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.[7] All proceeds from this effort went to the National Urban League.
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Criminal Minded is widely considered the foundation of hardcore rap, announcing its intentions with a cover photo of KRS-One and Scott La Rock (on his only album with Boogie Down Productions) posing with weapons -- an unheard-of gesture in 1987. BDP weren't the first to rap about inner-city violence and drugs, and there's no explicit mention of gangs on Criminal Minded, but it greatly expanded the range of subject matter that could be put on a rap record, and its grittiest moments are still unsettling today. Actually, that part of its reputation rests on just a handful of songs. Overall, the record made its impact through sheer force -- not only KRS-One's unvarnished depictions of his harsh urban environment, but also his booming delivery and La Rock's lean, hard backing tracks (which sound a little skeletal today, but were excellent for the time). It's important to note that KRS-One hadn't yet adopted his role as the Teacher, and while there are a few hints of an emerging social consciousness, Criminal Minded doesn't try to deliver messages, make judgments, or offer solutions. That's clear on "South Bronx" and "The Bridge Is Over," two of the most cutting -- even threatening -- dis records of the '80s, which were products of a beef with Queens-based MC Shan. They set the tone for the album, which reaches its apex on the influential, oft-sampled "9mm Goes Bang." It's startlingly violent, even if KRS-One's gunplay is all in self-defense, and it's made all the more unsettling by his singsong ragga delivery. Another seminal hardcore moment is "Remix for P Is Free," which details an encounter with a crack whore for perhaps the first time on record. Elsewhere, there are a few showcases for KRS-One's pure rhyming skill, most notably "Poetry" and the title track. Overall it's very consistent, so even if the meat of Criminal Minded is the material that lives up to the title, the raw talent on display is what cements the album's status as an all-time classic.
Boogie Down Productions - Criminal Minded (flac 389mb)
01 Poetry 5:03
02 South Bronx 5:11
03 9mm Goes Bang 4:20
04 Word From Our Sponsor 3:55
05 Elementary 4:07
06 Dope Beat 5:16
07 Remix For P Is Free 4:21
08 The Bridge Is Over 3:27
09 Super Hoe 5:31
10 Criminal Minded 5:20
11 Poetry (Instrumental) 2:14
12 South Bronx (Instrumental) 2:16
13 9mm Goes Bang (Instrumental) 2:15
14 Word From Out Sponsor (Instrumental) 2:15
15 Elementary (Instrumental) 2:14
16 Dope Beat (Instrumental) 2:14
17 Remix For P Is Free (Instrumental) 2:15
18 The Bridge Is Over (Instrumental) 2:15
19 Super Hoe (Instrumental) 2:13
20 Criminal Minded (Instrumental) 2:23
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The murder of DJ Scott La Rock had a profound effect on KRS-One, resulting in a drastic rethinking of his on-record persona. He re-emerged the following year with By All Means Necessary, calling himself the Teacher and rapping mostly about issues facing the black community. His reality rhymes were no longer morally ambiguous, and this time when he posed on the cover with a gun, he was mimicking a photo of Malcolm X. As a social commentator, this is arguably KRS-One's finest moment. His observations are sharp, lucid, and confident, yet he doesn't fall prey to the preachiness that would mar some of his later work, and he isn't afraid to be playful or personal. The latter is especially true on the subject of La Rock, whose memory hangs over By All Means Necessary -- not just in the frequent name-checks, but in the minimalist production and hard-hitting 808 drum beats that were his stock-in-trade on Criminal Minded. La Rock figures heavily in the album opener, "My Philosophy," which explains BDP's transition and serves as a manifesto for socially conscious hip-hop. The high point is the impassioned "Stop the Violence," a plea for peace on the hip-hop scene that still hasn't been heeded. Even as KRS-One denounces black-on-black crime, he refuses to allow the community to be stereotyped, criticizing the system that scoffs at that violence on the spoken recitation "Necessary." "Illegal Business" is a startlingly perceptive look at how the drug trade corrupts the police and government, appearing not long before the CIA's drug-running activities in the Iran-Contra Affair came to light. There are also some lighter moments in the battle-rhyme tracks, and a witty safe-sex rap in "Jimmy," a close cousin to the Jungle Brothers' "Jimbrowski." Lyrics from this album have been sampled by everyone from Prince Paul to N.W.A, and it ranks not only as KRS-One's most cohesive, fully realized statement, but a landmark of political rap that's unfairly lost in the shadow of Public Enemy's It Takes a Nation of Millions.
Boogie Down Productions - By Al Means Necessary (flac 240mb)
01 My Philosophy 5:36
02 Ya Slippin' 4:32
03 Stop The Violence 4:37
04 Illegal Business 5:17
05 Nervous 4:10
06 I'm Still #1 5:09
07 Part Time Suckers 5:28
08 Jimmy 4:11
09 T'cha-T'cha 4:30
10 Necessary 2:57
xxxxx xxxxx xxxxx xxxxx xxxxx
The second Boogie Down Productions album devoted mostly to consciousness raising, Ghetto Music: The Blueprint of Hip Hop finds KRS-One evolving into a fierce advocate for both his community and his chosen art form. He's particularly concerned about the direction of the latter: he's wary of hip-hop being co-opted by the pop mainstream, and the album's title comes from his conviction that real hip-hop is built on the vitality and rebelliousness of the streets. Accordingly, Ghetto Music contains a few more battle rhymes than usual, plus some showcases for pure MC technique, in keeping with the most basic elements of the music. The production, too, is still resolutely minimalist, and even if it's a little more fleshed-out than in the past, it consciously makes no concessions to pop or R&B accessibility. There are more reggae inflections in KRS-One's delivery than ever before, audible in about half the tracks here, and the production starts to echo dancehall more explicitly on a few. Meanwhile, as the Teacher, he's actually put together lesson plans for a couple tracks: "Why Is That?" and "You Must Learn" are basically lectures about biblical and African-American history, respectively. This is where KRS-One starts to fall prey to didacticism, but he has relevant points to make, and the rapping is surprisingly nimble given all the information he's trying to pack in. Elsewhere, "Who Protects Us from You?" is a bouncy anti-police-brutality rap, and KRS closes the album with the point that "World Peace" can only be achieved through a pragmatic, aggressive struggle for equality. Although Ghetto Music has a few signs that KRS is starting to take himself a little too seriously (he dubs himself a metaphysician in the liner notes), overall it's another excellent effort and the last truly great BDP album.
Boogie Down Productions - Ghetto Music The Blueprint of Hip Hop (flac 245mb)
01 The Style You Haven't Done Yet 3:01
02 Why Is That? 3:57
03 The Blueprint 2:54
04 Jack Of Spades 4:49
05 Jah Rulez 4:25
06 Breath Control 3:38
07 Who Protects Us From You? 2:25
08 You Must Learn 3:51
09 Hip Hop Rules 4:08
10 Bo! Bo! Bo! 5:21
11 Gimme, Dat, (Woy) 3:04
12 Ghetto Music 3:15
13 World Peace 4:45
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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.[7] All proceeds from this effort went to the National Urban League.
xxxxx xxxxx xxxxx xxxxx xxxxx
Criminal Minded is widely considered the foundation of hardcore rap, announcing its intentions with a cover photo of KRS-One and Scott La Rock (on his only album with Boogie Down Productions) posing with weapons -- an unheard-of gesture in 1987. BDP weren't the first to rap about inner-city violence and drugs, and there's no explicit mention of gangs on Criminal Minded, but it greatly expanded the range of subject matter that could be put on a rap record, and its grittiest moments are still unsettling today. Actually, that part of its reputation rests on just a handful of songs. Overall, the record made its impact through sheer force -- not only KRS-One's unvarnished depictions of his harsh urban environment, but also his booming delivery and La Rock's lean, hard backing tracks (which sound a little skeletal today, but were excellent for the time). It's important to note that KRS-One hadn't yet adopted his role as the Teacher, and while there are a few hints of an emerging social consciousness, Criminal Minded doesn't try to deliver messages, make judgments, or offer solutions. That's clear on "South Bronx" and "The Bridge Is Over," two of the most cutting -- even threatening -- dis records of the '80s, which were products of a beef with Queens-based MC Shan. They set the tone for the album, which reaches its apex on the influential, oft-sampled "9mm Goes Bang." It's startlingly violent, even if KRS-One's gunplay is all in self-defense, and it's made all the more unsettling by his singsong ragga delivery. Another seminal hardcore moment is "Remix for P Is Free," which details an encounter with a crack whore for perhaps the first time on record. Elsewhere, there are a few showcases for KRS-One's pure rhyming skill, most notably "Poetry" and the title track. Overall it's very consistent, so even if the meat of Criminal Minded is the material that lives up to the title, the raw talent on display is what cements the album's status as an all-time classic.
Boogie Down Productions - Criminal Minded (flac 389mb)
01 Poetry 5:03
02 South Bronx 5:11
03 9mm Goes Bang 4:20
04 Word From Our Sponsor 3:55
05 Elementary 4:07
06 Dope Beat 5:16
07 Remix For P Is Free 4:21
08 The Bridge Is Over 3:27
09 Super Hoe 5:31
10 Criminal Minded 5:20
11 Poetry (Instrumental) 2:14
12 South Bronx (Instrumental) 2:16
13 9mm Goes Bang (Instrumental) 2:15
14 Word From Out Sponsor (Instrumental) 2:15
15 Elementary (Instrumental) 2:14
16 Dope Beat (Instrumental) 2:14
17 Remix For P Is Free (Instrumental) 2:15
18 The Bridge Is Over (Instrumental) 2:15
19 Super Hoe (Instrumental) 2:13
20 Criminal Minded (Instrumental) 2:23
xxxxx xxxxx xxxxx xxxxx xxxxx
The murder of DJ Scott La Rock had a profound effect on KRS-One, resulting in a drastic rethinking of his on-record persona. He re-emerged the following year with By All Means Necessary, calling himself the Teacher and rapping mostly about issues facing the black community. His reality rhymes were no longer morally ambiguous, and this time when he posed on the cover with a gun, he was mimicking a photo of Malcolm X. As a social commentator, this is arguably KRS-One's finest moment. His observations are sharp, lucid, and confident, yet he doesn't fall prey to the preachiness that would mar some of his later work, and he isn't afraid to be playful or personal. The latter is especially true on the subject of La Rock, whose memory hangs over By All Means Necessary -- not just in the frequent name-checks, but in the minimalist production and hard-hitting 808 drum beats that were his stock-in-trade on Criminal Minded. La Rock figures heavily in the album opener, "My Philosophy," which explains BDP's transition and serves as a manifesto for socially conscious hip-hop. The high point is the impassioned "Stop the Violence," a plea for peace on the hip-hop scene that still hasn't been heeded. Even as KRS-One denounces black-on-black crime, he refuses to allow the community to be stereotyped, criticizing the system that scoffs at that violence on the spoken recitation "Necessary." "Illegal Business" is a startlingly perceptive look at how the drug trade corrupts the police and government, appearing not long before the CIA's drug-running activities in the Iran-Contra Affair came to light. There are also some lighter moments in the battle-rhyme tracks, and a witty safe-sex rap in "Jimmy," a close cousin to the Jungle Brothers' "Jimbrowski." Lyrics from this album have been sampled by everyone from Prince Paul to N.W.A, and it ranks not only as KRS-One's most cohesive, fully realized statement, but a landmark of political rap that's unfairly lost in the shadow of Public Enemy's It Takes a Nation of Millions.
Boogie Down Productions - By Al Means Necessary (flac 240mb)
01 My Philosophy 5:36
02 Ya Slippin' 4:32
03 Stop The Violence 4:37
04 Illegal Business 5:17
05 Nervous 4:10
06 I'm Still #1 5:09
07 Part Time Suckers 5:28
08 Jimmy 4:11
09 T'cha-T'cha 4:30
10 Necessary 2:57
xxxxx xxxxx xxxxx xxxxx xxxxx
The second Boogie Down Productions album devoted mostly to consciousness raising, Ghetto Music: The Blueprint of Hip Hop finds KRS-One evolving into a fierce advocate for both his community and his chosen art form. He's particularly concerned about the direction of the latter: he's wary of hip-hop being co-opted by the pop mainstream, and the album's title comes from his conviction that real hip-hop is built on the vitality and rebelliousness of the streets. Accordingly, Ghetto Music contains a few more battle rhymes than usual, plus some showcases for pure MC technique, in keeping with the most basic elements of the music. The production, too, is still resolutely minimalist, and even if it's a little more fleshed-out than in the past, it consciously makes no concessions to pop or R&B accessibility. There are more reggae inflections in KRS-One's delivery than ever before, audible in about half the tracks here, and the production starts to echo dancehall more explicitly on a few. Meanwhile, as the Teacher, he's actually put together lesson plans for a couple tracks: "Why Is That?" and "You Must Learn" are basically lectures about biblical and African-American history, respectively. This is where KRS-One starts to fall prey to didacticism, but he has relevant points to make, and the rapping is surprisingly nimble given all the information he's trying to pack in. Elsewhere, "Who Protects Us from You?" is a bouncy anti-police-brutality rap, and KRS closes the album with the point that "World Peace" can only be achieved through a pragmatic, aggressive struggle for equality. Although Ghetto Music has a few signs that KRS is starting to take himself a little too seriously (he dubs himself a metaphysician in the liner notes), overall it's another excellent effort and the last truly great BDP album.
Boogie Down Productions - Ghetto Music The Blueprint of Hip Hop (flac 245mb)
01 The Style You Haven't Done Yet 3:01
02 Why Is That? 3:57
03 The Blueprint 2:54
04 Jack Of Spades 4:49
05 Jah Rulez 4:25
06 Breath Control 3:38
07 Who Protects Us From You? 2:25
08 You Must Learn 3:51
09 Hip Hop Rules 4:08
10 Bo! Bo! Bo! 5:21
11 Gimme, Dat, (Woy) 3:04
12 Ghetto Music 3:15
13 World Peace 4:45
xxxxx xxxxx xxxxx xxxxx xxxxx
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