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It wasn’t really a movement, barely even a moment, but the Daisy Age was an ethos that briefly permeated pop, R&B and hip hop. The name was coined by Long Island trio De La Soul; they claimed D.A.I.S.Y. stood for “da inner sound, y’all”, but then De La Soul said a lot of things. Playfulness and good humour were central to their 1989 debut album, which cast a long, multi-coloured shadow. The 90s, it promised, would be a lot easier going than the 80s.

Over the last decade RAST has made a name for himself as one of the undergrounds most original voices. RAST has released a handful of albums, freestyles and a slew of online singles (including collaborations with Czarface, Hus Kingpin and Your Old Droog). But before all this, RAST held down the 90’s as part of the New York Graffiti crew RFC. It was
during this time that many of the tracks on “I Know Why the Caged Bird Sings” draw from. The album has no features and was produced entirely by The Czar-Keys (7L & Jeremy Page) - and this was done by design. 7L and RAST worked together on the vision and the direction they wanted to go with for the
album. As 7L points out “I wanted to really take it back to a time when the rapper was the main focus. This is also why we didn’t go with a group name or a RAST & 7L title. For me it was really all about RAST, and his
story is so personal that it just made sense for him to be the only voice you hear”. From the albums start, “Base” sets things off with organs that sound
straight off old Surf footage accompanied by a pounding break beat. RAST’s signature gruff voice goes from rugged raps to melodic singing and back. On “The Devils Playground” RAST delivers some of his most honest lines recalling his youth and battles with depression. On “I Lost My Mind and Found God” RAST states plainly in the hook “I ain’t gonna see no doctor unless I die". RAST delivers these lines with the maturity of a seasoned blues man. "Runaway Slave" is another great example of this, as the track roars with a powerful hook as if he were exorcising his demons over what sounds like a dusted church organ.
Other stand out gems like "Children of Attica", “The Little Boy Who Lived in a Tree” and “The Remarkable Story of the Silent Machine Gun” show that RAST is cut from a different cloth. “I Know Why the Caged Bird
Sings” is an album where, as pointed out in the albums intro "Caged", is RAST at his most honest and vulnerable.

Undeniable classic of 90s New York hip hop!

Seafood Sam is a futuristic artifact. If that description might sound confusing at first, it matches the eclectic dualities found in true originals. With his effortless cool and timeless style, the North Long Beach native defies convention and exact comparison. He's a virtuosic rapper, a stop-you-in-your tracks singer, and a symphonic producer. Welcome to the lavish life of a laid-back transcontinental man of mystery, rolling in old school Cadillacs, eating caviar with a blade in his pocket, and making plays in vintage Pelle Pelle gear. A blaxploitation icon for the Instagram age, blessed with the bars of a `90s legend and 23rd century swagger. Seafood Sam is a true hero of modernity. On his full-length album debut for up-and-coming label drink sum wtr (Kari Faux, Deem Spencer, Aja Monet) debut, Standing on Giant Shoulders, Sam splits the difference between Snoop Dogg and D' Angelo, Curren$y and David Ruffin. The songs reveal a forward-thinking sensibility rooted in ancestral soul. He creates spiritual hymns for the streets that tap into universal ideals and irrepressible groove. In an era plagued by short-term thinking, his ambitions reveal a crate-digging depth of music history and a meticulous ear for detail. The giant shoulders in the album's title refer to James Brown, Bobby Brown, and Miles Davis - the holy trinity who inspired Sam's process. From the Godfather of Soul, Sam took a perfectionist's rigor and focus. The example of Bobby Brown lent an unshakeable confidence and self-belief. While the constant artistic left turns of the trumpeter that birthed Ccool offered an aspirational archetype. The story starts in the glory days of Long Beach hip-hop. As a young child, the G-Funk era soundtracked rides in Sam's father's car. Some of his earliest memories are trying to memorize Snoop's verse on "Nuthin' But a "G" Thang." Beyond gangsta rap, the LBC has historically doubled as a capital of lowrider soul and carwash oldies. At any intersection, you could hear Dogg Food or Brenton Wood, Warren G or Barbara Lynn. This too was absorbed via osmosis. It also just so happened that the art of performance was always in Sam's blood. So at family functions, he and his sister supplied entertainment by singing karaoke renditions of The Isley Brothers. While his Harlem Shake remains a thing of local lore. Long Beach is a culturally diverse mecca of skate parks and gang life, street fashion and tricky dance moves. This is the place that raised Sam on a diet of Wu-Tang and Nelly Furtado, Lil Bow Wow and Allen Iverson. He was the middle ground between his two older brothers: one who gangbanged, the other who graduated with a master's degree from UC-Santa Barbara. But it wasn't until the end of high school that Sam started to take rap seriously. Alongside long-time collaborators like Huey Briss and Reaper Mook, Sam's name began to make waves on the northside of the city, but he was partially distracted by a modeling career that paid the bills and took him all to way to walk in Paris' fashion week. The first turning point arrived with 2018's "Ramsey," a self-produced, slick-talk anthem with over 10,000,000 streams across all platforms. With each subsequent release, Sam showcased his peerless consistency, building buzz both online and in the city streets. Spin hailed his "smooth and unhurried cadences and understated lyricism_ that sounds like nothing else in Long Beach." Clash raved about Sam's "evolution as an artist, cruising through nostalgic production with slick, witty rhymes." The culmination arrives with Standing on Giant Shoulders. It's the evidence of a master, a young sensei in the model of Quincy Jones. All rhymes, singing, production, and arrangements were handled by Sam - with an assist from his close Long Beach kinsman Tom Kendall from the group Soular System. It's hard-edged and lyrical enough for disciples of Larry June and Roc Marciano, but orchestral and melodic enough for fans of Anderson .Paak and H.E.R.

Here we have a Heavy rarity outta Philly from 1995 by MC, producer and graf artist Jon Doe aka Denske aka Culture Livingston. Check the interview below in the Product Info section for the full story, but homeboy has been part of the Philly scene since way back when. He used to write under the name Denske and heads might be aware of his excellent documentary "Tag City" which delves deep into the Philadelphia writing scene and in particular the esoteric Gangster hand style of the 60s/70s synonymous with the city. He was also featured in Roger Gastman's "History Of American Graffiti". Seriously, peep the interview below - it's full of gems.



So, to the music. There were 3 joints on the 12" that dropped in 1995 [300 copies pressed only] and 6 on the cassette version - here we have 5 of those 6 tracks, 2 of which have never been released on wax. Unfortunately the final track was busted so couldn't be used!! As he mentions in his interview, this project was recorded on an old 4-track and never got mastered before pressing so it is dusty, but that adds to the mid 90's flava!

Limited edition of 500 copies on black vinyl.

We are very pleased to present Adagio!'s "Str8 Off The DAT", the third release of the duo comprised of Obvious Wonder (also known as Carta' P.) and Ray Foges (also known as Ray Supreme) on 90's Tapes. The group dug deep in their crates to come up with 7 unreleased tracks recorded between 1992 and 1997, bringing you that special Adagio! vibe once again.

Available in a limited run on LP, CD in jewel case, cassette and digitally on all major platforms.

I Had An Accident Records proudly presents a unique actual mixtape by Defie, 2020 / Uncensored Memorandum. It is quite the freakish mutant shapeshifter. It starts as an early 90’s bonus beats blends from discarded Mastermix or Big Beat or MicMac, or Fever Label records to OG Turkey Super Duck Booger Breaks (You wish you had a Starscream Aaaah to flare for 10 minutes), then grooves, Boogie, Ice T for the summer, and more. It sounds like a mixtape you would have gotten from Peanut Butter Wolf or Dj Shadow in the 90’s so they could play at your hip establishment. Only it’s 2020 and you are getting all this well deserved funk in this high powered cassette, today, right now, after read this. Like now, after this word, This.....

Subway Hip Hop Records Vol 7 -- Broadway Junction Station EP

Broadway Junction is one of main transfer stations on the MTA Subway and Elevated train lines in East New York and the borough of Brooklyn. It’s where different train lines connect Brooklyn to the world. Like Broadway Junction, Subway Hip Hop Records brings together four of the best Brooklyn MCs for this limited vinyl EP:

Finsta - of "Finsta Bundy" fame- is one of the originators of the independent grimy New York boom bap 90's sound. On this EP he collaborates with DJ Direk (from Chicago) and brings the Timberland-wearing, hoodie-down ruggedness you've come to expect.

Shabaam Sahdeeq - of "Polyrhythm Addicts" fame- is another pioneer of that Brooklyn Golden Era sound. His expansive catalog of solo releases, group collaborations, and features cements his reputation as lyrical virtuouso. His contribution on this project, along with DJ Direk (from Chicago), reminds us of what makes him a legendary MC.

Napoleon Da Legend - Unquestionably, Brooklyn’s hardest working MC, with more releases, especially on vinyl, than anyone else in the last five plus years. Don't get it twisted, his output is 100% unadulterated skills, no filler. With DJ Tren (from France) on the beats, Napoleon's solo contribution is an unrelenting torrent of golden bars; he's truly in a class of his own here. On "Knife Play" he collaborates with Nejma Nefertiti over production from TherapyBeats (from Chicago) and demonstrates what happens when talented MCs go bar for bar -- Steel Sharpens Steel.

Nejma Nefertiti - The Queen from Brooklyn. Her hunger and fierce word play embarrasses Rolling Stone's Top 100 Rappers. Nejma Nefertiti's solo contribution over TherapyBeats’s (from Chicago) production brings verses inspired by "prophets and mystics.” When you hear this you're going to understand why it’s a certified classic and why we had to give it a bonus remix (featuring production by DJ 3RD Rail and Padawan).

Limited edition of 500 copies on 1LP with printed innersleeve.

Originally released in 1997 on CD and cassette only, this marks the very first time "Livest Spot In The City" by Vaughn Smith gets the full vinyl treatment. In addition, this stone cold Philly underground classic also comes on CD in jewel case as well as cassette plus digitally on all major platforms. 10 tracks in total with tight productions from front to end by Groove Da Moast.

(New York, NY – October 23) Celebrated hip-hop luminary, Busta Rhymes, renowned for his lyrical brilliance and enduring contributions to the genre, has just unveiled a groundbreaking announcement in an exclusive in-studio film clip. The iconic MC is gearing up to release his long-anticipated new studio album, “BLOCKBUSTA,” in partnership with an exceptional team who bring an unprecedented amount of star power as project curators. You can’t get a mind squad with any more cultural equity than Pharrell Williams, Timbaland, Swizz Beatz and Busta Rhymes himself. All serve as Executive Producers on “BLOCKBUSTA.”

In the video, wizz Beatz, proudly introduces the extraordinary alliance working with Busta Rhymes on “BLOCKBUSTA.” There’s Pharrell Williams, who he refers to as “The Pharaoh,” Timbaland, who he calls “The King,” and Swizz Beatz humbly refers to himself as “The Student.” All three super producers also helm tracks on the album in addition to their executive duties. This collaboration of four of hip-hop’s most prolific and celebrated heavyweights is poised to give rise to a dynamic masterpiece, destined to be embraced by fans across the globe. The LP is to be released on Friday November 24, 2023, by way of Busta Rhymes label, The Conglomerate Entertainment distributed by Epic Records/Sony Music Entertainment. For the megastars joining forces with their close friend Busta Rhymes, working on

“BLOCKBUSTA” was a labor of love and brotherhood Timbaland expressed his gratitude, in the film clip stating to Bus, “I’m so grateful that you chose me to be a part of your legacy.” Pharrell passionately added to Busta “You really feel illuminated; this illumination is good because I think people are going to be able to get and feel that.” Their enthusiasm is palpable, heralding the launch of a historic musical endeavor. The year 2023 has been a monumental year for Busta Rhymes, as he received the prestigious Lifetime Achievement Award at the B.E.T Awards. This accolade celebrated his heralded legacy over the years and his continued impact on the world of entertainment. Busta Rhymes, accompanied by five of his six children, graced the awards show and the red carpet, making it a heartwarming, family-centered celebration. As anticipation continues to mount for “BLOCKBUSTA,” one of the album’s tracks, “Beach Ball,” featuring the emerging femcee BIA, has garnered significant attention in the run-up to the 2024 Grammy Awards. It is under consideration in multiple Grammy categories, including Song of the Year, Record of the Year, Best Rap Performance, and Best Music Video, further cementing Busta Rhymes’ legacy as a dominant force in hip-hop. Busta’s latest single is “Luxury Life” featuring Coi Leray. The song, produced by Swizz Beatz and Busta Rhymes, finds both MCs speaking their clout while providing a banger to put any club into overdrive. Fans have been and are continuing to go into frenzy from seeing Busta Rhymes, live as well. Busta and his family Spliff Star and DJ Scratchator are currently overseas with headliner 50 Cent as part of “The Final Lap Tour.” After selling out everywhere in the U.S. this past summer and into fall, the acclaimed 90 city outing has gone international, exciting ticket holders in foreign countries.

Long sought-after Benny the Butcher album nally available in a wide-release Black vinyl pressing! The underground hip-hop collective Griselda has long established itself as a go-to source for the classic hardcore sound of 90s hip-hop artists like Mobb Deep and Raekwon, and unrelentingly gritty boom-bap production, and Benny The Butcher is one of the group's most proficient contributors. Now signed to Def Jam, Benny began leaving his mark on the underground as far back as 2004 and has made his incomparable, street-savvy presence known on tracks by the likes of Ghostface Killah, Paul Wall, Jim Jones, and a slew of other top-tier rappers. His 2017 mixtape Butcher On Steroids is just one example of Benny's raw power and lyrical deftness. Across 12 tracks, the Butcher delivers the kind of authentic street flow that has come to define the Buffalo, NY rap scene, backed up by guest appearances from his Griselda brethren ElCamino and Conway, atop a bed of stark and intense beats courtesy of guest producers DJ Green Lantern, Daringer, IceRocks, and more.

The contributions of the late Detroit producer James DeWitt Yancey -better
known to the world as J Dilla- to the world of hip-hop can't be overstated, and
nowhere is his legacy more apparent than his work as a member of Slum Village.
A founding member of the trio, (Alongside rappers T3 and Baatin) Dilla provided
the group's distinctly esoteric, free-wheeling sound, built around winding
basslines, quirky drumbeats, subtle low-end frequencies, and classic jazz & soul
samples. Against the backdrop of Dilla's rich production, T3 and Baatin's
free-flowing style of rhyming would also earn wide critical praise, leading to
comparisons as the successors to A Tribe Called Quest. (A label they themselves
have rejected.)
It's on Slum Village's 1997 studio debut, Fan-Tas-Tic Vol. 1, that all these
elements come together in the most proficient manner. An instant hit among
Detroit's underground hip-hop scene, the album seemed to combine all the best
elements of the reigning alternative and gangsta styles of hip-hop into one
cohesive style that was a hit among critics. Fan-Tas-Tic's influence extended far
beyond Detroit, as its sound heavily influenced the sounds of D'Angelo, Erykah
Badu, and The Roots just to name a few. (Roots drummer ?uestlove has even
declared that: "Hands down this album birthed the neo-soul movement.")
Ne'Astra Media Group now presents the album reissued on vinyl, for the first
time in several years. Every wobbling bass note of J Dilla's production has been
preserved and every freestyle line of T3 and Baatin has been re-created, to
maintain the legacy of a late-90s rap classic, and the legend of one of hip-hop's
greatest beatsmiths.

Princess Nokia – aka New York rapper Destiny Frasqueri – has been releasing music via Youtube and Soundcloud since she was in High School, and slowly bubbling up on the internet, garnering a rabid fanbase. Last year, with the self-release of her 1992 mixtape, she catapulted herself to the next level, solidifying her position as one to watch. Since its release, she’s toured the world over, selling out various venues across the globe in mere days, and racked up literally millions of views/listens on her tracks. She is not only a brilliant rapper & lyricist but a feminist icon who is unapologetically herself, and aligns equally with the values of punk rock and riot grrl, ‘90s R&B, and the best of forward-thinking hip-hop. This is powerful, passionate, outspoken, vibrant modern music with deep roots in both NYC and rap history.
1992 Deluxe will be released via Rough Trade and is her first ever physical album; boasting 8 additional brand new songs - her first music since 2016. This expanded version includes the original 1992 tracks fully remastered and comes with a beautiful gatefold package.

Czarface, Wu-Tang founding MC Inspectah Deck and veteran Boston duo 7L & Esoteric, isn’t concerned with the glitz and the B.S. that modern consumer culture is pushing. And neither are the group’s fans.

In 2013, the trio appeared relatively unassumingly with their self-titled debut, which was chiefly produced by DJ 7L and included guests ranging from Ghostface Killah and Cappadonna to Vinnie Paz, Action Bronson and Roc Marciano. The soon-to-be acclaimed group found out quickly that there was a groundswell of hip-hop fanatics thirsting for the lunchpail, lyrics-above-all-else rap they fell in love with in the ‘90s. Several pressings of the album on CD, 2-LP and even cassette later, they are back and ready to up the ante.

This time around the group is the same, but it’s fair to say that all three men have stepped up their game. “We knew how we felt about the last album, but weren’t sure how it would be received by listeners,” explains MC Esoteric. “But people really responded to it, even more than we had hoped. That gave us the confidence to really spread our wings and let loose on this one. The chemistry is even tighter this time around. We know exactly what lanes we are cruising in and what weight class we are fighting in for Round 2.”

Inspectah Deck adds, “Czarface is like the Danger Room for the X-Men, I can use all my weapons on there. When I’m in Wu-Tang, I have to come a certain way because we have a certain style of fan, when I’m here doing the Czarface projects, it allows me to actually be an MC, it allows me to actually just spit…I love that. I love when i can just spit freely and just be an MC.”

The fighting analogy – whether drawn from pugilism or ‘80s wrestling, both which figure into Every Hero Needs A Villain – is an apt one, considering the unrelenting lyrical attacks that Deck and Esoteric unleash on track after track, each trying to one-up the previous verse. Best of all, it is friendly camaraderie, based around a loose theme of renegade mutant MC talents running wild. DJ 7L explains, “All three of us are influenced by comics, sci-fi movies, TV, wrestling. Czarface encompasses all of that, and it helps with the visuals as well.”

On the production side, 7L shows yet again – as he did with the group’s debut – that he remains a formidable yet underappreciated musical force, constantly providing hard, funky and alternatingly ominous backdrops for the assembled MCs to use as lyrical luge paths.

Before MF DOOM donned his mask and became one of the most prolific MC-producers of modern Hip-Hop, he was a member of KMD, an early `90s rap group whose work still goes criminally under-appreciated to this day. Following their 1991 debut album, Mr. Hood, the former trio shed one member leaving only two remaining - Subroc and his brother, Zev Love X (better known today as MF DOOM). Originally scheduled for release in 1994, their sophomore album Black Bastards showed clear progression from their debut. It was a truly amazing record, both sonically and lyrically, full of youthful creativity and tinged with the stresses of growing up as Black men in urban America. Songs like the lead single "What A N*gga Know", the slippery, bass-driven "Get U Now", and the album's title track explore Black consciousness viewed through young-but-experienced eyes. Musically alternating between bouncy and raw - many times both, concurrently - the tracks gave the MC's the springboard they needed to express themselves clearly. Sadly, Subroc would face a sudden and untimely death in 1993, just as the duo were finishing the album. Grief-stricken, his brother Zev Love X - now the sole remaining member of the group - was determined to carry the legacy of KMD onward, but Elektra Records unceremoniously shelved the project in the eleventh hour, due to controversy surrounding the album's provocative cover art. Following the fallout with Elektra, Zev tried for years to release the album on other labels, but he was continually met with dead ends. Struggling through the pain of losing his brother, coupled with the inability to release their final project together, a discouraged Zev Love X quietly withdrew from the scene and began quietly plotting his revenge on an industry that had broken him spiritually. Thus, in order to understand the true origin story of the super-villain, MF DOOM, one must recognize and appreciate the evolution of his former group, KMD, and the backstory of their pivotal album, Black Bastards.

Available IN A Galaxy Ruby Colored Vinyl Pressing With A 12-page Booklet The next release in Now Again's Memphis Rap series is Da Hard Ov Frayser, the only album by MC Money & Gangsta Gold produced by the legendary DJ Sound and presented on vinyl for the first time ever. This is part of Now Again Records multiple LP series on the History of Memphis Rap, which attempts to capture Memphis and its underground rap scene as it began to produce some of the most distinctive music of the 90s. This was a unique hip-hop strain - visceral and often vicious. It was a local, low-fi, cassette-tape based movement - yet it went on to change the course of rap music. These albums have never been pressed on vinyl - until now. From Skinny Pimp and Carmike to Gangsta Blac and Shawty Pimp, these albums have been relegated to the proverbial bins of history and bootlegged, with unofficial copies still fetching top dollar on the secondary market. These albums were all licensed directly from their original creators, and come on limited edition colored vinyl with artist-approved imagery for their first LP iterations. You can read the story of the Memphis Rap scene in a 12-page, oversized booklet with notes by Torii MacAdams. It captures the story of Memphis rap starting with the city’s founding and ending with an auto supply shop that sold these albums over the counter, with all points in between.

It’s been more than forty years since Kool Herc starting throwing parties in the South Bronx, and so you could forgive the casual fan for thinking that nearly every permutation of hip-hop has already been explored. But KEITH, the new album from the iconic rapper Kool Keith and the master producer Psycho Les (due out July 12 on Mello Music Group) argues just the opposite: that what’s absurdly funny can also be sinister and strange, that the form can still be broken in new and radical ways. Keith is, of course, one of the pivotal figures in the history of hip-hop, and has been one of the genre’s most singular writers and original voices. The Bronx native was a founding member of Ultramagnetic MCs, whose debut album, 1988’s Critical Beatdown, served as a blueprint for both internationally famous acts like Public Enemy and for the entire future of underground rap. But Keith’s solo work, which began in earnest in the mid-’90s with Dr. Octagonecologyst (released under a pseudonym, naturally) is even stranger, more experimental, more brilliant. He will enjamb seemingly unrelated ideas and images against one another with a poet’s love for language and a pornographer’s knack for camp. Subsequent records like 1997’s Sex Style, ‘99’s Black Elvis/Lost In Space, and 2000’s Matthew were hailed as instant classics; Keith has spent the last several years crafting expertly written records that are rewardingly bizarre, unlike anything else on the rap landscape –– and KEITH is a crown jewel in that excellent late-period run.

Psycho Les is a founding member of the Beatnuts, who were first notable as the only Latino members of the Native Tongues, the collective of groups that pushed hip-hop to its avant edges in the early ‘90s. They were staples throughout that decade, both with their own albums and via the production they did for artists as disparate as Fat Joe and Common –– as well as for their work pioneering the remix. The Beatnuts’ music had in its foreground cramped house parties and reckless debauchery; Les developed the unique ability as a producer to merge that abandon with technically rigorous sample manipulation and unique arrangements.

If you’re worried that two artists who have been working at this for so long would be tempted to rest on their laurels or make music that’s predictable, disabuse yourself of that notion. Keith opens the album with a tangent about Foot Locker –– not about buying shoes, but about lusting after the footwear chain’s employees, with their tight, referee-striped shirts and form-fitting black pants. It only gets stranger from there. His Lamborghinis aren’t just green, they’re pistachio green; his head is perfectly round like Charlie Brown’s; his handkerchief is worth your per diem. And as a vocalist, Keith is still as slippery and innovative as ever: see the way he slides right into an unorthodox flow at the beginning of “Slave Owner,” only to thin out his writing to allow for a string of insults from the titular slave owner.

KEITH is a laser-focused, remarkably vital work from two artists entering the fourth decades of their respective careers. If nothing else, take as an example a couple of the guests who appear here: there’s Jeru the Damaja, who represents the true-school ethos of New York in the early ‘90s, but there’s also Paul Wall –– he rides shotgun on “Foot Locker” –– who broke through more than a decade after Jeru, as the woozy, laconic Houston scene of the mid-2000s briefly stole the national spotlight. Both serve as ideal foils for Keith: they’re somehow tethered to Earth as we understand it, while he’s free to orbit around them, and us, in a path that only he will ever understand.

lyricism, and impactful social commentary. The album helped cement A Tribe Called Quest as pioneers of the alternative hip-hop movement.

Midnight Marauders continues the group’s fusion of jazz samples and boom-bap beats, much like their previous album, The Low End Theory. However, the production on Midnight Marauders is tighter, more polished, and showcases a richer sound with more layers of sampling and instrumentation.
The album features both Q-Tip (Kamaal Ibn John Fareed) and Phife Dawg (Malik Taylor) at the height of their lyrical powers. Q-Tip delivers introspective, philosophical verses with his signature smooth, laid-back delivery, while Phife Dawg provides sharp, witty, and streetwise commentary, offering a perfect contrast to Q-Tip’s style.

The album addresses a range of topics, from the complexities of Black identity and the state of hip-hop to reflections on love, competition, and the music industry. The lyrics are often intellectual yet grounded in everyday experiences, making them accessible and thought-provoking.
The themes in the album extend to the critique of societal issues like police brutality and systemic racism, but they are presented in a conversational, unpretentious manner.

Key Tracks and Highlights:
"Award Tour" (featuring Trugoy from De La Soul) – One of the album’s biggest singles, this track celebrates Tribe’s success while maintaining a humble, down-to-earth tone. It’s driven by a catchy, upbeat beat and has an infectious hook.
"Electric Relaxation" – A classic, smooth track known for its laid-back vibe and jazzy production. The song features witty, flirtatious lyrics, where both Q-Tip and Phife Dawg reflect on relationships and romance. It remains one of the group’s most popular songs.
"Oh My God" (featuring Busta Rhymes) – A high-energy track that blends frantic, lively production with sharp lyricism from Q-Tip and Phife, while Busta Rhymes brings his signature hype-man energy on the chorus.
"Sucka Nigga" – In this controversial track, Q-Tip delves into the history of the N-word, its reclamation, and the complexities of language in African American culture. The track is a reflective and thought-provoking commentary on racial identity.
"We Can Get Down" – A track that highlights the camaraderie between Q-Tip and Phife Dawg as they rap about friendship and mutual respect, reinforcing the tight bond within the group.
"Clap Your Hands" – With its boom-bap beat and jazz-heavy instrumentation, this track is a quintessential Tribe song, showcasing their ability to create music that is both catchy and intellectual.

Midnight Marauders was produced by A Tribe Called Quest themselves, with the assistance of their longtime collaborator Ali Shaheed Muhammad. The production continues to focus on sampling jazz records, but it’s more refined, with a greater emphasis on layered sounds, creating a warmer, fuller sonic experience.
The album also features funk, soul, and R&B influences, giving it a dynamic, genre-blending feel that set it apart from the more sample-heavy hip-hop albums of the time.

Midnight Marauders was both a critical and commercial success, debuting at #8 on the Billboard 200 and receiving widespread acclaim for its innovative production and insightful lyricism. Critics praised the album for its balance of jazz-inflected beats and clever wordplay, as well as its thoughtful approach to social issues.
The album is often included in "greatest albums" lists and is considered one of the essential works of 90s hip-hop. It influenced a wide range of artists, from Kendrick Lamar to J. Cole, and helped solidify A Tribe Called Quest’s legacy as one of the most innovative and impactful groups in hip-hop history.

Midnight Marauders represents the perfect blend of jazz, hip-hop, and social commentary, with A Tribe Called Quest striking a balance between intellectual exploration and accessible, feel-good music. The album’s cohesive sound, sharp lyricism, and cultural relevance have made it a cornerstone of hip-hop and one of the genre’s most beloved records.