For Those Who Can't Sleep On Hip Hop

Having first arrived on the scene way back in 1992 with their lead single, “Psycho,” b/w “Check It,” Lords of the Underground, comprised of members Doitall, Mr. Funke and DJ Lord Jazz, are currently celebrating their highly commendable 20th! year in entertainment. To commemorate the triumphant anniversary, the trio from Newark, New Jersey, are in the midst of recording their fifth studio collection, and have even re-enlisted the legendary producer, DJ Marley Marl, responsible for some of their biggest hits-to-date, to assist on the still untitled project.

As a collective, L.O.T.U.G. initially came together in Raleigh, North Carolina, whilst attending Shaw University as undergraduate students. Their, now, multi-platinum, debut album, Here Come the Lords, which spawned three chart-toppers; the title track, “Funky Child” and their signature classic, “Chief Rocka,” arrived in March ’93.

A second LP Keepers of the Funk, although not quite as successful as its predecessor, appeared a little over a year and a half later, and still managed to land three songs; “Tic Toc,” “What I’m After” and “Faith,” positions on Billboard Magazine’s Top Rap Singles Chart.

Despite lack of promotions, their next outing, Resurrection, was still met with critical acclaim. “Retaliate,” “Take Dat,” “Haters,” “Excuse Me” and “Exodus,” were the five offerings from the mostly positively reviewed set. House of Lords, their first recording in nearly a decade, was released in the summer of 2007.

“It’s time, man!” Doitall announces emphatically. Expounding, he further relays, “We’ve toured the world, we’ve done our separate ventures, and, now, we go back to what brought us to the dance. This time, it’s for not just us, but the fans as well.”

-submitted by Todd Davis

Here is behind the scenes footage of the group working with legendary producer Marley Marl in the studio;

Here’s their classic hit Funky Child:

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Artists often go through a myriad of styles before they find their “niche”. They go through a learning process by experimenting, tweaking and honing their skills until they’re satisfied. The style you’re introduced to in the beginning of an artist’s career isn’t necessarily what you’re going to get in the future. The reason I bring this up is because, the artist S.K.I.P. fits this description perfectly. S.K.I.P. (Samaritan Knowledge Intervenes Preconditioning), is a Central Florida based artist that started on his artistic path around the late 90’s early 2000’s. In this time his music has evolved considerably as he’s experimented with a slew of sounds and styles to ultimately arrive at his newest release “Until the Very End”.
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In this Insomniac Magazine flashback interview with Slick Rick, the Hip Hop icon talks about first coming into stardom, falling from grace, incarceration, redemption and his tale in the rap game.

I: Tell me a little bit about how you mastered the art of storytelling, and when did you first decide that you wanted to do your songs like a story?

Rick: Well, I was good in English when I was going to school and I used to like to tell and write stories. When rap came out, it was basically the same thing as telling a story, just matching the last words to the rhyme scheme you know. So I just basically adapted the style of telling stories, but in a rap form, and it caught on. I guess with the accent it helped, it didn’t hurt. It made me stand out a little bit. Plus, being born in England…the age of eleven was when I came over here. I had different schooling. The schooling system in England is a lot better. The vocabulary is a little better.

I: Regarding your style and an artist with a similar style, Dana Dane, were you friends?

Rick: We was down together, we went to school together- High School of Music and Arts. You have to pass a special test to get in. You either had to be good at art or good in some kind of music, instruments, singing whatever. Me and Dana were good at drawing. We used to play around with the rap; we called ourselves the Kangol Krew. There were like four more members, a bunch of guys and a bunch of girls that used to rap. When we left high school and my records did good with Dougie Fresh, the label that Dana was assigned to wanted him to sound like me. Throw the English accent on him and all that type of stuff. It was almost like politics to a certain degree. Dana definitely could carry his own weight with his own stories. But he just threw the accent on cause that’s what they wanted.

I: What were circumstances that got you on a record with Doug Fresh?

Rick: Back in the mid eighties they used to have a lot of battles to see who was the best rapper. I used to compete, Dougie already had a deal and everything and he was at one of them and he liked what he heard so he told me maybe one day we should hook up and make a record together. And I was down with it; we played around and did a couple of shows. He would do his beatbox and I threw my story rap on top up it, “La Di Da Di.” It caught on people loved it. They taped it before it was even a record, the tape was released underground all through New York City and then we said it’s best if we just make this into a record and we threw something on the flip side we called “The Show.” To both of our surprise it took off and gave us world recognition.
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