Gravediggaz "6 Feet Deep" (August 9, 1994)

The video for "Diary of a Madman" by the rap band the Gravediggaz includes a warning that the clip does not condone Satanism or blasphemy; the video for "Live Evil" by the Flatlinerz depicts members of the hip hop band rapping from the inside of a grave, and the video for "Hellbound" by the Almighty RSO takes the deaths of the band members as a starting point and climaxes when the rapper E. Devious is shown with the mark of the Devil, 666, shaved into his head. With gangsta rap having exhausted nearly every imaginable murder scenario, a new breed of rappers is taking hip-hop beyond the grave. Some call this development horrorcore because it uses horror film as metaphors for ghetto life. Others prefer the term death rap because the genre takes hip-hop to musical and lyrical extremes in the same way that death metal bands like Obituary and Carcass bring rock to a boiling point. To a certain degree, both death metal and death rap try to escape from reality, offering nihilism as a cure-all. But in doing so, both end up commenting on a reality so grim and alienating that the only direction its outcasts turn is toward darkness. The fans of the two genres find comfort in fantasy, in finding a collective myth for their private pain. Unlike heavy metal, rap has had death on its agenda since its inception. The genre's earliest tracks were usually counterbalanced by cautionary tales of drugs and shootings. Rap has also always looked to horror films to conjure a quick image, from the Sugar Hill Gang dropping "Rapper's Delight" to DJ Jazzy Jeff and the Fresh Prince parodying Freddy Krueger in 1988's "Nightmare on My Street." Cont'd below...

A few years ago, rap and death metal began to recognize that they were sitting on opposite sides of the same cell wall. Public Enemy sampled the Satanist band Slayer, Ice-T collaborated with them on the soundtrack for the horror film, "Judgment Night," and Cypress Hill put a Gothic-looking graveyard on the cover of its latest album, "Black Sunday." Not until this year, however, have hip-hop bands been willing to complete their move from the streets to the graveyards. "I'm the resurrector," the Gravediggaz rap on their first album, "6 Feet Deep." "Be my sacrifice. Commit suicide, and I'll bring you back to life." For those who cross the Gravediggaz, a band made up of members of the Wu-Tang Clan, Too Poetic, De La Soul and Stetsasonic, death is only the beginning of their punishment. "First I'll assassinate 'em," they rap on "Diary of a Madman." "And then I cremate 'em, and take all of his... ashes and evaporate 'em." Citing suspense-film directors from Alfred Hitchcock to Wes Craven and displaying an impressive knowledge of anatomy, the Gravediggaz rap about means of dismemberment, rituals of exorcisms and torments of hell. They never credit heavy metal as an influence, but "Diary of a Madman:" is also the title of a 1981 Ozzy Osbourne album and the song "Bang Your Head" borrows its name from the 1984 Quiet Riot metal album. Musically, death rap is developing its own repertory and cliches. The Gravediggaz use creaking doors and howling wolves as rhythm tracks and often rap in a cartoonish, exaggerated style. - New York Times (October, 1994). RZA and Prince Paul were such an amazing combination on 6 Feet Deep!

MC Shan "Down By Law" (August 8, 1987)

There was a time when the Juice Crew were running things, and truly believed that nobody could compete with them. MC Shan embodied that belief, with his braggadocio rhymes and "battle anybody" attitude. Overflowing with confidence, Shan has been a well-rounded emcee since he first showed up on wax in 1985, coming correct whether he was story telling, free styling, or kicking some of the most impressive extended metaphors in Hip Hop history. Shan's bio shares, "MC Shan, Shawn Moltke, is one of the freshest, most intelligent and coolest rap stylists and innovators to "rock the mic viciously" in recent memory. His professional character is partly one of pure virtuosity, and partly one of exciting showmanship. His debut album on Cold Chillin' Records, Down By Law, surpassed the 150,000 unit mark last summer with virtually no airplay. Ever since going out on the road with Roxanne Shante in 1985, without benefit of a record, the word on the street has been that MC Shan is a serious performer who can fire up basic human instincts, like humor, romantic sentiment, and a strong desire for something essentially hip and physically intoxicating. Over the past couple of years, he has unleashed a torrential outpouring of fresh def jams, including "The Marley Scratch," "The Bridge," and the preachy but funny anti-crack rap, "Jane, Stop This Crazy Thing," all produced by main Homeboy, and blood cousin, Marlon "Marley Marl" Williams. His 12-inch "The Bridge," a tribute to the Queensbridge Projects in Queens, NY, was the subject of a hilarious answer record called "The Bridge Is Over." Prior to signing with Cold Chillin', MC Shan built a following with releases on Nia, MCA and Bridge Records. Cont'd below + revisit Down By Law...

For some background story, the 1990 press bio also shares: "In 1983, Shan was a devilishly wicked street brat, with a big chip on his shoulder, and a series of misdemeanors longer than a New York City crosstown block. "I was a hood," he says today. "I was lucky I didn't have a police record. One time I was so young when I stole a car that, the cops refused to believe that I did it. I never committed any felonies." Our juvenile delinquent's salvation and ascent up the ladder of stardom began on a Brooklyn street on Halloween night, 1983, when rap manager Tyrone Williams, now Chairman of Cold Chillin' Records, caught him breaking into his car." It also says that while Williams didn't turn him over to the police, he did kick Shan's ass, understandably. For an artist that is considered one Nas' earliest influences, Shan also had Suede Puma designed after him, a "Rap Quotes" sign in Queensbridge, a double-disc reissue of Down By Law, as well as a highly publicized interview on Noreaga and DJ EFN's acclaimed podcast, Drink Champs. In the interview, MC Shan went deep into his feelings on the culture, his come-up, successes, failures and of course, his beef with KRS-One and Boogie Down Productions. The showman is still very much inside of Shan as he took over the interview and really gave us a look at the man and the artist. You can watch that interview HERE, plus dig in the archives for more interviews/content from MC Shan, a true pioneer! 

Jadakiss "Kiss Da Game Goodbye" (August 7, 2001)

In terms of sheer anticipation, Jadakiss' buzz was at an apex at the time of this album's release. While fellow LOX members Sheek and Styles flashed improved flows and lyrics on their group's sophomore strike, We Are the Streets, Jadakiss remained the group's undisputed frontman. And with the streets virtually foaming at the mouth, Jadakiss returned from the lab to birth his solo debut, Kiss tha Game Goodbye on this day in August, 2001. The majority of reviews -- including the above-referenced review in AllMusic -- found it ironic that the crew jumped ship from Diddy to get away from the shiny suits, then Jada went directly after mainstream attention with his debut. Surely he woulda had a better chance at that just sticking it out with Puff? Yes/No/Maybe? That's not to knock the harder album cuts on here, such as the Alchemist-produced "We Gonna Make It," featuring Styles; the DJ Premier-blessed "None of Y'all Betta," featuring Styles and Sheek; and "Feel Me", also produced by The Alchemist, among others. While Styles P remained closer to the independent route, Jada was always more comfortable taking those mainstream budgets and making it happen -- even if it meant sacrificing his chances at having a true "classic." In the Rhyme & Reason article below, Jada said it in his own words when discussing "What You Ride For?": "There's something for everybody." That's straight label talk. West Coast, Down South; an Aerosmith remake and more, there's a lot going on with this album. You can read more about the various cuts below...

In the case of "None of Y'all Better," Jada says, "You know you can't make a classic album without using Premo. He's like the god of producers. We made it a LOX song because nobody better than the LOX." 100% facts, gotta have a DJ Premier beat! For "Feel Me," he shares, "That's like a personal joint that I'm giving people. Everybody wanna know a little something about your life. That's 40 bars of just me spillin' my guts out." For "We Gonna Make It," he says, "I had to do that one. That's like more of my element right there. I pulled out Alchemist. I was feeling it. That was my first time ever meeting him. I threw my man Styles P on there. You know, Jadakiss and Styles collaboration." Then there's "Knock Yourself Out," where I cram to understand, "Everybody always come up to me and ask me when I wanted to do a song for the clubs, for the ladies. That was the politics of the whole thing." On the flip-side is the Nas-assisted, "Show Discipline," which Jadakiss describes: "I just wanted to do a hard joint, real hard, for the "hood." I wanted Nas on there. My own vintage, that's all that is." If nothing else, Jada knows how to keep it simple, stupid. Dig into the full Rhyme & Reason article and more below + of course, revisit Jadakiss' Kiss Da Game Goodbye today! D-Block!

Jay-Z vs. Nas (Angie Martinez Interview on Hot 97, 2002)

August 2002: Jay-Z took over Hot 97 for several hours over a two-day period to sound off on all his naysayers. For two consecutive days, Jay-Z guested on Angie Martinez's afternoon show, speaking out on rumors of civil unrest within the Roc-A-Fella camp -- which he scoffed at, insisting, "How could I leave the Roc? I am the Roc" -- as well as his falling-out with former mentor Jaz-O. More significant, though, was Jay-Z's reaction to the ongoing beef with rapper Nas. Echoing a challenge that he made in the The Source magazine, Jigga suggested that the two rivals settle their differences with a pay-per-view rhyme battle. He added that each party could pony up $1 million for the wager, with all event proceeds going to a charity of the winner's choice. By day two of Jay's marathon interview, he reported that boxing promoter Don King had already faxed in a proposal to organize the event. - MTV. Nas responded saying the contest should be decided in record stores, not on TV. ”Pay-per-view is for wrestlers and boxers. I make records,” he told MTV. ”If Jay-Z wants to battle, he should drop his album the same day I do and let the people decide.” Jay-Z was scheduled to release ”The Blueprint 2” on November 5th, 2 weeks before Nas released ”God’s Son.” 

 

In the interview, they discuss when Nas flirted with idea of signing with Irv Gotti to Murder Inc. A decision that Irv later regretted, as he was also the producer on "Super Ugly" for Hov during that battle. Jay-Z said of the battle with Nas, "It's wrestling," alluding to the fact that it's just music. Jay-Z explained that he's not a perfect human being, and owned that he went too far with certain things he said. But, "people clash at the top," so as competitive artists, that's just where things went. Then they jump into a discussion about the battle: the pay-per-view funds/proceeds and tickets at the door (Madison Square Garden?) would have gotten to charity, with only the $1 million they each put up, going to the winner. A show with 3 freestyles from each MC, but "they gotta be vicious." He added, if anyone felt a way AFTER the battle, they could've gone to a gym, "put on some head gear", go 3 more rounds as men and go separate ways. Additionally, they discussed Jaz-O, R. Kelly, Cam'ron, Dame Dash and more. Ultimately, it's bigger than hip-hop and they squashed their beef, but all these years later, Hov still petty AF, if you ask me. A special moment in hip-hop!

Widowmaker vs. D-Styles "Fair Warning" (Instrumental Album)

With production from Widowmaker and live cuts by D-Styles, Fair Warning, is their collaborative effort boasting over 20 tracks. Side A is produced by Widowmaker and D-Styles and Side B is drum breaks and skratch music kits, recored between October, 2020 and March, 2021 at Midschool in Gresham, Oregon and The Shit Palace in Las Vegas, NV. I was impressed with Widowmaker's production on two separate collaborative projects; one with Ayatollah titled Colossus (2015) and the other with the homie, Big Ghost Ltd., titled An Open Tomb (2020). D-Styles is a producer and DJ, most known as a member of Invisbl Skratch Piklz, Beat Junkies and Third Sight. An incredible artist, he's been featured on countless projects over the years! This is a fun listen, dig into the LP below...

Raekwon Defends ODB's Memory (Rock The Bells, 2006)

On the night of August 5, 2006, Steve-O attended the "Rock The Bells IV" Hip-Hop Festival in San Bernardino, California. The concert was headlined by the Wu-Tang Clan and the event was organized as a tribute to clan member Ol' Dirty Bastard (R.I.P.). While on stage with the Wu-Tang, Steve-O proceeded to show his affection for ODB by getting nude, tucking his penis between his legs and doing a back flip... while Ol' Dirty's mom was in attendance. Raekwon took to the mic and expressed his ill-feelings on the incident and threatened to knock him out if he didn't apologize. That night, a member in attendance shared more about the incident: "Wu-Tang was one of many acts to grace the stage at the show, and during their tribute to ODB, for some reason, STEVE-O from Jackass comes out on stage and embarrasses himself and disgraces ODB (in front of his mother no less) by doing a "dirty stunt" ... claiming that he wanted to do it because he was recently locked in the same jail cell that ODB stayed in at one point in L.A. county jail. Steve-O proceeded to pull off his clothes (surrounded by all remaining members of the WU and in front of an ODB painting) and tuck his 'ish behind his legs and do a backflip... Afterwards the RZA made a comment about Steve-O belonging in a Zoo, then went on with the show... but a couple songs later, Raekwon brought Steve-O front and center and told him over the mic that if he didn't apologize for the disgusting display, he would knock him out on the spot. With a trembling voice, Steve-O apologized to the Wu-Tang and ODB's mother, much to the approval of the crowd." Of course, there's video of the incident, and Raekwon later addressed it in a 2013 VladTV interview, as well, where Rae shared: "Rest In Peace, my brother... I was livid... My brother dead and THIS is what you're doing? And you got his mother there... Is you crazy? N!gg@s coulda bit his face off!" Rest In Peace, Ol' Dirty Bastard. Salute, Raekwon the Chef! Edit: the full video was removed after this post, but below is the portion of Rae talking to Steve-O.

Original flyer for Rock The Bells IV, 2006...

DJ Clue "The 4,5,6 Goin' For Broke" (Mixtape, 1996)

Right now, I'm revisiting DJ Clue’s 1996 mix-tape, The 4,5,6 Goin’ For Broke. DJ Clue set it off with a freestyle with Nas and Nature, then classics from Mobb Deep, Ghostface Killah, Lil’ Kim, Akinyele, KRS-One, Nas, Keith Murray, Capone-N-Noreaga, M.O.P., Raekwon and another freestyle from Jay-Z. On the B-Side, Clue smoothes it on the R&B tip with tracks from 112, Keith Sweat, D’Angelo, Monica, and Mona Lisa before jumping back into hip-hop with other cuts from Dr. Dre, Redman, McGruff, Big Noyd and more. I remember the first time I heard Mobb Deep's "Drop A Gem On Em," and thinking they came correct going at 2Pac. They pushed the song to radio and had plans to do a video, but then 2Pac died, and rightfully so, they switched the single to the title track from Hell On Earth. Nevertheless, smart as he was, DJ Clue front-loaded all of his mix-tapes with the rawest shit and set it off lovely! It was definitely a moment, so dig back into The 4,5,6 Goin' For Broke below... 

Insane Prophet "Brooklyn Zoo: The Legend of Iceberg Slim" (2017)

Brooklyn Zoo: The Legend of Iceberg Slim is a mash-up mixtape with vocals from one of the greatest MCs of all time, Jay-Z, and beats from one of the most influential music groups EVER, the Wu-Tang Clan. While it was uncredited on the CD bootlegs, the mash-ups were done by The Insane Prophet, who also took vocals from The Notorious B.I.G., Nas, 2Pac, DMX, Inspectah Deck, Method Man, Lil' Wanye, Ghostface Killah and Ol' Dirty Bastard to put together this exceptional project in 2017. The following year (2018), he also released a project re-imagining Nas rhyming over the classic beats to Biggie's Ready To Die, aptly titled "Ready to Illmatic." These kinds of projects--when done properly--are a true labor of love, and this was absolutely done well, so dig into it below and look out for a follow-up post about that Ready To Illmatic tape when I revisit that one as well. Enjoy it...