When it comes to burning bridges, O’Shea Jackson may be the most accomplished hip-hop artist in the history of the music. It seems as if everyone who has ever had even the slightest involvement with him on a professional level has either gone on to record a diss song about him or made a series of angry Facebook posts filled with furious anger. Is Ice Cube really the “modern day Jerry Heller” as his former musical partner Sir Jinx insisted during a now deleted series of venomous status updates which implied that Cube continued to exploit musicians and actors working in his movies all in the name of pinching pennies? (more…)
Just noticed this comment from Lair dating back to February, where he points out, “I think Keith recorded a diss track just for you off of this article”, linking to a song that dropped a mere 12 days after I expressed my bitter disappointment at Ultramagnetic MC’sCritical Beatdown tour.
While the cover image bares a striking resemblance to the venue I attended, the rhymes don’t really confirm that it has anything to do with my review, unless you consider “You heard the track accurate, that’s what I’m about” to be a rationale for his lip-syncing during the show in question, and “Laugh online…LOL…they stuck!” to be a subliminal aimed at Unkut HQ.
Hold up! On closer inspection, “Caught up in the zone like people with long cords on they phone/they can’t think out the box, so they won’t stay in the box” pretty much sums up everything that the Conservative Rap Coalition is about. Did Poppa Large (pause) just ether me?
Queens battle MC veteran Mikey D hit up Unkut HQ the other day to make the following announcement:
Mikey D: All through the years, since the 80’s, with [LL] Cool J, each interview that I have the topic of the conversation is always about me and him. Although we went through what we went through, me looking back as a grown man, technically he didn’t do anything to me that was wrong. He did everything that he was supposed to do! But I got caught-up in people’s misery. You know how they say “misery needs company”, so by me still drinking 40 oz’s and still trying to hold on to being the “baddest MC in the neighborhood” title – and you’ve got these miserable people in your ears all the time, hating on him for what he’s doing? Of course I fell into that. I’m going to keep it real and say to him that I apologize for any form of disrespect. I can’t fault a man for my failures. After I left the beer and all of the negative people alone, that’s when I started seeing clearly. Melle Mel also, what happened happened at the New Music Seminar, that was 25 years ago. Let’s get over it. I want to apologize to both of them as a man, because we are all under the same umbrella. Let’s get it poppin’!
Mikey’s new crew Elements of Hip-Hop consists of Mikey D on the mic, DJ Mercury (who worked with Professor X) and Philly DJ legend Grand Wizard Rasheen. Calm Before The Storm drops April 2, with Day of Destruction following later in the year.
It’s tough being the Big Man On Campus in the wacky world of Rap Magazines. The Source had a great run where they were basically unchallenged for years – despite some good work from Hip Hop Connection in the UK, they couldn’t match the access that the Mind Squadd had to cutting-edge New York music for the first half of the 90’s. The influence that The Source had also made them a prime target for disgruntled rappers, all of whom seemed to believe that everything they released was worth “Five Mics” (you may recall Outkast complaining that their debut “only” received 4.5 mics in later tracks). Sometimes it was a little more personal, as was the case for Ice-T, Public Enemy and Cypress Hill, who were all directly criticised in columns and decided to fire back on record. The following is a collection of some of the more noteworthy attacks on the house that Sheck built.
MC Shan was an original member of the Juice Crew All-Stars, perhaps the greatest collection of MC’s ever to claim membership in the same crew. His QB anthem, “The Bridge” served as the unwitting catalyst in the Bridge Wars, following BDP‘s humiliation at the hands of Juice Crew founder Mr. Magic. Citing the numerous mentions on Nas‘ Life Is Good album as the inspiration for his return to releasing music, MC Shan has just released “Let’s Bring The Hip-Hop Back,” insisting that he’s not interested in pandering to the younger audience. We discuss diss records, Mr. Magic and the story behind his “The Bridge” over at Complex.
As Rakim tells it in the above video with RA The Rugged Man (who looks ‘like a teenage girl on her first date’ according to the YouTube comments ), he agreed to remove his four lines aimed at Big Daddy Kane from the first version of ‘Let The Rhythm Hit ‘Em’ after Ant Live played like Sir IBU on some ‘I’m The Peacemaker’ shit.
Rakim, from what I understand – I didn’t hear it – but I know he had made a record called ‘Cut The Kane In Half’, and it was gonna be a diss record for Big Daddy Kane but he didn’t put it out. But if you listen to his rhymes, he says little slick stuff on the Follow The Leader album that was directed at Kane. Because there was a lot of stuff goin’ on about how was better and who was the best. Rakim was pretty quiet, he never talked about. Kane was a little more verbal about it. They never really made it publicly known, but he definitely was gonna do something.
Here’s some rare footage of my favorite live ethering ever, as the Underboss dismantles Lords of the Underground‘s Mr. Funkee in classic BX tradition. Courtesy of brollinHH in the comments section of my original post.
Predictably, my comment the other day that LL ‘never lost a battle’ ruffled a few feathers among Canibus fans. LL vs. Kool Moe Dee was already covered a while back, but I guess there’s no other way to settle this than to dig out all the garbage songs recorded in this drawn-out and unsatisfying war of words. (more…)
Way back in August, 2007 I published a three part interview with T-Ray, which included numerous references to V.I.C., a number of which weren’t exactly flattering. So when I finally got the chance to speak with Vic it was only right that allow him the opportunity to respond. Here are the highlights:
Robbie: What was your reaction when you read what Todd said about you in the interview I did with him?
V.I.C: He did say a lotta crazy stuff in that interview…stuff that I found very bizarre.
So I have to ask – did he actually hand you half a million dollars to record the Ghetto Pros album?
I was hoping that anyone that read that would have enough sense to say, ‘OK, who gives out half a million dollars for an independent project?’ For a compilation, none the less! Who gives that out? So that was all bullcrap. The whole recording budget was probably 250, 200 [thousand]. You’re talking about everything – you’re talking about side artists, you’re talking about studio time. Especially in 2000, 2001. Right now, if you had a budget like that where everyone had Protools in their house, that’s fine. But you’re talking about a budget that’s gonna go in the blink of an eye…especially if you have someone like Nate Dogg on the project, that take like $32,000 to do that song. [laughs] (more…)
This is something that has had my goat for a long time – the near-extinction of the ‘regulators’ who used to keep this here rap shit in check. You know who I’m talking about – the hard heads who would throw bottles at weak rappers on stage, roll the herbs for their new Nikes and generally punch random toys in the throat just for living. It may not have been beer and skittles if you were the unwitting vic of one of these characters, but you couldn’t help but respect the hell out of what they stood for as they emptied your pockets. But as rap got bigger, the risk associated with attending a live event rapidly decreased, and before we knew it, spoken-word hippy douchebag rappers were performing on stage with no fear of reprisal by the turn of the century. Nine years later, it’s gotten to the point where only a handful of MC’s are willing to speak-up against the clownish attire and generally fruit-flavored behavior of ‘next-school’ rappers who are flooding the internets. Save the odd switched-on blog commenter, it seems that the only people willing to ‘Just Say No’ to dressing like a homo are myself, some guy called Mazzi and Termanology. Term initially caught my ear, but his ‘whisper’ flow was starting to lose me until he made the brave move to fight back against Hipster Rap Douchbaggery. The main question poised by this Boston-bred MC who now resides in the BX is, “Since when is it cool to dress like a dude who fuck’s another dude?” Since about a year ago, by my estimation. It’s only a matter of time until some broadsheet accuses him of ‘homosexual panic’ I guess.
This one is a bit different. This track wasn’t officially released until a couple of years back via Stones Throw, so whatever issues Stezo had with his former employers was long buried by the time anyone heard this.
Here’s what Stezo’s producer Chris Lowe had to say about it when I spoke to him a while back:
Robbie: There was an old song from Stezo that came out a year ago where he had some words for EPMD. What’s the story there?
Chris Lowe: We was still friends, that was when we was younger. Stones Throw got a hold of that stuff years after and decided to put it out. We all pretty good now – Erick and Parrish are back on tour right now. I speak to Stezo and I did a record with Parrish on my last album.
Why am I pulling this out now? For starters, it has a quality flip of ‘Nautilus‘. Oh, and this shit is hilarious.
And you thought KRS vs. Nelly was a one-sided battle? It seems Erule took exception to Jeffrey Atkins nom de’plume and decided to set the record straight. It didn’t exactly set the world alight back in 2001 but dude’s flow is impeccable as always.
The answer-record craze was still going strong in 1987, as no-name hopefuls jumped on whatever bandwagon them passed by in an attempt to make a little noise in the ever-crowded rap world. The crabs in a barrel, if you will. Kool Moe Dee‘s “How Ya Like Me Now” was a big record, so it’s no surprise that some rocks were thrown soon afterwards.
The motivations varied from blatant jocking of Moe’s rival LL (“Moe Dee Get Mad”), hilarious answer songs (“Fuck Me Now”) to genuine grudges (“Try To Bite Me Now”). Spyder D at least has a case – he released a single called “How Ya Like Me Now” shortly before the shiny Teddy Riley version, and also mentions that Treach 3 used his “Smerphie’s Dance” beat years earlier. Both he and the Incredible Two also seem to have taken offense to the “Rap Report Card” that was on the back of KMD‘s LP, but they’re likely just mad that they weren’t graded). Willie D flips the whole shit in classic H-Town style, turning the song into a classic sex joint which is easily the best of the bunch in my book. (more…)
What exactly was it about “How Ya Like Me Now” that inspired so many diss and answer records aimed at Kool Moe Dee? Was it his squeeky clean New Jack swing beats, his trademark shades or just his super-arrogant attitude (even for ’87)? Unkut Dot Com will be taking a look at some of the numerous anti-Moe Dee songs that emerged in it’s wake.
Awesome Dre was a Detroit hardrock who wasn’t feeling what “Kool Moe She” had to offer, insisting that he “take off the glasses, the sun is not glaring/You look like a welder – nah, Darth Vader!”
Awesome Dre & The Hardcore Committee - “I Don’t Like You (Kool Moe She)”
You had a song called “That’s My Style” who was that for?
Schooly D came out with “Gucci Time”. I just wanted to let him know that was my style.
I thought so. The hi hats on the song were programmed just like “Gucci Time”/P.S.K.
We were on shows together after that. He thought that I would hate him , but we winded up talking and I shook his hand & we were cool. I just wanted to let him know that everyone thought that he was me.
Since Philly’s finest never responded on record (unless it was something subliminal), this falls more under the “forgotten answer records” heading but who knows – maybe Schooly School had a little live routine firing back at the “Godfather of Rap”? Or quite possible he could have cared less about the whole thing…
Sorry to confuse any UK rap fans, but the Parker Lewis I’m referring to isn’t in fact the British MC/producer who provided the beat for the first song on Fishscale (Lewis Parker), but the name of the lead character from that TV show that tried to recreate the whole Ferris Buellers Day Off vibe. In what must have been a slow news month at The Source, Matty C reported that the star of Parker Lewis Can’t Lose shocked the crowd at Ed Lover‘s birthday party with some “impressive” mic skills. All I’ve got to say is that Corky Nemic has to one of the whitest names ever. (more…)
As was revealed in the “Life After Death: Making of A Classic” feature in XXL a while back, Biggie’s line “Yo son, I’m suprised you run with ‘em, I think they got cum in ‘em, ’cause they nothing but dicks” from “Kick In The Door” was directed at the tracks producer, DJ Premier. B.I.G. was referring to Jeru, who had been perceived as hating on the whole Bad Boy crew following the release of “One Day”. (more…)
In the wacky world of diss records, crew-on-crew crime often provides the funniest moments. It’s one thing to talk greasy about some kid you’ve never met, but when you start riffing with someone you used to hang-out and perform with, things can really get ugly. Such was the case with former Juice Crew buddies Craig G and MC Shan. Having weathered numerous attacks from the outside (“Juice Crew Diss”, “The Bridge Is Over”), as well as in-house rivalries (G Rap and Kane) during their reign at the top of the rap game in the late ’80’s, the loss of super-producer Marley Marl was the death-knell for the this legendary collective. (more…)