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11 July 1995 | Format: MP3

5.99 (VAT included if applicable)
Buy the CD album for 7.21 and get the MP3 version for FREE. Does not apply to gift orders.
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Song Title
Time
Popularity  
30
1
5:27
30
2
3:37
30
3
4:07
30
4
5:08
30
5
4:40
30
6
1:18
30
7
4:00
30
8
4:31
30
9
4:41
30
10
4:44
30
11
4:51

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Product details

  • Original Release Date: 11 July 1995
  • Release Date: 11 July 1995
  • Label: Mercury Records Limited
  • Copyright: (C) 1983 Def Jam Recordings
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 47:04
  • Genres:
  • ASIN: B001KVM2RM
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (6 customer reviews)
  • Amazon Bestsellers Rank: 56,768 in MP3 Albums (See Top 100 in MP3 Albums)

Customer Reviews

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Most Helpful Customer Reviews

3 of 3 people found the following review helpful By trust me, I'm not a doctor on 13 Jan 2004
Format: Audio CD
This is as basic and raw as rap album's get. LL Cool J's finest to date. With the exception of some tracks on "Mama said knock you out" LP, LL Cool J has not managed to recreate that raw heavy drumtrack of this album. The most outstanding tracks to my mind are "rock the bells" and "I need a beat". It always refreshes me to listen to the immature and jokey lyrics and realise that this was a teenage boy who was rapping about his life and dreams. I am glad that there are few mentions of how many rival ganstas he has shot or how many Escalades he has or the size of his diamonds. There are no ultra slick samples or vocal mixes with token eye candy. Instead we have lyrics that boast about how good his rhymes are, how good he looks and more importantly how he make everyone else look bad. The scratching is loud and raw. It make you want to crank up the volume and body pop ( deliberately left out breakdancing because I was never a fan of spinning on my head in case I happened to snap my neck). If you want to know what rapping was all about then you need to add this album to your collection. What LL needs to do is go back to rapping with his DJ and get Rick Rubin in his studio and that is it! Come back LL to your roots and rap like you used to.
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Format: Audio CD
Producer Rick Rubin brings the minimalist rock and scratchin' sound, motormouth Russell Simmons equivocates about his 1988 Mercedes in 1985, and Cool J brings the integrity raps and so forth. Cool J lays off messages and banks on legal. Minimalist production for conspicuous consumption. Requires energy or eight D batteries.
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By James Tobiasen on 18 May 2010
Format: Audio CD
Back in the 80s I was into pop and rock music - mostly post-punk/indie and classic/psych. Encouraged by the John Peel show to explore new and different music I decided to take the plunge and buy a hip-hop album. For whatever reason, this was the one I came home with. If you listen to music a lot you'll recognise that there are certain moments when a new single or album just makes your world a bigger place, new horizons open up and you see life through a different set of goggles... this was one of those albums. Of course I had heard hip-hop before but nothing quite prepared me for the full on assault, the speed of delivery and the crashing production that this album smacks you in the face with.

I think it's fair to say that this is probably the first hip-hop album that was anywhere close to the mainstream that was able to stand on its own two feet. It set the blueprint for the next decade of hip-hop's development and stands as the first genuine classic album in hip-hop's cannon. It's a great shame that LL has never gone on to make anything that stands comparison to it... his gradual slide into R&B guest artist and so-so film appearances has not really done his talent justice... but for one album back in the 80s he stood like the gatekeeper to a great new wave of musical opportunities.

One of hip-hop's many great achievements has always been to invent new from old, to turn its listeners back to the music that it stemmed from, whether it is from samples, dj-ing or stolen phrases in the lyrics. It still uses those techniques today but it seems to me that the acknowledgement of the great music of the past, the music that helped shape the current output, is too often brushed aside.
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