop Lives” (original video):

in 2008 KRS recorded “Hip Hop Lives” with Marley Marl, the title a reference or sequel to, but not a criticism of, NaS’s album / assertion that “Hip Hop Is Dead”.  ‘This is a historical album in the sense that 20 years prior, KRS and Marley were bitter rivals involved in the legendary Bridge Wars.  Marley Marl produced this album.

“Hip Hop Lives” (original video):

“The Victory” feat. Blaq Poet (scratches by DJ Premier):

“All Skool”:

“Strictly Hip Hop”:

“The Most Dangerous Emcee”:

“Kill a Rapper”:

“Stop the Violence” (Part 2):

In 2008, he released the album “Adventures in Emceein” and he collaborated with Talib Kweli on a track called “The Beat”.  The first single from “Adevntures in Emceein’” was “The Real Hip-Hop” which featured NaS talking, who called KRS-One “The greatest MC that ever lived”.

I like this track a lot from “Adventures in Emceein’” – “Our Soldiers”:

“Money” featured MC Lyte:

“We Dem Teachas” name checks great leaders and featured Keith Stewart:

“What’s Your Plan?”:


A collaborative song “Self-Construction” was released in 2008, by KRS resurrecting the Stop The Violence Movement.


KRS also appeared in online documentary “The Obama Deception” the same year.

“The Obama Deception”:

In 2007 KRS received The I am Hip Hop and Lifetime Achievement awards from BET.

The album “Maximum Strength” was released in 2008.

“All My Men” was track 3 on “Maximum Strength”:

“New York” was track 8:

“The Heat” was the last track:

“The Kool Herc” was track 6:

“Straight Through” was track 4:

In 2009, he hosted the Rock The Bells tour with Supernatural.

KRS produced “The J.I.L – Justice, Inspiration and Love” album for G Simone. and assisted the National Urban League’s anti-violence campaigns in Detroit Michigan.

The Gospel of Hip Hop

Also in 2009 his book “The Gospel of Hip Hop”, which is definitely worth reading, was also published.

In 2009 KRS One guest starred on several albums, including “Arts & Entertainment”, on the song “Pass the Mic” by fellow Hip Hop veterans Masta Ace & Ed O.G:

“Pass The Mic”:

KRS also featured on the posse cut “Mega Fresh X” by Cormega(alongside DJ Red Alert, Parrish Smith, Grand Puba & Big Daddy Kane) on his album “Born and Raised”:

“Mega Fresh X”:

Collaboration albums

KRS One and Buckshot collaborated on an album with a more commercial production style, “Survival Skills”, released in 2009.

“Oh Really?” featured Talib Kweli:

“Runnin’ Away featured Immortal Technique:

“Hear No Evil” was track 11:

“Amazin@ was track 10:

“Past Present And Future” was the last track on the album:

“Murder 1” featured Bounty Killer:

KRS-One spoke at a Hip Hop concert on September 12, 2009 to benefit the first responders of 9/11. The event was presented by the 9/11 group We Are Change and SMT Studios.

He also received a Living Legend Award from the Urban Music Awards in 2009.

In 2010 on behalf of Afrika Bambaataa, Kenny Yoda and Zulu Nation KRS declared the National Hip Hop Museum “illegitimate” and the Universal Federation for the Preservation of Hip Hop formed a game plan.

The same year, “Meta-Historical”, a collaboration album between KRS and Wu-Tang Clan affiliated producer True Master was released.

The title track, “Meta-Historical”:

Track 2 was Ya Murda:

“Palm and Fist” was another track:

“Here’s What We Gon’ Do” featured RZA:

“Street Fighter” was another track on the album:

“He’s Us” was track 19:

He also released a six track EP, Back to the L.A.B (Lyrical Ass Beating).

The last track was “TEK-NOLOGY”:

“Never Afraid” was track 5:

“Show Shocked” was track 4:

In 2010 artists including Ruste Juxx, Torae & Skyzoo, Sha Stimuli, Promise, J.A.M.E.S. Watts and Team Facelift released ‘Survival Kit’ as an ode to the 2009 album “Survival Skills” by KRS One and Buckshot. The mixtape was released for free download on The album features new version of KRS classics ‘South Bronx’, ‘Sound Of Da Police’ and ‘MC’s Act Like They Don’t Know’ as well as new versions of well known Buckshot songs and ‘Past Present Future’ from the Survival Skills album.

In 2010 Zulu Nation also named KRS Hip Hop’s “Master Teacha” and he toured Europe.

The same year, “Godsville”,a collaborative album between KRS and Show, from Showbiz and A.G. was released.  It was released digitally in February, but the physical release didn’t hit stores until May. It  followed the theme of KRS-One creating an album fully produced by a legendary New York producer, following “Metahistorical”  with True Master and “Hip Hop Lives” with Marley Marl.

Track 2 on “Godsville” was “Show Power”:

Track 3 was “We Love This”:

“Here Me More” was track 8:

“Running in the Dark”:

“Another Day” featured Jeffrey Nortey:

In 2011 he recorded a live freestyle DVD with Snoop Dogg and Battle Cat.

In the same year, “controversy over KRS-One and terrorism re-surfaced for the 10th anniversary of September 11, when a video for his song “Real Terrorism” (featuring an upstart rapper named “Greenie”) was banned from YouTube for “unwatchable” and “graphic” content. The video contained actual news images of American atrocities throughout history while the song featured Krs-One co-arguing that the United States is just as guilty of terrorism as are those who the country accuses of terrorism. The song & video caused much online controversy late in 2011 and a number of supporters of free speech went ahead and re-posted the banned video to YouTube anyway. Sites like Vimeo saw it get over 50,000 hits in just a few days and YouTube refused to comment on the banning” according to Wikipedia.

“Real Terrorism” (music without the original video because its banned):

KRS One also narrated the 2011 film Rhyme and Punishment, a documentary about Hip-Hop artists who have done jail time.

Trailer for “Rhyme and Punishment”:

In 2012, “The BDP Album” was released made up only of tracks created by KRS and brother Kenny Parker.  KRS also appeared in the film “Something from Nothing: The Art of Rap”:

Trailer for “Something from Nothing: The Art of Rap”:

KRS-One interview and short freestyle from the movie:

Track 1 on “The BDP Album” was “Tote Gunz”:

“The Hustle” was track 11:

“All Day” is another track:

“Do It” was track 10:

“Time’s Up” was track 12:

KRS-One continues to rap, produce and be The Teacha.

His website is here:

On Twitter:

And Facebook:

Hip Hop History ~ KRS-One [Part I]


KRS-One is a producer as well as a rapper and “The Teacha” (intellectual/educator).  He has released a mammoth 25 albums (including compilations).

Personal background / early life

KRS was born in ’65 in Brookyn to his mom Jacqueline, the oldest son with a brother and sister.  His mom had a massive influence on his education, because from the age of three onwards, he began home schooling of African Studies.  For the rest of his life KRS-One has always been studying knowledge.  Aged seven the family moved to 1600 Sedgwick Avenue in the Bronx, and KRS started writing poetry to his mom.  He went on to experience the block parties happening at 1520 Sedgwick Avenue and other local jams.  Soon he was experiencing the elements of Hip Hop – breaking, MCing, graffiti writing and DJing, and had dreams and visions about a “divine purpose” which he says his mom confirmed through astrology and numerology.  Throughout his life, from a young age KRS would study many different philosophies and religious texts.  For example aged ten, he started studying the Bible, experiencing Rastafarianism, yoga, meditation and fasting.  However at school he has said he was “very unpopular and quiet” when he was young.

In ’77 after the New York City blackout, he was inspired to become an MC.  His mom’s record collection deeply influenced KRS.  From when he was fourteen she was buying the earliest records of the Hip Hop era such as “King Tim the Third” by the Fatback Band, and “Rapper’s Delight” by the Sugar Hill Gang – and by ’79 she was buying one Sugar Hill artist per week.  He developed his rhyme writing with Neville T, his brother Kenny, and school friends Daryl D and Master Key and aspired to be an MC and mystic.

KRS ran away from home for a month at the age of 15 before being returned home by truant officers.  Aged 16, after an argument he ran away from home for the final time and became homeless for four years.

Soon he was attending both Hip Hop and Reggae jams in Brooklyn and studied  metaphysics and philosophy.  His adopted son Randy was born when he was 18.  He met Hare Krishnas who fed the homeless and taught the Bagavad-Gita, but guards at the homeless shelter started making fun of him, calling him “Krsna”.  He moved to a group home and a graffiti writer taught him how to tag his name, Krsna – but soon he dropped the “na” and used “KRS” pronounced “Chris”.  A year later he added the “One” signifying the original, first and/or best.  It was common for popular graffiti writers to add a ‘one’ or ‘1’ to the end of their tags.  The backroym Knowledge Reigns Supreme Over Nearly Everyone has also been applied to his name.

He met his first girlfriend, Christine, around this time and then, aged 20, moved to Manhattan YMCA shelter to further pursue his recording career.  He was graffiti writing as well as MCing and got arrested for doing graffiti.

Early tracks

By the age of 21, KRS was inspired by T-La Rock, Kool Moe Dee and Melle Mel and developed what he calls an ‘off-beat’ rhyme style, sparring with other MCs.  He was transferred to another shelter in The Bronx, and studied Christ Consciousness and the life of Jesus,  as well as being introduced to the Nation of Islam through the popularity of the Five Percenters.  KRS met a producer Ced-Gee here, through a graffiti writer and shelter security guard, Funk Master.  He also met Scott La Rock who was his social worker, and the duo became Boogie Down Productions.

In ’85 he was introduced to Hip Hop’s late night club life.  He started regularly hanging out at Danceteria, The Roxy and Latin Quarters in Manhattan.  I.C.U. offered him a room in his apartment so he officially left homeless life, and he also met Ms. Melodie, who he married the same year.

His first 12″ single “Success Is The Word” with Scott La Rock and Kenny Beck was released on Sleeping Bag Records.  Kenny says “Kris was never happy with the record at all, thought it was too corney”

“Success It The Word”:

As Boogie Down Productions they started shopping their music to record labels but they were “turned down by every recording label of the day”.

Finally they signed with Rock Candy Records and released “Crack Attack” warning people against the drug.

“Crack Attack”:

“Bridge Wars”

Boogie Down Production’s next track, “South Bronx” was written at the time in response to Mr. Magic’s Juice Crew, who had rejected Boogie Down Production’s demo and released a song “The Bridge” about Queensbridge, featuring M.C. Shan and DJ Marley Marl.  KRS used his “Blastmaster” persona during this “Bridge Wars” period.

“The Bridge” (M.C. Shan):

“South Bronx” (Boogie Down Productions):

M.C. Shan answered that record with “Kill That Noise”

KRS-One replied “The Bridge Is Over” (original video)

And finally Roxanne Shante had the final word on “Have A Nice Day”.

Thhe classic diss records KRS-One/Boogie Down Productions and MC Shan/The Juice Crew made during the “Bridge Wars”, are on the compilation album “The Battle For Rap Supremacy: KRS-One Vs. MC Shan” which was released in ’96.

First album – “Criminal Minded”

In ’87 Boogie Down Productions released their first album “Criminal Minded” on sugar Hill.  The album ‘pictured the duo draped in ammunition and brandishing guns and is often credited with setting the template for the hardcore and gangsta rap genres’ according to Wikipedia.  According to All Music, such artwork “was unheard of in 1987” and the album “is the foundation of hardcore rap”.  “BDP weren’t the first  to rap about inner-city violence and drugs, and there’s no explicit mention of gangs on “Criminal Minded”, but it greatly expanded the range of subject matter that could be put on a rap record”.

Track 3 was “9mm Goes Bang”:

‘Production on the LP is credited to KRS and DJ Scott La Rock, but in interviews it has been revealed that an uncredited Ced-Gee had a key role in crafting the sound of the LP, which heavily sampled records from James Brown and AC/DC and also had a dancehall reggae influence.

‘Criminal Minded played an important role in reaffirming the social acceptance of having Jamaican roots. BDP referenced reggae in a way that helped to solidify Jamaica’s place in modern hip-hop culture.’  KRS-One was one of the first MCs to incorporate Jamaican style into Hip Hop, using the Zung gu sung melody originally made famous by Yellowman in the ’90s:

Track 7 “Remix for P Is Free”:

In ’98, the album was selected as one of The Source’s 100 Best Rap Albums, and it has been included on several other such lists.

Scott La Rock was killed in ’87 trying to calm down a dispute between Boogie Down Productions member D-Nice and local hoodlums.  KRS carried on under the name Boogie Down Productions for a few more albums though.

A bonus track on “Criminal Minded” was the Scott La Rock Megamix:

An example of the AC/DC samples Scott La Rock used is the track “Dope Beat”:

“The Teacha”

In ’88 Boogie Down Productions released “By All Means Necessary” without the late Scott La Rock, but featuring beatboxer D-Nice, rapper Ms. Melodie and DJ Kenny Parker (KRS’s younger brother) and more.  Wikipedia says “The album is widely seen as one of, if not the first, politically conscious efforts in Hip Hop”.

Track 1 – “My Philosophy” (original video):

After the murder of Scott La Rock, KRS moved away from the violence that dominated its debut “Criminal Minded” and began to write socially conscious songs, while using the moniker  “The Teacha”.

Track 6 was “I’m Still #1”:

Track 9 was “T’Cha-T’Cha” – I love the beat on this one:

In ’89 KRS-One launched the Stop The Violence Movement – and “Self-Destruction” was released. Composed of some of the biggest stars in contemporary East Coast Hip Hop, all proceeds from sales went to the National Urban League.


“Ghetto Music: The Blueprint Of Hip Hop” came out the same year. The album was certified Gold by the RIAA.

“Why Is that?” was track 2 (live video:

On this album, All Music says KRS is “particularly concerned about the direction of Hip Hop.  He’s wary of Hip Hop being cooped by the pop mainstream, and the album’s title comes from his conviction that real Hip Hop is built on the vitality and rebelliousness of the streets”.

Track 5 was “Jah Rules”:

Track 7 “Who Protects Us From You?””

Track 8  – “You Must Learn” (Original video)

Track 11 – “Gimme, Dat, (Woy)”

Track 12 – “Ghetto Music”:

The last track on the album, “World Peace”:

KRS-One also produced the reggae album “Silent Assassins” in ’89, as well as Just-Ice’s “The Desolate One”, and started touring Europe.


In 1990 KRS divorced from Ms. Melodie and started studying advanced metaphysics.  He released “Edutainment” and started his career as a lecturer regarding Hip Hop and African Studies.

The first song on the album is “Blackman In Effect”:

‘The lyrics in “Edutainment” are based around Afrocentricity and socio-political knowledge. It has 6 skits/interludes known as ‘exhibits’ that all talk about or relate to Black people.  Many skits feature Kwame Ture (née Stokely Carmichael) a leader of the U.S. Civil Rights Movement and Black Power Movement. The album was certified Gold by the RIAA. KRS One has stated in interviews that the album has sold over 600,000 copies.’

Track 5 is “Beef” – I like the funky beat a lot on this:

All Music lists the topics on the album as “black history, homelessness, racism, police brutality and materialism”.  “KRS was often compared to Chuck D because of his consistently sociopolitical focus, but he has his own unique mixture of black nationalism, Eastern religion, (both Hinduism and Buddhism) and Rastafarian philosphophy”.  However, some critics said it wasn’t as popular as other albums because in places it was “preachy”.

Track 6 is “House N*ggas”:

Track 8 is Love’s Gonna Get’cha (Material Love) (original video):

A ragga-sounding track was “100 Guns”:

“Ya Strugglin” was track 10:

“Breath Control II” was a slower,  laid back track:

“Homeless” – track 14:

“The Kenny Parker Show” another laid back track:

“The Racist” – track 18:

“7 Dee Jays” featuring Heather B and Ms. Melodie:

“30 Cops or More” a ragga-influenced track:

In ’91 he released a live album “B.D.P Live Hardcore” – the first live rap concert album.  

He also released H.E.A.L – Human Education Against Lies – album “Civilization Vs. Technology”.

Track one was “Heal Yourself” featuring many big name artists:

The same year he collaborated with Shabba Ranks on “Jam”.

“Sex And Violence”

In ’92, the album “Sex and Violence” was released.  It was the first album to feature multiple producers and it critics said it sounded more “up to date” because of this.

Track 1 – “The Original Way” a reggae-influenced track:

Track 2 – “Duck Down” (original video):

“13 And Good” (original video)

“We In There” (original video):

‘The track “Build And Destroy” deals with KRS-One’s ideological differences—as a self-proclaimed humanist—with X-Clan and its brand of Afrocentrism. Previously, and on numerous occasions, the X-Clan had denounced any association with the concept of humanism, instead affirming its pro-Black stance. This, according to KRS-One’s younger brother and Boogie Down Production’s DJ Kenny Parker, was an insinuation that KRS was a “sell-out.”‘

An incident with P.M. Dawn also happened this year – KRS explains “After several disrespectful comments made by rapper Prince B of the group P.M. Dawn about KRS-One “Wanting to be a teacher, but a teacher of what,” KRS-One and others interrupted P.M. Dawn’s concert performance at T-Money’s birthday party in Manhatten resulting in P.M. Dawn being thrown off stage and into the crowd.  KRS-One later apologised for the incident.”

‘KRS One has stated that the album “Sex and Violence” sold about 250,000 copies, half of what the previous BDP album (Edutainment) sold, and he believes this was due to the PM Dawn incident that year.

He also studied and toured with Kwame Toure and the All African People’s Revolutionary Party.

“Return Of The Boom Bap”

In ’93 the album “The Return Of The Boom Bap” came out.  The style of production on this album returned to the “spare, gritty” sound of “Criminal Minded”.  Wikipedia noted that ‘Unlike the majority of the Boogie Down Productions LP’s, KRS took a step back from the production duties, letting DJ Premier, Showbiz and Kid Capri handle the beats in addition to his four contributions.’

Track 4 – “Mortal Thought”

“Slap Them Up”:

At this point he stopped releasing albums under the Boogie Down Productions name and began using his own name, KRS-One.  Songs on this album included “Sound of da Police” (original video):

“Mad Crew” was track 8 on the album:

“Brown Skin Woman” was track 10:

“Return Of The Boom Bap” was track 11:

Track 12 “Stop Frontin'”:

Track 13 “Higher Level”:

‘In ’98, the album was selected as one of The Source’s 100 Best Rap Albums. The record was originally rated 4 mics in The Source in ’93.’

He also formed a management company “Front Page Entertainment” in ’93 which helped launch the careers of artists such as Fat Joe and Wyclef Jean.

KRS-One produced 12″ singles “Shoot To Kill” and “Take It Easy” for Hip Hop Reggae artist Mad Lion, and “Sparkin Mad Izm” for rap group Channel Live the same year.

He appeared on the “Menace To Society” soundtrack with “The Pee Is Free”.

Next week is “Part II” of KRS-One’s Hip Hop History..

Hip Hop History ~ Eric B. and Rakim



Eric B.  (first picture) was born in Queens in ’65 and Rakim (second picture) in Long Island.  Rakim converted to Islam when he was 16 and was much influenced by The Nation of Gods And Earths which is where he took his name – Rakim Allah – from.  Eric B. (Eric Barrier) was the producer and DJ, Rakim the rapper.

Eric played drums and trumpet in high school, switching to turntables before he graduated.  He soon started DJing for the WLBS radio station in New York where he met a promoter, Alvin Toney, from Queens.  Eric was looking for rappers to collaborate with and the promoter recommended as the first choice, Freddie Foxx, who lived in Long Island.  They went to Freddie’s house but he wasn’t there so instead they went to the second choice, Rakim, and the pair started collaborating.

Rakim’s friend and roommate Marley Marl let them use his home studio. The first track they recorded, “Eric B. Is President”, was released as a single on the independent Zakia Records in ’86. But after Def Jam’s founder Russell Simmons heard it, the duo were signed to Island Records and began recording an album in Manhattan’s Power Play Studios in early 1987

Early tracks were quite minimalist in their production.  On “Eric B. Is President”, Eric sampled the bassline from Fonda Rae’s “Over Like A Fat Rat” plus the beat from James Brown’s “Funky President (People Its Bad)”.

(Incase you want to check them out, the Fonda Rae track is on YouTube here: and the James Brown track is on Youtube here: ).

The classic James Brown loop used in the track was groundbreaking at the time.  Stetasonic later rapped that “James Brown was old until Eric and Ra came out”.  Allmusic has said that ‘Eric B. was hugely influential and his taste for hard-hitting James Brown samples, touched off a stampede through the Godfather of Soul’s back catalogue, that continues to this day”.  Rakim insisted in a Rolling Stone interview, “I don’t think we were the first ones to use James Brown, but we were the first to use it right.”

“Eric B. Is President”:

Lyrically, Rakim was also ground breaking.  As Wikipedia puts it, “At the time rappers like Run-DMC, Chuck D and KRS-One had been leaping on the mic shouting with energy and irreverence, but Rakim took a methodical approach to his microphone fiending. He had a slow flow, and every line was blunt, mesmeric.”  Steve Huey praised his “literate imagery, velvet-smooth flow, and unpredictable, off-the-beat rhythms.”

Rakim still tops fan polls as the greatest MC of all time. Allmusic says “He crafted his rhymes like poetry, filling his lines with elaborate metaphors and complex internal rhymes, and he played the beat like a jazzman, earning a reputation as the smoothest-flowing MC ever to pick up a mic.  His articulation was clear, his delivery seemingly effortless, and his influence on subsequent MCs incalculable.  Together, their peerless technique on the microphone and turntables upped the ante for all who followed them, and their advancement of Hip Hop as an art form has been acknowledged by everyone from Gang Starr to the Wu-Tang Clan to Eminem.”

In his writing technique, Rakim was innovative because his dedication to the craft enabled him to create lyrics that were more intricate than was usual at the time.  While many rappers developed their technique through improvisation, his strength was writing.  For example, his use of internal rhymes, where words rhyme not just at the end of a line but also in other places, was unique.

Rakim later said, “[I] used to write my rhymes in the studio and go right into the booth and read them. When I hear my first album today I hear myself reading my rhymes – but I’m my worst critic. That’s what I hear, though – because that’s what it was. I’d go into the studio, put the beat down, write the song in like an hour, and go into the booth and read it from the paper…”

The B-Side of “Eric B. Is President” was “My Melody”:

Another contributor to their sound was Rakim’s brother Stevie Blass Griffin.  He was a multi-instrumentalist and performed on the first album “Paid in Full” as well as its follow up, “Follow The Leader”.

The track “I Know You Got Soul” Sampled the Bobby Byrd song of the same name as well as James Brown:

Or alternatively here is a live performance of “I Know You Got Soul” from ’91 at The Apollo where the crowd reaction shows just how massive the duo were:

Here is the original video for the title track from the album “Paid In Full”:

Incidentally, at the time, the concept of getting paid in full for rapping, was also groundbreaking.  The Vibe History of Hip Hop states it “was the first album that told both fellow rappers and consumers that there was a lot of money to be made in the rap business.  It was hard to believe that brothers really could get paid in full with all the handshaking and radio payola going on – nevertheless, the album sold more than gold”.

“I Ain’t No Joke” was also on their debut album and this video has the lyrics too:

Because of this track, “As The Rhyme Goes On”, Eminem was inspired to lift some lines for his “The Way I Am”:

The legacy of Paid In Full continues to this day.  Wikipedia explains that “Rakim’s rapping set a blueprint for future rappers and helped secure East Coast Hip Hop’s reputation for innovative lyrical technique.  William Cobb stated in his book To the Break of Dawn that his rapping had “stepped outside” of the preceding era of old school Hip Hop and that while the vocabulary and lyrical dexterity of newer rappers had improved, it was “nowhere near what Rakim introduced to the genre”.  The New York Times‘ Dimitri Ehrlich, who described the album as “an artistic and commercial benchmark”, credited Rakim for helping “give birth to a musical genre” and leading “a quiet musical revolution, introducing a soft-spoken rapping style.”

Regarding the influence of Eric B.’s contribution, “Paid in Full, which contains gritty, heavy, and dark beats, marked the beginning of heavy sampling in Hip Hop records.  Of the album’s ten tracks, three are instrumentals.  As a DJ, Eric B. had reinstated the art of live turntable mixing.  And his soul-filled sampling became influential in future Hip Hop production.”

Their second album, “Follow The Leader” was less minimalistic – Eric used more samples and more live instrumentation courtesy of Stevie.  Rakim also used more vivid and elaborate metaphors, for example comparing his love for rapping with being addicted to drugs in the song “Microphone Fiend”:

“Follow The Leader” – original video:

“Lyrics of Fury” – this track used the beat from James Brown’s “Funky Drummer” before it was well known:

The E-notes website explains ‘From the 90s Hip Hop had an ever-widening mainstream audience  and rap began to separate into “schools”: the “gangsta” sound of N.W.A., Ice-T and the Geto Boys; the “Native Tongues” psychedelic funk-rap of De La Soul and A Tribe Called Quest; the consciousness-raising of Public Enemy and Boogie Down Productions; and, of course, the highly staged pop rap of Hammer and Kriss Kross. Eric B. and Rakim, however, remained true to their own unique sound, described by Rolling Stone’s Alan Light as “Rakim’s cool, menacing delivery of intricate rhymes over Eric’s subtly shifting beats.” The Voice’s George elaborated, revealing, “Rakim’s intonation itself conjures wintry images of cold-blooded killers, chilly ghetto streets and steely-eyed hustlers. There’s a knowing restraint in his voice that injects danger into even harmless phrases.”‘

So in 1990 Eric B. and Rakim released their third album, “Let The Rhythm Hit ‘Em”.  Allmusic states that rap fans began to lose interest in the duo at this point because there were many other new acts on the scene.  Rakim did some message raps on this album such as “In The Ghetto”.  I really like the music on this one too:

Also on the album was “Step Back”: and another track was “No Omega”: although I’m not feeling these that much.

He later said about his relative lack of commercial success: “You could sell a couple records and keep your integrity or you could go pop and sell a bunch of records and be gone tomorrow. I was trying to stick to my guns at that point.”

Tracks that didn’t feature on the duo’s albums around this time included:

“Set ‘Em Straight” which featured on a compilation Let the Rhythm Hit ‘Em in 1990:

“Know The Ledge” was a track on the soundtrack to the film Juice in ’91:

and “What’s On Your Mind” was on the soundtrack to House Party II:

Their fourth album “Don’t Sweat The Technique” got better reviews than their third.  The Boston Herald complimented Eric B.’s “diverse mix of beats and melodies … from hard funk to more subdued blues and jazz”, concluding that “The potent combination of articulate raps and catchy beats makes ‘Don’t Sweat‘ a real burner”

The track called “Don’t Sweat The Technique” was very funky (original video):

“What’s Going On” was also on this album:

Other songs were “What’s On Your Mind”, the opening track, which was a commercially successful ballad:

And another track, against the Gulf War, was “Casualties of War” (original video):

This was the last album the duo did together.  Wikipedia explains “During the recording of the album, both members expressed an interest in recording solo albums. However, Eric B. refused to sign the label’s release contract, fearful that Rakim would abandon him. This led to a court case involving the two musicians and their former label. The legal wrangling eventually led to the duo dissolving completely. Eric B. has clarified that the monetary problems stemmed from labels like Island and others claiming ownership of the masters — not from any financial disputes between him and Rakim.”

Eric B. released a self-titled solo album in ’95 on the independent label 95th Street Recordings, which he both produced and rapped on, which was not very well received.  There has been some controversy regarding the extent to which Eric B. was the producer on Eric B. and Rakim tracks.  Marley Marl, MC Shan and Large Professor are among some producers and engineers that have been said to have contributed to the tracks.

Rakim, now a solo artist, released a single in ’93, “Heat It Up” which featured on the soundtrack for the Mario Van Peebles film Gunmen.  Here is one of several different versions that exist:

Finally in ’97 Rakim released a solo album – The 18th Letter, which features production by Clark Kent, Pete Rock, Nick Wiz, and DJ Premier.  Some versions of the album included a greatest hits CD called The Book of Life too.

I love this track, “Guess Who’s Back”:

Track four was “Its Been A Long Time”:

“When I’m Flowin'” was a more chilled track:

In ’99 Rakim released another album The Master, and this track from it is “Waiting For The World To End”:

“All Night Long” was the fifth track on the album:

Here is the track “When I B On The Mic” which was a single:

“Strong Island” track 15:

And a love song “I’ll Be There”:

In 2000 Rakim signed to Dr. Dre’s Aftermath record label and started work on an album to be titled Oh, My God.  It underwent numerous changes in artistic direction and personnel and was delayed several times.

While working on the album, Rakim made guest appearances on numerous Aftermath projects, including the hit single “Addictive” by Truth Hurts, as well as the Dr. Dre-produced “The Watcher Part 2” by Jay-Z, and Eminem’s 8 Mile soundtrack.

However, Rakim left the label in 2003 and Oh, My God was indefinitely shelved.  After Rakim eventually left he stated that the reason he departed the label was because of creative differences with Dre.  Rakim used a metaphorical example that Dre wanted Rakim to write about killing someone, while Rakim wanted to write about the resurrection of someone.  Rakim signed with Dreamworks Records shortly afterward, but the label closed shortly after that.

Rakim released a live album – The Archive, Live, Lost and Found – in 2008, featuring live performances, unreleased and rare material.

He released his third solo album, The Seventh Seal in 2009.  He explained “The number 7 has a lot of significance. The seventh letter of the [Supreme] alphabet is G—that stands for God. There are seven continents, seven seas. The Seventh Seal deals with that and also some revelations in the Bible. Some call it the end of the world, but for me it’s the end of the old and the beginning of the new. By me naming my album that, I’m using it metaphorically in Hip Hop. I’m hoping to kill the old state of hip hop and start with the new.”

Tracks from The Seventh Seal included  “Walk These Streets”:

And the single  “Holy Are You”:

Rakim’s influence today is in rappers who have used his unique rapping style and attribute it as inspiration:  Rappers such as  GZA, Ghostface Killah, Raekwon from Wu-Tang Clan, NaS, Kool G. Rap, Jay-Z, The Notorious B.I.G., Eminem and many more.

Rakim’s website:

Eric B. and Rakim’s website:

Eric B. and Rakim on Twitter:

Eric B. on Twitter:

Rakim on Twitter:

Hip Hop History ~ Sha-Rock


Sha-Rock was born in ’62, one of three sisters and a brother in North Carolina.  In one house there was a piano Sha-Rock used to play to take her mind off the violence – Dad used to beat her mom until she left him.  After the family moved, Sha-Rock had to be bused thirty miles to another school which made her mom and her partner Bob furious.  They would also attend rallies and protests and were interested in the case of the Wilmington 10 Black Panthers.  After a shooting incident involving the police and a next door neighbour who was a Panther, the family moved to the Bronx, New York for two years.  Sha-Rock was eight years old.  Bob had a reel to reel tape which was off limits to the kids and Sha-Rock would listen to Isaac Hayes, The Delfonics, and The Sylistics when her parents were out.  In ’71 the family moved to Harlem.  Sha-Rock started listening to Nikki Giovanni, Betty Wright, and Slyvia.

Her first performance was playing the lead part of an African dancer in an African ensemble for Black History Month at IS 10 (also known as Horace Greeley Middle School).  Her mother told her off for looking ‘stiff and scared and not putting her all into it’.  Sha-Rock says “One thing I’ve learned from that experience was never doubt or short change myself.  Don’t get me wrong, mom wasn’t some kind of stage mom that didn’t give her children their props.  But, mom was right.  I was more focused on how the other girls were dancing than perfecting my part in the dance routine and not giving my all.  From that day forward, I learned to focus on me, and what it was I needed to do.  I needed to master the craft; whatever it may be … and then move onto the next”.  in ’73 the family moved back to the Bronx and she attended IS 145 (also known as Joseph Pulitzer Middle School) and then Evander  High School.

Sha-Rock met her friend JJ (MC Jazzy Jeff, not to be confused with DJ Jazzy Jeff) at IS 10 and he went on to become an MC with her in The Funky Four Plus One.  Back then, “He was kind of on the nerdy side, but we both had a lot in common, one thing being we both loved music.  During lunch period, he would always go home and get his boom box [he lived a block away from the school] so we could all hang out in the schoolyard park.  JJ had all of the songs that he had taped from the radio.  Chaka Khan and Rufus’ Sweet Thing, Boz Scaggs’ Low Down, Ohio Players’ Roller Coaster, and Vicki Sue Robinson’s Turn The Best Around to name just a few.”

One day at a house party, JJ introduced Sha-Rock to his cousins, Mike and Pee Wee who were B-Boys, part of the Nine Crew.  Sha-Rock started breaking and became a secret weapon of the crew.  Through breaking Sha-Rock met Keith and Kevin the Nigger Twins, B-boys down with Kool Herc, and others down with Africa Bambaataa and the Zulu Kings.

At one park jam, Sha-Rock heard DJ Kool Herc and two MCs, Coke La Rock and Timmy Timand, the first MCs she witnessed on the mic.  “They would MC by making all of the announcements for the upcoming jams and giving shootouts.  Their rhymes weren’t intense or for a long period of time.  They were known for bigging up the crew and Herc by letting the crowd know whose party it was.  They would shout over the mic “The sounds you hear is deaf to your ear…have no fear ’cause Herc is here.”

While Sha-Rock was attending Evander High School she helped hand out flyers for Richie Tee and overheard him telling another boy about auditions for MCs the Brother’s Discos were having.    She expressed interest and Richie took her to DJ Breakout’s house for the audition.  Here she met Jazzy D who named her Sha-Rock, KK Rockwell and Keith Keith – who along with Rahiem, who joined later, and Jazzy Jeff, were to be The Funky Four Plus One – the ‘Plus One’ being Sha-Rock.  Jazzy D was the manager of the group until Lil’ Rodney C (the member who replaced Rahiem) took over after their first national tour.

After the audition Sha-Rock thought “KK and Keith had rhymes for days.  They had routines that they did together and they sounded good.  I knew I had to come harder … Even though they were amped and hyped up from the way I was rocking the mic, I still had the impression for some reason that they weren’t really feeling the girl on the mic thing.  It was almost as though they weren’t one hundred percent convinced that a girl could really be an MC.”  So she started writing rhymes – the first one, on the bus:

“I realised that I didn’t have any contact numbers for anyone so I could ask for directions.  Then, it all started coming together, my first rhyme.

“I have this book from A-Z.  It’s a little black book that belongs to me.  It has your name, number, and address, too so when I wanna talk I’ll just call up you.  And, when I’m by myself and all alone, I just turn to the Rs and reach for the phone.  Sha-Rock, I’m rocking’ on.”

By that time, the people on the bus were looking at me as if I was crazy because I was mumbling the words.  I didn’t write anything down, so I would recite the words over and over again.”

A few days later at the Boston Secor Community Center Sha-Rock publicly performed as an MC alongside the others for the first time.

In her book “Luminary Icon: The Story of the Beginning and End of Hip Hop’s First Female MC”, Sha-Rock states:

“Although there have been several stories that may have floated around over the years from writers, MCs and some Hip Hop historians about the authenticity of who was the first female MC, forget what you have heard, I was the first female MC.  Females were not extinct from the onset of Hip Hop culture.  I was there from the beginning.  Many groups followed by incorporating a female as well.  There were many females whom had just begun to emerge as up and coming MCs whose intentions were to place their mark on the streets of the Bronx.  Everybody in New York City knew not only was I the first female MC, but I also was the best female MC.” Also. “Depending on what park jams you were at, you may have seen a female rocking the mic, but that did not mean that she was the first female MC”.

Females who were also near the start of Hip Hop include MC Smiley, Peeblee Poo, Lil’ Lee and Queen Lisa Lee.

Regarding MC Smiley; “The first time I had the opportunity to meet MC Smiley, she was a MC for The Mercedes Ladies, and she was a very good MC. One of the stories that I had heard was that she was a MC for the L Brothers, but the Funky Four was already in effect.  We had played and battled the L Brothers many times in the 63 park.  It was a school yard where most pioneers had the opportunity to rock.  However, the only MCs that was rocking at the time with the group was Kevi Kev and Master Rob, who were brothers, and occasionally Starsky, who presently goes by the name of The Cheifrocker Busy Bee.  And besides, MC Smiley was a member of the Mercedes Ladies, in which they have and always acknowledged that I, Sha Rock, was first.”

On Peeblee Poo; “I had met Peebles around 1982 and she was with a group who was called Master Don and the Death Committee.  They had just released their first single called Funk Box Party.  There were several songs that were released also during that year.  Planet Rock by Africa Bambaataa, The Message by Grandmaster Flash and the Furious Five, but when I heard the song Funk Box, I almost lost my mind. . I felt that not only was the beat hot, Peeblee’s style and voice made the song come alive.  And I just had to tell her that.  We begin to form some kind of bond after that. … When I asked Peebles about it, she replied that being the first female was never her claim.  She stated that she was going solely on her claim to be the first female soloist”.

Sha-Rock says of Lil’ Lee “One day, the Brothers Disco had given a jam at 23 park, which was located in the Bronx.  Lil’ Lee had introduced herself to me and she had also relayed to me that she liked the way that I rhymed.  She had asked if we could hang out together.  I agreed.  She never told me she was an MC.  I later saw her at a park jam that DJ A.J. had given and she was rocking on the mic.  Since that day, I hadn’t seen or heard of her rocking at any park jams, or when Hip Hop was moved into the clubs.”

Sha-Rock gives respect to Queen Lisa Lee: “”There were several female MCs whom I’ve had great pleasure of knowing, and still to this day have mad respect for their skills on the mic.  Queen Lisa Lee is at the top of the list … I’ve always felt that she could have been the next Sha-Rock, and to tell you the truth, she probably felt as if I could have been the next Lisa Lee.  Lisa was more than confident about her skills.  And she had a right to be.  She was just that good.”  Taste was another MC, who like Lisa Lee, worked with Africa Bambaataa.

Other female MCs from the early days included the rest of The Mercedes Ladies – Baby D (D’Bora), Sherri-Sher, Zina-Zee, DJ LaSpank, and Eve-a-Def.  Sweet P and Sty-Sty were later members.  Also, MCs Sweet & Sour, and Debbie D, Sparky D, as well as Sequence, the all-female group consisting of Cheryl The Pearl, Angie B (now known as Angie Stone) and Blondy.

The Funky Four Plus One was made up of  Jazzy Jeff, KK Rockwell, Keith Keith, Sha-Rock and Raheim, the last member to join.  DJ Breakout was their DJ.  They were established before Grandmaster Flash and The Furious Five, who Rahiem later joined, to be replaced by Lil’ Rodney C.  There was great rivalry between The Funky and The Furious.

Sha-Rock describes how the Funky Four Plus One would perform: ” We became the first rap group to use mic stands in our routines.  We would set them upfront by DJ Breakout and Baron while they’d cut up the song as we rhymed … We were like the hood version of Gladys Knight and The Pips … We had become the first group to incorporate rhyming and harmonizing.  Before us, most MCs were just saying the basic rhymes.  Harmonizing was when the whole group would say a rhyme together in a singing format.”

“Rahiem was also known for bringing a different flavour of harmonizing and singing to the group.  He was an asset to the group because he could mimic any song that was out and could flip it so that the song would fit the routine that we were doing.  He performed as one of the original members of the funky four up until May of ’79.  There were no groups at the time that had that particular formula like us.  We made everyone step their game up. … KK and Keith’s routine allowed them to go back and forth between each other rhyming patterns.  Their routines made the Funky Four even stronger.

“We even started using melodies from sitcoms that were on television, such as Gilligan’s Island.  We would switch it around to MC about what we may have been going through at the time.  Sometimes, we would make up stuff or bragged about material stuff we wanted.  The difference between us and other groups was that we were story tellers.  Each of us could rhyme for minutes on the mic before passing the mic to the next person.”

The Funky Four Plus One had a group of young men and women from Uptown (where Jazzy D and DJ Breakout lived) who would rock with the group whenever they performed, because Jazzy D didn’t want them to be associated with street gangs.  “The men would wear all white shirts with black lettering that read Brother’s Disco.  The females would wear shirts that had Sister’s Disco written across them.  And, of course, I would wear the famous green shirt with yellow letters that read I’m Sha-Rock and I can’t be stopped.

“The Brother’s and Sister’s Disco had many roles.  They would serve as security for the group, but they were also responsible for getting the crowd hyped.  They knew all of our routines and they would echo the last words that we’d say in each line.  The Sister’s Disco would also monitor the behaviour of other females to ensure there were no beefs or problems when it came to me.  As I look back, that could have been one of the reasons why I never had any problems.  Their presence alone would let anyone know that they were here for business.”

“we were also known for having the best sound system in New York City.  It was so serious that we even had a name for our sound system.  We called it the mighty Sasquatch.  That set us apart from the rest.  Our sound system was exceptional.  We made speakers out of fifty five gallon barrel oil cans.  We also put about five or six inch lifts on them so the sound would carry.

“We even incorporated mid range and base speakers inside, and laid them on the ground.  We had a string of tweeters, so if another DJ was DJing in the same park or venue as we were, we could drown them out with the tweeters alone.

“All of the extra bells and whistles we had made the records sound very crisp and clear.  It was as if it was being played live.  You could be seven or eight blocks away from the jam and you still would be able to hear every rhyme clear as though you were there.”

“We threw jams everywhere.  In parks, school yards, and local community centers.  We weren’t making any real money for any of the shows that we were giving, especially outside.  Now, for the jams inside, we did get paid.  BAck then, we weren’t charging a lot of money to get into the jams.  Your average jam would cost anywhere from three to five dollars to get in, a big difference from twenty to thirty dollars that are charged these days.  After the jam, we would at least have enough money to pay for the train ride, cab fair, or enough to get some White Castle.  For us, the payoff came from the recognition and the credibility we received from the streets.  The hood loved us, we loved them, and that was invaluable.”

During the Battle era which swept the New York City area, The Funky and the Furious had several battles.  One battle that meant a lot to Sha-Rock was held at The Audubon ballroom in Manhatten, where Malcolm X gave his historical speech and was gunned down.  Sha-Rock knew in her heart of hearts “that we could take them” but “At times, I felt as though Rahiem thought that we were inferior to The Furious.  I felt that we were number one.”  The night off the battle, Rahiem said he was sick and did not give his all.  Also, “The plan was that we were going to tire the crowd out by all of the routines and the crowd participation that we had in store however, little did we know that they would switch it up on us.  I didn’t know how they did it, but they were able to get the time changed so that they would get on two groups before we did … By the time we were scheduled to go on stage, the crowd was exhausted.”  The Furious won the Battle and the Funky came second.  Soon it was found that Rahiem had planned to join the Furious Five and KK and Keith felt he had sabotaged the Funky’s performance in the battle.  Sha-Rock was upset and also left the group briefly.

In ’79 The Sugar Hill Gang released “Rapper’s Delight” and Sha-Rock explains that even though everyone was feeling the song, “MCs in the communities, however, began to feel slighted.  We had been on the grind for years, and out of nowhere three guys from New Jersey whom no-one had ever heard of had this hit record and the world would know them as the first rappers/MCs.  And, to be honest, I had a problem with that.”

That year The Funky Four Plus One signed to Enjoy Records first, followed by Grandmaster Flash And The Furious Five.  Next they moved to Sugar Hill Records and so did the Furious Five.

“The Sugar Hill Gang’s record was playing on every radio station around the world.  None of us were fans of Sugar Hill Gang, but we respected the fact that she was able to pull it off.  My thoughts were if she could take three non MCs and throw them together to make an admirable success, then Lord knows how far she could take us.  We all felt that if we could sign with Sugar Hill Records, we would reach international stardom. … I think we all had it in our minds that we were going to rock with Sugar Hill Records.  We were young and we weren’t really too concerned with the legal ramifications.  We were just excited to be offered a contract and having the opportunity to tour, like so many young artists are today.”

Rapping and Rocking The House was released in ’79 under Enjoy Records and it was the longest rap record for at least a decade.

That’s the Joint from 1980 – recorded in one take:

The Funky Four Plus One felt that Sugar Hill Records showed favouritism to Grandmaster Flash and the Furious Five, for example providing for them “a new beat [Freedom] that we had just started rocking to in the Bronx, not to mention it was the hottest song that theDJs were spinning at the time”.

In ’81 Sha-Rock had her first child Sha-ti-a.  Later with her husband Michael Jackson, who she married in ’86, she had Michael, and Sencere, as well as adopting Keith.

In ’82 the group released Do You Want to Rock (Before I Let Go):

In ’83 “Feel It” (The Mexican) came out:

On the first Sugar Hill tour, The Funky Four Plus One performed alongside headliners The Sugar Hill Gang, The Gap Band, Sequence and The Furious Five.  But while The Sugar Hill Gang and Sequence were getting paid, after several sold out performances The Funky only received $500 each, even though the rate was supposed to be $300 per night.

Once off tour the group would set up shows themselves in the Bronx and New York City and earn better money that way, than by shows booked by the label.  They appeared on the Duke Baldwin Cable show as the first Hip Hop group to be shown on Cable TV.  They started doing shows in Downtown Manhattan where punk rockers hung out.  There they met Fab Five Freddy, whose friend Debbie Harry from Blondie was hosting Saturday Night Live.  He said he thought The Funky Four Plus One should appear on the show which they did.   By this time the members of the group only received $800 each in royalties from sales of That’s The Joint.  After months without being given a promised sales report, the group started to try and get out of the contract.  Rodney and KK wanted out but Syvia Robinson would only let these two go, not the entire group.  Sha, Jeff and Keith signed a new contract.  The group was effectively split up.  Rodney C and KK Rockwell became a duo and The New Funky Four were Jazzy Jeff, Keith Keith, Ikey C and Sha-Rock.

Sha-Rock, Queen Lisa Lee and Debbie D formed a new group The US Girls and appeared in the movie Beat Street before disbanding.

Here is a clip from the movie Beat Street featuring Us Girls:

Sha-Rock now lives in Texas with her family, works as a Training Officer in the correctional  field, and volunteers for the Rich Girlz Club as well as educating people about Hip Hop history and culture.  She has received several awards for her contribution to Hip Hop.

Justin Bua has written that “Unlike the majority of today’s female MCs, Sha-Rock wasn’t selling sex nor was she looked upon as being a sex object.  Simply put: she was a talented MC.  She wasn’t flashy, gimmicky, or cliche in any way, shape or form.  She was just a girl from the Bronx who loved to rap and was there first.  There’s something to be said about being the first.  Its easy to look back and glorify the beginnings of a culture.  The truth is, pioneers often suffer, creatively, personally, professionally, because not only are they quickly forgotten, but they also don’t get paid their due.  Its easy to forget how hard it is to be ahead of the curve, to to have your finger on the pulse before everyone else.  Sha-Rock was the first female  MC in the game and because of that she was scrutinised.  Men were stepping to her and trying to battle her.  But when they put her on the spot, they quickly realised her skill set was on par with the best.  When MCs stepped to Sha, she served fools.  As Grand Wizard Theodore said to me, “Sha would tell a story that we all could visualise.  She was ridiculously intelligent; the way she flipped her words was profound.  Sha-Rock was our generation’s MC Lyte.  she was the best of the era”.  While Latifah is the Queen, Sha-Rock was the first to rule.  She paved the way for all future female MCs and for that, we should pay our respect.”

Here website is here:

And her book “Luminary Icon” can be purchased here:

Hip Hop History ~ Big Daddy Kane

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Born in ’68, he took his name “Kane” from Kung Fu films, and a backronym is “King Asiatic Never Equalled”.  The “Big Daddy” part he said came from the character Vincent Price played in the film “Beach Party”, or another story he told was “The Big Daddy came from something that happened on a ski trip one time involving a young lady.”   

Kane became friends with Biz Markie in ’84, aged 16, and co-wrote some of his songs.  Later on the pair both joined the Queens-based Juice Crew headed by Marley Marl.  In ’88 having signed to Cold Chillin’ Records he released “Raw” which was an underground hit:

His first album, “Long Live The Kane” came out in ’88 and the single “Aint No Half Steppin'” was also a hit:

As his website says, Big Daddy was really popular with women: “Kane was the first rapper to ever hold not one but two sold out shows at the world famous Apollo Theater for women only. These lives performances, which consisted of theatrics, choreography and tailored costumes proved that Big Daddy Kane was not only an M.C., he was a full entertainer. Kane revolutionized hip-hop fashion and the way hip-hop shows were performed.”

In ’89 Kane released his second album “Its a Big Daddy Thing” which included this track “Smooth Operator (original video):

The same year he had a hit with fellow Juice Crew members Craig G, Masta Ace, and Kool G Rap on a track Marley Marl produced – “The Symphony”:

Kane was influenced by Five Percenter beliefs and also rapped against drugs on “Another Victory”:

and he rapped for education, in “Children R The Future”

Kane didn’t jut rap about one subject though and in Pimpin’ Aint Easy he was a lot less socially conscious:

His next album was “Taste of Chocolate” which included “Mr. Pitiful”:

Also on the same album was “Dance With The Devil”:

Kane duets with Malcolm X’s daughter Gamilah Shabazz on this track, “Who Am I”:

And Kane dueted with comedian Rudy Ray Moore in this adult-oriented comedy track, “Big Daddy Vs. Dolemite”:

In ’91 Kane released an album where the music was more soulful and he rapped faster than before – “Prince of Darkness”.

Wikipedia mentions “Kane is known for his ability to syncopate over faster hip hop beats, and despite his asthmatic condition, he is acknowledged as one of the pioneering masters of fast rhyming”.

As well as rapping, he also produced most of the tracks on this album himself.

A hit from this album was “The Lover in You”:

Another popular single was “Groove With It”:

The next album, in ’93 was”Looks Like a Job For..” which had less of an R&B sound.

Here is the title track from this album:

“Rest In Peace” was another track:

Another track on the album was “Brother Man, Brother Man”

Also on this album was “How U Get a Record Deal?”

A crossover hit from the album was the love ballad “Very Special” featuring Spinderella:

His sixth album was “Daddy’s Home” in ’94 which was critically acclaimed but didn’t sell, as well, as it was reviewed.

The title track, “Daddy’s Home”:

“In the PJ’s” (original video):

“Show and Prove” featuring Scoob Lover, Sauce Money, Shyheim, Jay-Z, and Ol’ Dirty Bastard.  Kane was a mentor to Jay-Z at the time, who was credited on the song as “J.Z.”

“Brooklyn Style.. Laid Out” featuring Scoob Lover:

“Veteranz Day” was Kane’s seventh album, released in ’98.  He produced the majority of the tracks on it.

I personally like this track, “Terra N Ya Era”, a lot:

Also on the album was “Entaprising”:

Plus Unda Presha:

“And Change This Game Around”:

“2 Da Good Tymz”:

In 2001, “The Very Best of Big Daddy Kane” was released.

The compilation included “Set It Off”:

Also “The Wrath of Kane”:

“Word to the Mother (Land)”:

“Cause I Can Do It Right”:

Wikipedia explains how Kane is “regarded as one of the most influential and skilled golden age rappers.  Allmusic says, “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”, and describes him as, “an enormously talented battle MC”, “one of rap’s major talents”, refers to his, “near-peerless technique” and “first-rate technique and rhyming skills” – he “had the sheer verbal facility and razor-clean dexterity to ambush any MC and exhilarate anyone who witnessed or heard him perform”. Kool Moe Dee describes him as “one of the most imitated emcees ever in the game” and “one of the true greatest emcees ever”.  And Ice-T says:

‘To me, Big Daddy Kane is still today one of the best rappers. I would put Big Daddy Kane against any rapper in a battle. Jay-Z, Nas, Eminem, any of them. I could take his ‘Raw’ “swagger” from 88 and put it up against any record [from today]. Kane is one of the most incredible lyricists… and he will devour you on the mic. I don’t want to try to out-rap Big Daddy Kane. Big Daddy Kane can rap circles around cats’.”

Big Daddy Kane still tours and his website is at: