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On the surface, the sample-reliant productions and monotone rapping styles of Erick Sermon and Parrish Smith had little to recommend them, but the duo's recordings as EPMD were among the best in hip-hop's underground during the late '80s and early '90s. Over the course of four albums (from the 1988 classic Strictly Business to 1992's Business Never Personal), the group rarely varied from two themes: dissing sucker MCs and recounting sexual exploits. A closer look, however, revealed that the duo's rhymes were nothing less than incredible, simply undervalued due to their lack of intonation during delivery. EPMD also had a feel for a good groove, and created numerous hip-hop classics, including "It's My Thing," "You Gots to Chill," "Get the Bozack," "Strictly Business," and "Rampage."
Though EPMD's hardcore style influenced the urban-oriented gangsta '90s, Erick Sermon (aka E Double E; b. Nov. 25, 1968) and Parrish Smith (aka Pee MD; b. May 13, 1968) were both raised in the Long Island suburb of Brentwood. They moved into rap separately, with Smith DJing for Rock Squad on a single for the Tommy Boy label. After coming together in 1987 -- at which time they named themselves EPMD, short for "Erick and Parrish Making Dollars" -- they recorded their debut, "It's My Thing," in three hours. The single was later licensed to Chrysalis, and EPMD signed to Sleeping Bag/Fresh Records for the debut album Strictly Business. Propelled by several strong singles (including "You Gots to Chill" and the title track), the album eventually went gold, as did 1989's follow-up, Unfinished Business. Signed to Def Jam by the beginning of the '90s, EPMD returned in 1990 with Business as Usual and Business Never Personal two years later.
By 1992, they presided over an extended family dubbed the Hit Squad, including Redman, K-Solo, and Das EFX. The duo split later that year, however, prompting solo careers for each member; Sermon debuted in 1993 with No Pressure, and Smith made his statement on 1994's Shade Business. The duo then re-formed EPMD in 1997, recording a strong comeback LP named Back in Business. Out of Business followed in 1999, but the rappers continued pursuing their own projects through the late '90s and early 2000s. Both released solo albums, and Sermon partnered with Redman and Keith Murray as part of the Def Squad supergroup. Nevertheless, they also found time to continue performing together as EPMD, and 2008 saw them returning to the studio for We Mean Business.
Part of Brooklyn's talented Boot Camp Clik, the powerful tandem of Smif-n-Wessun got their start on Black Moon's classic debut, Enta da Stage, in 1993. Rudeboy MCs Tek and Steele made their presence felt on the cuts "U da Man" and "Black Smif N' Wessun." In early 1994, the crew scored a massive underground hit with "Bucktown," a reference to their violence-plagued Bedford-Stuyvesant stomping grounds and "home of the original gun clappas."
Their debut LP, Dah Shinin', followed soon thereafter, unleashing more heavy artillery from the military-minded BCC. With a canvas of dark, gluttonous beats provided by the gifted Beatminerz production squad, the duo expanded the limits of harsh-sounding, neck-snapping hip-hop by adding a melodic element. The crew released their album during the heyday of one of the most influential independent hip-hop labels of the '90s, Nervous Wreck Records, which many other indies (Rawkus) have patterned themselves around. Their recording moniker alone, Smif-n-Wessun, implies violence, but the weaponry they deploy is also of the verbal variety. Tek and Steele both possess signature flows, the former a bit more straight-laced while the latter showcases West Indian influences. Dah Shinin' is a focused album with a sharp, compacted sound that still contains depth, albeit strictly from the dark side.
Forced to reincarnate themselves after a legal battle with the Smith and Wesson firearm company, the duo resurfaced in 1997 as Cocoa Brovaz, a reference to their heritage and also to their marijuana fixation. Their second album (and first as Cocoa Brovaz), 1998's The Rude Awakening, was a more sprawling and chaotic venture, as well as being a shade more frighteningly dark. Since 1998, the two partners have released a few singles, including "Super Brooklyn," which features a superbly innovative use of a sample from the old Super Mario Bros. Nintendo game.
The Five Percent Nation of Islam was a popular inspiration for numerous thinking-man's rap groups during the early '90s, and Brand Nubian was arguably the finest of the more militant crop. Although they were strongly related to the Native Tongues posse in style and sound, they weren't technically members, and were less reserved about spotlighting their politics and religion. Their outspokenness led to controversy, on an even larger scale than similarly minded groups like the X-Clan or Poor Righteous Teachers, in part because Brand Nubian's sheer musicality made them so listenable regardless of what their messages were. The hoopla surrounding their aggressive Afrocentrism sometimes overshadowed the playful and positive sides of their work, as well as the undeniable virtuosity of lead MC Grand Puba's rhymes -- all showcased to best effect on their highly acclaimed debut, One for All.
Brand Nubian was formed in 1989 in the New York suburb of New Rochelle. Grand Puba (born Maxwell Dixon) had previously recorded with a group called Masters of Ceremony, and was joined by Sadat X (born Derek Murphy, originally dubbed Derek X), Lord Jamar (born Lorenzo DeChalus), and DJ Alamo (Murphy's cousin). The group signed with Elektra and released their debut album, All for One, in 1990. Most reviews were glowing, but the stronger rhetoric on the album -- especially the track "Drop the Bomb" -- drew fire from some quarters, including some white Elektra employees reluctant to promote what they saw as reverse racism. Ultimately, the uproar didn't really hurt Brand Nubian's career, but neither did it produce a wider hit with pop or R&B audiences, despite the high regard in which the singles "All for One," "Slow Down," and "Wake Up" are held. A far more serious blow was Grand Puba's departure from the group in late 1991, owing to tensions that had arisen over his handling the lion's share of the rapping. Not only did Brand Nubian lose their clear focal point and chief producer, they also lost DJ Alamo, who elected to continue working with Puba.
Puba released his solo debut, Reel to Reel, in 1992; meanwhile, Lord Jamar and Sadat X regrouped with DJ Sincere (born Terrence Perry) and issued In God We Trust in 1993. It sold fairly well, just missing the Top Ten on the R&B chart, and the single "Punks Jump up to Get Beat Down" was something of a hit, though it also drew fire for its anti-gay slurs. In Puba's absence, the pro-Islam rhetoric grew stronger, with more explicit support for the controversial Minister Louis Farrakhan. By the time of 1994's Everything Is Everything, they'd gotten downright dogmatic, and critics who'd previously defended the group now found them difficult to stomach, both lyrically and musically.
In the wake of the icy reception afforded Everything Is Everything, the remaining members of Brand Nubian drifted apart. Sadat X reunited with Grand Puba for "Play It Cool," a track on the latter's second solo album; Sadat also released his solo debut, Wild Cowboys, in 1996, and subsequently guested on records by a new wave of underground hip-hoppers. Lord Jamar, meanwhile, moved into production, and also landed a recurring role on HBO's prison drama Oz. In 1998, with a new alternative rap movement gaining prominence, the original four members of Brand Nubian reunited for the Arista album Foundation, which received highly positive reviews. Grand Puba and Sadat X both subsequently returned to their solo careers, but they returned with Jamar and Alamo for 2004's Fire in the Hole
Though EPMD's hardcore style influenced the urban-oriented gangsta '90s, Erick Sermon (aka E Double E; b. Nov. 25, 1968) and Parrish Smith (aka Pee MD; b. May 13, 1968) were both raised in the Long Island suburb of Brentwood. They moved into rap separately, with Smith DJing for Rock Squad on a single for the Tommy Boy label. After coming together in 1987 -- at which time they named themselves EPMD, short for "Erick and Parrish Making Dollars" -- they recorded their debut, "It's My Thing," in three hours. The single was later licensed to Chrysalis, and EPMD signed to Sleeping Bag/Fresh Records for the debut album Strictly Business. Propelled by several strong singles (including "You Gots to Chill" and the title track), the album eventually went gold, as did 1989's follow-up, Unfinished Business. Signed to Def Jam by the beginning of the '90s, EPMD returned in 1990 with Business as Usual and Business Never Personal two years later.By 1992, they presided over an extended family dubbed the Hit Squad, including Redman, K-Solo, and Das EFX. The duo split later that year, however, prompting solo careers for each member; Sermon debuted in 1993 with No Pressure, and Smith made his statement on 1994's Shade Business. The duo then re-formed EPMD in 1997, recording a strong comeback LP named Back in Business. Out of Business followed in 1999, but the rappers continued pursuing their own projects through the late '90s and early 2000s. Both released solo albums, and Sermon partnered with Redman and Keith Murray as part of the Def Squad supergroup. Nevertheless, they also found time to continue performing together as EPMD, and 2008 saw them returning to the studio for We Mean Business. Part of Brooklyn's talented Boot Camp Clik, the powerful tandem of Smif-n-Wessun got their start on Black Moon's classic debut, Enta da Stage, in 1993. Rudeboy MCs Tek and Steele made their presence felt on the cuts "U da Man" and "Black Smif N' Wessun." In early 1994, the crew scored a massive underground hit with "Bucktown," a reference to their violence-plagued Bedford-Stuyvesant stomping grounds and "home of the original gun clappas."
Their debut LP, Dah Shinin', followed soon thereafter, unleashing more heavy artillery from the military-minded BCC. With a canvas of dark, gluttonous beats provided by the gifted Beatminerz production squad, the duo expanded the limits of harsh-sounding, neck-snapping hip-hop by adding a melodic element. The crew released their album during the heyday of one of the most influential independent hip-hop labels of the '90s, Nervous Wreck Records, which many other indies (Rawkus) have patterned themselves around. Their recording moniker alone, Smif-n-Wessun, implies violence, but the weaponry they deploy is also of the verbal variety. Tek and Steele both possess signature flows, the former a bit more straight-laced while the latter showcases West Indian influences. Dah Shinin' is a focused album with a sharp, compacted sound that still contains depth, albeit strictly from the dark side.Forced to reincarnate themselves after a legal battle with the Smith and Wesson firearm company, the duo resurfaced in 1997 as Cocoa Brovaz, a reference to their heritage and also to their marijuana fixation. Their second album (and first as Cocoa Brovaz), 1998's The Rude Awakening, was a more sprawling and chaotic venture, as well as being a shade more frighteningly dark. Since 1998, the two partners have released a few singles, including "Super Brooklyn," which features a superbly innovative use of a sample from the old Super Mario Bros. Nintendo game. The Five Percent Nation of Islam was a popular inspiration for numerous thinking-man's rap groups during the early '90s, and Brand Nubian was arguably the finest of the more militant crop. Although they were strongly related to the Native Tongues posse in style and sound, they weren't technically members, and were less reserved about spotlighting their politics and religion. Their outspokenness led to controversy, on an even larger scale than similarly minded groups like the X-Clan or Poor Righteous Teachers, in part because Brand Nubian's sheer musicality made them so listenable regardless of what their messages were. The hoopla surrounding their aggressive Afrocentrism sometimes overshadowed the playful and positive sides of their work, as well as the undeniable virtuosity of lead MC Grand Puba's rhymes -- all showcased to best effect on their highly acclaimed debut, One for All.
Brand Nubian was formed in 1989 in the New York suburb of New Rochelle. Grand Puba (born Maxwell Dixon) had previously recorded with a group called Masters of Ceremony, and was joined by Sadat X (born Derek Murphy, originally dubbed Derek X), Lord Jamar (born Lorenzo DeChalus), and DJ Alamo (Murphy's cousin). The group signed with Elektra and released their debut album, All for One, in 1990. Most reviews were glowing, but the stronger rhetoric on the album -- especially the track "Drop the Bomb" -- drew fire from some quarters, including some white Elektra employees reluctant to promote what they saw as reverse racism. Ultimately, the uproar didn't really hurt Brand Nubian's career, but neither did it produce a wider hit with pop or R&B audiences, despite the high regard in which the singles "All for One," "Slow Down," and "Wake Up" are held. A far more serious blow was Grand Puba's departure from the group in late 1991, owing to tensions that had arisen over his handling the lion's share of the rapping. Not only did Brand Nubian lose their clear focal point and chief producer, they also lost DJ Alamo, who elected to continue working with Puba.
Puba released his solo debut, Reel to Reel, in 1992; meanwhile, Lord Jamar and Sadat X regrouped with DJ Sincere (born Terrence Perry) and issued In God We Trust in 1993. It sold fairly well, just missing the Top Ten on the R&B chart, and the single "Punks Jump up to Get Beat Down" was something of a hit, though it also drew fire for its anti-gay slurs. In Puba's absence, the pro-Islam rhetoric grew stronger, with more explicit support for the controversial Minister Louis Farrakhan. By the time of 1994's Everything Is Everything, they'd gotten downright dogmatic, and critics who'd previously defended the group now found them difficult to stomach, both lyrically and musically.
In the wake of the icy reception afforded Everything Is Everything, the remaining members of Brand Nubian drifted apart. Sadat X reunited with Grand Puba for "Play It Cool," a track on the latter's second solo album; Sadat also released his solo debut, Wild Cowboys, in 1996, and subsequently guested on records by a new wave of underground hip-hoppers. Lord Jamar, meanwhile, moved into production, and also landed a recurring role on HBO's prison drama Oz. In 1998, with a new alternative rap movement gaining prominence, the original four members of Brand Nubian reunited for the Arista album Foundation, which received highly positive reviews. Grand Puba and Sadat X both subsequently returned to their solo careers, but they returned with Jamar and Alamo for 2004's Fire in the Hole
