Smif-N-Wessun "Dah Shinin'" (You Better Wrekonize!, 1995)

Brooklyn: Population 2,231,000. The New York City borough is a veritable capital of hip hop culture, with high profile residents including Digable Planets, MC Lyte, Jeru the Damaja, the Notorious B.I.G., Gang Starr, The Fugees and Black Moon. The latest b-boys to stomp out of this rap mecca and make a move on the rap scene in their unlaced Timberlands are rappers Tek and Steele, better known as Smif-N-Wessun. Their biggest hit, "Bucktown," is a pseudonym for the music hotbed. "The environment of Brooklyn has always been to take what you need to succeed," says Steele. Like the Wu-Tang Clan of Black Moon, Smif-N-Wessun's style is strictly hardcore. Typical of West Coast rap, the cuts on Dah Shinin' (Nervous), their first album, are heavy on lyrics and light on R&B backbeats. Dah Shinin' debuted at number one on the rap chart in its first week of release. The hit "Bucktown" jacked the rap charts for a solid month. Keeping it real is a philosophy Tek and Steele picked up from their mentors in Black Moon. The duo get to perform as guest MCs on Black Moon's Enta Da Stage and open for Black Moon and Das EFX on their nationwide tour. Their opportunity to "shine" in that tour precipitated the album's title, Dah Shinin'. Summing up their style, Steele says, "We're just conversatin', speakin', talkin', puttin' facts into a rhyme so that they sound good to the ear.  

Bucktown, the breakout single by Smif n Wessun of Brooklyn, NY, is one of those songs that rips into radio by sheer force of popular demand, bucking expectations and giving new meaning to the term "pop music." But "Bucktown" is no novelty, and its proud descriptions of Brooklyn as "home of the original gun clappers" sure isn't pop in the usual sense. The track has an underproduced skeletal appeal; the terse, muscular rhymes by 21-year-old rappers Tek and Steele are as compelling as they are simple and grim. "Bucktown" took off so briskly, selling 75,000 copies in just three weeks, that the duo was a long way from having a full-length album completed to cash in on the single's obvious appeal. "The inspiration for the song was straight-up Brooklyn, USA," says Steele. "Bucktown is everywhere. We've been to places like Missouri, and we can tell you it's the same shit goin' on as we see in Brooklyn." As far as explaining the song's runaway success, Steele says, "I think if the idea could be bottled, then everybody would be making hit jams and selling 75,000 in one week. We're just representing ourselves, and people pick up on it. That's why we say, 'All heads recognize real heads on the rise.' This is classic New York City hip-hop! Continue to revisit Dah Shinin' below...

Additional Reviews: The Source, OneNut, Vibe, Rap Pages. Art by Danial Kelly.

Don't Be a Menace to South Central... (Vibe Magazine, Jan. 9, 1996)

Shawn and Marlon Wayans's new spoof, Don't Be a Menace to South Central While Drinking Your Juice in the Hood, parodies the recent deluge of in-da-'hood flicks, while the film's soundtrack has a loose "Can't we all just get along?" - type theme. A compilation of songs from some of R&B's and hip-hop's most popular artists, Don't Be a Menace packs a loaded 17 tracks. Talented artists like R. Kelly and the Wu-Tang Clan reveal few surprises, but what they do - being a sex man, going lyrically buckwild - they do practically to perfection. The opening track is the Wu's hectic "Winter Warz," wherein the Shao Lin champs spout ghetto madness over RZA's hazy, nonmelodic production. By the end of the soundtrack, though, their contribution is balanced by the Island Inspirational All-Stars' lite gospel track, "Don't Give Up." Junior M.A.F.I.A.'s Little Kim indirectly puts Jodeci's wailing pleas for sex ("Give It Up") in check with her sharp, cool-as-a-cucumber delivery on "Time to Shine." And R. Kelly proves he's the perfect renaissance man with his production of the Isley Brothers' mellifluous "Let's Stay Together," as well as his seductive "Tempo Slow." It's when artists are placed together, though, that the soundtrack becomes disappointing. Things just get awkward. Keith Murray and Lord Jamar accompany Texas's UGK in "Live Wires Connect," and the East Coasters overwhelm a weak, pseudo-G funk track. And when Luke joins Doug E. Fresh for "Freak It Out," a New York-style party chant, Mr. Campbell takes too long to warm up. The soundtrack for Don't Be a Menace probably won't help many menaces to society get along with folks any better. But the collection is filled with bouncing production, new-fashioned love songs, and even some old-school flavor--maybe it will at least get the boyz and girlz in the 'hood to dance. - Vibe Magazine, March 1996. The single version for "Renee" by Lost Boyz (not featured on Legal Drug Money) and Mona Lisa's "Can't Be Wasting My Time" - in addition to the classic verse from Cappadonna on "Winter Warz" - made this totally worth coppin' back in 1996. Revisit the Don't Be a Menace OST below...

The original album Vibe review and additional promo items are below...

Skillz "2025 Rap Up" (Happy New Year!)

What began in the early 2000s as a clever year-in-review record gradually became something fans came to expect — a lyrical snapshot of the year’s biggest moments across music, pop culture, politics, and everyday life. While many artists have attempted similar concepts, Skillz’s Rap Ups stand apart because they balance humor, critique, and perspective without feeling disposable or gimmicky. "2025 Rap Up" continues that lineage, but with a noticeable shift in tone. This year’s installment is explicitly dedicated to “my brother D’Angelo” (R.I.P.), and that dedication shapes the entire record. Skillz raps over D’Angelo’s “Lady,” a choice that immediately sets this version apart from past Rap Ups. The smooth, soulful feel of the original track slows the pace and gives the song a more reflective atmosphere. Skillz still touches on familiar Rap Up territory — notable events from the year, cultural shifts, moments that dominated conversation — but the approach feels less like rapid-fire commentary and more like considered reflection. The humor is still present, but it lands alongside fatigue, awareness, and perspective rather than punchline overload. The dedication to D’Angelo adds another layer. Whether interpreted as a personal loss, a close relationship, or a symbolic tribute, the intent is clear: "2025 Rap Up" is carrying something personal. That weight shows up in the restraint of the performance and the decision to let the beat breathe rather than overwhelm it with density. The result is a record that feels less about racing through headlines and more about acknowledging the emotional residue left behind by the year. We needed this one, thanks Skillz! Now, go ahead and watch/listen to the "2025 Rap Up." R.I.P, D'Angelo. Happy New Year!