Filed under: Features,Run-DMC kinda sucked,Steady Bootleggin'
Written by: Robbie Ettelson
There’s no denying the importance of the Kings from Queens in the development of this here rap shit, but truth be told, when I first started copping TDK D-90 dubs of Kool & Deadly and Criminal Minded that whole shout-rap style was sounding real primitive. Not only that, but the fact that headbangers were sporting Run-DMC shirts on the strength of their Wrestlemania appearance wasn’t exactly inspiring me rush out to cop Tougher Than Leather. Why would I want to waste me time with some “nursery rhyme white friendly rock rap faggotry”1 when I could be soaking-up some Rakim in my Sony Megabass auto-reverse? Had I started listening to rap a year earlier, would I too have stood in a record store for an hour, staring at the cover to Raising Hell and thinking “Rap has made it!” like Chuck D?
The truth of the matter is that getting too large and “crossing over” was always the beginning of the end, as demonstrated by the Fat Boys, LL, Whodini and Kurtis Blow. Hard to believe in comparison to the current era of “you only did 1.5 mil. your first week, you suck!” – although even that seems to be coming to a close, as the traditional music industry model continues to come apart at the seams. How can you brag about your exclusive tape anymore when it can be uploaded in an instant? Instead of being the only kid in your school to have that latest DJ Red Alert / Chuck Chillout shit, are bragging rights attained by having the the biggest collection on your hard drive? Or is the deciding factor is recognizing what’s good out of those hundreds of songs you might consume in a day?
The declarations of DJ Run were not often included in that selection process. As soon as “Ego Trippin”, “South Bronx” and “My Melody” hit, “My Adidas” was prehistoric technique. Drum machines and tag-team vocal routines didn’t have a hope in hell against the newest latest flow styles that KRS-One was delivering or the science of the Ultra Lab beats. But isn’t that the same thing that the JMJ‘s boy’s did to Melle Mel and Caz? Sure, but I wasn’t buying records in 1983, so that’s some history book shit. Not to mention that Darryl and Joe didn’t outdo those guys on the mic – they got over because they didn’t rhyme over corny studio bands and dress-up in gay outfits. All I knew is I didn’t want to listen to the same shit that every other meat-head was into, and if Aerosmith wasn’t involved in any way – all the better. I also still haven’t forgiven Cool J for that “I Need Love” shit.
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Run-DMC - Lord of Lyrics
- 1. Copyright R.H.S.[back]
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