Number 14: Return of the Boom Bap by KRS-One
Knowledge reigns supreme
Release: September 28th, 1993
Genre: Hip-Hop
Favorite Tracks: Mortal Thought, I Can't Wake Up, Sound of da Police
Where I heard it:
I can't thank Nelson Bae and Lori Lahman enough for how deeply they influenced my diverse music taste at an early age. Who are these two, you might ask? None other than the music supervisors for the Tony Hawk Pro Skater franchise. The soundtracks for each installment are notorious for introducing droves of gamers to music popular among the skate community, from punk to rock to hip-hop. I played THPS3 and 4 to death on my Gamecube as a child, fully embracing the culture of skating without encountering any of the risk of harm that would normally come with the territory. I would occasionally revisit each collection of songs from the games out of nostalgia, surprised at some of the appearances I recognized as my music taste began to branch out and mature. In many ways, Tony Hawk's Pro Skater planted the seeds within the recesses of my mind that would later fatefully attract me to the delightful allure of these artists' full discographies. Along with acts like Aesop Rock, I first discovered KRS-One through the bouncy deep cut Hush, which was featured in the game's third entry. For reasons I'm still unsure of, something about this song's emphatic beats and repetitive chorus really resonated with me as a kid. It wouldn't be until over a decade later in early 2017 that I'd be reacquainted with the legendary MC from a different song, I Can't Wake Up. This song humorously recounts the details of a dream where KRS is a blunt being smoked by a cast of characters in the rap game and popular culture, which made it prime material for my friends and I to smoke along to and giggle at the whimsical nature of the song. It took me several smoke sessions to realize that this was the same guy who made Hush, and I believe that initial connotation was what pushed me to look further into KRS-One's library. I figured KRS-One's debut record Return of the Boom Bap was a fine place to start, as it included two tracks I was already familiar with: the aforementioned I Can't Wake Up and the smash hit Sound of da Police that put KRS on the radar. I later found out that Return of the Boom Bap was only the solo debut of KRS-One, as his hip-hop collective Boogie Down Productions with Scott la Rock and D-Nice had been laying down tracks since the mid 80's. Due to this backwards presentation, I've never quite overcome my bias toward Return of the Boom Bap as my first true KRS-One experience. This album is an enlightening lecture that does nothing but spit fat bars and hard facts, educating its listeners with an old-school curriculum by the professor of rhyme himself.
From the lyrical terrorist?
Here's a little something for you all to remember KRS
And remember this: I am no pessimist
More of an optimist, activist, revolutionist
Yes, the hardest artist, and the smartest
Premier, spark this
~ Mortal Thought
What to expect:
Although they're far from a household name, Boogie Down Productions were on the front lines of the rap revolution, representing the hip-hop homeland of Brooklyn, New York. BDP helped launch the genre into its golden age with their 1987 debut Criminal Minded, a groundbreaking album that integrated electronically-inspired beats and shockingly violent lyrics in one of the first instances of gangsta rap. Right when the trio started to gain traction, Scott la Rock was murdered in a gang-related shooting only five months after the release of Criminal Minded. The loss of Scott la Rock shook KRS-One to his core, leaving the status of BDP in jeopardy. Ultimately, KRS-One carried on the memory of Scott through the BDP label, shifting the musical focus towards a greater emphasis on political and social consciousness. In the absence of Scott la Rock, KRS-One outsourced a handful of notable production figures to preserve the funky freshness BDP was known for. The group produced four albums after Criminal Minded before KRS made the decision to shake the name and market himself as a solo artist. Effectively, there was little change among the team's brass, as KRS had long since established himself as the driving force behind the rhymes of BDP. Return of the Boom Bap serves as a sort of retrospective anthology on his time in the band, extensively sampling BDP staples like South Bronx, My Philosophy, and Remix for P Is Free throughout its tracks. Overseen by DJ Premier of Gang Starr fame, Return of the Boom Bap lives up to its name by boosting the bass of the otherwise rudimentary beat patterns influenced by old-school rap and reggae. This minimalist favoritism isn't due to any lack of incompetence on the part of DJ Premier, but rather to subtly accompany the prolific rap flow of KRS that takes front and center. Throughout his years in BDP, KRS-One had plenty of practice developing his impeccable rhyme delivery and commandeering his prophetic stage presence. Return of the Boom Bap is merely a continuance of his previous teachings, expanding upon the usual themes of Afrocentrism and inter-genre rivalry with an autobiographical narrative. KRS takes immense pride in his Brooklyn roots and his association with BDP, which are reflected in the song Outta Here that speaks to his longevity in the industry. Songs like Mortal Thought and Mad Crew flex the incredible capabilities of KRS, blazing through tongue-twisting verses with ease and poise. His remarkable songwriting is the product of intense meditation on the world at large, showing his intelligence is just as rich as his talents. Most notably, Sound of da Police administers a scathing message about the ineptitude of policing throughout history, having since become an anthem for protestors of police brutality. It's difficult to merge quality rap music and sensitive topics without sounding like a soapbox preacher, but Return of the Boom Bap completely refines this technique, breaking through to even the most dense of hip-hop heads.
But the black police officer don't see it that way
Him want a salary, him want it
So he put on a badge and kill people for it
My grandfather had to deal with the cops
My great-grandfather dealt with cops
My great-grandfather had to deal with the cops
And then my great-great-great-great...
When this gonna stop?
~ Sound of da Police
Why it's my favorite:
It's a shame that KRS-One doesn't receive the recognition he deserves in comparison to his peers. His articulate and imaginative wordplay set him apart from any MC you can find in the game. I had the pleasure of watching the Teacha at work in the spring of 2019 and came away with one of the most fulfilling concert experiences I've ever had. One of the best parts of the show was when KRS cut the music and began a twenty-minute freestyle diatribe about how technology like social media has ruined our perception of togetherness and the responsibility of the younger generations to rectify this issue. The crowd stood in awe towards KRS's impromptu monologue that gripped every person in the room, emulating the aura of a Black Panther rally with KRS as Malcom X. I have a recording of this speech saved on my phone, and it still gives me goosebumps to listen back on it. His knowledge and wisdom accrued over the years is for the masses, shared through a chronicled history of music that exposes the hidden truths of a corrupted society. After all, his stage name is an acronym for Knowledge Reigns Supreme Over Nearly Everybody. Return of the Boom Bap pulls back the curtain on the man behind the magic while paying homage to the shoulders of giants he stands upon. Who knows what BDP could have accomplished with Scott la Rock at the helm, but KRS-One has prolonged his legacy with unforgettable tunes that are still unfortunately relevant from a content standpoint in the modern day. Until these problems are eradicated, you can bet KRS-One will be on the mic speaking out against them. He's not the first to bring consciousness to rap, but albums like Return of the Boom Bap prove he's the most fluent at it. His ability to rock a rhyme with purpose makes KRS one of my favorite hip-hop artists of all-time.
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