Puff Daddy & The Family "No Way Out" (25th Anniversary)

Today marks the 25th anniversary of Puff Daddy & The Family's classic debut album, No Way Out. Diddy took to his social media to share the following message, "Biggie inspired me to become an artist and make this album, so it's bittersweet to look back on such a pivotal turning point in my life and career that turned Bad Boy into an unstoppable dynasty and cemented our place in Hip Hop history! To have countless hit records from so many timeless artists that became global superstars, it will be hard for anyone to ever create a moment in music that changed the culture like No Way Out!" Puff makes a good point... his spirit to succeed after such a tragedy with the passing of The Notorious B.I.G. was an incredible moment in music. Not just "I'll Be Missing You," but the whole album from top to bottom. It's clear when you listen back -- even all these years later -- the original direction of the album was different before B.I.G.'s passing. The original title was alleged to be "Hell Up In Harlem," a title that wouldn't been marketed the same after such a loss. There are a few references in the album itself, as well as a different energy from Puff's cast of superstars called "Family" when originally they were gonna be called "Goodfellas." Subtle changes like that change the whole presentation of the album. There was an ad in Billboard (October, 1997) taken out by Clive Davis at Arista that said, "With "I'll Be Missing You" and "Mo Money Mo Problems," Sean "Puffy" Combs joins only The Beatles, Elvis Presley and Boyz II Men in succeeding himself at #1. These two singles, plus "Can't Hold Me Down" and "Hypnotize" make Bad Boy the first label since Motown to have its first four #1s occur in the same year. This calendar year, Bad Boy has held the #1 position on the Hot 100 Chart for 22 weeks, accounting for nearly 60% of this year's #1 hits. Since the label's inception, every album released by Bad Boy has been certified gold, platinum or multi-platinum, including Puff Daddy's #1 debut album No Way Out, which is now approaching triple platinum. It's truly an extraordinary year of achievement for an extraordinary artist, producer and label. And it's only September." It was Puff's 'can't stop, won't stop' attitude that was the blueprint to his success. When there's no way out, you make it happen... Revisit Puff's classic album below...

Yo, the sun don't shine forever / But as long as it's here...

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!

“A Tribute to The Notorious B.I.G.” (Press Kit, May 1997)

"On Wednesday, May 14, at 12 noon over 200 radio stations across the country participated in a 30 second moment of silence in honor of the late Notorious B.I.G., followed by the world premiere of two new tribute tracks "I'll Be Missing You" and "We'll Always Love Big Poppa." At the same time, MTV aired the tribute video to "I'll Be Missing You." Bad Boy Entertainment's CEO, producer and artist Sean "Puffy" Combs comments on why he decided to honor Biggie in this way, "I wanted to tell B.I.G. how I was feeling. I wanted to have one last conversation with him. The concept of the tribute single was to express my personal feelings and the feelings from the Bad Boy family. This is our way of speaking to Biggie, letting him know how much we loved him." ... "I'll Be Missing You" features vocals by Combs with Evans and 112; it was written by Faith Evans and Todd Gaither (Sauce Money) and produced by Combs and Stevie J. The song was inspired by the Police hit, "Every Breath You Take" and the chorus of the song is reflective of Puffy's and Faith's personal feelings of B.I.G."

"The flipside, "We'll Always Love Big Poppa" is written and performed by Bad Boy Entertainment's newest group The L.O.X. The track is produced by Damon Blackmon and was first performed at B.I.G.'s funeral. "It was their personal artistic expression of how the group felt about Biggie and how he affected the lives of so many people," said Combs. "If you knew him, you would love him," said Jay from The L.O.X. "It is sad we had to do this song as our first video." ... Bad Boy Records, Arista Records and BMG Distribution have agreed to donate all profits from sales of the tribute single to a trust for the benefit of Christopher Wallace's two children, T'Yanna and Christopher." R.I.P. B.I.G.

The original press kit from May 22, 1997...

Puff Daddy "No Way Out" (Press Kit, 1997)

No Way Out is the autobiographical sonic movie produced, directed by, and starring Bad Boy Entertainment CEO Sean "Puffy" Combs. Co-stars include the late Notorious B.I.G., Faith, Mase, Lil' Kim, Jay-Z, and Busta Rhymes... The best selling maxi-single of the year and one of the biggest selling singles of the decade, "I'll Be Missing You" is only one of the hot songs on No Way Out. But not long ago it looked as if the album might never be heard. As a teenager growing up in Mount Vernon, NY, Sean "Puffy" Combs dreamed of making an album. "Everybody has a dream when they're watching Run-D.M.C. or LL Cool J," Puff says with a laugh. "They think, 'I wish I was that.' And I was always somebody who closed my eyes and dreamed but then opened my eyes and saw what I had to." ... After proving himself [at Andre Harrell's Uptown] he's promoted to A&R. He architects a pair of hip hop-soul skyscrapers: Mary J. Blige and Jodeci. In 1991 he becomes the CEO of Bad Boy Ent. He introduces the world to the Notorious B.I.G., Craig Mack, Faith, Total, 112, Mase, and the L.O.X. He sells more than 12 million albums in three years, including five platinum and ten gold albums... Meanwhile, off-stage, Puff grows into a mature man and a powerfully, socially-conscious executive... And through it all Bad Boy becomes more than a label selling music. It sells a lifestyle and launches a movement... Finally, after years of hard work and planning...  he begins his solo album. Cont'd below...

"Victory," a frenetic, rah-rah joint featuring B.I.G. and Busta that represents how close he and the Notorious B.I.G. were. "Why Do They Hate Us," a slam-dunk certain smash featuring Puff and Mase... "Pain," on which Puff sings the chorus, and talks about," all the things that hurt me in my life." "Is This The End" where Puff rhymes Bone, Thugs-style. "Senorita" a sexy ode to the hot Latina Mamis. An extended remix of "It's All About the Benjamins" adding rhymes from Lil' Kim and B.I.G. And "Friend," a funky make-you-dance track with a rhyme from Foxy Brown, where Puff tells how he deals with fickle audiences... Though he rhymes on all tracks Puffy refuses to call himself a rapper or an MC. "I would never disrespect the art of rapping and MCing," Puffy says. "I'm an entertainer. I don't write all my rhymes myself - I co-write with Jay-Z, Sauce Money, Lil' Kim, Mase, Jay from the L.O.X. I'm not a MC, I'm a vibe-giver." But as a producer, Puff knows he's among the hiphop elite... "I don't make a record like it may be a hit. It is a hit." Puff adds, "I was just having fun, makin' hot records. The concept was to have 15 hits on it," - when he and B.I.G. took time out for a trip to the Soul Train Awards in LA. Only one of them returned. "When everything happened," Puff says, meaning B.I.G.'s passing, "I just wanted to give up. I didn't wanna work, I didn't wanna make music no more." Then, one night after the funeral, Puff had a dream. "In the dream I was screaming at somebody, saying, 'There's no way out for me!' ... At times I feel like I'm trapped inside of a movie starring me, but I'm not the director, and I don't know what the next scene is, nothing. So I was screaming to somebody, 'What am I gonna do now?! There's no way out for me!' ... When I woke up I knew I had to do this album." - Press Kit, 1997. Listen above, and the full 2-page press kit is below...

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...

B.I.G. Ends Contract w/ Uptown Records (May 16, 1994)

From the internet archives, this is an OG contract between Biggie & Uptown Records. It states that as of May 16, 1994, Christopher Wallace p/k/a B.I.G.'s contract with Andre Harrell & Uptown Records was terminated. B.I.G. followed Puffy from Uptown over to Bad Boy Records. The contract states that he'd leave with the masters for 'Party & Bullshit' and 'Flip That Shit,' in exchange for $326,092.91, which constitutes all the costs associated with those records. It goes on to reflect that B.I.G. would be transferring the rights and obligations over to Arista Records, which handled distribution for Bad Boy Records. For those that don't know, 'Flip That Shit' was a track Biggie did with Naughty By Nature, Onyx and 3rd Eye in 1993. According to Fredro Starr, the cut was also originally for the Who's The Man soundtrack. These contracts were up for public auction some years back, not sure if they sold and for how much, but it's a nice piece of Hip-Hop history. Damn... $326K and those weren't even "hits," times have changed. Rest in Peace, The Notorious B.I.G. 

Puff Daddy "A Message To The DJ" (Video, 2009)

In Feb, 2009, Puff Daddy shared a video blog called A Message To The DJ, where he said: "The DJ introduced me to Hip-Hop... The DJ took my pain away... The DJ made me dream... The DJ made me forget about my surroundings; my financial state; what society had planned for me... The DJ created hip-hop... The DJ exposed me to things; sounds and visions that I never thought existed... Every DJ had their own style; their own journey they'd take you on... I wanna turn on the radio and get exposed to something fresh and something new. That's why we're all on the internet - we're in search of something new." Diddy closed it out with a reminder to all DJs, saying: "The DJ is and always will be responsible for Hip-Hop!" In today's climate, this is not only true of the DJ but bloggers and playlist curators, A&Rs at labels, etc. It's a responsibility we have to filter through the bullshit and find what speaks to us and amplify those sounds, visuals, and messages. I'm sure Puff wasn't in clubs where J.Rocc or DJ Jazzy Jeff were spinning, so he wasn't speaking for ALL DJs, but there's a reason that The Breakfast Club is broadcasted in countless markets and why geography and regional sound plays such a minor role in music today. It's all the same playlist! It's just some food for thought and something I've continued to consider as I curate this website. The full video message from Puff Daddy is below... Oh, and Happy Birthday to me, Black Thought, and Talib Kweli!

The Notorious B.I.G. "Live Footage In London" (Video, 1995)

Last year, UK's pioneering DJ and radio personality, Tim Westwood, unearthed some rare footage of The Notorious B.I.G., Puff Daddy and Lil' Cease out in London, performing at the Hamersmith Palais on March 19, 1995. With exceptional audio quality, you can watch and hear a rare set from Biggie, which sadly there isn't much of on the internet due to his untimely demise in 1997. They run through many of his classics, like "Who Shot Ya," "Warning," "Gimme The Loot," "Juice" and a couple hype tracks. Biggie was taken from us far too soon. Rest In Peace, The Notorious B.I.G. Watch it below...

Bad Boy Mixtapes "Volume 1-4" (1995-1996)

Puffy started Bad Boy Records in 1993 after being fired by his mentor, Andre Harrell, and he hasn't looked back since. Once Biggie's Ready to Die went platinum, Diddy and Bad Boy went on a run that changed rap forever, positioning the genre as a real force in popular culture. Puff did everything big, from videos, to clothes, to cars. During this time mixtapes weren't free albums with original production, they were a means of promoting new music. So, being the astute businessman that he is, Puff decided to host a string of tapes alongside New York's hottest DJs. The first tape was mixed by DJ Clue?, then an up-and-comer out of Queens who was on his was way to being one of the first mixtape DJs to get a major label record deal. Bad Boy Mixtape Vol. 1 featured some of the most memorable songs ever that were heard for the first time on that tape. The same can be said about Vol. 2, Vol. 3, and Vol. 4, each one hosted by veteran DJs Doo Wop, Stretch Armstrong, and SNS, respectively. They made names for themselves by being able to get exclusive records before anybody else. Before the Internet really took over, this was how hip-hop heads got their hands on new music. - Write-up via Complex. Updated: links were taken down, here are new links by J.Nickelz.

Craig Mack "Project Funk Da World" (Review, The Source 1994)

The debut album from Craig Mack, "Project Funk Da World" was also the first album distributed through Puff's Bad Boy Entertainment. Puff and Craig Mack were both 23 at the time of its release, which is kinda crazy when I think back on it. "Flava In Ya Ear" was the smash hit single to promote the album, as well as the remix with an all-star line-up including The Notorious B.I.G., Busta Rhymes, Rampage, and LL Cool J. Easy Mo Bee produced that as well as the second single "Get Down," until they dropped the remix featuring Q-Tip, another solid banger. The Source gave the album 4 mics, which may have been generous at the time, despite some strong singles. Ben Smith wrote, "This summer, as if from nowhere, Craig Mack jumped into the over-saturated rap market and blew all fake, no skillz rappers out of the picture. His street anthem, the irresistible, hypnotic "Flava In Ya Ear" single had wack MC's on their knees, "burning, begging please," under Craig's devastating, off-beat attack. On Funk Da World, he resumes where the single left off, providing eleven tracks of East Coast's most rugged, raw, truly hardcore urban-contemporary-jeep-music." Cont'd below...

"While being touted as the next big thing, older heads who heard MC E-Z & Troop's 1987 classic "Get Retarded" will know that this Brentwood, Lond Island native is no new jack ... The Mack has seen hip-hop culture descend from the sublime days of '87 to the current state of ridiculousness, and now "Judgment Day" is here for all wack MC's who aren't "Real Raw." Throughout the album, he displays well-perfected mic skills, delivering them with a precision and discipline that's hard to beat ... Funk Da World's production - simple, hard beats and samples in the Hit Squad mold (principally by Easy Mo Bee and Craig) - complement Mack's serpentine flows ... we're given a refreshing, back-to-basics, solid collection that's more than enough for Craig Mack to funk da world." (1994)

An Open Letter From Sean "Puffy" Combs to Vibe (1996)

In August, 1996, Puff Daddy took out a full page ad in VIBE. The ad pictured above was an open letter addressing the rivalry between Bad Boy and Death Row Records. It was ultimately an attempt to quell tensions and dismiss the (false) narrative that there was a war between the East and the West Coast. The letter says, "While it may be true that there exists a creative battle between East Coast and West Coast music culture, in my mind, anyone promoting an angry war between the coasts or promoting wrong information is simply not for the cause of hip-hop." Feeling that his label had been victim to such misinformation, he adds, "This negative perception that has been perpetuated for the masses will not get in the way of my vision. Any animosity that has occurred between Bad Boy and Death Row should not be a catalyst for East Coast-West Coast rivalry... It is no secret that we compete musically. We are both struggling to be power brokers in an industry where black men do not comprise the majority of decision makers. But it is also true that no coast should have a monopoly on hip-hop music ... My dream will not be deferred by deadly rumors and falsified information. I cannot stand by and watch hip-hop culture disintegrate or be deemed as "dangerous" or "temporary." Bad Boy, a musical operation founded on merit, diligence, and integrity will not be misrepresented or fictionalized." In closing, Puff adds "...the music will speak for itself and will always be based on artistic merit. A loose tongue ultimately has an empty mouth." We could estimate this letter was written roughly 2 months before 2Pac was shot and killed (9/13/96). The September 1996 cover of Vibe Mag featured B.I.G. and Puff with the words East vs. West! R.I.P.

Frank The Butcher & DJ 7L "Bad Boy: Original Samples" (Mix)

Hip-hop is built on the art of sampling—flipping old records into something fresh and new. And few labels have mastered that craft quite like Bad Boy Records. From the mid-‘90s through the early 2000s, Diddy (then Puff Daddy) and his production squad crafted hit after hit, blending street lyricism with smooth, sample-heavy production that defined an era. That’s where Frank The Butcher & DJ 7L come in with Bad Boy: Original Samples, a masterfully curated mix that peels back the layers of some of Bad Boy’s biggest anthems. This mix isn’t just a playlist—it’s a history lesson, a behind-the-scenes look at the records that shaped a movement. The Bad Boy: Original Samples mixtape features classics records from Love Unlimited Orchestra, Mtume, Herbie Hancock, Grace Jones, David Axelrod, Al Green, Johnny Smith, David Porter and a whole lot more. Enjoy this fine mix below.