I Miss 90s Hip-Hop Vol.1 (First Half of 1990)
First half of 1990 (January-June)
The serialization "I Miss 90s Hip-Hop," themed around 90s hip-hop. Last time, as an introductory chapter (Vol. 0), we briefly traced the US hip-hop scene up to the late 80s. This time, we will continue the serialization by dividing each year into the first half (January-June) and the second half (July-December).
ATCQ's shocking debut
When it comes to the most important albums released in the first half of 1990 (January-June), without a doubt it's A Tribe Called Quest's (hereafter ATCQ) debut album, *People's Instinctive Travels And The Paths Of Rhythm* (released April 10th). ATCQ was already a notable group even before their debut as members of the Native Tongues crew, with Q-Tip participating in albums by Jungle Brothers and De La Soul. After releasing their debut single "Description Of A Fool" in 1989, the album *People's Instinctive Travels and the Paths of Rhythm* was finally released, and its impact on the hip-hop scene was immeasurable. The singles cut from this album, "I Left My Wallet In El Segundo," "Bonita Applebum," and "Can I Kick It?" are all known as hip-hop classics. With their sophisticated sampling sensibilities, Q-Tip's unforgettable voice, and the interplay of his rapping with Phife's, everything about it was outstanding. It possessed an energy and innovation that made even fellow Native Tongues members Jungle Brothers and De La Soul seem like relics of the past. Incidentally, Towa Tei, who was active as Deee-Lite at the time, participated in the production of *People's Instinctive Travels And The Paths Of Rhythm*. Recording also took place at his private studio, and although uncredited, his voice (in Japanese) can be heard in the songs.
A Tribe Called Quest "I Left My Wallet in El Segundo"
A Tribe Called Quest "Bonita Applebum"
A Tribe Called Quest "Can I Kick It?"
The first diamond album in hip-hop history
While completely different from ATCQ, the rapper from Oakland, MC Hammer, also made a huge impact on the hip-hop scene in a different way with his 3rd album (his second major label release), *Please Hammer, Don’t Hurt ‘Em*, which was released on February 10th. Thanks to the massive hit "U Can’t Touch This," which became famous in Japan due to the dance craze, this album sold over 10 million copies in the US the year after its release, making it the first hip-hop album to be certified Diamond. However, his style, which was too pop for the time in terms of both musicality and visuals, drew criticism from many of his peers, and his previous 2nd album, *Let's Get It StartedIncluding works from around that time, a wide variety of artists such as L.L. Cool J, 3rd Bass, A Tribe Called Quest, and Ice Cube dissed him in their songs. While there was undoubtedly no small amount of jealousy over his excessive album sales, it can also be seen as an episode characteristic of a time when the definition of hip-hop was much stricter than it is now.
MC Hammer - "U Can't Touch This"
Veteran powerhouses that continue to evolve
While new artists like ATCQ emerge one after another, artists who dominated the late 80s hip-hop scene are also releasing ambitious works. Following their seminal albums that remain historic in hip-hop history, "Yo! Bum Rush The Show" and "It Takes A Nation Of Millions To Hold Us Back," Public Enemy's third album, "Fear Of A Black Planet" (released April 10th), might have been expected to be affected by the departure of a key member, Professor Griff. However, their radical style only became stronger. The production team, The Bomb Squad, increased the complexity of their track production method using layers of samples, and the thrilling combination of Chuck D and Flavor Flav remained as powerful as ever. The album produced classics such as "Welcome To The Terrordome," "Brothers Gonna Work It Out," and "911 Is A Joke," which showcased Flavor Flav's charm.
Public Enemy "Brothers Gonna Work It Out"
Public Enemy "911 Is A Joke"
Similarly, a pivotal group from the late 80s, Eric B. & Rakim's third album, *Let The Rhythm Hit ‘Em*, showcased Rakim's burgeoning appeal as a rapper while significantly evolving their sound production from their previous two albums, *Paid In Full* and *Follow The Leader*. It's said that Large Professor, who debuted with Main Source the following year, and his mentor, the producer/engineer Paul C, who passed away in 1989, were heavily involved in this evolution.
Eric B. & Rakim 'Let The Rhythm Hit 'Em"
Ice Cube's Shocking Solo Debut
Meanwhile, major events are also unfolding for artists representing the West Coast during this period. Ice Cube, considered the mastermind of N.W.A., the group that ignited a nationwide gangsta rap phenomenon with their album *Straight Outta Compton* in the late 1980s, left the group at the end of 1989 and made his solo debut with the album *AmeriKKKa’s Most Wanted* (released May 16th). This album also became a major topic of discussion because Public Enemy's production team, The Bomb Squad, served as the main producers. However, the combination of The Bomb Squad's sound with Ice Cube's social and political messages resulted in a truly powerful album, and its overall evaluation is exceptionally high.
Ice Cube "AmeriKKKa's Most Wanted"
While the N.W.A. camp began attacking Ice Cube, who had started his solo career, later that year, the gangsta rap movement continued into 1990 with the debut album ’Livin' Like Hustlers" by Above The Law (released February 22nd), produced by Dr. Dre, and the debut album "It's a Compton Thang" (released May 29th) by MC Eiht's group, Compton's Most Wanted. However, gang issues were becoming more serious in the United States, and amidst this situation, the single "We're All In The Same Gang" was released under the name West Coast All Stars (released May 29th). This song was an anti-gang movement by West Coast artists, in response to "Self Destruction" by Stop The Violence Movement, released in 1989, led by KRS-One and other East Coast hip-hop artists. I distinctly remember being very surprised at the time of its release that N.W.A., pioneers of gangsta rap, were at the center of it.
Above The Law "Murder Rap"
Compton's Most Wanted "This Is Compton"
West Coast All Stars "We're All In The Same Gang"
West Coast Newcomers
Speaking of the West Coast hip-hop scene, I'd like to touch upon the works of newcomers from the West released around this time. First up is the debut album *Sex Packets* (released March 20) by Digital Underground, a group from Oakland who also participated in "We're All In The Same Gang." With their unique world of mixing hip-hop and P-Funk, they signed with the prestigious label Tommy Boy, and their pre-album single "The Humpty Dance" became a huge hit. This song, starring the group's leader Shock G's alter ego Humpty Hump, is not just a novelty but is still regarded as a hip-hop classic today, likely due to their high musicality. Incidentally, the video for "The Humpty Dance" also features a young 2Pac (Tupac Shakur), who was a member of the group at the time.
Digital Underground "The Humpty Dance"
Amidst the increasing racial diversity in the hip-hop scene, Boo-Yaa T.R.I.B.E. is a group born from the Samoan community in LA. Comprised of biological brothers, they have deep ties to Japan, even performing as artists in Japan before their debut. Their debut album, "New Funky Nation" (released April 10th), strongly reflects their unique funky taste as dancers themselves, and their single "Psycho Funk" still possesses an undying charm.
Boo-Yaa T.R.I.B.E. "Psycho Funk"
Low Profile, the duo of rapper WC and DJ Aladdin, who was also a member of Ice-T's crew Rhyme Syndicate, has only one album to their name, "We're In This Together" (released January 25th), but they are a beloved group among hip-hop fans. Their appeal lies in their West Coast sound, exemplified by their single "Pay Ya Dues," which also connects to G-funk, yet somehow carries a taste that's also reminiscent of East Coast hip-hop. Incidentally, WC later formed his own group, WC And The Maad Circle, and also achieved success as part of Westside Connection with Ice Cube and Mack 10.
Low Profile - Pay Ya Dues
The connection between thought, religion, and hip-hop
Of course, at this time of year on the East Coast, important works from newcomers are continuously being released. First, from the Bronx, the birthplace of hip-hop, Lord Finesse & DJ Mike Smooth's ’Funky Technician" was released on February 6th. With DJ Premier, Diamond D, and Showbiz participating as producers, and A.G. featuring on two tracks, it's clear from this release that the prototype of D.I.T.C. (Diggin' In The Crates Crew), a group with high popularity in Japan, has already begun.
Lord Finesse & DJ Mike Smooth "Strictly For The Ladies"
From Long Island, K-Solo, a member of EPMD's crew Hit Squad, makes his debut with the album "Tell The World My Name," released on May 22nd. The smash hit "Spellbound" was produced by Eric Sermon, giving the album a strong EPMD flavor in terms of sound. However, listeners should also pay attention to the interesting wordplay in the lyrics.
K-Solo "Spellbound"
Furthermore, from Brooklyn came X Clan, a group that fully embraced Afrocentrism (note: a philosophy that seeks to find the identity of African Americans in their African origins), releasing their album *To The East, Blackwards* on April 24. Additionally, from New Jersey, Poor Righteous Teachers, inspired by the Five-Percent Nation, a branch of Islam, released their debut album *Holy Intellect* on May 29. These developments saw elements of philosophy and religion become strongly tied to hip-hop, giving rise to a new wave of conscious rap. In today's climate, many people may react sensitively to matters of philosophy and religion, but X Clan and Poor Righteous Teachers possessed a pure, cool hip-hop sensibility that captivated many fans.
X Clan 'Funkin' Lesson"
Poor Righteous Teachers "Rock Dis Funky Joint"
＜本文終わり＞
Music writer. Began writing in 1996, contributing to publications such as the hip-hop magazine "blast." Moved to Los Angeles in 2003, where they covered the underground hip-hop scene, including artists like Stones Throw, while also writing about fashion, art, and other fields. Returned to Japan in 2015 and continues to work as a writer for various magazines and web media, focusing primarily on hip-hop.
