Back in the late ’90s there was a sizemic shift in the Hip Hop landscape. The “golden era” had slowly faded away as the “shiny suit” and “bling” era respectively took the spotlight. The days of major labels signing anyone who could rhyme words for 16 bars were gone, as were the days signing rappers that wouldn’t or couldn’t rap about money and bitches. Those who wouldn’t confirm took to the independent game and the fans who wanted to go back to the days where style and substance had equal weight followed along.
Loyalties and allegiances were fierce for years; if you listened to Def Jux, you didn’t listen to No Limit. If you listened to Rhymesayers, you didn’t listen to Roc-A-Fella. Sure, some folks walked both sides of the line, but even less would admit to it. I’ll never forget the reaction amongst the underground dwellers when then hero Eminem jumped ship and plugged into the machine. Within a years time he went from songs with Shabaam Sahdeeq, Thirstin Howl III and Rawkus to Dr. Dre, Missy Elliott and Interscope. The secret was out, and I admit, I wasn’t thrilled that my favorite rapper that no one knew about was now being lip synched by 13 year-old girls. The term “sell out” was thrown around a lot at Em, and he wouldn’t be the last to hear it.
Ever so slowly, the two scenes were brought together. Maybe not the same team, or even the same ballpark, but in the same league.
To me, it really started in 2002. Rawkus, which had been a pillar of underground Hip Hop for the better part of five years, entered into a joint venture with MCA. But when MCA went belly up and got picked clean by Interscope/Geffen, Rawkus and underground heroes like Mos Def and Talib Kweli [click to read] were now on Geffen Records. That same year another piece fell into place; Kanye West, who was fresh off producing half of Jay-Z‘s The Blueprint [click to read], hooked up with Talib for a couple songs on Quality [click to read]. The seeds were planted. Two years later, Kanye was the hottest new artist in the game and even though he was on Roc-A-Fella, he brought all his friends to the table. Mos Def and Freeway [click to read] were on “Two Words” together, Ludacris [click to read] and Common [click to read] on the same album. The same year Biz Markie returned with Weekend Warrior, an album that featured both P. Diddy and J-Zone [click to read].
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The following year the kingpin himself reached out to new underground sensation 9th Wonder [click to read] for a contribution to The Black Album [click to read]. “Threats” was nestled in between tracks produced by Timbaland and Eminem, it was a bit surreal. Just Blaze was no stranger to it, his resume of A-list productions didn’t stop him from with Stones Throw. Something tells me that MED wasn’t paying Just the same as what Fabolous and Fat Joe were shelling out to appear on Push Comes To Shove. Late great J Dilla appeared on the album as well, which was no surprise considering his catalogue on Stones Throw. But he is still the same man who produced for Busta Rhymes and Janet Jackson.
Despite being a full blown star by 2004, Kanye still found time to get in the lab with Dilated Peoples for “Walk This Way.” Dilated‘s Neighborhood Watch [click to read] also featured contributions from longtime collaborator Alchemist [click to read], another producer who has continually worked with the biggest and smallest of artists.
Murs [click to read], a man who has sold more do-it-yourself cassettes and CDs than you’ve got MP3s, hooked up with one of his favorite rappers in E-40 [click to read]. Safe to say their respective fan bases have minimal overlap, but “Charlie Hustle” got on the “H.U.S.T.L.E. Remix” anyway, I guess game recognize game. Now Murs, a pillar of independent Hip Hop for over a decade, is signed to Warner Bros. on his terms, making him label mates with Earl Stevens. Something that just wouldn’t have happened earlier this millennium.
The list could go on and on; Ghostface [click to read] and MF DOOM are trying to make an album together, Bad Seed, who is largely unknown even by underground standards, popped up on ringtone rapper Mims‘ [click to read] album. To date, nothing has encompassed the leveling of playing fields quite like Jake One‘s [click to read] soon-to-be released debut White Van Music. Jake has been playing on both teams for years, 2005 saw him producing for 50 Cent [click to read] and I Self Devine. 2007 was more of 50, plus Young Buck [click to read] and Freeway, but when he wasn’t filling up liner notes with Dr. Dre, he was working with Portland’s Lifesavas and Michigan’s One Be Lo. October 7th’s White Van Music will bring it together under one roof. Roc-A-Fella‘s Freeway on a song with Rhymesayers‘ Brother Ali [click to read]? Check. Back to back songs from MF DOOM and Young Buck? Check. Busta Rhymes sharing credits with Blueprint? Check.
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What is responsible for this shift? There are quite a few factors, each of which can be traced either directly or indirectly to the impact of the Internet. But that is a discussion for another time. The real question is what’s next? Will we ever see a Nas album produced by Ant? Jay-Z and Apathy jump on a track together? Who would you shell out your money to hear rock together?
Click here to download Jake One’s mixtape with HipHopDX, click here to listen.
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