EPMD "Business Never Personal" (30th Anniversary)

Thumpin' fat, no-bullshit hardcore funk is the best description for this LP. Erick and Parrish are back, catchin' mad wreck and solidifying their position as one of the premier groups in hardcore hip-hop. The trademark EPMD slow-flow rhyme style and no-nonsense lyrics combined with their no-nonsense delivery hit you like a Tek-9 slug. And with an abundance of funky hard beats, this one promises to keep your neck jerkin'. "Crossover" deals with the sellout mentality in rap. "Cummin' At Ya" is a duet with the diggedy-Das EFX that has all four MC's flippin' shit over a fat slow beat. And "Boon Dox," with it's exploding bass, is simply the Long Island anthem. Don't forget to check for "Play The Next Man," warning of scandalous females, and "Headbanger," the Hit Squad posse cut that features MVP performances by K-Solo and Redman. Business Never Personal is EPMD at their best. With 12 cuts of pure slammin' funk, there's not going to be much fast-forwarding on this one. Chalk up another gold dish for the Hit Squad in '92. Swayze kids. - The Source (March, 1992). I got this tape at Sam Goody in the Metro Mall in Queens. You had to walk the tracks to the mall, come out through the parking lot or walk down the hill which was a no-go in the winter. I think I might've lost my copy and got another through Columbia House... but that's a whole other story. In any event, I remember taping a copy of "Headbanger" from the radio and waiting eagerly for the album's release. I credit 1994 as my favorite year in hip-hop, but my excitement for music in 1992 was probably at its highest heights. Business Never Personal was one of the reasons why, revisit the album below...

The review in The Source, ads and more below...

Redman "Dare Iz a Darkside" (November 22, 1994)

Redman may have become a household name among the rap community by the end of the ‘90s, but there was a time when he garnered little more than a cult following. Why? Well, Dare Iz a Darkside illustrates this better than any of his other ‘90s albums—nowhere else has Redman ever been this odd, to be quite frank. It’s fairly evident here that he’d been listening to his George Clinton records and that he wasn’t fronting when he alluded to “A Million and 1 Buddah Spots” that he’d visited. In fact, this album often divides his fans. Many admire it for its eccentricities, while others deride it for being quite simply too inaccessible. It’s almost as if Redman is trying to puzzle listeners on Dare Iz a Darkside with his continually morphing persona. In fact, there’s actually little questioning his motives—it’s a matter of fact that Redman’s trying to be as crazy as he can without alienating too many of those who first knew him for his affiliation with EPMD. And while that affiliation does aid this album, since Erick Sermon plays a large role in production, it’s not quite enough. If this album has one unforgivable flaw besides the debatable quirks in Redman’s persona, it’s the production. Sermon isn’t up to his usual standards here, unfortunately, and the album could really use some of his trademark funk. But the reason most fans either feel devotion or disdain for this album isn’t the beats, but rather Redman’s antics. If you appreciate his wacky sense of insane humor, this album is a gold mine. If you’re more into his latter-day Method Man-style rhymes, then this album probably isn’t the one you want to bother with. After all, though Redman became a household name by the end of the ‘90s, it surely wasn’t because of albums like this. - AllMusicGuide. In his own words, Redman has always said he doesn’t listen or perform the songs off Dare… “I swear, I have not played Dare Iz a Darkside damn near since I did it. Seriously! I was so lost, I was so fucked up during that album.” But, when you go back to it, does is really seem as polarizing as we mighta thought at the time? I dunno. You can still argue that—next to Ice Cube—Redman had the most consistent run of solo releases in hip-hop history coming out the gate. That’s just a fact. Revisit it...

Art up above by the ever-talented ToonCrew! 

Happy Born Day, Erick Sermon! (Playlist)

One-half of the legendary hip-hop duo EPMD, Erick Sermon is also among the genre's most prominent producers, deservedly earning the alias "Funklord" with his trademark raw, bass-heavy grooves. Born in Bayshore, New York, on November 25, 1968, Sermon -- aka E Double, the Green-Eyed Bandit, and MC Grand Royal -- teamed with rapper Parrish Smith in 1986 to form EPMD, an acronym for "Erick and Parrish Making Dollars"; signing to the tiny Sleeping Bag label, they soon released their debut 12", "It's My Thing," which went on to sell an astounding 500,000 copies. In the years to follow, EPMD emerged as one of rap's most vital acts, their hard-edged beats and Sermon's mumbled, monotone delivery becoming a great influence on the burgeoning gangsta movement. In addition to producing their own material, the duo also helmed records for the extended family of performers dubbed the Hit Squad, whose ranks included Redman, K Solo, and Das EFX. In early 1993, EPMD disbanded, and Sermon soon resurfaced with his solo debut, No Pressure; he also became a sought-after producer and remixer, working with everyone from En Vogue to Blackstreet to Shaquille O'Neal. After a second solo effort, 1995's Double or Nothing, he and Smith re-formed EPMD in 1997, releasing the LP Back in Business. Soon after Sermon announced he was retiring as an artist in order to make room for up-and-coming talent. Most of his work would then be behind the scenes with Busta Rhymes along with releases from Method Man and Redman, then in 2008 he launched the EP Records label and reunited EPMD for the album We Mean Business. After suffering a heart attack in 2011, he became an advocate for cardiac health awareness. His prolific career continues to this day, after a slept-on - but undeniably dope - solo album entitled Vernia, as well as the recent production credit on Westside Gun's From King to a God album. You'd be an absolute fool to sleep on the career of one of the greatest MC/Producers of our generation! Happy Born Day to Erick Sermon, much respect and thanks for all of your contributions!

Lugz Promo Commercials (1999-2001)

Lugz first made a name for itself in October of 1993, bringing its first line of boots to market, with the initial product consisting of two styles of boots, a quilted vest and a pair of jeans. Soon Lugz was endorsed by key players from the world of hip hop and continued to do so through out the years. One such collaboration led Lugz to breathe life to a whole new category of footwear with the introduction of the first ever celebrity-endorsed “Funk Master Flex” urban driving shoe. This was only the beginning as support then lead to a collaborative line with hip-hop superstar Bryan “Baby” Williams, aka “Birdman” with his own series of sneakers and boots. Seen as a money-grab throughout the industry, these collaborations looked funny in the light. Before that, however, there were numerous advertisements and collaborative commercials between hip-hop artists and Lugz. Some spots ran between around 1999-2001, and included artists like 50 Cent, De La Soul, Erick Sermon, Pharoahe Monch, KRS-One and Rahzel, among others. Pharoahe Monch rewriting "Simon Says" for Lugz always hurt my feelings, but I understood the business, lol. You can revisit those specific tracks below, but please don't take it too seriously, lol. Hopefully it doesn't get taken down.

EPMD "Unfinished Business" (1989)

"I was working a lot for a label called Sleeping Bag Records and I had photographed EPMD on a few occasions. They were already a legendary duo, Erick 'E-Double' Sermon and Parrish 'PMD' Smith, or 'Erick and Parrish Making Dollars' as they are commonly known. They told me to meet them at a specific spot near where they lived in Babylon, Long Island: 'Go down this road, you're going to hit the water, and we will be there at noon.' "So, I got there at noon with my assistant, and they didn't turn up. It was winter, probably November, so the sun was setting pretty early. I was used to rappers being late, but the guys were really late. At 3:00pm the light started to go down, and we had been waiting for several hours, so we finally went to find a phone box to call their manager. He told me they were getting their rims polished up in the Bronx and I'm like 'The Bronx! That's hours away and the sun is going down!' "Just as I was finishing the call, I heard the V-8 engine roar and they came roaring down the road. I got them to form a V-shape with their cars, which I thought would showcase them well for the shoot. They they got out and they were wearing these outfits that looked like pajamas. That look ushered in this new style of casual sweatsuits and a whole new look for hip-hop. We didn't have stylists or hair and makeup people back then, so it was purely their own unique style. The whole session took about half an hour and turned out to be a really important shoot, especially since the cars, a Mercedes 300SL & a Chevy IROC-Z, were considered a status symbol in car culture. The rims matter, they're a culture of their own, and that's why they were up in the Bronx for so long getting theirs rims polished. I'm glad I waited..." - Janette Beckman

I've read conflicting research on the official release date for EPMD's Unfinished Business. Some say August 1, 1989 and others have it at July 25, 1989. I've even seen April 1, 1989. I'd read an article in Spin that promoted the release date to be "mid-July," but it could have been pushed back, so to this day, I am not 100% certain if it's August or July, 1989. What I do know, however, is that "So Wat Cha Sayin'", "Get The Bozack," "Please Listen To My Demo," "Knick Knack Patty Wack" and especially "The Big Payback" got a ton of burn from a younger Sav in Queens, NY. Their style was extremely influential, and their singles on cassette and vinyl, as well as their LPs were a guaranteed purchase! As an aspiring DJ at 10-11 years old, you can picture me in the basement practicing DJ Scratch's cuts to "The Big Payback" like my life depended on it. I'm thankful I had opportunities to meet and build with E-Double and PMD over the years, show them love and appreciation, and humbly receive their support in return. Revisit Unfinished Business below and pick up a copy of Contact High, which has incredible images and stories from the photographers who've helped document the culture.

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...

Erick Sermon "Vernia" (Album Stream)

Vernia is the eighth solo studio album by MC and record producer Erick Sermon. Together with Erick Sermon, production was handled by DJ Battlecat, Apathy, Rockwilder, and more. The album also features guest appearances from AZ, Big K.R.I.T., David Banner, Da YoungFellaz, Devin the Dude, Keith Murray, Nature, No Malice, N.O.R.E., Raekwon, RJ Payne, Styles P, Too $hort, and Xzibit, just to name a few. I feel people are gonna sleep on this album, but it's a real solid release! I met Erick Sermon with PMD at Fat Beats for their We Mean Business album. Several days later I was at an event and Sermon went out of his way to come over and show love. That was humbling - he's good peoples.

EPMD "Business Partners" (Vibe, 8/08)

EPMD brings the suburbs to hip-hop - and the funk to the party: "Sporting fishermen hats and a slack style, Long Island duo EPMD's debut, Strictly Business (Priority), was the first hip-hop album to celebrate the splendor of suburbia. "It was the Just-Ice single 'Latoya' that inspired us to rap in the first place, but we didn't come from the same kind of environment," says Parrish Smith. "Me and Erick Sermon grew up near the water, so we thought the caps would best represent where we came from. We were confident in our skills, so we had no problem being different." Signed to the now-defunct Sleeping Bag Records (where labelmates included Mantronix, Just-Ice, Cash Money & Marvelous and Nice & Smooth), the duo's first demo contained the original mixes of "It's My Thing" and "You're a Customer." Laughing at the memory, Smith says, "We didn't even know what samplers were then. We recorded everything on tape and spliced it together later." While their name stood for Erick and Parrish Making Dollars, the moniker EPMD soon became synonymous with soulful samples and computerized funk... the Sermon/Smith style laid the sonic foundation for Dr. Dre's soon-to-come G-Funk." An example of that is their smash "You Gots To Chill," watch below...

"Indeed, famed West Coast radio station 93.5 KDAY, whose program director Greg Mack was instrumental in helping Los Angeles develop its own hip-hop aesthetic, was one of the first to play "It's My Thing." Virgil Simms, Sleeping Bag's then vice president of promotion, says, "Mr. Magic and Marley Marl showed us much love at home in New York, but it was the reaction from KDAY's audience that helped break that single. We had the clubs on lock." ... Sermon says the group just flipped the records they liked. "Strictly Business was recorded and finished in two weeks at producer Charlie Marotta's studio," says Sermon, who experienced solo and group success with Def Squad after the group split in 1993. "Me and Parrish wasn't using James Brown samples because we were listening to different kinds of things; we simply sampled what we were feeling." ... Touring and working ... the boys from Brentwood are back together - and still about their business." - Vibe

The Def Squad Freestyles, Volume 1 (Album Stream)

In attempt to embrace this digital space we're in, the Green Eyed Bandit, Erick Sermon, has created Def Squad Streaming, and presents Volume one of the Def Squad Freestyles. This new compilation project features tracks from EPMD, Redman, Keith Murray, Jamal, and more up at shows like Stretch & Bobbito, BET/Rap City, the Wake Up Show, and on tapes like Doo Wop's 95 Live II. Listen...

What Would You Like To Change About Hip-Hop?

This article in The Source (Jan. '96) gives me a good laugh. In the midst of a second golden era, artists still had their frustrations with the music, the business and the industry as a whole. To all the fans complaining now: it's not a new concept! Commercialization, false images, poor live shows, props for the underground, business, rap vs hip-hop, wack lyrics, East Coast vs West Coast beef, drugs, credibility and classic responses like Erick Sermon’s 'my record sales’ to the irony of Puff to say ‘the egos’ lol Artists and fans will forever have their gripes, just like our parents hated our music, we take issue with the new generation's music. I'd argue that there has been a significant decline in what's covered in the mainstream - especially the diversity of it - but it's a circular argument, so I won't waste your time. I remember all the wack stuff I suffered through in my teenage years, but you didn't have as much noise and we had DJs that were better filters to provide balance in the underground. We had venues and record stores that were necessary to the culture as meeting places to discuss and break records. You don't have to leave your house now, but honestly, are you better for it? The one thing I'll forever agree, artists need to learn more about business so they can make the most of these assets (their songs) that they create. More below...

"Tribute To Erick Sermon" (Mixed By DJ Psycut)

Founding member of EPMD and Def Squad, Erick Sermon aka the Green Eyed Bandit is a legendary Producer & MC from Brentwood, Long Island. In my opinion he’s always been the funkiest producer on the East Coast. Through his records, I became interested in P-Funk, Zapp, Johnny Guitar Watson, to name a few. On this tribute mix I wanted to pay homage to the 3 main phases of his career. The explosion of EPMD in the Golden Era, his productions for Redman and K-Solo. He made countless remixes, productions, appearances on classic and more slept-on 90’s Rap & R&B joints. The early 2000’s changed production styles slightly but the funk & soul was always there, as evident on his more recent solo work like the Marvin Gaye sampling Just Like Music." - DJ Psycut

Redman "Whut Thee Album?" (Classic Material, XXL)

Although known to the world as an unpredictable, skilled and hilarious MC, Redman came up in hip-hop as a DJ, around age 12... While DJing in clubs around his hometown of Newark, NJ, MCing was always in the back of Red's mind. He recalls: "I always kind of wanted to MC, but I really got into it when I heard EPMD and Biz Markie. I knew that I had that same energy inside me. Everybody else was more technical, but EPMD was more slow with their flow, natural." As fate would have it, Redman met his idols in '91, at a Newark club called Sensations. DJing at the time for Newark MC DoItAll (from Lords of the Underground), Redman stood in the back as his friends took turns freestyling for Erick and Parrish before the show, trying to impress the two, who had recently begun building their Hit Squad family. "My boys told Erick I could rap, too, so E asked me to freestyle. I started spittin' and EPMD put me on stage that night." Shortly after bringing him on tour with them (he doubled as K-Solo's DJ), Erick and Parrish hit up Def Jam for a Redman LP deal... The album was mostly recorded at Charlie Marotta's North Shore Soundworks studio on Long Island. E Sermon oversaw the process, but Redman was left to figure out things on his own more often than not. "I was under a lot of pressure to learn," Redman remembers. "E showed me a couple (of recording) moves, threw me in the studio and just left me there. But I picked up shit real quick, and Erick was always around if I needed him." After a couple months in the lab, Redman emerged with a killer piece of wax that mixed loose-limbed humor and deeply funky beats lived up to the new layers to the Hit Squad sound. Released in September '92 the LP went gold behind hit singles "Blow Your Mind" and "Time 4 Sum Aksion." The Sooperman Lover tells us how he freaked the funky fly stuff on his debut..." cont'd below via Classic Material in XXL by Brian Coleman. Click play, too!

The full Classic Material feature in XXL is below...

EPMD "Business As Usual" (The Source, 1991)

"EPMD got biz! I got this tape three weeks ago and it's been in my walkman ever since mainly because it's dope from beginning to end. The first side starts off with two cuts featuring two of their boys. "Hardcore" shows off the rough, "knockin' heads like Mike Nunn" style of Redman over a slow beat and a lazy loop. And LL Cool J displays much skills on "Rampage," which is sort of a modified "Jinglin' Baby" complete with the chorus - "Slowdown, Baby," instead of "Jinglin' Baby." After that it goes into "Jane 3," the third of the "Jane" series about a girl that they ran into on each album. Flip to the B-side and "Rap Is Outta Control" will have you flipping; they drop crazy lyrics over the most simple (sounding) of tracks. "Funky Piano" is time for DJ Scratch to get off... and does he. It was no accident that Scratch won the DJ Battle for World Supremacy in '89 and I think he proves that here when he cuts up "Pump Me Up" from the old school jam of the same name.... There are still several hype cuts that I haven't mentioned. Believe me, the whole thing is dope." I don't know if it's my imagination or if Erick and Parrish actually got better on the mic? They have always been great lyricists, but on this LP they rock styles that we haven't seen from them before... I hope that EPMD will never change, because they are one group out there that's not trying to be like someone else. All they want to do is improve on their own act and this album proves that they're not bullshitting." - The Source, February 1991. Revisit this classic album from EPMD below...

EPMD's Business As Usual in The Source, February 1991...

14 Deadly Secrets "Erick Sermon Mix"

"14 Deadly Secrets" was an idea of DJ Derezon & Tre The Boy Wonder for their Radio Show, the "Soundscan Mixshow". The idea: take a Hip Hop producer that had a major impact on the Hip Hop scene, then take 14 of his classic productions and find out about the stories behind those tracks. After successful mixes with DJ Premier and the RZA, they released Part 3 with the Green-Eyed Bandit of EPMD, Erick Sermon. In the mix, you'll find out crazy stories behind 14 classic Erick Sermon-produced cuts, featuring artists like LL Cool J, Jay-Z, Method Man, Blackstreet, 50 Cent, Keith Murray, Xzibit, Jamal, EPMD, Busta Rhymes, Redman, and Eminem. Not necessarily Erick Sermon's best or most popular records, but "14 Deadly Sectrets" mixes honor the producers work and what they gave to the Hip Hop Community. Much respect to Erick Sermon, listen below...

EPMD's Press Release Announcing Break-Up (January 26, 1993)

On January 26, 1993, the following press release was sent out regarding the break-up of EPMD: "Parrish Smith and Erick Sermon, collectively known as Def Jam/Chaos recordings artists E.P.M.D., have announced that they are parting ways due to personal differences. The hardcore rap duo's latest LP, Business Never Personal, has been certified gold, as have its three prior albums Strictly Business, Unfinished Business, and Business As Usual. Rush Communications Chairman Russell Simmons has commented that he is hopeful that the group will get "back to business." Both artists released solo projects before reuniting in 1997 to release their comeback LP, Back In Business and have since recorded Out Of Business, We Mean Business and are currently working on new music. 

Redman "Dare Iz A Darkside" (The Source, 1/95)

"Dare Iz A Darkside is an explosion from the Funkadelic Devil that attempts to capture the suspended time between life and death. To do this, Redman picks up where he left off with his debut and unleashes more hot "cosmic slop" to relieve us from the same monotonous funk everyone claims to possess. The creepy, sinister sounding "Noorotic," one of Redman's many buddah sessions on wax, sets the tone as Mr. Noble expresses his inner feelings on the music industry: "They're attacking me / this naughty rhyme style actually / they got factories with little dolls named after me." Lyrics remain the focus on the unorthodoz "Green Island" as the multiple-personality technique perfected on last album's "Redman vs. Reggie Noble" is utilized. This time Uncle Quilly (another Redman personality) joins the other two in a quest for greenbacks, and Redman proves that the nearly-perfect skills that made him famous can improved on. The album really shines on "Cosmic Slop" which features Erick Sermon and Keith Murray on a lyrical tour through the cosmos. The hostile "We Run N.Y" also stands out as Redman and Hurricane G create lyrical havoc by bringing true East Coast flava from a male/female perspective... Dare... is definitely a piece of art which causes one to suppress reality as the mind travels into the mysterious world of the unknown. Redman is without a doubt on some 'ole next shit coming with the same attitude that blew your mind on the last LP. Most artists are afraid to experiment, or express views that are not the norm, but on Dare Iz A Darkside, Redman challenges himself to shatter the limits of lyrical, mental and funkadelic illness - and he succeeds." - The Source, January 1995. Read the full review below...

Dare is an underrated album in Redman's classic catalog.

Erick Sermon "Stay Real" (The Source Review, 11/93)

"Some fake the funk and the Main Source know it / How do I know? / Because MTV shows it." With the first single off of his anticipated solo album, Erick Sermon once again proves his commitment to rap and reminds everyone that he can handle his business. "Stay Real" is an attack on rap's increasing mediocrity. Things need to improve and E-Double believes that the first step toward a solution lies in identifying the problem ... Again, there are shades of EPMD apparent. "Stay Real" is virtually a sequel to last summers "Crossover." The Zapp grooves are in effect, the muddy basslines are refurbished, and the rhymes are filled with boasts and attitude. Erick's unique deadpan cadence continues to work as it has for the past six years. While expectations for Erick as a solo artist were not fully realized with "Hittin' Switches," "Stay Real" should make sure that his album gets off to a good start." - (Sure Shot Single in The Source: November, 1993). Check out the video below...

Erick Sermon "Hittin' Switches" (The Source, 5/93)

"Out of the smoke, rubble and rumors surrounding the breakup of EPMD the one and only E Double resurfaces with a solo act snatched off of the upcoming "Who's The Man" soundtrack. And even though he must carry the weight of the track alone, the funky beats and rhymes displayed prove once and for all that he is still able to take care of business. Going for delf, he hits the switches with a rugged bass crawl. And when he drops his casual and unorthodox rhymes the picture is complete. I gets busy, who the hell is he? / The roughneck from New York City / You wanna mess around with the ill bastard / Then get your ass kicked, messin with the click Def Squad, now on location, with the funky sensation / You wanna step you must be freebasin / Punk, why you playin, you bored? / You can't afford, to get choked by the mic cord..." Things may be different but you'd best believe that the green-eyed bandit is still rollin' hard like a criminal." - The Source, 5/93 Check out the visuals to Erick Sermon's "Hittin Switches" off his underrated LP, No Pressure, below... 

You can save a copy of Hittin' Switches' review in The Source below...

EPMD "Crossover" (The Source, September 1992)

"Erick and Parrish would not put out a single if it wasn't funky, so right away you know you need to buy this one. This time the boys come out of the box with a hard look at a serious disease that has infected hip-hop - the dreaded "crossover syndrome." How many times have you seen a rapper come out hard and street, only to see him or her deteriorate into a bubble bath taking, pop radio loving, sucker MC? EPMD have seen enough of that noise, and over a fat Zapp chorus they start pluckin' cards. With underground flavor, they drop lines like: "The rap era's out of control / Brothers sellin' their soul, to go gold / Going ...going ...gone, another rapper - SOLD!" and "Came on the scene chillin' / Freakin' the funky dope lines / But when they're finished with you - *BEEEP* - flatline!"

"I speak for the hardcore (rough, rugged and raw)

I'm outta here, catch me chillin' on my next tour

From the US to the white cliffs of Dover

Strictly underground funk, keep the Crossover..."