Run D.M.C.

Run–D.M.C. was an American hip hop group from Hollis, Queens, New York. Founded by Joseph “Run” Simmons, Darryl “D.M.C.” McDaniels, and Jason “Jam-Master Jay” Mizell. The group is widely acknowledged as one of the most influential acts in the history of hip hop culture.
Run–D.M.C. were one of the most well-known hip hop acts in the 1980s, who along with LL Cool J, signified the advent of the new school of hip hop music. They were the first group in the genre to have a gold record and be nominated for a Grammy Award .The group was among the first to highlight the importance of the MC and DJ relationship . In 2004, Rolling Stone ranked them number 48 in their list of the greatest musical artists of all time.
In 2007, Run–D.M.C. was named “The Greatest Hip Hop Group of All Time” by MTV.com and “Greatest Hip Hop Artist of All Time” by VH1. On April 4, 2009, rapper Eminem inducted them into the Rock and Roll Hall of Fame. In doing so, Run–D.M.C. became only the second hip hop group in history to be inducted, after Grandmaster Flash and the Furious Five.
The initials “D.M.C.” are widely accepted to refer to Darryl McDaniels’ initials.[citation needed] In the 1985 album King of Rock’s title track, McDaniels says the initials have two meanings: “Devastating Mic Control” and “D for never dirty, MC for mostly clean.” He also makes a third reference “The ‘D’s for Doing it all of the time, the ‘M’s for the rhymes that all are Mine, The ‘C’s for Cool – cool as can be.”

Early years
The three members of Run–D.M.C. grew up in Hollis, Queens. As a teenager, Simmons was recruited into hip-hop by his older brother, Russell, who was then an up and coming hip-hop promoter. Simmons appeared onstage as a DJ for rapper Kurtis Blow, who was managed by Russell. Known as “DJ Run, Son of Kurtis Blow”, Simmons soon began performing with Kurtis Blow. Previously, McDaniels had been more focused on athletics than music, but soon began to DJ after purchasing a set of turntables. Simmons convinced McDaniels to start rapping, and though McDaniels would not perform in public, he soon began writing rhymes and was known as “Easy D.”
Simmons and McDaniels started hanging around Two-Fifths Park in Hollis in late 1980, hoping to rap for the local DJs that performed and competed there, and the most popular one known to frequent the park was Mizell, then known as “Jazzy Jase”. Mizell was known for his flashy wardrobe and b-boy attitude, which led to minor legal troubles as a teen. Thereafter, he decided to pursue music full-time and began entertaining in the park soon after. Eventually, Simmons and McDaniels rapped in front of Mizell at the park, and the three became friends. Following Russell’s success managing Kurtis Blow, he helped Run record his first single, a song called “Street Kid.” The song went unnoticed, but despite the single’s failure, Run’s enthusiasm for hip-hop was growing. Simmons soon wanted to record again—-this time with McDaniels, but Russell refused, citing a dislike for D’s rhyming style. After they completed high school and started college in 1982, Simmons and McDaniels finally convinced Russell to let them record as a duo, and they recruited Mizell (who now called himself Jam-Master Jay) to be their official DJ. A year later, in 1983, Russell agreed to help them record a new single and land a record deal, but only after he changed McDaniels’ stage name to ‘DMC’ and marketed the group as “Run–D.M.C.”, a name which, incidentally, the group hated at first. DMC said later, “We wanted to be the Dynamic Two, the Treacherous Two — when we heard that shit, we was like, ‘We’re gonna be ruined!’ ”
After signing with Profile Records, Run–D.M.C. released their first single “It’s Like That/Sucker MCs”, in late 1983. The single was well received, peaking at #15 on the R&B charts. The trio performed the single on the New York Hot Tracks video show in 1983. Emboldened by their success, Run–D.M.C. released their eponymous debut Run–D.M.C. in 1984. Hit singles such as “Jam-Master Jay” and “Hard Times” proved that the group were more than a one-hit wonder, and the landmark single “Rock Box” was a groundbreaking fusion of raw hip-hop and hard rock that would become a cornerstone of the group’s sound and paved the way for the rap rock movement of the late 1990s.
Run–D.M.C.’s swift ascension to the forefront of rap with a new sound and style meant that old school hip hop artists were becoming outdated. Along with pushing rap into a new direction musically, Run–D.M.C. changed the entire aesthetic of hip hop music and culture. Old school rappers like Afrika Bambaataa and Melle Mel of Grandmaster Flash and the Furious Five tended to dress in the flashy attire that was commonly attributed to rock and disco acts of the era: tight leather, chest-baring shirts, gloves and hats with rhinestones and spikes, leather boots, etc. Run–D.M.C. discarded the more glam aspects of early hip hop’s look (which ironically, was later readopted in 1990 by more “pop” rappers MC Hammer and Vanilla Ice) and incorporated a more ‘street’ sense of style such as fedoras, leather jackets, and unlaced Adidas shoes.The group’s look had been heavily influenced by Mizell’s own personal style. When Russell Simmons saw Jay’s flashy, yet street b-boy style, he insisted the entire group follow suit. Run said later:
“ There were guys that wore hats like those and sneakers with no shoestrings. It was a very street thing to wear, extremely rough. They couldn’t wear shoelaces in jail and we took it as a fashion statement. The reason they couldn’t have shoelaces in jail was because they might hang themselves. That’s why DMC says ‘My Adidas only bring good news and they are not used as felon shoes. ”
That embrace of the look and style of the street would define the next 25 years of hip hop fashion.

King of Rock, Raising Hell and mainstream success
After the success of their first album, Run–D.M.C. looked to branch out on their follow-up. The release of King of Rock in 1985 saw the group furthering their rap-rock fusion on songs like “Can You Rock It Like This” and the title track; while “Roots, Rap, Reggae” was one of the first rap/dancehall hybrids. The music video for the single “King of Rock” was the first ever rap video to air on MTV and received heavy rotation from the channel. The song was the group’s most popular hit at that point and the album was certified platinum. Run–D.M.C. performed at the legendary Live Aid benefit shortly after King of Rock was released.
In late 1985, Run–D.M.C. were featured in the hip hop film Krush Groove, a fictionalized re-telling of Russell Simmons’ rise as a hip-hop entrepreneur and his struggles to get his own label, Def Jam Recordings, off of the ground. The film featured a young Blair Underwood as Russell, along with appearances by old-school legend Kurtis Blow, The Fat Boys, teen pop act New Edition, LL Cool J, Prince protegee Sheila E., and hip hop’s first successful white rap group the Beastie Boys, who were signed to Simmons’ Def Jam label. The movie was a hit and further proof of hip hop’s continued mainstream visibility.
Returning to the studio in 1986, the group teamed with producer Rick Rubin for their third album. Rubin had just produced LL Cool J’s debut album Radio. They later released their third album titled Raising Hell which became the group’s most successful album and one of the best-selling rap albums of all-time. The album was certified double-platinum and peaked at number three on the charts.
They were almost done with the album, but Rubin thought that it needed an element that would appeal to rock fans as well. This spurred the lead single “Walk This Way”, a cover of the classic hard rock song by Aerosmith. The original intention was to just rap over a sample of the song, but Rubin and Jay insisted on doing a complete cover version. Aerosmith’s Steven Tyler and Joe Perry were called to join Run–D.M.C. in the studio to add vocals and lead guitar, respectively. The song and video became one of the biggest hits of the ’80s, reaching number four on the Hot 100, and cemented Run–D.M.C.’s crossover status. It also resurrected Aerosmith’s career. The single “My Adidas” led to the group signing a $1.6 million endorsement deal with athletic apparel brand Adidas. Adidas formed a long-term relationship with Run–D.M.C. and hip hop.
The success of Raising Hell is often credited with kick-starting hip hop’s golden age, when rap music’s visibility, variety, and commercial viability exploded onto the national stage and became a global phenomenon. Their success paved the way for acts like LL Cool J and the Beastie Boys. The group toured in the wake of the album’s success, but the Raising Hell Tour was marred by violence, particularly fights between rival street gangs in places like Los Angeles. Though Run–D.M.C.’s lyrics had been angry, menacing, violent, hostile, confrontational and aggressive, they typically denounced crime and ignorance, but the media began to blame the group for the incidents. In the wake of the violence, Run–D.M.C. would call for a day of peace between the gangs in L.A.
Tougher Than Leather, changing times
After spending 1987 on tour supporting Raising Hell, Run–D.M.C. released Tougher Than Leather in 1988. The album saw the group discarding much of its rap rock leanings for a grittier, more sample-heavy sound. Despite not selling as well as its predecessor, the album boasted several strong singles, including “Run’s House”, “Beats to the Rhyme”, and “Mary Mary.” Though at the time considered a disappointing follow-up to the blockbuster Raising Hell, the album has grown in stature. In the 2000 liner notes for the album’s re-release, Chuck D. of Public Enemy would call the album “…a spectacular performance against all odds and expectations.”
Later in 1988, the group made their second film appearance in Tougher Than Leather, a would-be crime caper that was directed by Rick Rubin and featured special guest performances by the Beastie Boys and Slick Rick. The film bombed at the box office, but strengthened the indirect relationship between Run–D.M.C. and the Def Jam label.
Though the group itself was never signed to the label, they were managed by Russell Simmons, produced by Rick Rubin (who was co-founder of Def Jam, along with Simmons), and often shared concert tour spotlight with acts on the label’s roster.
Amidst the changing times and sliding sales, Run–D.M.C. released Back from Hell in 1990. The album was the worst-reviewed of their career, as the group tried to re-create itself musically with ill-advised forays into New Jack Swing (a then-popular style of production that sonically merged hip hop and contemporary R&B) and sometimes-preachy lyrical content. The two singles released, the anti-drug, anti-crime song “Pause” and street narrative “The Ave”, had little success, and the group began to look outdated. Reeling from their first taste of failure, personal problems began to surface for the trio. McDaniels, who had been a heavy drinker in recent years, was losing control to alcoholism. Jay was involved in a life-threatening car accident and survived two gunshot wounds after an incident in 1990. In 1991, Simmons was charged with raping a college student in Ohio, though the charges were later dropped. He was also battling depression and would frequently mix poison[citation needed] with Coca Cola—his signature drink—later coined “The Jimmy Simmons”.
With so much personal chaos and professional uncertainty, the members turned to faith to try and steady their lives. Both Simmons and McDaniels joined the church, with Run becoming especially devoted following his legal troubles and the toll it took on his finances. Needing to start from scratch, they just spent time enjoying themselves with one another.
After a three-year hiatus that seemingly saw rap music move on without them, the rejuvenated Run–D.M.C. returned in 1993 with Down With the King. Building on the gritty sound of Tougher Than Leather, and adding some subtle religious references, the album featured guest appearances and production by several hip hop notables (including Pete Rock & CL Smooth, Q-Tip of A Tribe Called Quest, and Jermaine Dupri). Buoyed by the title track and first single, the album entered the charts at #1 and number 7 on the pop charts, Run D.M.C. had returned to the airwaves.
Even though the album went platinum, the song proved to be their last hit. Jam-Master Jay also found success on his own; he had founded his own label JMJ Records, and discovered and produced the group Onyx, which had tremendous success in 1993 following the release of their hit single, “Slam.” Later that same year, Run became an ordained minister, and in 1995 the iconic group appeared in The Show, a Def Jam-produced documentary that featured several of hip hop’s biggest acts discussing the lifestyle and sacrifices of the industry.

Later years, break-up
Over the next few years, the group did very little recording. Mizell produced and mentored up and coming artists, including; Onyx, and 50 Cent, who he eventually signed to the JMJ label. Simmons got divorced, re-married, and began to focus on his spiritual and philanthropic endeavors by becoming a reverend. He also wrote a book along side his brother Russell. McDaniels, also married, made an appearance on the Notorious B.I.G.’s 1997 double-album Life After Death, and focused on raising his family.
Though the group continued to tour around the world, over a decade of living a rap superstar lifestyle was beginning to take a toll on McDaniels. He was beginning to tire of Run–D.M.C., and there was increased friction between him and Simmons, who was eager to return to recording. (Simmons had at this time adopted the moniker “Rev. Run” in light of his religious conversion.) While on tour in Europe in 1997, McDaniels ongoing battle with substance abuse led to a bout of severe depression, which spurred an addiction to prescription drugs. McDaniels’ depression continued for years, so much so that he contemplated suicide.
In 1997, producer and remixer Jason Nevins remixed “It’s Tricky” and “It’s Like That”. Nevins’ remix of “It’s Like That” hit number 1 in the United Kingdom, Germany, and many other European countries. A video was made for “It’s Like That”, although no new footage of Run–D.M.C. appeared in it. In 1999, Run–D.M.C. recorded the theme song for WWE wrestling stable D-Generation X entitled “The Kings”. They also made an appearance in a rare version of the music video “Bodyrock” by Moby. Their version of “The Kings” was included on the album, WWF Aggression (2000).
Soon after, the group finally returned to the studio, but in an increasingly tense environment, as Simmons and McDaniels’ differences had begun to show. In the wake of the exploding popularity of rap rock artists like KoRn, Limp Bizkit, and Kid Rock, Simmons wanted to return to the aggressive, hard rock-tinged sound that made the group famous. McDaniels — who had become a fan of thoughtful singer-songwriters like John Lennon, Harry Chapin, and Sarah McLachlan — wanted to go in a more introspective direction. Appearing on VH1′s popular documentary series Behind The Music in early 2000, McDaniels confirmed that he was creatively frustrated and highlighted some songs that he was recording on his own. The continued friction led to McDaniels sitting out most of the group’s recording sessions in protest.
Simmons, in defiance, recorded material anyway, inviting several guest stars such as Kid Rock, Jermaine Dupri, Stephan Jenkins of Third Eye Blind, Method Man, and fellow Queens MCs Nas and Prodigy of Mobb Deep to contribute to the project. The resultant album, Crown Royal, was delayed due to the personal problems, and when it was finally released in 2001, it featured only three appearances by DMC. Despite no major singles, the album initially sold well. However, many critics blasted the lack of DMC’s involvement, and fans questioned whether this was a ‘true’ Run–D.M.C. album, only being released as one for contractual purposes. Some positive reviews were published: Entertainment Weekly noted that “on this hip-hop roast, new schoolers Nas and Fat Joe pay their respects with sparkling grooves….Run’s rhymes are still limber.”
After Crown Royal, the group embarked on a worldwide tour with their “Walk This Way” compatriots, Aerosmith. The tour was a rousing success, celebrating the collaboration between the two acts and acknowledging the innumerable amount of rap and rock acts that had been influenced by their seminal hit 15 years prior. Even though he had little to do with the album, McDaniels was relishing the stage; he had been suffering from an inoperable vocal disorder that had rendered his once-booming voice a strained mumble. Performing allowed McDaniels to come out of his depression and he appeared revitalized on the tour. There was even talk of Run–D.M.C. finally signing with the Def Jam label, which by then was no longer held by its original founders.
Simmons, however, had been growing increasingly tired of hip-hop. His family was growing, and he was assisting with his brother Russell’s Phat Farm clothing imprint, making Run–D.M.C. less of a priority. Aerosmith was beginning to discuss extending the successful tour, but while on the bus headed to another performance, Simmons announced that he was leaving and was not interested in returning. To the others’ shock, Run was reported as having said, “Yo, tomorrow, we’re gonna tell  we ain’t gonna do the tour. We’re gonna go home. Y’all have to figure out what y’all are gonna do. Because I don’t want to perform no more.”Despite the protests of McDaniels, Mizell, and Tyler, Simmons was adamant. Their touring career at the time seemed over, and it was uncertain whether the trio would ever record again.
On October 30, 2002, Jam-Master Jay was shot and killed at his recording studio in Queens. Outside the studio where the murder occurred, fans and friends gathered and left Adidas sneakers, albums, and flowers for the legendary DJ. Mourners respected him as a family man who stayed out of trouble. The homicide has yet to be solved, echoing the unsolved murders of fellow hip hop titans The Notorious B.I.G. and 2Pac. In the aftermath, Run and DMC announced that the group was officially disbanding, and they retired the Run–D.M.C. moniker.
Biopic
Following the success of Notorious, it has been announced that a Run–D.M.C. biopic is in production. The film is rumored to depict the life and story of the group beginning from their inception in Hollis, Queens, and leading up to the 2002 murder of Jam-Master Jay.
Post-breakup
In 2004, Run-DMC were one of the first acts honored on the first annual VH1 Hip Hop Honors, alongside legends like 2Pac and the Sugarhill Gang. The Beastie Boys paid tribute. Simmons did not attend the show; he was recording his first solo album, Distortion. It was released in 2005 to strong reviews and moderate sales.
McDaniels also released a solo album, ‘Checks Thugs and Rock N Roll’, which was slightly less successful.He had recently discovered that he was adopted, which lead him to be the center of the VH1 program My Adoption Journey, a documentary chronicling his re-connection with his biological family. McDaniels was also featured in the 2008 video game, Guitar Hero: Aerosmith, making appearances in the songs “Walk this Way” and “King of Rock”. He frequently contributed to VH1 programs such as the I Love The… series, and he released the song “Rock Show” featuring singer Stephan Jenkins.
Simmons also turned to television, starring in Run’s House, a reality show that followed his life as a father and husband. The show has become one of the most popular on MTV, and it made reality TV stars out of his daughters Vanessa and Angela.
In June 2007, McDaniels appeared with Aerosmith performing “Walk This Way” for their encore at the Hard Rock Calling festival in London, England. Simmons joined Kid Rock’s 2008 Rock N Roll Revival Tour, performing “It’s Like That”, “It’s Tricky”, “You Be Illin’”, “Run’s House”, “Here We Go”, “King of Rock” and “Walk This Way” with Kid Rock. They also covered “For What It’s Worth” at the end of the show.
In 2007, Mizell’s wife, Terry, Simmons, and McDaniels also launched the J.A.M. Awards in Jay’s memory. Jay’s vision for social Justice, Arts and Music was promoted by many recording artists, including Snoop Dogg, LL Cool J, Raekwon, Jim Jones, M.O.P., Papoose, Everlast, DJ Muggs, Kid Capri, De La Soul, Mobb Deep, EPMD, Dead Prez, Biz Markie and Marley Marl. In October 2008, Mizell’s one-time protege 50 Cent announced plans to produce a documentary about his fallen mentor.
In 2008 Run–D.M.C. was nominated for 2009 induction into the Rock and Roll Hall of Fame. On January 14, 2009, it was confirmed that Run–D.M.C. would be one of the five inductees to the Rock Hall.On April 3, 2009, Run–D.M.C. became the second rap act to be awarded the honor (after Grandmaster Flash and the Furious Five, who were inducted in 2007). It was also announced that Simmons and McDaniels will perform with The Roots at their annual “picnic” show on June 5, 2010.

Adidas sneakers with the Run–D.M.C. logo

Allmusic.com’s Stephen Thomas Erlewine states that “…More than any other hip-hop group, Run-D.M.C. are responsible for the sound and style of the music.” Musically, they moved hip hop and rap music away from the funk and disco-oriented sound of its beginnings, into an altogether new and unique sonic imprint. Their sound is directly responsible for intentionally transforming rap music from dance-and club-oriented funk grooves like “Rapper’s Delight” and “The Breaks” to an aggressive, less-danceable approach. Characterized by sparse, hard-hitting beats—as typified on hits like “It’s Like That”, and “Peter Piper”—this would form the foundation of hardcore hip hop (particularly hardcore East Coast hip hop).
As such, Run–D.M.C. is considered the originators of the style, and hardcore hip hop would dominate the next two decades of rap music, from the bombastic, noisy sound of Public Enemy and stripped minimalism of Boogie Down Productions to the thump of early Wu-Tang Clan and Nas. Their influence was not limited to the East Coast, however. L.A.’s N.W.A., on their landmark 1988 album Straight Outta Compton, showed heavy influences from Tougher Than Leather-era Run–D.M.C., and Chicano rap act Cypress Hill were definitely influenced by Run–D.M.C.’s fusion of rap and rock.
Early on, the group rarely sampled and rarely looped anything over their skeletal beats, and the funky minimalism of major producers, such as Timbaland and The Neptunes, is drawn from Run–D.M.C.’s fundamental sound. Rap rock fusion proved to be influential among rock artists, with ’80s bands like Faith No More, Anthrax (whose collaboration with Public Enemy on “Bring the Noise” was directly influenced by “Walk This Way”[citation needed]) and the Red Hot Chili Peppers adding elements of rap to alternative rock and heavy metal. Most notably, the rap rock genre became popular in the late 1990s, with bands like Rage Against the Machine, KoRn, Sublime, Limp Bizkit, Linkin Park and, most recently[when?], Hollywood Undead gaining worldwide popularity by furthering Run–D.M.C.’s template of aggressive rhymes over hard rock riffs.
Aesthetically, they changed the way rappers presented themselves. Onstage, Old school rappers had previously performed in flashy attire and colorful costumes, typically had a live band and, in the case of acts like Whodini, had background dancers. Run–D.M.C. performed with only Run and DMC out front, and Jam-Master Jay on the turntables behind them, in what is now considered the ‘classic’ hip hop stage setup: two turntables and microphones. They embraced the look and style of the street by wearing jeans, lace-less Adidas sneakers, and their trademark black fedoras. The group shunned both the over-the-top wardrobe of previous rap stars like the Furious Five and Afrika Bambaataa, and the silk-shirted, jheri curled, ladies’ man look of rappers like Kurtis Blow and Spoonie Gee. Followers of their style included LL Cool J and the Beastie Boys; seemingly overnight, rappers were wearing jeans and sneakers instead of rhinestones and leather outfits. From Adidas track suits and rope chains to baggy jeans and Timberland footwear, hip hop’s look remained married to the styles of the street.
According to the Rolling Stone Encyclopedia of Rock & Roll:
“ Run-D.M.C. took hardcore hip-hop from an underground street sensation to a pop-culture phenomenon. Although earlier artists, such as Grandmaster Flash and the Sugar Hill Gang, made rap’s initial strides on the airwaves, it was Run-D.M.C. that introduced hats, gold chains, and untied sneakers to youth culture’s most stubborn demographic group: young white male suburban rock fans. In the process, the trio helped change the course of popular music, paving the way for rap’s second generation. ”

Historically, the group achieved a number of notable firsts in hip hop music and are credited with being the act most responsible for pushing hip hop into mainstream popular music, initiating its musical and artistic evolution and enabling its growth as a global phenomenon. Run–D.M.C. is the first rap act to have reached a number of major accomplishments:
A #1 R&B charting rap album
The second rap act to appear on American Bandstand (the Sugar Hill Gang appeared first on the program in 1981)
The first rap act to chart in the Top 40 of the Billboard Hot 100 more than once
The first rap artist with a Top 10 pop charting rap album
The first rap artist with gold, platinum, and multi-platinum albums
The first rap act to appear on the cover of Rolling Stone magazine
(one of) The first rap act(s) to receive a Grammy Award nomination
The first rap act to make a video appearance on MTV
The first rap act to perform at a major arena
Signed to a major product endorsement deal (Adidas)
The second rap act to be inducted into the Rock and roll hall of fame

Discography :

Main article: Run–D.M.C. discography
Run–D.M.C. (1984)
King of Rock (1985)
Raising Hell (1986)
Tougher Than Leather (1988)
Back from Hell (1990)
Down with the King (1993)
Crown Royal (2001)

Gallery

Hijack

Hijack were a hip hop group from Brixton in London, featuring Kamanchi Sly, DJ Supreme, DJ Undercover, Ulysses, Agent Fritz and Agent Clueso. Their first single, “Style Wars” (Music of Life, 1988) caught the attention of the British hip hop community. Their next release, “Hold No Hostage” / “Doomsday of Rap” (Music of Life, 1989) became an underground hit across Europe, bringing them to the attention of West Coast rapper Ice T. Overview Ice T signed the group to his own Rhyme Syndicate record label, and they recorded and released the single “The Badman is Robbin’” (Rhyme Syndicate, 1989). The track reached #56 in the UK Singles Chart. The group’s debut album – The Horns of Jericho (Rhyme Syndicate, 1991) – was recorded around the same time, but Warner (who had a distribution deal with Rhyme Syndicate) did not release the album in the United States. Following this the group split up and went their separate ways. DJ Supreme founded Backbone Records, whilst Kamanchi Sly and DJ Undercover founded Reservoir Records and recorded as Mr Pink and Mr Blond for a short. Kamanchi Sly changed his name to Unknown MC and had chart success with his brother DJ Pied Piper. DJ Pied Piper and the Masters of Ceremonies’s single “Do You Really Like It?” (Relentless Records, 2001) reached number 1 in the UK chart.[2] Since then, Kamanchi Sly released two EPs in 2004. DJ Supreme attended the Scratchcon 2000 seminar in San Francisco, California, which was hosted by DJ Qbert. Supreme is an active DJ on the European nightclub circuit and continues to work in record production. His most recent project include the making of his semi-biographical documentary film, The Turntable Trixters, which chronicles the history of Hijack. The film was recently screened by the British Film Institute and a DVD is available. History of the Crew   1986 Supreme auditions and recruits DJ Undercover and Kamanchi  Sly (then named MC Ron) to form an all DJ crew. DJUndercover would already have a name on the street for his mix tapes played by Tim Westwood during his days with pirateRadio Station, LWR. Supreme and crew would agree to call themselves ‘The Turntable Trixters’ and begin performing inUnderground hip hop parties in South London. MC Ron would soon turns to MCing and change his name to Kamachie Sly. 1987 Supreme and Undercover challenge Cutmaster Swift and Pogo in a little known battle that took place at Battersea Park(South London). Reports say that Swift and Pogo put on a good visual show and got good crowed reaction. Unfortunately The crowed was not as receptive to the no-nonsense scratching performed by the Trixters. Contrary to their name the Trixters didn’t do tricks or gimmicks just scratch, thus victory went to their adversaries, as showmanship was the order of The day. NOTE: Supreme often commented that he would never enter competitions like DMC. He was adamant that as long as Judges voted for “what was seen” and not “what was heard” he wasn’t going to participate. Kamanchi Sly and Supreme attend a Rap competition in North West London hosted by Tim Westwood and judged by rapper Derek B, an artist on Music of Life Records. Kamanchi Sly wins the competition and throws the prize money into the Crowd. An impressed Derek B would promptly arrange a meeting between The Turntable Trixters and Music of Life Records. Turntable Trixters sign a recording contract with Music of Life Records under the new name of ‘Hijack’, spontaneously Thought up by DJ Undercover. Hijack Record their first single, Style Wars, at F2 studios in Clarkenwell, London EC2. Supreme co-produced the music with K.Sly and Undercover. 1988 The ‘Style Wars’ single is released and is well received on the UK underground scene, reaching number one in the Echo’ship hop music chart. The single would also be licensed to compilation albums released in Europe and the US. Hijack make the conscience decision not to do interviews with the press to avoid being mis-quoted. This did not go down well with management or Music of Life but it proved to increase the public interest and intrigue about the highly secretive group. 1989 Hijack release their second single entitled ‘Hold No Hostage’. This would be Supreme’s first solo production effort and is Credited as being the first in a whole new style of UK Hardcore music, later named “Britcore” by the press. The new sound would dominate the European Rap scene in the coming years. Hijack support Public Enemy (PE) at Brixton Academy for their first public appearance since signing to Music of Life Records. They would go on to support PE in Birmingham where they’re given an encore and literally forced by fans to extend the show. Hijack get into a fight with EPMD at a Def Jam after party in London, Soho. The incident started when EPMD DJ (not Scratch) refused to play ‘Hold No Hostage’. After crowds parted the two groups Hijack would take charge of the dj booth and play ‘Hold No Hostage’ and ‘Doomsday of Rap’ repeatedly until the power is cut by the club owners. The HQ is formed and consists of Hijack, Katch 22, The Icepick and Standing Ovation. Ice T first hears ‘Hold No Hostage’ while a guest on the Tim Westwood Rap Show. With Tim’s help, Ice T would arrange a meeting with K.Sly and Supreme at the Wag Club to discuss a recording contract on his Rhyme Syndicate Records. The Group would except to sign shortly after. This would be a land mark for UK Rap as Hijack would be the first British rap to be signed by a US based hip hop label. The Style Wars remix, ‘Style Warriors Revenge’, is released. Produced by Supreme, the track is released on Music of Life Records while the Rhyme Syndicate Contract is fine tuned by lawyers. 1990 Supreme produces the single ‘Burial Proceedings in the Course of Three Knights’ featuring all HQs MCs except K.Sly. The track is released on Music of Life Records. Supreme is asked to work on the Brother Movement Record, ‘Beyond the 16th Parallel’, featuring various UK artists Including London Posse, Demon Boyz, MC Melo, Freshski, Cookie Crew and the late MP Bernie Grant. Hijack do their first international show in Switzerland at the famous Montreaux Jazz Festival. They share the bill with Jungle Brothers and legendary funk/pop band Kool and the Gang. The trip would be Supremes first flight on a plane. Hijack begin their tour of Europe as supporting act on Ice T’s ‘Power Tour’. A memorable sold out show at Brixton Academy opened up with Ulysses in full Kung Fu dress skillfully wielding a samurai sword, the group then proceeded to tear the house down with ‘Hold No Hostage’. They continued to do the same for the remainder of the one-month tour. It was all over a great success solidifying their fan base in Europe. Best shows were Hamburg, Frankfurt,Munich, London, Zurich and Rotterdam. Hijack begin conceptualizing an album and Supreme starts compiling several ideas from his four track. ‘Daddy Rich’, ‘The Contract’, ‘Brother v Brother’ and ‘Airwave Hijack’ would be some of his first choices. 1991 Hijack support Ice T on the European Leg of the ‘Original Gangster’ tour. Badman is Robin is released on Rhyme Syndicate Records and becomes a commercial success entering the UK top 40. Supreme produced the music as well as conceptualize the lyrical theme. Channel 4 invites Hijack to appear in their prime time tv show ‘Dance Energy’ hosted by Normski (Photographer for ’Style Wars’ cover art). They perform ‘Syndicate outta Jail’ from the yet unreleased Horns of Jericho Album. Supreme, Unable to attend the show, is substituted by his younger brother, Keith, on the turntables. Hijack support ‘Leaders of the New School’ in Scotland and London. Hijack would cancel their performance at the Shaftsbury Avenue venue in London due to promoter incompetence’s.The Horns of Jericho’ is released on Promotional White Label. This early version of the album would include Shogun’s Assassin, and original mixes of ‘Don’t go with Strangers’ and ‘I had to Server You’ (previously named E=MC2). These Tracks would later be removed or re-mixed when the album is finally released. Ice T’s Rhyme Syndicate Records is disbanded and Hijacks recording contract defaults to Warner Brother Record.The Hijack Album ‘The Horns of Jericho’ is released in Europe on Warner Brothers Records. 1992 The Hijack European Tour kicks off. Supporting act is Gunshot. Competition on stage is fierce, both groups put on Excellent performances. Hijack go to Los Angeles to shoot the music video for ‘Daddy Rich’ the first single released from the Album.. Supreme splits from Hijack over difference concerning musical direction.       Discography The Horns of Jericho (Rhyme Syndicate Records, 1991) The Original Horns of Jericho / Instrumental Movie Soundtrack (Reservoir Records, 1997)

 

Links
http://www.hornsofjericho.com http://www.djsupreme.com
http://www.kamanchisly.com

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London Posse

London Posse was an early and influential group in the British hip hop scene.It was formed by Sipho the Human Beatbox, and consisted of Sipho, Rodney P, Bionic and DJ Biznizz.Sipho had gained the attention of Mick Jones (formerly of The Clash) through his performance in the 1985 documentary Electrorock, and had subsequently performed on Big Audio Dynamite’s track “C’Mon Every Beatbox” from the album “No. 10 Upping Street”. The group formed for a Big Audio Dynamite tour of the United States and Europe, as Sipho had been asked to tour and wanted the others to tour with him. Rodney P (then known as MC Rodie Rok) was two weeks into a YTS course when he joined the group and Bionic was performing as a reggae MC, although Rodney and Bionic already knew each other through mutual acquaintances and through attending Jerry Dammers’s Artist Against Apartheid gigs in Covent Garden. As well as this, Sipho and Bionic had already been performing together – they had featured on the Irish TV show “Megamix” in 1986 as a duo. Also supporting on the tour were Schoolly D and DJ Code Money.
When the group first formed, it did not have a name, but while playing in New York City, they were constantly referred to as the “London Posse” because of their hometown, and the name stuck. While out in New York, they were present at the filming of the Boogie Down Productions video for The Bridge Is Over.[5] On their return to the UK, they released the single London Posse (Big Life, 1987), produced by Tim Westwood, which detailed their experiences. The single peaked at number eleven on the UK Independent Chart, staying in the chart for eleven weeks. The b-side, “My Beatbox Reggae Style”, was Sipho beatboxing and Bionic rapping, with scratches from Biznizz. This was the first UK track to consist solely of a beatboxer providing the backing. The group also appeared in Tim Westwood’s 1987 BBC documentary “Bad Meaning Good”, a look at UK Hip Hop culture featuring London Posse, The Cookie Crew, MC Crazy Noddy and DJ Fingers, and others. After the first single, Sipho and Biznizz officially left the group – Sipho to work with Derek B, and Biznizz to work on Tim Westwood’s radio show (although Biznizz continued to work with the group as a DJ and produce some of the group’s later tracks).
Rodney P and Bionic continued to record as a duo, releasing the single “Money Mad” (Justice, 1988) with Westwood’s Justice label, which gained a great deal of radio exposure. Westwood, however, did not feel that he could continue to run a label, and the duo moved to Island Records subsidiary Mango. As well as appearing on the anti-apartheid B.R.O.T.H.E.R. track “Beyond The 16th Parallel” alongside Demon Boyz, MC Mell’O, Cookie Crew, The She Rockers, London Rhyme Syndicate, Katch-22, Gunshot, Hijack, Icepick and Overlord X, they released “Live Like The Other Half Do” in 1989 then dropped their classic (and only officially released) album, Gangster Chronicle (Mango Records, 1990).Produced primarily by Sparki (a member of the Jus Badd Crew, along with MC Mell’O and Monie Love) and the duo, it had its roots firmly in reggae and New York hip hop, and the album sounded quite different from the predominant hardcore of their contemporaries, and cemented London Posse’s reputation as one of the UK scene’s most talented groups.
After two more singles (“Tell Me Something” and “Jump Around”), Mango was closed down by its parent company and the London Posse moved to Bullitt Records, run by their manager Errol Bull (who features on both “How’s Life In London” and the Ragga remix). The group recorded a second album (“Ladies Love Roughnecks”) but could not afford to release it, so it was permanently shelved. According to Rodney, this was because any money they received for their work was ploughed back into the record company. Instead, they released a selection of singles and tracks as guests on other releases.
1993 saw the majority of tracks that would have made up “Ladies Love Roughnecks” released as singles: “How’s Life in London” / “Shut The Fuck Up” / “How I Make Papes” (Bullit), the “How’s Life In London Ragga remix”, produced by Dobie and/or DJ Biznizz, “Supermodel / Here Comes The Rugged One” (Bullit), and the Kicks Like A Mule produced “Pass The Rizla” (on the “Ruffness: The British Underground” EP). The following year saw “Funky Rhyme Funky Style” with PD3 (1994), while 1995 saw a move away from the more traditional hip hop approach into drum and bass, with a double A side release of a remix of “Live Life The Other Half Do” by Peter Parsons (aka Voyager) and “Feds”, a solo Bionic drum and bass track on the flipside. While Bionic was moving more in drum and bass circles, Rodney was asked by producer Dobie to contribute to his release “Love And Hate (Can Never Be Friends)”, and later Rodney performed a verse for Dobie’s remix of the Bjork track “I Miss You”.
The London Posse’s final release was “Style” (Bullit) in 1996, a drum and bass influenced track produced by Bionic which also featured a remix by The Nextmen (the Nextmen’s first official remix).
After the group disbanded, Bionic moved into drum and bass MCing and worked closely with Stevie Hyper D before Stevie’s untimely death in 1997. He then recorded with Tricky on the Juxtapose album (1999) under the name “Mad Dog” and also contributed to Tricky’s 2000 album “Mission Accomplished”.
Rodney P formed a long-standing partnership with DJ Skitz to host a BBC 1 Xtra radio show and released a solo album – The Future – in 2004. (An unreleased 2002 version of the album featured a track called “Hip Hop Gangster”, featuring Sipho on beatbox.)
In 2001, Word Play Records reissued the album Gangster Chronicle, adding some (but not all) of the later material such as “How’s Life in London” and “Pass The Rizla”. Another reissue of this album is planned for 2012.

Albums
Gangster Chronicle (1990, Mango Records)
Ladies Love Roughnecks (unreleased)
Singles
London Posse / My Beatbox Reggae Style (1987, Big Life) – UK Indie #11
Money Mad (1988, Justice)
Live Like the Other Half Do / Money Mad (Remix) (1989, Mango)
Tell Me Something / Original London Style (1990, Mango)
Jump Around (Nomad Soul) / Gangster Chronicle Remix / Jump Around (1991, Mango)
How’s Life in London / How I Make Papes / Shut The Fuck Up (1993, Bullitt)
How’s Life in London (Ragga Mix) (1993, Bullitt)
Supermodel / Here Comes The Rugged One (1993, Bullitt)
Live Like The Other Half Do (Remix) / Feds (1995, Bullitt)
Style / Style (Next Men Remix) (1996, Bullitt)
Guest Appearances
Pass The Rizla (Ruffness: The British Underground EP) (XL, 1993)
Funky Rhyme, Funky Style (PD3 featuring London Posse) (from the Noisy Music EP) (Payday, 1994)