Hello,
Today's Artists was a hip hop group, originally composed of KRS-One, D-Nice, and DJ Scott La Rock. DJ Scott La Rock was murdered on August 27, 1987, five months after the release of BDP's debut album, Criminal Minded. The name of the group, Boogie Down, derives from a nickname for the South Bronx section of The Bronx, one of the five boroughs of New York City. The group pioneered the fusion of dancehall reggae and hip hop music and their debut LP Criminal Minded contained frank descriptions of life in the South Bronx during the late 1980s, thus setting the stage for what would eventually become gangsta rap. . ...... N Joy
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The membership of BDP changed continuously throughout its existence, the only constant being KRS-One. The group was founded by KRS-One and DJ Scott La Rock, with producer Lee Smith, who was essential in the production of the songs in the group's first album Criminal Minded, being added as a member shortly after. From those beginnings, BDP members and collaborators included Lee Smith, Scott La Rock, D-Nice, Henry Wilkerson PoppyDa, Kenny Parker (younger brother of KRS-One), Just-Ice, ICU, McBoo, Ms. Melodie, Heather B., Scottie Morris, Tony Rahsan, Willie D., RoboCop, Harmony, DJ Red Alert, Jay Kramer, D-Square, Rebekah Foster, Scott Whitehill, Scott King, Chris Tait and Sidney Mills. BDP as a group essentially ended because KRS-One began recording and performing under his own name rather than the group name. Original member Lee Smith, who has co-producer credit on the original 12” "South Bronx" single, was the last to be inexplicably jettisoned by KRS-One and the future new label after Scott's death.
In the liner notes on BDP's 1992 album Sex and Violence, KRS-One writes: "BDP in 1992 is KRS-One, Willie D, and Kenny Parker! BDP is not D-Nice, Jamal-ski, Harmony, Ms. Melodie, and Scottie Morris. They are not down with BDP so stop frontin'." Steve "Flash" Juon of RapReviews.com claimed that this initiated the ultimate breakup of the group. See Also: KRS-One, Scott La Rock, and D-Nice
A conflict arose in the late 1980s concerning the origins of Hip Hop, and BDP made conscious efforts in its early work to establish its interpretation of the issue. The origins of Hip Hop to many, including BDP, are believed to be from the Bronx. A rival hip-hop collective, known as the Juice Crew's lyrics, were misunderstood to contain a claim in the song "The Bridge" that hip hop was directly a result of artists originating from Queensbridge. Boogie Down and KRS retorted angrily with songs such as “The Bridge is Over” and “South Bronx,” which started one of the first notable Hip Hop wars as MC Shan, Marley Marl, Roxanne Shanté and Blaq Poet all released songs featuring verses personally attacking KRS and Scott La Rock. The Bridge Wars, however, were only short-lived, and after the death of Scott La Rock prior to the group's second album, KRS began to concentrate on socially conscious music.
While Criminal Minded contained vivid descriptions of South Bronx street life, BDP changed after Scott's death. Producer Lee Smith was dropped and KRS-One adopted the Teacha moniker and made a deliberate attempt at creating politically and socially conscious Hip-Hop. BDP was influential in provoking political and social consciousness in Hip-Hop. However, the group was sometimes overshadowed by the political Hip Hop group Public Enemy.
From its start, BDP was impactful in both the development of hip-hop and giving a sincere voice to the reality of life in the South Bronx, a section of New York City that is clouded with poverty and crime. With its debut album Criminal Minded, this early hip-hop group combined the sounds of LaRock's harsh, spare, reggae-influenced beats and KRS-One's long-winded rhyme style on underground classics such as “9mm Goes Bang” and “South Bronx,” the album's gritty portrait of life on the streets (as well as the firearms that adorned its cover) influenced the gangsta rap movement that began in earnest two years later.
The influence of BDP in the creation and development of gangsta rap highlights the cultural significance and impact of the type of music BDP and other early hip-hop artists like it created. This subgenre of hip-hop is most closely associated with hard-core hip-hop and is widely misinterpreted as promoting violence and gang activity. This misinterpretation or stigma is closely related to Boogie Down Productions and the general purpose behind their underlying themes of violence. For instance, the cover art of Criminal Minded displays the two artists in this group brandishing drawn guns and displaying other firearms. This is not an encouragement of the violence described in BDP's music, but rather a portrayal or hinting at the violence present in the South Bronx as a means of expression, escape, and even condemnation. This album art is not meant to advocate for violence but to challenge the conception of a criminal, to assert that those who are really criminally minded are those who hold power.[citation needed] This conflicts with the general stigma surrounding gangsta rap, which thrives off of displaying messages of violence in such a way that it doesn’t challenge these social ills, but rather supports them through the culture of the music.
The music of BDP became significantly more politically astute after the death of disc jockey Scott La Rock, KRS-One's mentor and partner. La Rock's death symbolized all of the injustices that BDP reacted to and lyrically described in their music, and thus inspired KRS-One, now the only original member left in the group, to become more passionate about the relevance of the message of BDP's music. He went on to publish four more albums under the title of Boogie Down Productions, and each one was increasingly innovative and expanded from the thuggish imagery of Criminal Minded and began to explore themes like black-on-black crime, and black radicalism, using a riff on the words of Malcolm X, “by any means necessary”, which became the title of the second BDP album, and still remains as one of the most political hip-hop albums to date. It was in this album where KRS defined himself as the “teacha” or “teacher” symbolizing his emphasis on educating his audience members and fans about relevant social issues surrounding the African-American experience.
During his time in association with Boogie Down Productions, KRS-One joined with other rappers to create the Stop the Violence Movement, which addressed many of the issues brought about through BDP's music and is the most conscious effort displayed by KRS-One and Boogie Down Productions of political Activism and engagement. The movement created the single “Self-Destruction” in 1989 through the collaboration of hip-hop artists Boogie Down Productions (KRS-One, D-Nice & Ms. Melodie), Stetsasonic (Delite, Daddy-O, Wise, and Frukwan), Kool Moe Dee, MC Lyte, Doug E. Fresh, Just-Ice, Heavy D, Biz Markie, Public Enemy (Chuck D & Flavor Flav) with the aim of spreading awareness about violence throughout African-American and hip-hop communities. All proceeds from this effort went to the National Urban League.
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The final album released under the Boogie Down Productions name, Sex and Violence is a partial return to form after the overly preachy ego trip of Edutainment. Specifically, it's a return to the aggressive beats of KRS-One's earlier work, except with a more contemporary sound -- this is the first BDP album to rely on multiple outside producers, which supplies a much-needed sonic update. As a result, some BDP fans feel that Sex and Violence is an underrated effort -- it packs more of a punch, and KRS-One is refocusing on the art of MCing, not to mention his dancehall reggae influence. That said, it isn't a complete success, since his usual consistency of vision isn't quite there. There are a number of good moments: the single "Duck Down," "Like a Throttle" (which fears that Islamic spirituality has become nothing but a hip-hop fad), and "Poisonous Products." But elsewhere, some of his observations are more provocative than immediately insightful. He urges the "Drug Dealer" to invest his profits in the black community, and on "Build and Destroy" he brands high-ranking black officials like Clarence Thomas and Colin Powell nothing short of devils for their assimilation. Plus, "13 and Good" and "Say Gal" both have a discomforting undercurrent of misogyny unbecoming a teacher. There's enough vitality on Sex and Violence to make it worthwhile for fans, but overall it doesn't rank with the best of KRS-One's work.
Boogie Down Productions - Sex and Violence (flac 411mb)
01 The Original Way 5:25
02 Duck Down 3:46
03 Drug Dealer 4:44
04 Like A Throttle 4:16
05 Build And Destroy 4:47
06 Ruff Ruff 5:21
07 13 And Good 4:26
08 Poisonous Products 4:11
09 Questions And Answers 4:28
10 Say Gal 4:13
11 We In There 3:30
12 Sex And Violence 4:03
13 How Not To Get Jerked 4:19
14 Who Are The Pimps? 3:00
15 The Real Holy Place 4:31
+
16 Duck Down (Instrumental) 3:44
17 We In There (Instrumental) 3:14
18 Essays On BDP-ism (Feat Scott LaRock) 5:02
xxxxx xxxxx xxxxx xxxxx xxxxx
The reputation of Boogie Down Productions leader KRS-One began to slip in the early '90s as he spent more time educating than performing. He hit back at his critics with the slamming Return of the Boom Bap, his first official solo release. Leaving behind the detailed production of the last BDP album, Sex and Violence, Boom Bap returns the MC to the spare, gritty territory of Criminal Minded. KRS-One sounds reinvigorated, as well, spitting out his rhymes with fury and intelligence. Although the record isn't as didactic as Edutainment or Sex and Violence, KRS-One hasn't made his lyrics simplistic, nor has he abandoned his cutting, intelligent social commentary. The combination of hard, basic beats and exciting rhymes makes Return of the Boom Bap a genuine comeback for KRS-One, one of the founding figures of modern hip-hop.
KRS-ONE - Return of the Boom Bap (flac 310mb)
01 KRS-One Attacks 2:50
02 Outta Here 4:28
03 Black Cop 2:59
04 Mortal Thought 3:19
05 I Can't Wake Up 3:34
06 Slap Them Up 3:58
07 Sound Of Da Police 4:18
08 Mad Crew 4:24
09 Uh Oh 4:05
10 Brown Skin Woman 4:38
11 Return Of The Boom Bap 3:46
12 "P" Is Still Free 4:56
13 Stop Frontin' 3:19
14 Higher Level 5:13
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For his second solo album, KRS-One worked with a variety of younger hip-hop talents, perhaps in an attempt to resuscitate his street credibility and his commercial standing. Featuring appearances by Das EFX, Mad Lion, Fat Joe, and Channel Live, KRS-One is loaded with fresh talent of the first rank and they help spark the Teacher into giving an inspired performance. The album also showcases a bit fuller production than Return of the Boom Bap, but that doesn't mean he has sold it out -- it just means he's continuing to experiment, which is one of the reasons KRS-One remained a vital artist nearly a decade after his first record.
KRS One - KRS One (flac 390mb)
01 Rappaz R. N. Dainja 5:58
02 De Automatic 4:25
03 MC's Act Like They Don't Know 4:55
04 Ah-Yeah 3:50
05 R.E.A.L.I.T.Y. 4:17
06 Free Mumia 4:08
07 Hold 5:55
08 Wannabemceez 4:21
09 Represent The Real Hip Hop 4:38
10 The Truth 3:46
11 Build Ya Skillz 4:41
12 Out For Fame 4:51
13 Squash All Beef 5:04
14 Health, Wealth, Self 5:00
xxxxx xxxxx xxxxx xxxxx xxxxx
Today's Artists was a hip hop group, originally composed of KRS-One, D-Nice, and DJ Scott La Rock. DJ Scott La Rock was murdered on August 27, 1987, five months after the release of BDP's debut album, Criminal Minded. The name of the group, Boogie Down, derives from a nickname for the South Bronx section of The Bronx, one of the five boroughs of New York City. The group pioneered the fusion of dancehall reggae and hip hop music and their debut LP Criminal Minded contained frank descriptions of life in the South Bronx during the late 1980s, thus setting the stage for what would eventually become gangsta rap. . ...... N Joy
xxxxx xxxxx xxxxx xxxxx xxxxx
The membership of BDP changed continuously throughout its existence, the only constant being KRS-One. The group was founded by KRS-One and DJ Scott La Rock, with producer Lee Smith, who was essential in the production of the songs in the group's first album Criminal Minded, being added as a member shortly after. From those beginnings, BDP members and collaborators included Lee Smith, Scott La Rock, D-Nice, Henry Wilkerson PoppyDa, Kenny Parker (younger brother of KRS-One), Just-Ice, ICU, McBoo, Ms. Melodie, Heather B., Scottie Morris, Tony Rahsan, Willie D., RoboCop, Harmony, DJ Red Alert, Jay Kramer, D-Square, Rebekah Foster, Scott Whitehill, Scott King, Chris Tait and Sidney Mills. BDP as a group essentially ended because KRS-One began recording and performing under his own name rather than the group name. Original member Lee Smith, who has co-producer credit on the original 12” "South Bronx" single, was the last to be inexplicably jettisoned by KRS-One and the future new label after Scott's death.
In the liner notes on BDP's 1992 album Sex and Violence, KRS-One writes: "BDP in 1992 is KRS-One, Willie D, and Kenny Parker! BDP is not D-Nice, Jamal-ski, Harmony, Ms. Melodie, and Scottie Morris. They are not down with BDP so stop frontin'." Steve "Flash" Juon of RapReviews.com claimed that this initiated the ultimate breakup of the group. See Also: KRS-One, Scott La Rock, and D-Nice
A conflict arose in the late 1980s concerning the origins of Hip Hop, and BDP made conscious efforts in its early work to establish its interpretation of the issue. The origins of Hip Hop to many, including BDP, are believed to be from the Bronx. A rival hip-hop collective, known as the Juice Crew's lyrics, were misunderstood to contain a claim in the song "The Bridge" that hip hop was directly a result of artists originating from Queensbridge. Boogie Down and KRS retorted angrily with songs such as “The Bridge is Over” and “South Bronx,” which started one of the first notable Hip Hop wars as MC Shan, Marley Marl, Roxanne Shanté and Blaq Poet all released songs featuring verses personally attacking KRS and Scott La Rock. The Bridge Wars, however, were only short-lived, and after the death of Scott La Rock prior to the group's second album, KRS began to concentrate on socially conscious music.
While Criminal Minded contained vivid descriptions of South Bronx street life, BDP changed after Scott's death. Producer Lee Smith was dropped and KRS-One adopted the Teacha moniker and made a deliberate attempt at creating politically and socially conscious Hip-Hop. BDP was influential in provoking political and social consciousness in Hip-Hop. However, the group was sometimes overshadowed by the political Hip Hop group Public Enemy.
From its start, BDP was impactful in both the development of hip-hop and giving a sincere voice to the reality of life in the South Bronx, a section of New York City that is clouded with poverty and crime. With its debut album Criminal Minded, this early hip-hop group combined the sounds of LaRock's harsh, spare, reggae-influenced beats and KRS-One's long-winded rhyme style on underground classics such as “9mm Goes Bang” and “South Bronx,” the album's gritty portrait of life on the streets (as well as the firearms that adorned its cover) influenced the gangsta rap movement that began in earnest two years later.
The influence of BDP in the creation and development of gangsta rap highlights the cultural significance and impact of the type of music BDP and other early hip-hop artists like it created. This subgenre of hip-hop is most closely associated with hard-core hip-hop and is widely misinterpreted as promoting violence and gang activity. This misinterpretation or stigma is closely related to Boogie Down Productions and the general purpose behind their underlying themes of violence. For instance, the cover art of Criminal Minded displays the two artists in this group brandishing drawn guns and displaying other firearms. This is not an encouragement of the violence described in BDP's music, but rather a portrayal or hinting at the violence present in the South Bronx as a means of expression, escape, and even condemnation. This album art is not meant to advocate for violence but to challenge the conception of a criminal, to assert that those who are really criminally minded are those who hold power.[citation needed] This conflicts with the general stigma surrounding gangsta rap, which thrives off of displaying messages of violence in such a way that it doesn’t challenge these social ills, but rather supports them through the culture of the music.
The music of BDP became significantly more politically astute after the death of disc jockey Scott La Rock, KRS-One's mentor and partner. La Rock's death symbolized all of the injustices that BDP reacted to and lyrically described in their music, and thus inspired KRS-One, now the only original member left in the group, to become more passionate about the relevance of the message of BDP's music. He went on to publish four more albums under the title of Boogie Down Productions, and each one was increasingly innovative and expanded from the thuggish imagery of Criminal Minded and began to explore themes like black-on-black crime, and black radicalism, using a riff on the words of Malcolm X, “by any means necessary”, which became the title of the second BDP album, and still remains as one of the most political hip-hop albums to date. It was in this album where KRS defined himself as the “teacha” or “teacher” symbolizing his emphasis on educating his audience members and fans about relevant social issues surrounding the African-American experience.
During his time in association with Boogie Down Productions, KRS-One joined with other rappers to create the Stop the Violence Movement, which addressed many of the issues brought about through BDP's music and is the most conscious effort displayed by KRS-One and Boogie Down Productions of political Activism and engagement. The movement created the single “Self-Destruction” in 1989 through the collaboration of hip-hop artists Boogie Down Productions (KRS-One, D-Nice & Ms. Melodie), Stetsasonic (Delite, Daddy-O, Wise, and Frukwan), Kool Moe Dee, MC Lyte, Doug E. Fresh, Just-Ice, Heavy D, Biz Markie, Public Enemy (Chuck D & Flavor Flav) with the aim of spreading awareness about violence throughout African-American and hip-hop communities. All proceeds from this effort went to the National Urban League.
xxxxx xxxxx xxxxx xxxxx xxxxx
The final album released under the Boogie Down Productions name, Sex and Violence is a partial return to form after the overly preachy ego trip of Edutainment. Specifically, it's a return to the aggressive beats of KRS-One's earlier work, except with a more contemporary sound -- this is the first BDP album to rely on multiple outside producers, which supplies a much-needed sonic update. As a result, some BDP fans feel that Sex and Violence is an underrated effort -- it packs more of a punch, and KRS-One is refocusing on the art of MCing, not to mention his dancehall reggae influence. That said, it isn't a complete success, since his usual consistency of vision isn't quite there. There are a number of good moments: the single "Duck Down," "Like a Throttle" (which fears that Islamic spirituality has become nothing but a hip-hop fad), and "Poisonous Products." But elsewhere, some of his observations are more provocative than immediately insightful. He urges the "Drug Dealer" to invest his profits in the black community, and on "Build and Destroy" he brands high-ranking black officials like Clarence Thomas and Colin Powell nothing short of devils for their assimilation. Plus, "13 and Good" and "Say Gal" both have a discomforting undercurrent of misogyny unbecoming a teacher. There's enough vitality on Sex and Violence to make it worthwhile for fans, but overall it doesn't rank with the best of KRS-One's work.
Boogie Down Productions - Sex and Violence (flac 411mb)
01 The Original Way 5:25
02 Duck Down 3:46
03 Drug Dealer 4:44
04 Like A Throttle 4:16
05 Build And Destroy 4:47
06 Ruff Ruff 5:21
07 13 And Good 4:26
08 Poisonous Products 4:11
09 Questions And Answers 4:28
10 Say Gal 4:13
11 We In There 3:30
12 Sex And Violence 4:03
13 How Not To Get Jerked 4:19
14 Who Are The Pimps? 3:00
15 The Real Holy Place 4:31
+
16 Duck Down (Instrumental) 3:44
17 We In There (Instrumental) 3:14
18 Essays On BDP-ism (Feat Scott LaRock) 5:02
xxxxx xxxxx xxxxx xxxxx xxxxx
The reputation of Boogie Down Productions leader KRS-One began to slip in the early '90s as he spent more time educating than performing. He hit back at his critics with the slamming Return of the Boom Bap, his first official solo release. Leaving behind the detailed production of the last BDP album, Sex and Violence, Boom Bap returns the MC to the spare, gritty territory of Criminal Minded. KRS-One sounds reinvigorated, as well, spitting out his rhymes with fury and intelligence. Although the record isn't as didactic as Edutainment or Sex and Violence, KRS-One hasn't made his lyrics simplistic, nor has he abandoned his cutting, intelligent social commentary. The combination of hard, basic beats and exciting rhymes makes Return of the Boom Bap a genuine comeback for KRS-One, one of the founding figures of modern hip-hop.
KRS-ONE - Return of the Boom Bap (flac 310mb)
01 KRS-One Attacks 2:50
02 Outta Here 4:28
03 Black Cop 2:59
04 Mortal Thought 3:19
05 I Can't Wake Up 3:34
06 Slap Them Up 3:58
07 Sound Of Da Police 4:18
08 Mad Crew 4:24
09 Uh Oh 4:05
10 Brown Skin Woman 4:38
11 Return Of The Boom Bap 3:46
12 "P" Is Still Free 4:56
13 Stop Frontin' 3:19
14 Higher Level 5:13
xxxxx xxxxx xxxxx xxxxx xxxxx
For his second solo album, KRS-One worked with a variety of younger hip-hop talents, perhaps in an attempt to resuscitate his street credibility and his commercial standing. Featuring appearances by Das EFX, Mad Lion, Fat Joe, and Channel Live, KRS-One is loaded with fresh talent of the first rank and they help spark the Teacher into giving an inspired performance. The album also showcases a bit fuller production than Return of the Boom Bap, but that doesn't mean he has sold it out -- it just means he's continuing to experiment, which is one of the reasons KRS-One remained a vital artist nearly a decade after his first record.
KRS One - KRS One (flac 390mb)
01 Rappaz R. N. Dainja 5:58
02 De Automatic 4:25
03 MC's Act Like They Don't Know 4:55
04 Ah-Yeah 3:50
05 R.E.A.L.I.T.Y. 4:17
06 Free Mumia 4:08
07 Hold 5:55
08 Wannabemceez 4:21
09 Represent The Real Hip Hop 4:38
10 The Truth 3:46
11 Build Ya Skillz 4:41
12 Out For Fame 4:51
13 Squash All Beef 5:04
14 Health, Wealth, Self 5:00
xxxxx xxxxx xxxxx xxxxx xxxxx
1 comment:
hey Rho
the tracks on the returne of the boom bap doesnt mutch
thank you for sharing again and again
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