Tag Archive for: hip hop

Pre-Order CunninLynguists – Strange Journey Volume One

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I have some great news for fans who love great music. One of the best (if not THE best) hip hop groups has a new release dropping soon. You can now pre-order Strange Journey Volume One by CunninLynguists now. From the QN5 Blog:

We are now taking pre-orders for CunninLyngists’ Strange Journey Volume One.

Featuring guest appearances from Killer Mike, Khujo (of Goodie Mob), Skinny Deville & Fishscales (of Nappy Roots), Slug (of Atmosphere), Tonedeff, Substantial, PackFM, Mac Lethal, Mr. SOS, Looptroop Rockers, Hilltop Hoods and more! Once again, all production duties are handled beautifully by the incomparable Kno.

Respectively entitled Strange Journey – Volume One and Strange Journey – Volume Two, both full-length discs will be interconnected efforts dropped within months of each other and built around the concept of touring and travel. Both releases feature completely original, new material.

Strange Journey Volume Two will be released 09.08.09 and features appearances by Sean Price, Poison Pen, J-Zone, Blue Sky Black Death, Bronze Nazareth and more!

Pre-Order Volume One now and receive your ADVANCED autographed copy with bonus sticker and instrumentals a full 4-6 weeks before it’s available in stores!

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Hip Hop History, Part II – The Beginning of a Dynasty

In my last post you learned a little about the beginnings of hip hop music as a business. While the song Rapper’s Delight might have sold two million copies world wide, the industry still saw hip hop as a fad that wouldn’t last. Rapper’s Delight could not be replicated. Many people felt differently. One of them became one of the most successful people in hip hop. That man was Russell Simmons.

Russell Simmons was brought up in Hollis, Queens. His father, Daniel, was supervisor of attendance in Queens School District 29. Russell Simmons studied sociology at the Harlem branch of City College. It was there that he teamed up with fellow student Curtis Walker to throw parties in Harlem and Queens at which the first generation of rappers competed. He went on to manage Walker, who as Kurtis Blow became the first big solo rap star in 1979. Simmons worked with Blow in the completion of “Christmas Rappin.’” He also managed other successful acts such as Run-D.M.C., Will Smith, as DJ Jazzy Jeff and the Fresh Prince, as well as legendaries DJ Hollywood and DJ Kool Herc.

“Christmas Rappin’” was Simmons’ first time of his illustrious career, that he entered the studio. When the song was completed, Simmons began shopping it around to various labels for release. As Simmons said in Life and Def: Sex, Drugs, Money + God, “There was interest, but no one was biting. The industry’s attitude was that “Rapper’s Delight,” despite its US sales and international appeal, was an unrepeatable fluke. 1

While it was a fluke for the artists that recorded the song, the genre was by no means a fluke. “Christmas Rappin’” gained moderate success on radio. In places around the South, the single was still being played in late July. Simmons, who needed distribution for the record, approached PolyGram to distribute it. PolyGram wasn’t interested in investing in a hip hop record, but Simmons decided to show them the power of hip hop. He decided to go around to the various stores that expressed interest in the record and told them to order the record from PolyGram. When PolyGram started receiving orders from stores, they saw this as an immediate opportunity to cash in on hip hop. Kurtis Blow signed a record deal with Mercury Records, a label under the PolyGram umbrella. This marked the first time a hip hop act was signed to a major label. 2

Sugar Hill Records did find some more success on their roster. The legendary Grandmaster Flash and the Furious Five signed to Sugar Hill Records and made its mark in hip hop in 1980. The group released the record “Freedom” which hit the top 20 on the R&B charts. 1981’s “The Adventures of Grandmaster Flash on the Wheels of Steel” was the first record to feature complex cuts and scratches, and introduced the name Grandmaster Flash as their originator. But it was 1982’s “The Message” which became the first hip-hop social commentary on ghetto life, and which became a critical crossover hit for Grandmaster Flash and the Furious Five. 3 Meanwhile, Simmons was out on tour with Blow promoting the “Christmas Rappin’” single. Though Blow had two Gold singles (sales of five-hundred thousand each), hip hop was still far from the minds of the major labels in the industry. They still didn’t see it as a marketable form of music. Simmons thought differently and would soon form a partnership that would change the fate of the entire music industry.

In 1984 two very different people with very different backgrounds met and would come to create one of the most successful musical ventures in the industry’s history. Not only was it that successful, but it was successful with a music the major labels didn’t see as becoming successful. The first guy was Rick Rubin, a former punk musician who loved the rebelliousness of this new form of music. The other was Russell Simmons, the concert promoter in New York who was booking the hottest MCs and DJs of the time at small venues, parties, and other small gatherings. These two met when Simmons saw a little logo on an album by T. La Rock & Jazzy J. This logo read “Def Jam.” The record was nothing like Simmons had ever heard. He immediately began searching for the producer of this record. He tracked Rubin down and found out he attended New York University. It was in a NYU dorm room that he met Rick Rubin and formed a partnership that would change music history.

Stay tuned for the next segment in my series on hip hop history, Building the Empire.

  1. The Men Behind Def Jam p 53 ↵
  2. Ibid ↵
  3. Grandmaster Flash: Biography ↵
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1979 – The Beginning of an Industry

The year was 1979. The place was New York. The event was the beginning of a multi-billion dollar industry that has spanned three decades and has spread throughout the world. What am I talking about? Hip Hop.

Hip Hop music has always been a passion of mine and I’ve been interested in the history just as much as I have the music. If you can also appreciate a piece of history, then I invite you to read the first in my series of posts about Hip Hop and how it became a world-wide industry.

Hip Hop music existed before 1979. There are debating theories on when the music and the culture first started. Recently, there has even been arguments on where it originated. 1. If New York wasn’t the birthplace of the music, it was definitely the foster home where it grew up. It started out as two turntables mixing records together with a Master of Ceremonies introducing each track. It evolved into a DJ show with disc jockeys scratching and mixing the records while the MC (now Mic Controller instead of Master of Ceremonies) spoke words over the instrumentals. Then, you finally had “rap,” where artists would speak in rhythm over the music.

These DJs and MCs would play on the streets and parks of their neighborhoods, such as the Bronx, Queensbridge, and other New York boroughs. They would eventually make it into local clubs, but many of the larger venues were hesitant to book hip hop acts because of the potential loss of revenue and because the rebellious nature of the music. Hip hop music was still not a form of music that would be considered as a money-producing genre by major record labels and music critics. They thought it was “too edgy and nothing more than a fad.” 2 The main reason was because hip hop lacked a song that could propel it to the mainstream.

Until 1979 the sole documentation of Bronx hip hop was cassette tapes either clandestine tapes made by would-be bootleggers at parties and clubs, or tapes made by groups themselves and given out to friends, to cab drivers or to kids with giant tapes boxes…3

The DJ was one of the most important characters in the hip hop arena in the 1980’s.  Innovators such as Afrika Bambaataa, Kool Herc, and Grandmaster Flash turned the “wheels of steel” into a bona fide instrument.  Grandmaster Flash popularized the scratching that Grand Wizard Theodore invented.4  Flash was a showman who not only mixed the records, but enjoyed putting on a show for the audience.  He could spin with his back to the turntables, as well as using his feet to mix the records.  He also is credited for some major innovations with the turntable.  “Punch phrasing,” playing a quick burst from a record on one turntable while it continues on the other, and “break spinning,” alternately spinning both records backward to repeat the same phrase over and over, are credited to Flash.5 

Because of his showmanship, Flash played to sold out shows, at places like 116th Street’s Harlem World Disco, as his legend grew and people from all over came to see him.  Nelson George, writer of Hip Hop America, reminisces about one of the first times he was introduced to hip hop.  He remembers hearing a song on a passerby’s boombox.  “Yo, yo!” He asked, “Who’s that?”  “Hollywood” he said over his shoulder.  George started doing a little investigation after that and found that “homemade tapes like his were floating around the five boroughs, forming an underground musical economy way before the music found its way onto vinyl.6 While hip hop was popular in New York, it wasn’t mainstream. It was something the cool people listened to. It was a fad. At least that’s what the record labels thought. They didn’t think it would ever make money.

This all changed in 1979 when an unknown hip hop group called The Sugarhill Gang recorded “Rapper’s Delight” that was released on Sugar Hill Records, an independent, black-owned, label that was one of the first companies to make hip hop a product to buy.  The song became a huge success as a single and eventually sold over two millions copies, peaking at number four on the Billboard R&B charts and number thirty-six on the pop charts.7  This was really the first time hip hop left the New York area and hit the entire world.  None of the artists and DJ’s that were making the music ever thought about making a living because of it.  They did it because it was fun, they did it out of boredom, and they did it out as a form of expression. At the same time that “Rapper’s Delight” was blowing up the charts worldwide, someone who could become the most influential person in hip hop music was getting started.

Join me next time to find out who that person was.

  1. Scotsman ↵
  2. Russell Simmons Unplugged ↵
  3. Rap Attack African Jive to New York Hip Hop pg 78 ↵
  4. Hip Hop America pg 17 ↵
  5. Hip Hop America pg 19 ↵
  6. Hip Hop America pg 24 ↵
  7. The Vibe History of Hip Hop pg 13 ↵

I Don’t Listen to Rap

I don’t listen to rap. I used to. In the ’90’s I listened to Tupac, Snoop, Tha Dogg Pound, etc. That time has come and gone. I still will listen to rap from the 1990’s. It was a good era, in my opinion. Today’s rap sucks. It’s the commercialized bubble-gum, carbon-copy crap on every station. I am an elitist. I’m not afraid to admit it. Yes, I think everything I listen to is better than what you listen to. If you listen to something I do, then I’m still more hip than you because I listened to it sooner. Yeah, I know. I just can’t help myself. I love to recommend good music and show off my superior musical taste.

In conversations when asked what I listen to I always answer, “Underground hip hop.” I have to make sure to set myself apart from the heard of crappy rap listeners. I don’t listen to underground just to be different. Not at all. I’ll be the first to say I think an underground artist sucks (sorry Immortal Technique). If the artist doesn’t have good lyrics, flow, and production, then I’m not going to be a fan. Just because you’re underground doesn’t mean I’ll automatically like you. These people are just the same as people who follow the mainstream rappers blindly. Then I came across this post in the QN5 forums that sums up these thoughts perfectly. It was written by Kno of CunninLynguists:

Stereotypical “Underground heads” generally don’t take to QN5 well.

Many of them listen to “underground rap” simply because its the antithesis of whats on the radio and they have some friends that are into it so they aren’t completely alone.

So…whats the opposite of super clean, crisp beats with rappers with little to no substance but great flow and charisma rapping about rims?

Super muddy, overly-wordy, poorly delivered raps about science over crusty boom-bap…so thats what they go for, regardless if its dope or not. Many “underground heads” are just as much sheep as your average pop radio listener, truth be told…and your average underground rapper is just as much of a gimmick as their mainstream counterparts. If you’re biggest selling point is “you ain’t like that mainstream shit” you need to stop rapping immediately.

QN5 is crusty BUT clean, substance-filled BUT not TOO over-your-head, charismatic but not ALL swagger. Complicated lyrics but…pop-worthy hooks? It makes your average “followers” head explode, honestly.

QN5 appeals to people with their own personal tastes who simply like good rap music, period. Not many of those left.

This is the music I’m gravitating to more and more. QN5 is a high quality label that puts out amazing music, and to be honest, they’ve turned me on, directly or indirectly, to other music, most not even hip hop. Other underground artists were/are like that too: Jurassic 5, Binary Star, etc.

I’m not totally turned-off by mainstream rap. Kanye has some really good songs that convey the same things as my underground favs. The thing is, I’ve noticed that some of my past underground favs I’m no longer enjoying. I guess my musical taste is changing with age. I used to be a huge fan of Tech N9ne. I still think he can make good music and will still buy his music, but I don’t feel the excitement I used to feel with his music. I don’t know. Why can’t the world be more like QN5 and their passionate artists?

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I’m a Rapper

I’m a rapper. Ok, not really. But I should be. It seems everyone is a rapper these days. I was watching a video of CunninLynguists that aired on television in Sweden. They are on tour in Europe right now and the interviewers asked what the difference between fans in Sweden and fans in the United States. Kno responded that the fans in Sweden are just that, fans. In the US everyone is a rapper. This is so true. Everyone is trying to make it big as a rapper these days, and who could blame them? With the music industry the way it is, they’ll accept anything and put it on the radio as long as it has a good beat. Lyrical content doesn’t mean anything. How else do you explain Solja Boy and Lil John. At least with other forms of music, there has to be some additional talent involved, usually involving singing or bands. With rap, you just need to find some beats or some samples and start rapping crappy rhymes. I found a site tonight that had some of the worst music I’ve ever heard. (Link Removed) Just because you have equipment to record your “music” doesn’t mean you should. People need to stop thinking that they have talent and they are going to be the next big thing and start being fans again. Maybe that’s what will save the music industry. Start focusing on talent and stop mass producing crap and raise the bar for future artists. Of course, this will never happen. They are always looking for a quick buck so they will waste money on a one-hit wonder just to get their royalties, meanwhile, great artists, like CunninLynguists, suffer because the industry is settled on a standard of mediocrity.