EPMD
They are rap’s first great duo,
one that excelled as rappers and producers. They are among the most-sampled rap acts of all time, their
tunes having been mined by Jay-Z,
DMX, 2Pac and Tha Alkaholiks, among many others. They introduced funk-styled production
to rap, paving the way for Dr. Dre’s The Chronic. And even though their own rap skill was
immense, they are also the best talent scouts in rap history, introducing the
likes of Redman, Das EFX and Keith Murray. Then they broke up and reunited to rave reviews. The group is EPMD, undisputed legends in the rap game.
The Long Island, New York pair’s first five albums went
gold -- 1988’s Strictly Business, 1989’s Unfinished Business,
1990’s Business As Usual, 1992’s Business Never Personal, 1997’s Back
In Business -- thanks to Erick
Sermon and Parish Smith’s
tag-team rap style and groundbreaking production. Now, after more than 20 years in the game, EPMD returns with
WE
MEAN BUSINESS, their first album on their own EP Records and their
seventh overall. The new
collection is a testament to their Business plan.
“All of our albums have Business in the title,”
Smith explains. “Now that we’re in
a new era and the game is changed, we realize that it’s different from when we
handed in a CD to our first label to being at Def Jam. Erick and I created our own vehicle to
be able to drop this album. That’s
how we came with the title We Mean Business, because we do.”
EPMD updates its classic sound and sentiment on “Listen
Up,” a funk-drenched song complete with a talk box. Recognizing EPMD’s status as pioneers, Sermon acknowledges
how important his lyrics are:
“Can’t talk ignorant/I got some intelligent folks that’s digging
it.”
Those same folks will be digging We Mean Business
song “Roc Da Spot,” a throwback of
sorts to “You Gots To Chill,” one of 1988’s most acclaimed rap singles. “The beat had that EPMD sound, as far
as the claps,” Sermon says. “It
had a familiarity to it because of the sound and, 20 years later, we’ve still
got that funk coming.”
Indeed, EPMD shows its music is as potent as ever on the
latest installment of their infamous “Jane” series and on the confrontational “Run It,” which features fellow rap
pioneer KRS-One. Even though EPMD hoped KRS-One would appear on one We Mean
Business song, KRS-One was so impressed with EPMD’s output that he
responded saying that he wanted to be on both songs.
As pillars of rap’s foundation, EPMD was eager to work
with another legend in order to deliver the type of hard-hitting rap music they
came of age producing. “It seems
to be that everybody is crying about the state of our hip-hop, but no one’s
doing the work,” Smith says. “It’s
like everybody stopped working.
Now that we’re working again, it’s coming back full circle to the
beginning. With that being the
case, KRS was always one of the ones that was there, and he’s No. 1 on the list
of lyricists and MCs.”
Given their own status -- Raekwon once famously told the
RZA that the Wu-Tang Clan should be like a second coming of EPMD’s Hit Squad --
EPMD reached out to Raekwon for “Puttin’
Work In” in order to connect the dots between the two iconic rhyme
families. “The Hit Squad was a big
influence on what the Wu-Tang were doing,” Sermon says. “They were a crew of MCs, just like we
were a crew of MCs. Plus, it’s fun
to hear somebody that you like on your stuff.” Unfortunately, life isn’t all good. So, EPMD turns an introspective eye to
life on the reflective “Bac-Stabbers.” Here, Sermon and Smith detail how
jealousy can derail relationships and how loyalty often evaporates when times
are tough. It’s an eye-opening
musical moment, one that is in line with other noteworthy EPMD singles.
“That’s classic EPMD, like when you think about
‘Crossover’ or ‘Gold Digger,’” Sermon explains. “Parish addressed the breakup in there, those that are
trying to hate on us. We’re past
that, but people still want to hate.
Parish wrote his part first, and he killed it.”
EPMD has been killing it since it dropped its “It’s My
Thing” b/w “You’re A Customer” 12’’ single in 1987. Short for “Erick and Parish Making Dollars,” the Long Island
duo made an immediate impact on the rap scene, even though one of its trademark
characteristics was born out of necessity.
Given Sermon’s lisp, he had to modify his rhyme style into a
controlled, slow flow. Smith
employed a similar style, and the pair’s commanding, assured vocals and
innovative, mid-tempo production made them stand out in a rap field populated
with high-energy vocalists and frenzied beats.
Another EPMD quality made them even more formidable. Sermon and Smith were a self-contained
unit, rappers and producers who could conceive, create and
produce their own material. Their
creative brilliance was evident throughout Strictly Business, one of the
most universally acclaimed albums in rap history.
Yet despite being from New York, when EPMD first arrived
many fans couldn’t determine where the group was from. The funk vibe of “You Gots To Chill”
further complicated matters, as it sounded like nothing coming from New York
rappers at the time. “When we came
with ‘You Gots To Chill,’ so many people were used to the way the East Coast
music sounded,” Smith says. “But
when we came out with a West Coast sound, it bugged them out once they figured
out that EPMD was from New York.”
EPMD’s futuristic funk sound was a sonic predecessor to
Dr. Dre The Chronic, among other classic recordings. But as EPMD returns, the group is
adamant that they remain in their own lane, especially since they have their
own clothing and shoe lines.
“Parish and I are not in competition with nobody,” Sermon says. “We’re not in comp with what’s going
on. We’re not trying to be on the
countdown with these artists. It’s
a bigger picture than just that.
We’ve been touring for the last two or three years, and the same sold
out show that T.I. has, we have it.
We’re here to make music for the heads.”
“It’s very important for us to stay us,” Smith adds. “People want to hear and see EPMD.”
That’s because We Mean Business isn’t just an
album title for EPMD. It’s a
mind state.
