Man...fuck all the hype...Enjoy...lol


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Full Clip: KRS-One Runs Down His Catalogue Ft. BDP, Run-DMC, LL, DJ Premier, Diddy, Nelly And More

By K. Murphy
VIBE

http://www.vibe.com/photo-galleries/full-clip-krs-one-runs-down-his-catalogue-ft-bdp-run-dmc-ll-dj-premier-diddy-nelly-a


So let’s get it out of the way. KRS-One is one cocky bastard. The Bronx, New York rap giant, who once claimed that he was so far connected with the culture and artform of hip-hop that it was his dog, has never been one to shy away from grandiose, what-the-fuck statements. And at the moment, Lawrence Krisna Parker is in another one of those audacious zones. “I honestly now know that I’m the physical embodiment of hip-hop on earth,” KRS declares to VIBE with a knowing laugh. “That’s my only purpose here on earth is to keep the culture together long enough for it to remain everything that we thought it could be when I was coming up.”

But as seemingly lordly as the 46-year-old comes off, KRS-One is an earnest man. Within a span of 25 years, the founder and lead MC of Boogie Down Productions kicked off the gangsta rap movement with late DJ and partner Scott La Rock (1987’s indispensable Criminal Minded); recorded arguably the blueprint for all ruthless battle records (“The Bridge Is Over”); helped usher in conscious hip-hop (1988’s By All Means Necessary); rallied artists to take an activist stand on black-on-black violence (“Self Destruction”); preached the gospel of hip-hop not only as sheer party music, but as a life-saving religion (1990’s Edutainment); and made the second greatest comeback in hip-hop folklore after LL Cool J declared Mama Said Knock You Out (1993’s Return of the Boom Bap).

His latest release, The BDP Album, finds KRS returning to his vaunted South Bronx outfit after years of defiant solo statements. And he’s still thinking big. “When my time is up in hip-hop it’s going to remain what Afrika Bambaataa thought it was supposed to be,” he says of his legacy. “It’s going to remain what Kool Herc thought it was supposed to be; what Wu-Tang Clan sees it as; what Outkast sees it as; what Snoop Dogg sees it as. People are trying to forget that brand of hip-hop. You hear them say, ‘Oh, fuck that oldschool shit…we are not doing that.’ But these people are not doing it because they can’t. We are not going to allow our culture just to be thrown to the side and forgotten about because somebody’s record didn’t sell or some trend didn’t happen.” This is the remarkable recording history of KRS-One. This is Full Clip.—Keith Murphy

GOAT of his era......long live Prince.....God is alive....

Criminal Minded—Boogie Down Productions (1987)

“Me and Scott La Rock (DJ and co-founder of Boogie Down Productions) started B Boy Records, which was a small little record company, with some other guys—Ray Wilson, Jack Allen and Bill Kamarra. That’s where we put out ‘South Bronx.’ Before all this, Scott Sterling (Scott La Rock) was my social worker and I was a homeless dude in the shelter. Me, Just-Ice, and ICU…we were all homeless b-boys who rapped and did graffiti. We were living in the streets day-to-day…all we had was hip-hop. We’d hang out at hip-hop spots, go to the train yards and tag, go to the park jams, battle each other…we were living it out completely. This was about 1985, and somehow, by the order of the universe, Scott becomes my social worker. He would ask me, ‘What is it that you want to do with your life?’ I would tell him I’m a MC and a philosopher *laughs*. But Scott really took that seriously and stayed on me. I did some rhymes for him about nuclear war and the world coming to an end and he loved it. But we didn’t always see eye-to-eye. We got into a lot of arguments.

But what’s crazy is Scott would invite me to a place called Broadway RT where he DJ’d every Friday and Saturday. That’s where my eyes opened up. I was on the guest list, had a drink ticket, walked in and the place was jammed. People were dancing and it was hip-hop to the maximum degree with the Adidas, bubble goose jackets, bamboo earrings, Cazal glasses and Kangols. And my corny, nerd social worker was the absolute coolest dude on Friday and Saturday nights! That blew my mind. Me and Scott formed the group Boogie Down Productions because with the way I rhymed we knew that nobody was going to sign us. We went around to everybody…RCA, Sony, Columbia…no one wanted to hear our records. So we became our own producers because we didn’t think we wasn’t going to make it as MC and DJ’s. That’s where the name Boogie Down Productions came from.

Flash forward. Boogie Down Productions’ career starts with a battle. A lot of people were saying we were going after Run-DMC. But let’s get this out of the way: Run-DMC was king during the time we were about to drop Criminal Minded! That needs to be said at the top of this interview. At that time Run and them weren’t king just because they were selling platinum records. They were king because of the way they presented hip-hop to hip-hop fans. It was the way that they dressed from the Adidas to the Godfather hats. It was the way that they rhymed. Everyone knew that Run-DMC with the great DJ Jam Master Jay were the ultimate hip-hop group from 1983 to 1987. In hip-hop you had to beat the guy on top. If you claimed you were the king, you had to be stomping crews out every week. And Run-DMC was killing them! Every week something was coming off those Run-DMC albums. And that’s when I came around in 1985. BDP wanted to prove we could be on top.

Now right around 1985 the crack cocaine scene was coming in. The West Coast had already had their share of it since ’82-’83, but it started getting into the East Coast on the street level. There was a group of people that felt like something should be said about the escalating violence; about how crack dealers were killing the weed dealers in the neighborhood. They were getting killed so that the crack dealers could move in. In a lot of cases, it was actually the cops that were working with the crack cocaine dealers killing off the Rastafarian dreads who would sell the herb in the ‘hood. Crack started destroying everything. At this time the MC was the person who spoke on behalf of our community. That was your job as a rapper. You didn’t think about making records. There were whole MC crews that never made records that influenced hip-hop greatly. Ask DMC who will tell you stories about sitting at the foot of Grandmaster Caz learning every cadence and move he made. This was a crazy time. You had Run-DMC, you had LL Cool J and Def Jam; and then you had another powerful clique on the rise—the Juice Crew. This was all happening as Boogie Down Productions was about to release Criminal Minded.

BDP wasn’t trying to be hard in a street sense. We were just taking our cue from the Black Panthers. Remember, they used to walk around with their guns out because it was legal before the Patriot Act. So on the cover of Criminal Minded you see me and Scott posing on the cover with guns. I even put the shotgun belt over my shoulder, which was a longtime symbol of revolution for the Mexicans, Native Americans, and for the Africans. The streets were bubbling. MC Shan from the Juice Crew disses LL and tells him that he bit his style and challenges him to a battle. This was huge! The Juice Crew was doing it big. Roxanne Shante just came off of battling UTFO. I finally had my demo of ‘Criminal Minded’ with Scott cutting up Trouble Funk. We also had ‘Elementary’ on there. Somehow we heard Mr. Magic (influential host of the legendary New York hip-hop radio show Rap Attack)—who was down with Marley and the Juice Crew—said we were wack. And we were like, ‘Wack???!!! Mr. Magic is wack! Shan is wack. Marley is wack!’ That’s when I picked a battle with Shan on ‘South Bronx.’ I mimicked his song the same way Roxanne did on ‘Roxanne, Roxanne.’ He answers me with ‘(South Bronx) Kill That Noise,’ which was a huge regional record as well. I then answered with ‘The Bridge Is Over.’ And I shut it down *laughs*.

I was so happy to be making records. I’m still appreciative to MC Shan to this day. If it wasn’t for Shan there would be no KRS-One. BDP came out victorious, but we didn’t come out all the way victorious because the critics kept saying, ‘Well, all you guys are is a battle group…you’re not a real group like Run-DMC, the Fat Boys or like Whodini.’ And they were right. So I ran back and wrote songs that showed that we were here to stay…that we were capable of making an entire album. We did the like Run and them on ‘Dope Beat.’ We started making songs like ‘The P Is Free’ and ‘9mm Goes Bang,’ which talked about how the crack dealers were moving out the herb dealer. And we were breaking new ground by using dancehall reggae. Hip-hop had never heard anything like that before. Even Schoolly D was like, ‘Yo, that shit was cold.’ Even though he rhymed about street life, he was still a conscious street rapper like how NWA did it with ‘Express Yourself.’ Basically, BDP was all about realism. But on a conscious level.”

GOAT of his era......long live Prince.....God is alive....

By All Means Necessary--Boogie Down Productions (1988)



“After Scott La Rock’s death the other members of BDP said, ‘We can’t go on. It’s over.’ Everybody thought Boogie Down Productions was finished. I was battling Melle Mel at the Latin Quarters when Criminal Minded was out. When Scott was killed trying to break up a dispute in the Bronx, I as a metaphysician and a philosopher knew what his death meant. Ironically, the lyrics to ‘Stop The Violence,’ which was featured on By All Means Necessary, was already written during this time when Scott was still alive. As sad as the situation was, it was the beginning of a new era in hip-hop and Boogie Down Productions was at the forefront of that era. I said that to everybody else in the group, but they didn’t feel it like that. They didn’t understand spiritual law. I knew it wasn’t just about Boogie Down Productions…it was about hip-hop. So when Scott passed for me he had become our guardian angel. That was my mindset on By All Means Necessary.

Why did I write ‘My Philosophy’? In 1988, when By All Means Necessary comes out, hip-hop had become officially mainstream. And with becoming popular it was becoming quite like a minstrel. It was taking us back a little to Al Jolson because now rappers were expected to play a certain part…a certain stereotype. And I’m not going to say it was Run-DMC’s fault because it wasn’t. They were leading the way as far as hip-hop goes, but they were also playing the mainstream game of getting played on television. They had to put a little white boy in the video for ‘Rock Box’ just to get played on MTV. This was this climate that we were in before Yo! MTV Raps. MTV was dissing hip-hop music and BET was just trying to catch up. And you can’t take anything from the Fat Boys. They are true hip-hop legends. But if you look at their movies they started to get a little silly. So guys like me on the street level was like, ‘Nah…that ain’t hip-hop. We don’t look and act like that. We are on this shit over here.’ And those people were Eric B & Rakim; that was Public Enemy; that’s Big Daddy Kane; that’s MC Lyte, that’s NWA; that’s Salt-N-Pepa, who came out gangsta with ‘I’ll Take Your Man.’

So this is where you get that attitude from on ‘My Philosophy.’ I’m saying, ‘It’s my philosophy, on the industry, don’t bother dissing me, or even wishing we soften, dilute or commercialize all the lyrics, ‘cuz it’s a about time one of y’all hear it!’ That was my point. People had felt this way for a minute. These rhymes resonated with many of the new generation of MC’s. You can even hear that rawness in the production…this was the new age of sampling. Hip-hop was now an art. And I wasn’t just rhyming to my fans…I was rhyming to other MC’s. By this time, I was really calling myself The Teacher. And the truth is being a teacher was not a thing that hip-hop took to with open arms. I had to fight every step of the way to convince hip-hop that it was more than just music. I’m going to battle you with knowledge on a song like ‘I’m Still #1’. I’m going to show you that knowledge is superior to these average rhymes that you might be hearing. It’s important that you don’t think KRS is superior, but that you think knowledge itself is superior.”

GOAT of his era......long live Prince.....God is alive....

Ghetto Music: The Blueprint of Hip-Hop--Boogie Down Productions (1989)



“When Ghetto Music was being recorded I was getting away from D-Nice, Harmony, Scotty Morris, who was our manager at the time, and Ms. Melodie. I was getting away from them because we all had a big falling out. I had gotten divorced from Ms. Melodie and D-Nice quit the group and went to Flava Unit. Boogie Down Productions fell apart after Scott’s death, so I went on. Here’s Ghetto Music: The Blueprint of Hip-Hop, and as you can see from the earlier days we were trying to write out a cultural plan for hip-hop. Let’s look at the music more than just sounds and lyrics. Let’s look at this even from a spiritual point of view…let’s start questioning the philosophies and the theologies that are around us. This is where we started doing songs like ‘You Must Learn’ and ‘Why Is That.’ We were questioning what everyone thought was real. We were questioning the interpretation of the Bible. We were questioning how black kids were being taught in school.

I won’t take all the credit for Ghetto Music’s groundbreaking sound. At the time I was surrounded by some very talented people. Now I had some new people with me…some new influences. One of those new people who joined BDP was Sidney Mills who came in around 1988. He was one of the producers of this reggae jam ‘Telephone Lover.’ This record was disgustingly huge! At the same time I was producing Sly & Robbie, major reggae artists that did every reggae beat that you could imagine. I’m in the studio working with them and they were lending me ideas, and samples and basslines and all kind of craziness. And in addition to that, I had my own set-up in my basement…the SP-1200 is in full effect!

I got people like Kid Capri, who was just starting his DJing career. He’s sleeping on my couch in my house. I had people like Fat Joe who I was starting to take under my wing…just street dudes I was surrounding myself with. Ghetto Music comes out of all this. It’s very reggae-based, very dancehall…it leans to that side. It reflects the time when reggae and hip-hop was starting to merge after I did ‘The Bridge Is Over.’ These were the experimental days. That’s why we called the album The Blueprint. The lyrics and sound on that album was drawing a line in the sand for DJ’s, MC’s and producers: this is what hip-hop is. We were defining it in 1989.”

GOAT of his era......long live Prince.....God is alive....

“Self Destruction”—The Stop The Violence Movement (1989)

“‘Self Destruction’ was out at the same time as Ghetto Music. When we talk about defining hip-hop this was very important to rap in the early days. The hip-hop community would have meetings and summits regularly. This is how the record ‘Self Destruction’ was made. It was another time in hip-hop when rappers actually called each other up and conversed with each other because there weren’t many of us. Most of the rappers were still in New York. This was before the West Coast really blew up. You had Ice T, you had Too $hort, NWA and a few other groups. And the South was just getting started with Luke and the Geto Boys. And that was about it. So that ‘Self Destruction’ record brought meaning and purpose to hip-hop. And hip-hop fans loved it! Because by the time ’89 comes around, the Teacher is victorious…everyone is with it. Everybody is wearing the African medallions. Everybody is listening to Public Enemy. Everybody is black…we got the flattop fades. Everybody knows their culture.

But it wasn’t all unity. No one should be looked at any less or any more, but having said that, it seemed that in the world of hip-hop even when you did conscious music you still had to be highly competitive. It started with ‘South Bronx.’ We were trying to get that record pressed up at the same time that Kurtis Blow was getting a record called ‘The Bronx’ pressed up. The pressing plant that we were using called us up and said Russell Simmons (Def Jam founder) halted the pressing of our record to press Kurtis’ record. So right away at the beginning of my career I’m starting to feel the sting of a more powerful corporation manipulating and trying to hold its space in the music industry by pushing us little guys around.

So having said all of that, we started working on the ‘Self Destruction’ record. Doug E. Fresh came up with the chorus…long live Doug E. Fresh. D-Nice did the music…long live D-Nice. But then D-Nice and Doug E gets into an argument while we were recording the song. It was over something stupid like D-Nice not being large enough to be on the record. There was an argument about Just-Ice because somebody had a problem with him being on the record because he was prone to violence. He was the original hip-hop gangsta…no bullshit. This was after he was arrested for allegedly shooting someone in Washington D.C. People had issues with him being on the song and in the video because we were talking stop the violence and they’re thinking I’m putting Just-Ice in the video only because they thought he was my man. But my argument was it’s not that he’s my man; it’s just the ones that should be saying stop the violence are the ones that have been the cause of it. Ann Carly, who was the A&R for Jive Records at the time and who helped put the whole project together, agreed with me.

Heavy, much respect the late great Heavy D, showed up to the ‘Self Destruction’ session. LL Cool J showed up, too, but he got a phone call from Def Jam in which somebody told him not to perform on the record or else he was going to be kicked off the label. This was a big threat, but he still came to the studio and I will always respect LL for that. He sat down with MC Lyte and co-wrote her part. There was a lot of love there. And Run-DMC wanted to be on the record, too! But they couldn’t be on it because of Rush. And Jam Master Jay was angry about this. Not just on some homeboy shit. Jay was really angry at the fact that he thought we wouldn’t consider Run-DMC for this record, like, ‘That’s some bullshit!’ But it wasn’t us. It was the record companies that were denying our record, one of which was Def Jam. And this was all supposedly coming out of Russell Simmons’ office. Jazzy Jeff & The Fresh Prince also wanted to be on ‘Self Destruction.’ But Ann Carly stopped them because she felt that Will Smith’s and Jeff’s image was too commercial for the record. I didn’t even know that at the time. I learned this over the years. I respected Will Smith so much for even wanting to be a part of that record.”

GOAT of his era......long live Prince.....God is alive....

Edutainment--Boogie Down Productions (1990)



“Right around this time the Gulf War is humming. We thought America was setting up for urban warfare in the United States. But it was really urban warfare in the Middle East. It was too controversial to speak of. You really had to speak about these things behind closed doors and with friends. We didn’t have the Internet back then. You had to go to certain addresses to hear people like Steve Coakley talk about what was going on with the secret societies. You had to find Jordan Maxwell to hear him speak. You had to find these dudes. So those of us who would attend these meetings and speeches knew what time it was. This is why we started steering hip-hop in an even more conscious direction because we knew it was still commercial. When we were making Edutainment I started talking about hip-hop as a culture. I started really building up an idea of a hip-hop nation.

Now I’m talking more about race and race relations. And right around this time I was touring with Kwame Ture, formerly Stokely Carmichael. That’s Kwame Ture’s voice that you hear on Edutainment. Back then, I wanted to know more about the Civil Rights movement, so he sat me down and started teaching me what it was really about and the fact that it was a human rights issue. This was where I was at on Edutainment. ‘Love's Gonna Get'cha (Material Love)’ was done in the style of KRS…to talk directly to my community. I do records for hip-hop not for the radio. I wanted my people to hear it. There was too much material love out there. And not enough love .

A lot of rappers today rap to an audience that is not hip-hop. And they are excellent at what they do…you have to admit that. But their audience is not hip-hop, so they have to write their rhymes a certain way or approach their lyrics a certain way because they know they are rhyming to people who might not really understand where they are coming from.”


For the rest of KRS-ONE's Full Clip and his stories on why Return of the Boom Bap was make or break for him, why he worked with Diddy, his beef with Nelly and more, go to...

http://www.vibe.com/photo-galleries/full-clip-krs-one-runs-down-his-catalogue-ft-bdp-run-dmc-ll-dj-premier-diddy-nelly-a?page=0#node-title

GOAT of his era......long live Prince.....God is alive....

Sex And Violence—Boogie Down Productions (1992)


“Right around 1992, the Gulf War is on big time. We just knew it was the New World Order. There were a lot of things going on in hip-hop that I didn’t like. So I made an album called Sex And Violence to make that point. I was letting everybody know what hip-hop had become. We needed to re-think this; we needed to re-think what we were becoming. So for the album cover I used Robert Williams’ surreal artwork, which depicted the Oracle of Delphi. It shows a half-man, half-woman swooping in on the entrepreneur, squeezing cheese out of a lady that was sitting on a man’s lap. This entrepreneur is obviously in a sexual situation with her and while he’s wasting time the oracle comes in with a clock that points to doomsday. I put that message out in 1992 because I didn’t want to be so blatant with just screaming out things like the New World Order or globalization or the Illuminati. I think we chronicled everything hip-hop was going through on Sex And Violence.

But I wasn’t the only one trying to say these things. Back then all of hip-hop had a philosophy. You had the pro-Black philosophy prevalent in hip-hop, which equaled to Pan-Africanism—Kwame Ture to the fullest. He talked about a socialist Africa. That’s how I got caught up with the African National Congress when Mandela got freed. When he was let out of jail I was one of the only rappers that was asked to perform at Yankee Stadium when he came to New York. So the Pro-black philosophy was still very prevalent. At this time the black man is God! The 5 Percent Nation was huge. This was an offshoot of the Nation of Islam. There were names like Born Allah and Freedom Justice Equality. People were studying what they called their lessons. But when you looked at some of these people’s actual lives—and not the leaders and serious studiers of 5 Percent knowledge, but their underlings—some of these people just had half knowledge and was running around saying they represented the entire culture. These were some of the people I was going up against when I was making Sex And Violence. And I addressed my beefs on the song ‘Build & Destroy’.

Basically what I was trying to get across on that song is I didn’t see color to be honest with you. I believe that human beings are consciousness and energy. Intellectually, I didn’t understand the whole concept of the black man being God or how the black woman was the earth. I didn’t grasp it, so some of my own ignorance was at the lead. Within my own ignorance of the 5 Percent Nation I’m looking at these cats like, ‘Y’all dudes are playing with God!’ And I’m serious about God. I was also getting into it with the X-Clan. They started taking shots at me saying stuff like, ‘Brother, you must learn’ and calling me captain human because I put out Human Education Against Lies and I’m doing records with R.E.M. and talking about environmentalism and saving the planet. It all just sounded too white to them.

And X-Clan was rolling with some old school revolutionaries like Sonny Carson. These guys put in work and it was actually them who was telling X-Clan, ‘Yo, go get that brother KRS-One…knock him down.’ I learned later on from Brother J (X-Clan’s lead MC) that they were putting him up to this. So I started putting word out around Brooklyn like, who is this Brother J dude? And J started putting word out like, who does KRS-One think he is? It started to get so wild that there were crews that were gearing up in the Bronx and in Brooklyn all because of X-Clan and KRS beefing! So Afrika Bambaataa calls us both us and says, ‘This is bullshit…both of y’all stand for something way deeper.’ Basically Bam embarrassed us both on the phone and called us up to the Bronx River. We shook hands and squashed it. From that day on, we became friends.

But right after I squashed it with X-Clan, cats from the 5 Percent Nation was still attacking me. They heard ‘Build & Destroy’ and were really coming at me. My own arrogance and ignorance allowed me to debate with others that were ignorant and arrogant. There was a real beef in the streets to where I was doing a show at the old Studio 54, which was called The Ritz back then. And about hundred Gods with guns came to the show and were screaming, ‘Yo, when KRS comes out we going to see him.’ And I’m like, ‘Fuck this…I ain’t no punk. I’ll battle everyone of these Gods.’ I was beefing with Poor Righteous Teachers, too. But then I realized from one of the leaders of the 5 Percent Nation who explained to me the depth of the movement. The fact that the Asiatic Blackman was the first man to walk the earth, even before writing was invented—this was solid knowledge. We broke bread and squashed the beef. I found out that my real beef was with the people who was taking this lightly. We all learned from each other.”

GOAT of his era......long live Prince.....God is alive....

>So this is where you get that attitude from on ‘My
>Philosophy.’ I’m saying, ‘It’s my philosophy, on the industry,
>don’t bother dissing me, or even wishing we soften, dilute or
>commercialize all the lyrics, ‘cuz it’s a about time one of
>y’all hear it!’ That was my point. People had felt this way
>for a minute. These rhymes resonated with many of the new
>generation of MC’s. You can even hear that rawness in the
>production…this was the new age of sampling. Hip-hop was now
>an art. And I wasn’t just rhyming to my fans…I was rhyming to
>other MC’s. By this time, I was really calling myself The
>Teacher. And the truth is being a teacher was not a thing that
>hip-hop took to with open arms. I had to fight every step of
>the way to convince hip-hop that it was more than just music.
>I’m going to battle you with knowledge on a song like ‘I’m
>Still #1’. I’m going to show you that knowledge is superior to
>these average rhymes that you might be hearing. It’s important
>that you don’t think KRS is superior, but that you think
>knowledge itself is superior.”

KRS-One came with the real this song/album.
Like his swag was type Theo Huxtable crossed with Fred Williamson in the '70s. I loved that video, how he sort of just shut off the music and read his lyrics like they weren't even rap.

He was like, "fuck this music for now... y'all gonna hear what I have to say". That was a bold move.

>>So this is where you get that attitude from on ‘My
>>Philosophy.’ I’m saying, ‘It’s my philosophy, on the
>industry,
>>don’t bother dissing me, or even wishing we soften, dilute
>or
>>commercialize all the lyrics, ‘cuz it’s a about time one of
>>y’all hear it!’ That was my point. People had felt this way
>>for a minute. These rhymes resonated with many of the new
>>generation of MC’s. You can even hear that rawness in the
>>production…this was the new age of sampling. Hip-hop was now
>>an art. And I wasn’t just rhyming to my fans…I was rhyming
>to
>>other MC’s. By this time, I was really calling myself The
>>Teacher. And the truth is being a teacher was not a thing
>that
>>hip-hop took to with open arms. I had to fight every step of
>>the way to convince hip-hop that it was more than just
>music.
>>I’m going to battle you with knowledge on a song like ‘I’m
>>Still #1’. I’m going to show you that knowledge is superior
>to
>>these average rhymes that you might be hearing. It’s
>important
>>that you don’t think KRS is superior, but that you think
>>knowledge itself is superior.”
>
>KRS-One came with the real this song/album.
>Like his swag was type Theo Huxtable crossed with Fred
>Williamson in the '70s. I loved that video, how he sort of
>just shut off the music and read his lyrics like they weren't
>even rap.
>
>He was like, "fuck this music for now... y'all gonna hear what
>I have to say". That was a bold move.


One of my favorite videos of all time....KRS looked like he was leading a movement in that video...

GOAT of his era......long live Prince.....God is alive....

I listened to "Sex And Violence" earlier this week and I honestly have to say it is in my top 3 favorite KRS/BDP albums of all time. With the exception of the last song/piece "The Real Holy Place", I loved everything else on there. It was crazy to read it only sold 200k.

www.soundcloud.com/domsyncro
www.domsyncro.bandcamp.com
www.twitter.com/domsyncro

>I listened to "Sex And Violence" earlier this week and I
>honestly have to say it is in my top 3 favorite KRS/BDP albums
>of all time. With the exception of the last song/piece "The
>Real Holy Place", I loved everything else on there. It was
>crazy to read it only sold 200k.


Yep...I was shocked by that figure as well...

GOAT of his era......long live Prince.....God is alive....

you should put these together and release a series of books

*professional lurker*

>you should put these together and release a series of books


Thanks...for real....

GOAT of his era......long live Prince.....God is alive....

Stand-up indeed.....

GOAT of his era......long live Prince.....God is alive....

going to history class back in the 80's and then hearing what he was saying was night and day on the for real.

he broke it down and also was one of the few Rappers who came out and said it was 95% Business and 5% show.

"you must Learn" kept you listening and he never was afraid to state his feelings.

he broke it down for you.

dug his stance as a Vegetarian as well.

he spoke on a whole lot and stayed on his point.

mistermaxxx R.Kelly, Michael Jackson,Stevie wonder,Rick James,Marvin Gaye,El Debarge, Barry WHite Lionel RIchie,Isleys EWF,Lady T.,Kid creole and coconuts,the crusaders,kc sunshine band,bee gees,jW,sd,NE,JB

Miami Heat, New York Yankees,buffalo bills

Yep yep.....

GOAT of his era......long live Prince.....God is alive....

******************************************
Falcons, Braves, Bulldogs and Hawks

Geto Boys, Poison Clan, UGK, Eightball & MJG, OutKast, Goodie Mob

Thanks homie...

GOAT of his era......long live Prince.....God is alive....

and I love 'em all.

Good work, I know this must have been tough to whittle down since KRS can speak on this stuff for days.

I love that line about Just-Ice in the 'Self Destruction' commentary, "the ones who should be saying stop the violence are the ones who've been the cause of it".

>and I love 'em all.
>
>Good work, I know this must have been tough to whittle down
>since KRS can speak on this stuff for days.
>
>I love that line about Just-Ice in the 'Self Destruction'
>commentary, "the ones who should be saying stop the violence
>are the ones who've been the cause of it".


Yeah...dude is TOUGH to transcribe....lol...I got stuff that I haven't even used....KRIS can taaaaaalk...But he drops so many jewels you can't be mad....

And that 'Self Destruction' quote was so real...And true even to this day...

Thanks for the props, homie....

GOAT of his era......long live Prince.....God is alive....

Great read since these are some of my favorite Hip-Hop albums. I wish he would have gotten a bit more detailed about the production but that's a minor flaw... Thanks!

>Great read since these are some of my favorite Hip-Hop
>albums. I wish he would have gotten a bit more detailed about
>the production but that's a minor flaw... Thanks!


Yeah...I was trying to steer him in that direction...But u know Kris...Once he starts on a story, he can't stop....lol

GOAT of his era......long live Prince.....God is alive....

________________________________
There are dozens of us! Dozens!

Thanks...I do it for u guys...No bullshit...

GOAT of his era......long live Prince.....God is alive....

because he doesn't really fit with the other artists he's mentioned and has made a lot of decisions that I'd imagine KRS frowning at. Excited to read the rest.


~~~~~~~~~
"This is the streets, and I am the trap." © Jay Bilas

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>because he doesn't really fit with the other artists he's
>mentioned and has made a lot of decisions that I'd imagine KRS
>frowning at. Excited to read the rest.


That's the irony though....KRS never had a beef with gangsta rap, considering he kicked it all off with Criminal Minded...His beef has always been whether or not you were a "dope rhyme sayer"...

And Snoop fit that bill....

GOAT of his era......long live Prince.....God is alive....

I remember back in the late 80's, I was the only one in my neighborhood rocking BDP albums non-stop because everyone else was into Juice Crew. Reading these album breakdowns brings back alot of memories.

One question though. He mentioned that he split with D-Nice, Harmony, and Ms. Melodie during the recording of Ghetto Music in 1989. I thought he split with them in 1992 because they were on Edutainment and the Live album.

--------

Mixcloud - www.mixcloud.com/Soultaker/

>I remember back in the late 80's, I was the only one in my
>neighborhood rocking BDP albums non-stop because everyone else
>was into Juice Crew. Reading these album breakdowns brings
>back alot of memories.
>
>One question though. He mentioned that he split with D-Nice,
>Harmony, and Ms. Melodie during the recording of Ghetto Music
>in 1989. I thought he split with them in 1992 because they
>were on Edutainment and the Live album.


Yeah...The cracks were starting to show...But the break-up happened happened after Edutainment was made...

GOAT of his era......long live Prince.....God is alive....

Long Live KRS-ONE.

Peep game.

The Archivest Exclusively Interviews The Teacha KRS ONE

http://www.youtube.com/watch?v=_mwnaqomFrs&feature=player_embedded

My only question is
Why did certain albums get omitted from discussion?
I would have loved to read what he had to say about "Metahistorical" and "Adventures In Emceein"

It was still great to read what was there though
Great job!

>My only question is
>Why did certain albums get omitted from discussion?
>I would have loved to read what he had to say about
>"Metahistorical" and "Adventures In Emceein"
>
>It was still great to read what was there though
>Great job!


Didn't have a lot of time...Would have loved to cover those albums...

GOAT of his era......long live Prince.....God is alive....

Read the whole thing and I loved it. Took me back to when we went to interview him for the Sneak Attack album. Remember that?

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>Read the whole thing and I loved it. Took me back to when we
>went to interview him for the Sneak Attack album. Remember
>that?


Memories....U taking me back....

GOAT of his era......long live Prince.....God is alive....

Loved it.

Thank you for this.

<---https://www.amazon.com/dp/B01DL9AVTQ

>Loved it.
>
>Thank you for this.


Yep...Thanks homie...When I'm not obsessed about the Bulls/Rose, I'm writing...lol

GOAT of his era......long live Prince.....God is alive....

Don't think I listened to that shit completely once.

<---https://www.amazon.com/dp/B01DL9AVTQ

>Don't think I listened to that shit completely once.


LOL....

GOAT of his era......long live Prince.....God is alive....

this. Fantastic read! You're a dude Murp
_____________________________________________________
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http://www.youtube.com/user/RawBlueCheeseTV?feature=mhum

>this. Fantastic read! You're a dude Murp


Blushes....

GOAT of his era......long live Prince.....God is alive....

I absolutely LOVED that Edutainment album. Still bump it to this day. And you were on point with that Return of teh Boom Bap / Mamma Said... comparison too. Nobody was really checking for KRS on Sex and Violence, but Boom Bap was that shit.

Major, major props to you...

<-- Dave Thomas knows what's up...
__________________________

Jay: Look here homie, any nigga can get a hit record. This here is about respect.
Game: Like Gladys Knight.
Jay: Aretha Franklin.
Game: Word, I like her too.
Jay: Nigga...

>I absolutely LOVED that Edutainment album. Still bump it to
>this day. And you were on point with that Return of teh Boom
>Bap / Mamma Said... comparison too. Nobody was really checking
>for KRS on Sex and Violence, but Boom Bap was that shit.
>
>Major, major props to you...


Thanks homie...

GOAT of his era......long live Prince.....God is alive....

He's always one of the best interview subjects.

__
I don't like the beat anymore because its just a loop. ALC didn't FLIP IT ENOUGH!

Flip it enough? Flip these. Flip off. Go flip some f*cking burgers.(c)Kno

Allied State of the National Electric Beat Treaty Organization (NEBTO)

I got mad respect for dat Brotha, KRS.

https://chriswind.bandcamp.com/track/massage

"You can take an African out of Africa, but you can't take Africa out of the African"
Afro-Americana/Afro-Caribbana/Afro-Latino unite. We are ALL Black!

>I got mad respect for dat Brotha, KRS.



No problem.....Thanks....

GOAT of his era......long live Prince.....God is alive....

Thanks....

GOAT of his era......long live Prince.....God is alive....

holding up a vinyl copy of Criminal Minded and saying 'This is why you kids are pushing up daisies'


LOL

Lies run sprints.
Truths run marathons.

If this was a world where artists could survive without videos, I don't think he would be at loss at all. To me, he's the ULTIMATE storyteller in rap music, and it doesn't stop there either.

Great piece as usual, Mr.Murphy.

>If this was a world where artists could survive without
>videos, I don't think he would be at loss at all. To me, he's
>the ULTIMATE storyteller in rap music, and it doesn't stop
>there either.
>
>Great piece as usual, Mr.Murphy.


Thanks luv....

GOAT of his era......long live Prince.....God is alive....