Rest In Peace, DJ Clark Kent (Sept. 28, 1966 - Oct. 24, 2024)

DJ Clark Kent — born Rodolfo Franklin — has died at 58 years old following a three-year battle with colon cancer. Clark Kent’s family confirmed his death in a statement posted to the super-producer’s Instagram page on Friday afternoon (Oct. 25). “It is with deep sadness that we share the passing of the beloved Rodolfo A. Franklin, known to the world as DJ Clark Kent,” the statement reads. “Clark passed away Thursday evening surrounded by his devoted wife Kesha, daughter Kabriah and son Antonio.” The post continued to touch on Clark Kent’s private battle with cancer. “Clark quietly and valiantly fought a three year battle with Colon Cancer, while continuing to share his gifts with the world,” they added. “The family is grateful for everyone’s love, support and prayers during this time and ask for privacy as they process this immense loss.” - Billboard. A nostalgia site like this one couldn't exist without the cultural impact and legacy of artists like Clark Kent. Deepest condolences to his family and all his loved ones. Rest In Peace to God’s Favorite DJ. 

Shyne "Godfather Buried Alive" (August 10, 2004)

In July 2004, Billboard said, "This summer may end up as the season of Shyne. The MC, now imprisoned for assault, was once viewed as the future of Bad Boy Records. He re-emerges with a multimillion dollar deal with Def Jam Records for his Gangland imprint. "More or Less" is the first offering from Shyne's highly anticipated album, Godfather Buried Alive," due Aug. 10. The single's haunting track, which samples Lamont Dozier's "Rose," serves as a backdrop for Shyne's booming voice. Lyrically, he showcases his honed, thought-provoking writing skills: 'Hip-hop ain't responsible for violence in America/America is responsible for violence in America... The schools didn't want me/So, the drug dealers taught me/Simple math/Step on it twice and bring it back.' R&B programmers have been slow to champion this single. Expect that to change. Soon." Shyne was found guilty of gun possession and sentenced to 10 years in prison for the now infamous shooting incident at Club New York in December 1999 in which three people were wounded. Billboard also shared in a later article, "Shyne is one of hip-hop's most controversial stars. Given his previous affiliations with Sean "P. Diddy" Combs and his current imprisonment, the Brooklyn N.Y.-based MC has been through a lot in the past few years. It's no wonder, then, that "Godfather Buried Alive," his second set and first for Gangland/Def Jam, has been so eagerly anticipated. Shyne still knows how to strike a hardcore stance, as evidenced on the lead single, the Kanye West-produced, Lamont Dozier-sampling "More or Less." On "Jimmy Choo," which features Ashanti, Shyne shows his softer side. Cont'd below....

"Other highlights include "For The Record" (which is aimed at 50 Cent) and the East Coast Gangsta mix of "Behind the Walls" featuring Kurupt and Nate Dogg. However, Shyne is at his most impressive when he is contemplative, as on the melancholic "Martyr," where his reflections on life and death have real emotion." In 2006, Vibe reported, "Citing New York's revised "Son of Sam' law preventing criminals from profiting from their crimes, a judge freezes royalties from 2004's Godfather Buried Alive as well as Shyne's $500,000 Island Def Jam advance. Shyne reportedly sought a release from his label after clashing with L.A. Reid over poor promotion for his album." Vibe's earlier review said, "Godfather Buried Alive pieces together the political possibilities and the street arrogance of a pre-jailed Shyne," and rumored a supergroup of the "Firm proportions" between Shyne, Jay-Z and Foxy Brown. What would you have thought of that? Different, coulda been ill, who knows! Revisit it...

2Pac "Lessons To Be Taken From 2Pac" (October 5, 1996)

Tupac Shakur passed away Sept. 13 (1996) from injuries he received in a drive-by shooting one week earlier. He was 25 years old, a talented rapper and actor whose death was met with various reactions ranging from sadness to apathy. "He had it coming, he was a victim of his own hype," was one of the many comments heard. For sure, the performer was a deeply troubled young man with an apparent death wish. He harbored a lot of pain, and when he put his mind to it, he was capable of writing vivid, introspective lyrics that made those private tensions public spectacle. According to people who knew him, Shakur was also a sensitive brother who was sometimes prone to tears. Meanwhile, fellow rappers praised his generosity and professional work ethic. So while the world-at-large recognized him as only a thug, a closer look shows him as a much more complex person. His records--at one moment he could be positively righteous, the next completely inane--reveled in his myriad moods, and the TV news reports and published articles that only discussed his violent side did him a disservice; it did what much of the press does regularly to black males in America: position us as simple, one-dimensional creatures. When media organizations glorify gangsta images without providing balance or context, it's no wonder why so many lost teens easily embrace and internalize those very false images. Certainly Shakur was a wild child swiftly running out of control, but he was also a human being who didn't deserve to die. Shakur's situation begs the question, Does one choose one's role models or are one's role models chosen? He was born to black revolutionary parents who lived by the gun. And when he drifted into homelessness for a while, the people who embraced him were street dwellers. Naturally, he adopted their codes of street behavior. It would be wrong to blame social conditions for Shakur's lifestyle and ultimate fate. He may have been a victim of circumstances growing up, but later he did have access to information and opportunities necessary to exercise more positive options. He had choices--about who he hung around with, who he did business with, etc.--but over and over he made the wrong decisions. We hear that at the time of his death, Shakur was on the verge of turning his life around. He had plans to marry and release "One Nation," an album that is about unity. Whether or not Shakur was actually going to change the course of his life, we'll never know, but we can all learn something from his mistakes. Cont'd below...

One of the larger lessons is that real g's do die. In their lives, they just drift aimlessly, uncentered. As a cultural figure, Shakur symbolized the sort of values (hypermaterialism, nihilism) that fuels much of the new-jack generation. In the absence of any solid political structure within inner cities, props and cream (money) have come to represent power. Shakur sold--and other artists sell their fans--the lie that they can overcome their poor surroundings and become somebody by doing whatever to acquire luxury items and designer duds. The fact is that going that route only wastes one's life while eroding the surrounding community. In the wake of the Skakur shooting, every adult should actively work at creating spaces where young people can feel vital without falling prey to "Big Willie Syndrome." We must all ask ourselves, Are we doing something to stir developing minds and rescue them from the abyss? There needs to be more people and organizations teaching structure and discipline, as well as instilling values, such as spiritulaity and conscience, in young folk--or they are doomed.... There needs to be more on people's minds than getting paid. Increased attention needs to be focused on long-term goals like staying paid. Since the music industry holds maximum sway with adolescents, it must bear much of the blame for the state of young black culture. It's the industry with a hole in the middle that created the format called "gangsta rap." It has sold artists' Gotti dreams as reality without regard for how the aesthetic gets absorbed into the community. With fewer and fewer veterans working in black music, interacting with fledgling acts, the information needed for growth isn't being exchanged. Today, many executives and managers are the same age as artists and are not properly delineating rules of conduct for the talent to follow. When artists are signed, there needs to be artist training at the same levels as pop and rock acts. Practitioners of hip-hop must no longer be viewed as disposable. - Billboard Magazine (October 5, 1996). Rest In Peace, Tupac Shakur. Today would have been his 51st birthday! We mourn.

Mase "Harlem World" (October 28, 1997)

He rhymed on gold and platinum singles by Puff Daddy, the Notorious B.I.G., Mariah Carey, and 112 and appeared in the related videoclips. He performed in front of an audience of millions at the MTV Video Music Awards alongside Sting, the Lox, Faith Evans, Puff Daddy, and members of his own Bad Boy family. As a result of such exposure, Mase's lispy, laid-back voice and round, boyish face have become very familiar staples to core hip-hop and mainstream pop fans alike. The exposure has created strong demand for the MC's solo debut, "Harlem World," which is due worldwide on Bad Boy/Arista. Mase says his lyrics are a chronicle of his inner thoughts and emotions. "It's like in all my songs and on my whole album I'm telling you how I feel," he says. "When I say things like, 'Mase ain't the one that'll pay your phone bill' or 'Can't no playa hatin' n!ggas hold me down,' that's really how I feel. I don't just be writin' lyrics cause they sound good." Songs on "Harlem World" include "I Need To Be," which recognizes a woman's needs in a relationship; "N!ggas Wanna Act," which challenges all the folks who charged Mase with changing after blowing up; and "Feels So Good," an ego-booster that rides a spongy sample of Kool & The Gang's "Hollywood Swinging." "The album's phenomenal. I think it's a great record. It has that Puffy pop sound, but Mase's lyrics are tight. He's really saying something; he has some depth," says Violent Brown... - Billboard (Nov, 1997). In all honesty, you'd have to be lying to yourself to say this album wasn't everywhere at the time, and it definitely had several bangers - even if it was hip-pop at the time. I still think Mase was a talented MC, and everything that came after was just par for the course over at Bad Boy Entertainment. The article continues with several references to marketing and promotion for the album, which I'd have to assume was already available by the time the article went to print. Revisit the album below...

The full article in Billboard Magazine (November 7, 1997)

Craig Mack "Project Funk Da World" (Sept. 20, 1994)

The debut set by rapper Craig Mack, "Project Funk Da World," has the added distinction of being the first album released on Arista distributed Bad Boy Entertainment. Bad Boy president Sean "Puffy" Combs, who, like Mack, is just 23, says this distinction should not put any extra pressure on Mack. "[There is] pressure on any new artist because of the competitive nature of this business," says Combs. "We're just going to work real hard and do what we have to to break Craig." Developing a strong street presence will be crucial, according to Michelle Joyce, Bad Boy's director of marketing.... The label will distribute flyers and posters and begin a snipe campaign, first on the East Coast and then nationally. "Flavor In Your Ear," the first single, with the B side album cut "Shinika," went to urban radio June 21. A late-June mailing of a CD promo, containing three "Flavor" remixes, was aimed at selected mix-show technicians. Combs, a former VP of A&R at Uptown Records, says he hopes "there will be a place at urban radio [for Mack]." The "Flavor In Your Ear" videoclip has been serviced to BET's "Rap City" show and several other national video outlets. Joyce says "Yo! MTV Raps" will be targeted soon. Mack says his interest in music was sparked by watching his DJ neighbor as a boy in the Long Island town of Brentwood, N.Y. Regarding his own musical vibe, he says, "Because I love the funk sound and grew up with it, I put a lot of it in my work." Cont'd below...

"Project Funk Da World" includes its share of boasts about Mack's MC skills. The album's sparse, mind-altering foundation of beats is topped with thick chunks of funk. Although other Long Island rappers such as Public Enemy, De La Soul, and Leaders of the New School fueled Mack's passion for hip-hop, it was Brentwood homies Erick Sermon and Parrish Smith (formerly the rap duo EPMD) who offered up-close exposure to hip-hop by giving Mack a job with their touring crew. Encouraged by Sermon and Smith, Mack recorded a two-song demo. Those tracks, "You Can't Funk With The Style" and "Like That Y'all," wound up on his album. Combs says the Mack project will be promoted via "grimy, guerilla street marketing." This will include product exposure in high schools, at college parties, barber shops, beauty parlors--"wherever a turntable is available," he says, adding that the release will be available on vinyl. Marketing the album, Combs adds, is like constructing a building. "We've got to start with the first floor, which is the urban kids." Joyce says Bad Boy plans to release a second track and video before the album hits stores to ensure a higher degree of artist awareness. A July promotional tour to acquaint Mack with radio, retail, college, and grass-roots outlets has focused on Philadelphia, Washington, D.C., and Atlanta, with other markets to be added later. - Billboard (July 16, 1994). Rest In Peace, Craig Mack! Revisit Mack's Project Funk Da World LP!

Warren G "Regulate... G-Funk Era" (June 7, 1994)

Because his first single, "Regulate," is also the debut track from the "Above The Rim" soundtrack album, rapper Warren G is enjoying a high profile that should aid in consumer awareness when his own debut album, "G-Funk Era," drops on Violator/RAL/Chaos. "Regulate," which is heard in its entirety during the movie's closing credits, debuted at No.64 on the Hot R&B Singles chart.... Chris Lighty, president/CEO of Violator Records says the prominent sample of Michael McDonald's "I Keep Forgettin'" on "Regulate" is driving listener interest and stimulating airplay at top 40/rhythm-crossover stations.... The 23-year-old rapper and DJ seems to have all the right hip-hop connections. Born Warren Griffin III in Long Beach, Calif., he helped form the hip-hop collective Tha Dogg Pound (213) with Nate Dogg (also featured on "Regulate") and best friend Snoop Doggy Dogg, with whom Griffin grew up. He also is the half-brother of producer Dr. Dre. In addition to having produced a track for MC Breed ("Gotta Get Mine"), he also wrote, produced, and performed on Mista Grimm's "Indo Smoke" and 2Pac's "Definition of a Thug" from Epic's "Poetic Justice" soundtrack. Lighty says an undercurrent of conversation regarding Griffin was initiated on mix shows and with college DJs when they received vinyl versions of "Regulate" and the "Above The Rim" soundtrack.... Griffin says he does not consider himself a gangsta rapper, but is aware of the controversy surrounding the music and the performers. "It's foul because [the gangster rappers] tell what's really going on. The tabloids are telling people they influence youth to gang bang, but it's not like that," he says. Although he likes hardcore rap, Griffin believes artists should stick to the genre of hip-hop in which they started, instead of jumping on musical trends. "My music will fit in the market on the old-school tip," says Griffin. - Billboard (April 30, 1994). Revisit Warren G's debut LP below...

There were cuts on this album I really enjoyed, some I didn't. R.I.P. Nate Dogg.

Gang Starr "Don't Be A Dick, Play DWYCK!" (1992)

According to DJ Premier in an interview with Rolling Stone, "This was originally the B-side to [1992’s] “Take It Personal.” It became a super-hit so we told EMI, “Let’s put it on Daily Operation.” We go to re-release the album [with "DWYCK" on it] and the label changed their minds and said, “Naw, we’re just going to leave it as a 12-inch.” People were mad like, “Yo, I bought your album and "DWYCK" ain’t on there!” So we put it on [1994’s] Hard to Earn so people could just get a Gang Starr album that had it. It was our “return the favor” record to Nice and Smooth because we were on their “Down the Line” record. "DWYCK" took offf. I went to Cypress Projects in East New York and that’s grimy and dangerous over there. I pulled up and it seemed like the whole neighborhood was like, “Yes, our hero!” Every car was playing it.'" Personally, I remember when Billboard first reviewed "Take It Personal" in May, 1992 - they said, "Flip the tape over and feast on a second tasty treat, "DWYCK," which has an appearance by Nice & Smooth." Despite not being on Daily Operation, when Billboard later reviewed the LP, Lindsey Williams (EMI) said, "You couldn't go anywhere in places from New York to L.A. to down South without hearing it." As "Take It Personal" was losing its buzz, they decided to take advantage of the b-side, DWYCK. "What I did was make a cheap $14,000 video for it before going into "Ex Girl Next Girl," which was always going to be the single." The B-side wins again, "DWYCK" is still a classic! That was $14K well spent, revisit it below...

Here's the original button/pin with the "DWYCK" slogan...

Jay-Z "The Blueprint" (September 11, 2001)

Jay-Z is arguably on top of the rap game. With his past five albums all achieving platinum-plus status, the Brooklyn, N.U., native looks to quiet anyone who dare challenge his reign with his latest set, The Blueprint. Such tracks as "The Ruler's Back" and "Takeover" are testament to this; both showcase a fearless Jay-Z, who, despite his crossover success, is still a highly credible MC. The Kanye West-produced "Takeover," which craftily employs a sample of The Doors' "Five to One," is perhaps Jay's best work to date. The Blueprint does have its requisite party tracks. Lead single "Izzo (H.O.V.A.)," which references the Jackson 5's "I Want You Back," is already making serious noise at both urban and top 40 formats. Throughout The Blueprint (which features guest appearances from Q-Tip, Biz Markie, and Slick Rick, among others), Jay-Z deftly proves that while his celebrity status continues to rise, he remains firmly grounded to the street." - Billboard (9/22/01). Next to Reasonable Doubt, this is widely considered one of his best LPs, revisit it below and let me know if you agree? The production from Kanye West, Bink!, Eminem and (especially) Just Blaze is incredible.

The article in Billboard and a pic from my IG are below...

Kenny Dope "Nervous Hip-Hop" + Billboard Magazine (1995)

Nervous backs such artists as Black Moon, a Brooklyn, NY, collective that came out before hard-edged heroes the Notorious B.I.G. and the Wu-Tang Clan. Its album "Enta Da Stage," sold 225,000 units, according to Soundscan, and stomped mudholes in the comeback trail for East Coast rap... The label also has Mad Lion, whose rap single, "Take It Easy" (205,000 copies sold), pre-dated the current trend toward dancehall over hip-hop beats.... Other acts on the Nervous roster with developing singles are... Funkmaster Flex ("Safe Sex, No Freaks"), ...  Kaotic Style ("Get In Where You Fit In") and Broadway ("Brothers Dyin' Everyday"). Viewing itself as a cutting-edge independent, Nervous runs on simple street knowledge... Sam Weiss, who owns the label with his son, Michael, started in the business "many years ago" and has functioned as a distributor, manufacturer and publisher... Besides having Flex on the label, Nervous regularly uses such studio deities as Beatminerz, the team responsible for Black Moon and Smif-N-Wessun, another best-selling rap act; KRS-One, who supervised Mad Lion's "Real Ting" album; Kenny "Dope" Gonzaels [and more] ... Nervous is actually an umbrella company for several specialty imprints... Weeded handles reggae. Wreck manages hip-hop. Strapped deals in break beats... All are represented by logos featuring variations of a lively cartoon figure, which are marketed on promotional t-shirts." - Billboard (8/26/95).

That same year, to promote the label and its various imprints, Kenny Dope blended sixteen of the hottest tracks to ever come from the Nervous Records sub-labels Wreck, Weeded, and Strapped - back when Black Moon, Smif-N-Wessun, and Mad Lion were all signed and dropping the most memorable records of their careers. Along with the classics like “I Gotcha Opin,” “Bucktown,” “How Many Emcees,” and “Who Got Da Props” are some rare break records by Funkmaster Flex, The Groove Asylum, and Wreck All-Stars. The retail mixtape/compilation was called Nervous Hip-Hop (A Continuous Mix by Kenny Dope). I cop'd this mix-CD at Tower Records in the Village in '95 & still listen to it today. You can stream the project above or officially via Spotify. Below is an original sticker and examples of their official logos. One of my prized possessions from that time were their logo-designed slipmats. Everyone DJ/fan had them on their tables at the time! Who got da props?

EPMD "Business Never Personal" (July 28, 1992)

The members of EPMD (Erick Sermon and Parrish Making Dollars) don't want to be media angels loved and adored by millions. They'd rather be hardcore -- and consistently well-paid... "I'm satisfied with the same fans I've had for the last five years," says Erick Sermon (aka E-Double E). His partner Parrish Smith (aka Pee MD) adds "We just want to focus on the relationship we have with our audience." To this end, Def Jam will release EPMD's fourth album, "Business Never Personal" ... "We just did what we do," says Smith, who produced the release with Sermon. The album, which doesn't deviate from the loopy, often amusing basement style developed on their previous efforts, is being previewed by the Zapp-influenced single "Crossover," which came out July 2nd. It advocates creative control as it admonishes the hip-hop sellouts... Other tracks on "Business Never Personal" further expound of EPMD's hardcore principles. "Don't Play Me Play The Next Man" delivers a warning to skeezers. "Boon Dox" reveals where EPMD comes from, and "Nothing But The Music" brags about what the act relies on for success. On two cuts the group freestyles with K-Solo, Redman, and Das EFX -- acts that are part of EPMD's Hit Squad production crew. And there's yet another chapter in the saga of that neighborhood female with "an Anita Baker haircut," Jane ("Who Killed Jane"). Meanwhile, "Headbanger" advises fans who want to purchase "Business Never Personal" to "drop by Sam Goody's." This is EPMD's contribution to the battle hip-hop acts wage against bootleggers. The article in Billboard (July 11, 1992) goes on to claim that Erick Sermon felt an additional 1.5 million copies of Strictly Business were bootlegged, and that artists would approach vendors with guns drawn, but it's better to just stick to the music. The label also shared that "At retail, Sony will distribute "business cards" containing an 800 number. "When you call it, you will hear bits of songs from the album as well as messages from Erick and Parrish." I miss the 800 numbers, but I don't remember calling for Business Never Personal, despite it getting a ton of replay value form me in 1992. EPMD's Business Never Personal was released on this day in 1992. Revisit the album below...

Below is the full article in Billboard with marketing plans and more...

Mobb Deep "The Infamous" (25th Anniversary)

"The Infamous", Mobb Deep's spooky second set, ships April 25, and on it group members Havoc and Prodigy sound cold like an Eskimo's toes, insane, pained, and badder than turned milk. The pair's hard-edged rhymes form a series of technicolor postcards from the hell they roam - throughout New York's Queensbridge Housing Projects - packing high-caliber chrome, "It's similar to Vietnam," says Prodigy on "Survival Of The Fittest," which issues some phat, frisky fierceness. Over more blunted bounce that is cut with cool, cinematic clatter, the duo takes listeners into their wild world - a sphere where cash rules, paranoia pervades, homies die, and moms cry. As they do whatever to maintain or - even more - reign as swanky ghetto celebs, they wreak more havoc than a cyclone. Their credo: protect ya' neck, stand by your crew, and get the next man before he gets you. The dynamic Mobb Deep duo sound captivatingly ill on "The Infamous." (Billboard 4/8/95). For me, I've spoken on Mobb Deep and The Infamous album numerous times over the years (reviews, promo, articles, mixes, etc), but celebrating it's 25th Anniversary without Prodigy here in the physical just feels different, ya know? Much love to Havoc who has been holding it down, keeping P's legacy strong and continuing to celebrate the life one of our culture's greatest eMCees. For a full summary greater than any/all the posts I could ever do on the album, check Dart Adam's 25th Anniversary Retrospective on Mobb Deep's The Infamous, HERE. Enjoy the original promo stickers/lyrics from the LP above and below. 4/25/95: 25 years passed in an instant! R.I.P., Prodigy! 

Nas "Illmatic" (26th Anniversary + Billboard 4/2/94)

"The BUZZ on Nas, the newest rapper on Columbia's roster, is big and growing bigger.... "Illmatic" is the name of Nas' debut album, which is starting to ripple through Planet Rap. It's a colorful blend of events and experiences ("life, death, triumph, woe") as seen through his eyes. Its honesty and passion are palpable through and through. The title, says Nas, "is the sound of the type o' shit I'm on." Nas' introduction to the world came via "Live At The BBQ," an acknowledged classic from Main Source's 1990 album "Breaking Atoms." He rhymed chorus-line style along Akinyele, Large Professor, and Joe Fatal. Next, in 1992, he dropped "Halftime," which was featured on the Zebrahead motion picture soundtrack. The same year, Nas recorded several songs with Large Professor, including "It Ain't Hard To Tell," the first single from "Illmatic," wherein he declares his status as da muhfuggin' man. He got signed to Columbia based on the strength of a demo. To complete the album, Nas collaborated with other production scientists. They are Pete Rock, L.E.S., DJ Premier, and Q-Tip." As they say, the rest is history! Illmatic is the single greatest solo album in Hip-Hop history, and it deserves all the praise it gets - especially on it's (26th) Anniversary. More below in the article from Havelock Nelson in Billboard (April 2, 1994), specifically about their fax campaigns, securing press and the original Nas t-shirts that were designed to attract the attention of tastemakers. Happy 26th!

In addition to references to Illmatic, the story below about the Bloody Week on Staten Island makes mention of U-God's son being shot in a crossfire, Guy Routte's brother being shot, and an associate of Shyheim and the Wu-Tang being shot and killed. Guy was Shyheim's manager at the time and has been managing Pharoahe Monch for many years - he's also one of the nicest guys in the whole industry. Shyheim's "AKA The Rugged Child" was released on this day in 1994 as well, and "Speaking of homicides as they relate to his hometown, Shyheim rhymes in "On And On," his debut single, "This happens everyday around my way, so I pray that I could live another day." Amen."

Rakim "The Master" (Billboard Magazine, 11/27/99)

"THE MASTER IS BACK: Respected rap veteran Rakim has a sound that transcends time. In fact, on his new Universal album, Rakim sounds as vital and current as he did over a decade ago on such Eric B. & Rakim classics as "Paid In Full" and "Follow The Leader." The Master -- his sophomore solo album -- arrives in stores Nov. 30. "When I Be On The Mic," produced by DJ Premier, is the lead single. It is being commercially released on 12-inch on Dec. 14. "I had a little more fun doing this album," says Rakim. "I stay in the street and try to keep an ear out for what's going on as far as my lyrical content. The main thing is knowing what not to do and say and what people are not feelin'."

"Rakim cites MCs who contradict themselves as the greatest offense to listeners. "I try to say true to myself and stay on one page," he says. "I haven't changed. [My audience] respects me as an artist because -- and I hate to use this expression -- I kept it real. And I keep it proper as far as my lyrical content and the way I present myself." As one of hip-hop's pioneers, Rakim is proud of the culture's growth. "When I think about how far hip-hop has come, I sit back and smile," he says. "DJs have taken their skills to the next level. Rappers are bringing more styles to the table, and the lyrics are wittier. We used to use R&B tracks for hip-hop; now R&B singers are using hip-hop tracks. We went through a lot of people turning us down, calling it hoodlum music. But when you look at television now, everybody is rapping." - Billboard Magazine, November 27, 1999. Listen HERE.

Wu-Tang Clan in Billboard Magazine (November 15, 1997)

"In 1993, rap took a turn to the East. Not only did the Wu-Tang Clan's debut, "Enter The Wu-Tang Clan (36 Chambers)" shift the attention of rap connoisseurs away from West Coast gangsta rap, but it represented a new East Coast sound that was heavily influenced by other 'Eastern' elements: Islam, Sun Tzu's ancient Chinese battle manual "The Art Of War" and martial arts. Its mix of deft rhymes, manic vocals, eerie soundscapes and kung-fu movie samples sent shockwaves through music, inspiring fans and imitators alike. It started with "Protect Ya Neck," a single the members recorded and distributed themselves, which started a groundswell of attention in the clubs, on campuses and in the streets and led to their contract with Loud. The B-side of that single, "Method Man," set the course by staying on the Rap Singles chart for over 25 continuous weeks and winning Single Of The Year as their album earned them Lyricist(s) Of The Year (Group or Solo) at the first annual Source Awards. In the four years since their first album went Platinum, Wu-Tang members have collaborated or soloed on several highly successful side projects - such as Method Man's "Method (TICAL) Man" and Mariah Carey's 1996 single "Fantasy." This year's enhanced double-CD, "Wu-Tang Forever," reasserted the group's dominance at No. 1 on The Billboard 200 Albums chart and going quadruple-platinum in its first four months." - Billboard, 11/15/1997 // A great time in music!

DJ Premier Breaks Down Gang Starr's "Moment Of Truth"

"Guru's lyrical style, though seemingly monotonous, serves to uplift, enlighten, and energize listeners. "I used to be a counselor at a maximum-security detention home for boys 14-18 with charges ranging from murder to purse-snatching," he says. "So I had to learn to relate to them not like a preacher but more like a big brother or a cool uncle." That small glimpse into the mind of Guru says a lot, and it shines through even further on tracks like "Above The Clouds" and the title track, "Moment of Truth," which DJ Premier agrees is arguably the most serious track on their '98 LP. DJ Premier sat down for an interview on Tidal and did a track-by-track breakdown of Moment Of Truth, and like everything Premier does, it's insightful and shared with an amazing sense of clarity. I don't know anyone in the industry with a memory as solid as Premo's. Showing respect and giving credit where its due are integral parts of his character, and you feel that whenever he tells a story or shares a memory. That said, check out the video series (8 videos) below of DJ Premier breaking down several track off their most successful LP, Moment Of Truth. There's also an article from April, 1998 in Billboard below, where you can read a lil' bit about the marketing and label side of the project. Gang Starr is my favorite group and DJ Premier is my favorite producer, of all-time!

Article in Billboard Magazine, April 1999

Slick Rick & Dana Dane "Pimpin' Ain't Easy" (2000)

Back in 2000, Priority Records and the WWF joined forces to release a compilation album called 'WWF Aggression.' The project had rappers adding original rhymes over various wrestlers' entrance themes. Artists such as Method Man, Snoop Dogg, Redman, Heltah Skeltah, RA The Rugged Man Ice-T, and more. There was originally a version of Ice-T's "Pimpin' Ain't Easy" that had Dana Dane and Slick Rick instead over the Godfather's Theme. I am not certain why the record didn't make the retail version of the album, but this gem was lost to many and is certainly worth your listening pleasure. At the time, the Priority release was considered a "flanker," because Koch Records had released a project called "WWF The Music Volume 4" that would expand the market base and make room for the WWF to grab some new market share. The article talks about their street teams handing out snippet cassettes for the album and I do have a sealed copy somewhere. I never gave it a second's look, but had I known Mark Copeland at Priority said, "we wanted street-level thugs with a genuine love of wrestling," I might have been sold. That's sarcasm, why would he say that!? lol

The original article in Billboard (March 25, 2000) is below...

Innersoul ‘It’s The Right Time’ (12", 1996)

This is a fresh 12" from Innersoul out of Harlem, on Mix-It-Up Records. In June of '96, Billboard magazine reviewed ‘It’s The Right Time’ saying: ‘Innersoul, aka newcomer Chris Sawyer, sets himself as a source of positivity on this call for the rise of youth education and empowerment. Wise and clever rhymes are woven into a musical fabric that wriggles with retro-funk rhythm and atmospheric, jazz-spiked keyboards. DJ Choco steps forward with a remix that has a raw street-flavor needed to connect with its intended audience of kids and rap purists. And for the rest who just who something smart and catchy, stick with Carlos Bess’ tight original production. A cool introduction to a rapper with the juice to go the full distance.’ The song is also featured on Innersoul’s debut ‘The Theory,’ a gem I recommend diggin' up. You can listen to the full 12" below...

Wu-Tang Clan "Wu-Tang Forever" (Snippet Tape, 1997)

This Wu-Tang snippet cassette was released by Loud Records in 1997 in advance of the Wu's double disc album, 'Wu-Tang Forever.' It included snippets of some of the best tracks on the album and clips of the RZA, Raekwon, and Ol' Dirty Bastard speaking on various aspects of the Wu, which you can read more about below. It's only about 12 minutes long and it's repeated on the B-Side of the cassette. 'Wu-Tang Forever' debuted at #1 on Billboard, sold 612k copies in its first week and is 4x platinum. Below is the cassette audio and a page straight from Billboard magazine in May of 1997 discussing the tape. In related news, it wasn't until 2015 that GZA's second studio album, 'Liquid Swords' was certified platinum - 20 years after its release - making it the first album to go platinum since Method Man's 2004 release, 'Tical 0: The Prequel.' Times have changed, huh? 'Wu-Tang Forever' dropped on this day in 1997, so raise a cup for its 20th anniversary! R.I.P., Ol' Dirty Bastard!

Read the article in Billboard Magazine (updated) below...

Guru "Jazzmatazz Volume 1" (May 18, 1993)

'Jazzmatazz Volume 1' is the debut solo album from Guru of Gang Starr; it was released on this day in 1993 through Chrysalis Records. From its packaging to the music inside, 'Jazzmatazz Volume 1' is a total concept, an experimental fusion of Jazz and Rap. The album’s jacket, a photo of Guru blowing smoke over a vintage microphone, recalls those from Blue Note’s heyday during the ’50s and ’60s. The songs feature Guru in a Jazz-Rap synthesis with Jazz musicians Donald Byrd, Roy Ayers, Ronny Jordan, Courtney Pine, Brandford Marsalis, and Zachary Breaux. Acid-Jazz singers Carleen Anderson, DC Lee, and N’dea Davenport and French rapper MC Solaar also appear. The lead single was ‘Loungin’ with Donald Byrd on the keys and trumpet; it was released on April 19th and the video was directed by Spike Lee. Another single I really liked was the song ‘Trust Me’ with N’dea Davenport; I remember it being one of my sis' favorite songs and she'd bug me to play it and put it on mixes for her, lol. The article above is from Billboard Magazine just a week shy of its release in '93, and the video for Guru's 'Trust Me' is below. R.I.P. Guru. Click images for a better view.