Boogie Down Productions Criminal Minded Zip

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The level of consistency and quality that runs through the expanse of Criminal Minded is striking. All ten of its tracks are innovative and unique in their own way. It’s an album that’s reverent to hip-hop’s old school history and pays tribute to its dancehall/reggae roots, but also an impressive early chapter in establishing the way that hip-hop’s “New School” changed how hip-hop was approached for years to come. The production on the album is the work of Scott La Rock, KRS-One, and an uncredited Ced Gee, of Ultramagnetic MCs fame. All the rhymes are by KRS-One himself.

The beats themselves provide the blueprint for the “Boom Bap” style of hip-hop production, one built on hard kicks and snares and soul and James Brown loops. In terms of subject matter, Criminal Minded was a pretty straightforward hip-hop album for the time.

Much like their unofficial brothers in hip-hop revolutionary arms,, who released their first album roughly a month before this one, BDP’s first endeavor is fairly light on political commentary. KRS-One works in a few lines and references throughout the album, but as of 1987, he had yet to assume the mantle of hip-hop’s teacher. Prosoniq orange vocoder torrent download. But the lack of political content doesn’t undermine the album’s significance. In many ways, Criminal Minded is the prototype for the New York/East Coast street album. While BDP would eventually become known as pioneers of the hip-hop concept album, Criminal Minded doesn’t initially come across as traditional. But upon listening to it, it’s apparent that the album’s “concept” is the innovative lyricism displayed by KRS-One himself. Criminal Minded leads off with “Poetry,” the crew’s dedication to pure lyricism.

The beat, created by Scott and Ced Gee, features a creative re-working of James Brown’s “Don’t Tell It,” as Scott scratches vocal samples of the Godfather of Soul throughout the song. But KRS is the highpoint of the track, as he conducts a clinic, or more appropriately, a class on lyricism. On the track, KRS largely eschews typical rap rhyme patterns and flows, compressing the traditional “AABB” rhyme scheme, so there are rhymes within each measure. As a result, each measure doesn’t rhyme with the one the follows it. For example: “For beats with plenty bass and lyrics said in haste / If this meaning doesn’t manifest, put it to rest / I am a poet, you try to show it, yet blow it / It takes concentration for fresh communication.” Later he rhymes, “Oh what a pity, I'm rocking New York City / And everywhere else you put the jams on the shelf.” The couplets don’t really sound right absorbed in isolation; you need to hear the whole song to appreciate the inventive rhyme scheme. Criminal Minded is perhaps best known as the showcase of BDP’s beef with MC Shan, the Juice Crew, and legendary hip-hop radio DJ Mr.

Magic, which evolved throughout ’86 and ’87. KRS said in Brian Coleman’s Check the Technique that the genesis of the animosity started when BDP and affiliates went to WBLS, home of the infamous “Rap Attack” radio show, to try to get Mr. Magic to play an early version of their song “Elementary” (more on that later). Magic dismissed the crew, then eventually listened to the track and told them it was wack. The group retaliated by recording and releasing “South Bronx,” the album’s first single. “South Bronx” is an answer track to MC Shan’s “The Bridge.” The Queensbridge native recorded “The Bridge” as a B-side for his single “Beat Biter” and the track was designed to be a celebration of the borough of Queens. Marley Marl, who became known as a legendary producer but was an on-air assistant to Mr.

Magic at the time, created the beat. With “South Bronx,” KRS adapts Shan’s delivery, rearranging each line to champion his own borough and to dis Shan. In between educating the listener on the Bronx’s rich hip-hop history, he trashes Shan for getting dropped by MCA Records and associating with crackheads. The fast-paced track features one of the earliest uses of James Brown’s “Funky Drummer” break, as Scott La Rock also incorporates chops of the horns from “Get Up Offa That Thing.”. After Shan responded to “South Bronx” with “Kill That Noise,” BDP answered back once again with “The Bridge is Over.” It is rightfully considered one of the two or three best hip-hop dis tracks ever recorded. Part of the reason the song succeeds is because it’s vicious in such a light-hearted way.