Summer Seven Series: Extra

09/19/2009

dj-danj

Safe to say, the Summer of ’09 is over. Before Fall officially arrives on Monday, and as a bonus to those who followed the Summer Seven Series between June and August, here’s some that were thisclose to making the cut, but ultimately fell victim to the numbers game. Had it been the Summer Eight Series, and thus a lil’ less catchy of a title, these would’ve been a shoe-in.

And as usual… You Want ‘em? Freakin’ click ‘em.

1990: Special Ed “The Mission”: Back when a rapper could come out with silly Dick Tracy-esque stories as long as they could rhyme, Ed delivers a memorable tall tale about self-destructing messages and ninjas and shit.

1991- Tony Terry “With You”: The homie’s orange-tinted fade was somethin’ kinda nervous, but hell if he didn’t drop a classic ballad here. Even at 11, with no concept of love, I used to sing this shit like I had A clue.

1992- Grand Puba “360 (What Goes Around)”: After departing from Brand Nubian and leaving Sadat and Jamar to their own devices, Puba drops his first solo endeavor, Reel To Reel. With “360″ as the lead single, Puba (briefly) lived up to the buzz he had during that time.

1993- LL Cool J “Pink Cookies In A Plastic Bag Getting Crushed By Buildings” (Remix): One of the longest, dumbest song titles of all time, but one of the few redeeming things about the crazy, trigger-happy LL Cool J of ’93.

1994- Zhane “Sending My Love”: Zhane, with their pre-Amber Rose scalp-cuts, keep the hits rolling with “Sending My Love”. Might be the only single they ever had that wasn’t about DJ’s or dancing… more on that later.

1995- Junior M.A.F.I.A. “Player’s Anthem”: The M.A.F.I.A. as a whole might’ve been a fail, but this joint was kinda like a big deal. Mostly notable for the rapping debut of Lil’ Kim, a year removed from her Oreo-cookie-eatin’, pickle-juice-drinkin’ debut.

1996- Ghost Town DJ’s “My Boo”: In ’96, I avoided most of that bass stuff like the plague- liked it earlier in the decade, but not so much by then. But this one was an exception, which possibly had to do with the semi-emasculation I endured during my friendship with Jada.

1997- CRU feat. Slick Rick “Just Another Case”: CRU came and went fairly quickly, but they did drop a solid album, Da Dirty 30. One of those 30 tracks on the album (!) was this single featuring Slick Rick, who’d just been released from the slam.

1998- Cam’ron feat. Mase “Horse & Carriage”: Thrilla Killa Cam scores his first radio hit with the help of the big homie Betha, and educates us on the virtues of Puerto Rican Judo.

1999- Total feat. Shyne “Sittin’ Home” (Remix): This is the end of the road for the Bad Boy girls, and the beginning of the long, long road for Bad Boy’s then-new shooter signee Shyne. Lil’ bit of controversy around this one, with the guest bearing the burden of some vocal similarities that were a bit too close for comfort.

Annnd that’s all. See y’all next Fall.

-D!

R.I.P. to Grandmaster Roc Raida.

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“And You Say New York City…”

09/11/2009

nyc_skyline

Eight years later, New York City still stands.

Unfortunately, I’m not sure I can say the same about the NYC hip-hop scene. Of course, there’s a few artists still carrying the torch, including that dude who’s about to have the 11th #1 album of his career. But 2009 is in sharp contrast to the days when the Empire State was THE place to be. Whereas now, many NY artists make creative stretches to appeal to the rest of the United States, there was a time when the rest of the U.S. was aiming to do what THEY were doing.

DrDre-TheChronic-CD

But that started changing in the early-’90s. With more and more artists coming out of Cali and other areas, NY wasn’t the only show in town anymore. The success of N.W.A. led to more and more West Coast acts being signed, and they were coming out with heavier topics than most East Coast artists were covering. That’s not to say New York wasn’t still coming out with good music, but Cali’s music was gaining on them in terms of popularity. Then, in ’92, Dr. Dre‘s The Chronic album came out and officially swung the momentum to the left.

onyx!

By late-’93, it was obvious that the West Coast was in the forefront of the rap game. To many East Coast heads, it wasn’t so much that the New York scene was non-existent or anything, but it appeared to be in need of a new movement. Even though there were still some notable records coming out of there, it was clear that Onyx and Das EFX (or the bunch of groups that sounded like them) weren’t exactly gonna lead the league. NYC needed new blood that could create enough energy to have a strong presence that would match what Dre, Snoop, Ice Cube, ‘Pac, etc. were doing.

primojeru

Much like how NY’s felt over the last five years or so, there was an urgency to get back in the game. “G-Funk” was making impact all over while the East Coast sound was only hitting it big on the East Coast. Not to mention, the South was on the rise. The difference between then and now, however, is that the up-and-coming artists from New York got focused. They didn’t try to sound like they were from Cali, they didn’t spend more time complaining than recording, and they didn’t make mediocre records while claiming to “bring New York back”. They put their hoodies and Tims on, and stomped onto the scene with quality music.

odb method man

A lot of them still weren’t necessarily doing Doggystyle numbers or getting heavy MTV airplay, but their presence wasn’t going unnoticed. There was the Wu-Tang Clan, who brought in new images, new slang, and new sounds. There was Nas, who played a big part in bringing lyricism back into a world of tiggedy-tiggedy-tongue-twistin’ shit. There was the Boot Camp Click, who may not have become superstars, but still had a heavy movement on the underground/street level. And then, there was Bad Boy Records, which brought forth a mainstream-viable but street-credible sound comparable to what Death Row was doing out West.

blackmoon

There was a new look for a city that had been in a holding pattern through the previous couple years. Producers like DJ Premier and The RZA were providing the beats that helped push things forward. The subject matter was deeper, the concepts got more creative, the lyrics got better. Eventually, it did start translating to major mainstream success, and by ’96, New York City was back on top of the game. Of course, that success also came with conflict and even some internal turmoil, but the power was back on in the city.

bangin nas mobb deep n wu

As someone who liked all of the different styles from different areas, I gotta admit that I was rooting for the East Coast to get back on top. I felt like they were putting out the better material but being overlooked at one point. It was a classic time because it seemed like friendly (or maybe-not-friendly) competition had these niggas makin’ some excellent shit one after another. Some of the artists themselves have since noted that they were all vying to be the shit back then, which of course resulted in some great albums and singles.

b.i.g. mack

Today, the industry is totally different, and I doubt the few signed artists from NY have the creative space to do what those dudes did. But if there is still any intention to “bring it back”, a lot can be learned from the creative spirit that fueled the ’93-’95 era.

Wu-Tang Clan “Protect Ya Neck” (1993)

Jeru The Damaja “Come Clean” (1993)

Black Moon “I Got Cha Opin” (Remix) (1994)

Nas “New York State Of Mind” (1994)

O.C. “Time’s Up” (1994)

Mic Geronimo “Shit’s Real” (1994)

Ill & Al Skratch “Where My Homiez” (1994)

Method Man “Bring The Pain” (1994)

Craig Mack feat. The Notorious B.I.G., Rampage, LL Cool J & Busta Rhymes “Flava In Ya Ear (Remix)” (1994)

The Notorious B.I.G. “One More Chance (Hip-Hop Remix)” (1995)

Lost Boyz “Jeeps, Lex Coupes, Bimaz, & Benz” (1995)

Mobb Deep feat. Nas & Raekwon “Eye For An Eye” (1995)

Blahzay Blahzay “Danger” (1995)

Smif-N-Wessun “Sound Bwoy Burial” (1995)

Smoothe Da Hustler feat. Trigga Tha Gambler “Broken Language” (1995)

-D!

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Rappas Ternt Sangas

08/22/2009

sensitive thugs

Not sure if I’ve conveyed this enough, but with a few exceptions, I’m usually not partial to singers who try to rap (because they absolutely suck most of the time). But sometimes, hearing rappers try to sing can be entertaining if nothing else. There were some moments prior to the ’90s where some rappers would throw in little vocalizations here and there, like Erick Sermon getting on some Luther shit (insert joke here), and Big Daddy Kane singing his own hooks. But in the ’90s, a few niggas really got comfortable with their R&B sides and went full with it. Cases in point, the seven gems featured here. Check ‘em out:

eazy

N.W.A. “Automobile” and “I’d Rather Fuck You” (1991): The late Eric “Eazy-E” Wright, hopeless romantic that he was, drops two joints for the ladies as part of N.W.A.’s classic Niggaz4Life album. The first one lets them know that they can roll the fukk out if they don’t wanna give up the ass, while the latter is a Bootsy Collins cover dedicated to that special one who is givin’ up the ass. I don’t know about anybody else, but I coulda listened to a whole album of that shit.

biggie

The Notorious B.I.G. “Playa Hater” (1997): This is a robbery, nigga. Biggie’s sense of humor was always evident in some of his punchlines and skits, and of course it’s been noted by the people who knew him. Here, Big (with Puff adlibbing of course) covers The Dramatics’ “Hey Love” and turns it into a song about robbin’ dudes. A soulful adaptation of “Gimme The Loot”, if you will.

odbeeeeee

Ol’ Dirty Bastard “Sweet Sugar Pie” (1995): This nigga Russell Jones was legitimately out to lunch, and this was one of his craziest amongst all the crazy-ass songs he made. Here, Dirty sings to his “sweet sugar pie”, before shouting out his favorite old school musicians, then reminding us that he was the baddest hip-hop man across the world. “Oh, Millie Jackson!”

bizturnyouon

Biz Markie “Let Me Turn You On” (1993): This wasn’t much of a stretch by the time it came out, because Biz had done his fair share of singing already. But he’d never done a full-length song before, so he went the extra mile with “Let Me Turn You On”. He jacks McFadden & Whitehead’s “Ain’t No Stoppin’ Us Now” instrumental and goes for it.

nicesmoothcake

Nice & Smooth “Cake And Eat It Too” (1991): Before hooking up with Greg Nice, Smooth B sang backup on Bobby Brown‘s first solo album King of Stage, wrote Bobby’s raps, and even appeared in one of his videos (around the 1:47 mark). As part of Nice & Smooth, he always threw his singing skills in here and there, before going all out with this one. On “Cake…”, Greg comes thru with the rap verse, while B lays down the law to his cheating girlfriend.

mase sings

Mase “Jealous Guys” (1997): With Puff (once again) and 112 on the assist, Reverend Betha puts it down for the fellas who handcuff their hoes in fear of his girl-pulling abilities. Not only notable for Mase’s (lack of) vocal talents, it’s also the first time Mr. Combs would violate New Edition. He later went on to violate them in a whole ‘nother way, but that’s neither here nor there. This shit STILL makes me laugh today like I haven’t heard it 1,001 times already.

Of course, we eventually got to the point where dudes like Ja and Nelly sang their hearts out for the 106 & Park crowd, and Kanye was even afforded the opportunity to take a break from rap and do a full album of robotic singing. In one case, there was even an artist who was just as talented on the R&B side as she was on the hip-hop side. This trend has its ups and downs, but it’s been an entertaining novelty for the most part.  And not for nothin’, that Eric Wright album woulda been fire.

-D!

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Summer Seven Series: 1997

08/10/2009

grad

So… on June 10, 1997, I graduated completed high school and went the hell home, glad to be up outta there. My senior year was on some straight bullshit, and I was definitely given a hard way to go through that whole ride. Finally, I was out, with not a clue as to what my next move was. Meanwhile, I figured I might as well enjoy the summer… why not?

technics1200

During this time, I started DJing at parties with a dude from my old neighborhood named Troy Rock, who I always used to bug when I was younger. He was the DJ around there, and I was just a lil’ kid asking him to make tapes for me and shit like that. By ’97, I was good enough to play at parties, so I took advantage of the opportunity. I didn’t get paid much, but I was more pumped off having the chance to play in front of people and use the Technics 1200s.

But my main focus was still rappin’, and I was really ready to put a lot of time into that. I knew a couple of producers around this time, so I was trying to work with them and get things off the ground. My Plan A and Plan B at that time were both in music. I was gonna work on my own music, and get money by DJing- anything else wasn’t of my concern. I even remember a meeting at school shortly before I graduated completed, at which I told the administrators that THOSE were my plans. “Well don’t you think you should get work or go to school?” Nope, I was gonna rap and spin. Ohhh, the naivete.

surge!

In the midst of all that, I was up to my same madness. I was halfway dealin’ with a girl named Tasha (in the grad pic) by this point, but mainly on the field. I wasn’t partial to drinking yet, but I stayed smokin’ with my brother and his cast of characters. I actually liked listening to the radio, and of course I was still watching videos. I wanted to start goin’ to the 17+ clubs around this time, but I never actually went. I wasn’t much into dancing, and I didn’t fukk with Baltimore Club music too hard… so I wasn’t gonna go there and hold up the wall. Just wasn’t my thing.

I really had no idea what I was gonna do except buy more notebooks and more records. My life plan was hare-brained at best, but hell if I didn’t decide to go with it. I don’t really regret it, but I probably woulda done it differently in retrospect. At the time, I was just in my own zone- drinkin’ Surge, smokin’ weed, writin’ lyrics, and askin’ questions later.

wu triumph

The Danj! Summer Seven of 1997 (NOTE: Life After Death is exempt from this list- I ran that WHOLE thing just as much as I did these seven.):

Busta Rhymes “Put Your Hands Where My Eyes Can See”: Honestly, I thought this shit was wack the first time I heard it. The second, third, fourth…? You couldn’t tell me it wasn’t the shit. What the dealy, yo?

Puff Daddy feat. The Notorious B.I.G., Lil’ Kim, & The LOX “It’s All About The Benjamins”: Of course, everyone in the know had been rockin’ with the Puff/LOX version since the previous winter… but those extra Kim and B.I.G. verses took it from hot to classic.

Dru Hill feat. Jermaine Dupri & Da Brat “In My Bed (Remix)”: B-More’s favorite R&B group in the whole wide wide world was Dru Hill in ’97, and it was undeniable. They were battin’ .1000, and this remix only added on.

Wu-Tang Clan “Triumph”: That Wu-Tang Forever joint was a lil’ hit-and-miss for me, but they came out swingin’ with the lead single. Also, the video had me on some “wow” shit for a minute there.

Royal Flush feat. Noreaga “Iced Down Medallions”: Heard it on 88.9 late one Friday night… from there on out, prob’ly listened to it at least once a day that whole summer.

Scarface feat. 2Pac “Smile”: One of ‘Face’s best records ever, although ‘Pac pretty much owns it. And nah, that wasn’t him in the video.

Lauryn Hill “The Sweetest Thing”: …and nah, wasn’t him in this one either. But “Ms. Hill” continued building on her stardom with this one, a year before she would REALLY shut it down with the Miseducation.

IN CASE YOU MISSED ‘EM: Check out the other Summer Sevens HERE.

-D!

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Summer Seven Series: 1995

07/27/2009

Aisha

So yeah… ’95 was a great year. YOU see the picture.

That was my old girl Aisha, a situation that ended up jumping off-and-on for the next three years. It was one of those relationships where the counterparts stay at each other’s throats, but always manage to end up cool again. We met at school in ’93, when I was a freshman who was crazy into her, and she was a junior who couldn’t be less interested. After about a year-plus of like and dislike, we finally ended up together in late-’94. By summer ’95, we were way into each other and GTD-ing on the regular (whenever we weren’t arguing over THEE dumbest shit).

In other news, I was 15 and flexin’ nuts. I was at the rec for the summer again, and spending blowing my money more responsibly. I had also begun DJing by this time, although I def. wasn’t ready for prime-time yet. But in the process of stepping my game up, I made a connection with DJ Base, who at the time was on WEAA‘s Strictly Hip-Hop show. I used to listen to that shit faithfully, hoping one day I could parlay this connection into possibly getting a spot on the show. I stayed on my lil’ starter kit every day, fukkin’ up needles and bein’ the best Kid Capri I could try to be.

badboysposter

In addition to that, I was starting to venture out with my rap aspirations too. That summer, I performed on stage for the first time at a showcase held at Monique‘s Comedy Club. I also made an appearance on 92Q‘s “Battle of the Baltimore MCs” segment, which at the time was my first time rhyming on the radio (but not my last… wait for ’98). Whenever I wasn’t making (turrible) mixtapes, I was making tapes of my “songs” over my favorite instrumentals. I didn’t really have my mind on “gettin’ on” at the time; I was all about findin’ an avenue to be heard first and foremost, one way or the other.

One pattern in all of these years (that even I’ve noticed while typing these entries) is that a LOT of shit I did revolved around music. I tried to get into sports and other shit, but it was never my thing. I found more enjoyment in taping videos or buying records than I did in developing my athletic skills (or lack thereof). I wasn’t gonna make it into the 3-on-3 basketball tournament or any of that… but I sure the fukk knew what day Cuban Linx was comin’ out.

onemorechance

The Danj! Summer Seven of 1995:

Notorious B.I.G. “One More Chance” (Stay With Me Remix): Arguably runnin’ that rap shit by this point, B.I.G.’s Debarge-sampling remix puts the official stamp on it.

Jodeci feat. Raekwon & Ghostface Killa “Freek’N You” (Remix): The “bad boys of R&B” and the Cuban Linx co-d’s connect. All day like Harry Belafonte.

Bone Thugs N Harmony “1st Of Tha Month”: Cleveland‘s own BTNH rep for SSI, WIC, and all that shit with the official anthem.

Luniz “I Got 5 On It”: Messin’ with that indo weed, the Luniz fukked around and made a classic for all those who engage in the herbal practice.

Grand Puba “I Like It”: Puba continues his solo run, and the DeBarge family continues to cash them checks. The term “stinkbox” is still a lil’ disturbing, but that’s neither here nor there.

Raekwon feat. Ghostface Killah “Criminology”: Rae’s Only Built 4 Cuban Linx KILT every other album that dropped around that time (with Mobb Deep’s Infamous being a possible exception)… this being one reason why.

Mary J. Blige feat. Smif-N-Wessun “I Love You” (Remix): A favorite from MJB’s My Life album scores extra points with the addition of the Boot Camp Click‘s gun clappers.

IN CASE YOU MISSED ‘EM: check out the other Summer Sevens HERE.

-D!

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Summer Seven Series: 1994

07/20/2009

lexington market

Here in 2009, not much about me has changed over a three-year period. I’m pretty much the same dude I was in 2006. But as a teenager, shit changes every year, to the point where we become completely different people over the course of just three years. Take for instance, me in ’94. I had gone from a lil’ fat boy who wanted to someday write for a wrestling magazine in ’91, to a skinny kid who wanted to be a rapper and/or DJ.

oj-simpson-94

I was coming off of a half-ass freshman year in high school, and was in need of an attitude adjustment. I had to get my wits about myself coming into 10th grade, because I spent most of the 9th trying way too hard to impress everybody. I was that kid that you saw when you were a senior and wanted to slap the shit out of, not even realizing you were the same way. By the end of the year, I had realized where I went wrong, and was ready to restart.

In addition to that, I got my first summer job in ’94, which was at a rec center. I was in no way cut out to deal with children, and actually wanted to quit after the first day, but I settled into it within a week. I also wasn’t mad at the paycheck. The first one I got was only like $80, but that was the best $80 I ever had at that point. I remember blowing the whole thing that very weekend, on one trip downtown. I bought a Nervous Records t-shirt (???), two tapes, ate at Lexington Market, and copped a ticket to a Wu-Tang/Nas show at the Arena. Came home, had about $7 left… POW.

nervousrecords

Speaking of music, as it always had, it continued to play a big role in my life during the ’94 summer as well. Many hip-hop enthusiasts consider that year to be of epic proportions, and as a person who was there, I can say they’re absolutely right. It is an amazing feat that I was able to narrow this week’s songs down to seven, because there was a LOT of shit out that summer. I could’ve turned this into the Summer 27, because much like ’92, I prob’ly had a new favorite song every few days. It also didn’t help that I’d discovered Strictly Hip-Hop on Morgan State’s WEAA (88.9), and stayed locked in every Friday night from 12 to 5 a.m. without fail.

By the time September arrived, I was ready to roll to 10th grade, focused. I was still a gigantic hip-hop head, I was still a joker, and my lil’ 14-year-old hormones were still out of control… but I was a lot more tactful. I also had my own money (as little as it was), so I was kinda feelin’ myself. And still, there was even more change ahead…

craigflava

The Danj! Summer Seven of 1994 (I’m serious, shit was like pulling teeth)

Nas “The World Is Yours” (Q-Tip Remix): In addition to Illmatic, Nas also had some solid damn remixes for the singles. Here, Tip adds a new track and the “la-la-la” hook for another in the win column.

The Notorious B.I.G. “Juicy”: You already know…

Craig Mack “Flava In Ya Ear”: Bad Boy starts off with a bang. Quite possibly the ugliest rapper of all-time drops quite possibly the hottest single of the year.

Janet Jackson “And On And On”: Penny‘s forgotten B-side to the “Any Time, Any Place” single. I wasn’t rockin’ with much R&B during that summer, but this was a noteworthy exception that I couldn’t get enough of.

Crooklyn Dodgers “Crooklyn”: The team of Buckshot, Masta Ace, and a returning (at the time) Special Ed rep their hometown for Spike Lee‘s 70′s joint.

Mad Lion “Take It Easy”: With the dancehall reggae/hip-hop connection still going strong, Lion reps BDP with a banger.

Ahmad “Back In The Day”: My appreciation for a song about Ahmad’s good ol’ days of middle & high school… possibly the seed that later spawns this very site? Hmmm.

AND IN CASE YOU MISSED ‘EM: 1990… and 1991… and 1992… and 1993

-D!

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It’s The Posse!

06/05/2009

theposse

Oh HELL nah, this ain’t about that movie. The only thing worth writing about from that is Salli Richardson being ass-nekkid. Sorry, film buffs. Now that I’ve introduced myself and then revealed an embarrassing secret, I’ll now proceed to go in on some things that made me love the ’90s. This is about a certain kind of track that would always cause some kind of debate amongst those who heard it. They’re commonly referred to as “collabos” now, but up until about ’97-‘98, they were called “posse cuts”.

The posse cut is the one where the main artist features two or (many) more guests on the same track. The reason why a lot of these are so popular is because they’re always bound to spark a “who had the best part?” discussion. I’ve literally taken part in convos that lasted as long as a full hour about this kinda shit. Posse cuts usually consisted of spirited performances by all parties involved, because likely, they all wanted to be “the one with the best verse”. After all, even in camaraderie comes competition.

With all due respect to “The Symphony”, “Buddy”, and others from the great ‘80s- here’s a few of my personal favorites from the ‘90s:

scenariovideo

“Scenario”- A Tribe Called Quest feat. Leaders of the New School (1991): This is one that I was stuck on from the first time I heard Tribe’s Low End Theory album. It’s known today as the song that made Busta Rhymes a star, and probably led to the late-’93 breakup of the Leaders. After this joint, LONS became “Busta n’nem”. That said, “Scenario” is no one-man show. ATCQ’s Q-Tip and Phife, as well as LONS’ Charlie Brown and Dinco ALL had quotable verses. Everything about this is classic, including its video AND the equally-classic ’92 remix (featuring a new MC named Kid Hood, who was murdered days after recording his verse). For The Win: BUSTA (on both)

“Niggaz Done Started Somethin’”- DMX feat. The LOX & Mase (1997): These five were part of a new movement in late-’97/early ’98. They were all up-n-coming artists from NY whose street fanbases were cultivated through mixtapes, and were now heading toward more mainstream exposure. The LOX’s Jadakiss and Styles held it down as they were known to do at all times, while Sheek’s verse was… well, Sheek-like. But all three LOX members take the back seat here, as I gotta declare this one a dead-heat between X (who was 100% on fire back then) and Mase (who rarely gets half the props that he should- another blog, another day).

flava vid

“Flava In Ya Ear (Remix)”- Craig Mack feat. Notorious B.I.G., Rampage, LL Cool J, & Busta Rhymes (1994): This joint is so major, people tend to forget how much of a SMASH the original “Flava…” already was. From Puffy’s Warriors-inspired intro, all the way to Busta (again) closing things out strong, this song and video was a template for many all-star remixes to come. Sadly for Craig, his biggest record ever had an even bigger remix, on which he got outshined by everyone… even that totally nonsensical LL verse. The nod on this one, however, goes to BIGGIE for “gettin’ more butt than ashtrays” and letting failed rappers know that their future was with UPS.

“Head Banger”- EPMD feat. K-Solo & Redman (1992): This one represented somewhat of a turning point for everyone on the track. For one, it was Redman’s first high-profile show-stealing appearance. It was K-Solo’s last time being involved in something of particular relevance (unless you wanna count being told to suck DMX’s dick on “Get At Me Dog” a few years later). It was also EPMD’s final single before they split at the end of ’92. Over a beat that (according to Erick Sermon) was originally intended for Ice Cube, everyone did their thing, but Red walked away with it. Show me a nigga who thinks one of the other three had the best verse on there, and I’ll show you someone just tryin’ to be different for the fuck of it.

In trying to avoid droppin’ super-lengthy entries, I’ll end it here for now. But it DEF. won’t be the last of this topic, as I have some others that I’ll be biggin’ up tomorrow. Stay tuned…

You Want ‘Em? CLICK ‘Em.

A Tribe Called Quest feat. Leaders Of The New School “Scenario” (1991)

A Tribe Called Quest feat. L.O.N.S. & Kid Hood “Scenario” (Remix) (1992)

DMX feat. The LOX & Mase “Niggaz Done Started Something” (1998)

Craig Mack feat. The Notorious B.I.G., Rampage, LL Cool J, & Busta Rhymes “Flava In Ya Ear (Remix) (1994)

EPMD feat. K-Solo & Redman “Head Banger” (1992)

-D!

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