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One of the illist Hip-Hop duo’s ever! You can’t argue with that. Their first album is a straight classic. In 1995 The Shining dropped along side some other classic Hip-Hop albums such as Common(Resurrection), Digable  Planets(Blowout comb), Mobb Deep(The Infamous), Raekwon(Only Built for Cuban Linx) and many more. Side one was like their everyday shit but after ” Bucktown “… things just morphed. I knew they were dope but shit, I didn’t expect it to take a hold like that. I still crank that joint like yesterday. So if you don’t know, get familiar!! FLAMMMMMM!!!

Bio(taken from duckdown.com):

The dynamic duo of Tek and Steele known as, Smif N’ Wessun, are survivors of the game of hip-hop. Their street slick rhymes, personal chemistry, and ability to trade the mic smoother than a Hennie and Coke, are a testament to team work. With a fast break into success, legal trouble that forced a brief name change, and moving into the drive’s seat, from emcees to entrepreneurs, Tek and Steele have stood tall in the face of adversity as an impenetrable force.

Natives of Brooklyn, New York, Tek and Steele made their first appearance to the world of hip-hop on Black Moon’s 1993 debut, Enta Da’ Stage. The tracks, “Black Smif N’ Wessun” and “U Da Man,” showcased their fierce and unrestricted lyrics. “Black Smif N’ Wessun” had a hard drum beat and deeply submerged bass-line, as the crew ferociously chanted the chorus.

n 1994, Buckshot and DruHa founded Duck Down Management, signing Smif N’ Wessun as their first act to Nervous Records. Not only did their debut, Dah Shinin, sell over 300,000 copies, but it also coined the name of the fourth great wave of hip-hop music. Tek N’ Steel stormed the masses with hardcore rhymes and a flawless ability to trade the mic without hesitation. “Dah Shinin’, was an era when hip-hop was just coming back from the West to the hardcore streets of New York, and you were proud to be a fan of it…that was kind of a renaissance time,” explained Steele. Produced by Evil Dee and Mr. Walt, the album was layered with heavy bass lines, razor sharp scratching and a dungeon sound that basted through any roof. While tracks like, “Timbz N’ Hood Check,” told of the underbelly of street life, “Won Time,” discussed the results of snitching; “Cession At Da Doghillee,” previewed the soon to be Boot Camp Clik; and the jazz influenced Brooklyn anthem, ”Buck Town,” became a Duck Down trademark. (More Here)

(Peep the Black Moon, Smif N Wessun Trailer below)

It’s pretty much the same with DMX as it was with the Lox. I wasn’t feeling the brother lyrically either. At some point “Stop, Drop” grew on me and he caught my ear. My cousin use to go crazy over the dude’s music. Not a big fan of homie but he made a contribution to Hip-Hop music. FISKKKKKKKKK!!!

Bio:

DMX was born Earl Simmons in Baltimore, MD, on December 18, 1970. He moved with part of his family to the New York City suburb of Yonkers while still a young child. A troubled and abusive childhood turned him violent, and he spent a great deal of time living in group homes and surviving on the streets via robbery, which led to several run-ins with the law. He found his saving grace in hip-hop, starting out as a DJ and human beatbox, and later moved into rapping for a greater share of the spotlight, taking his name from the DMX digital drum machine (though it’s also been reinterpreted to mean “Dark Man X”). He made a name for himself on the freestyle battle scene and was written up in The Source magazine’s Unsigned Hype column in 1991. Columbia subsidiary Ruffhouse signed him to a deal the following year and released his debut single, “Born Loser.” However, a surplus of talent on the Ruffhouse roster left DMX underpromoted, and the label agreed to release him from his contract. He issued one further single in 1994, “Make a Move,” but was convicted of drug possession that same year, the biggest offense of several on his record. 

DMX began to rebuild his career with an appearance on one of DJ Clue?’s underground mixtapes. In 1997, he earned a second major-label shot, with Def Jam, and made a galvanizing guest appearance on LL Cool J’s “4, 3, 2, 1.” Further guest spots on Mase’s “24 Hours to Live” and fellow Yonkers MCs the LOX’s “Money, Power & Respect” created an even stronger buzz, and in early 1998, he released his debut Def Jam single, “Get at Me Dog.” The song was a gold-selling smash on the rap and dance charts and paved the way for DMX’s full-length debut, It’s Dark and Hell Is Hot, to debut at number one on the pop charts. Produced mostly by Swizz Beatz, who rode the album’s success to a lucrative career of his own, It’s Dark and Hell Is Hot earned DMX numerous comparisons to 2Pac for his booming, aggressive presence on the mic and went on to sell over four million copies. Not long after the album’s release in May 1998, DMX was accused of raping a stripper in the Bronx but was later cleared by DNA evidence. He went to make his feature film debut co-starring in Hype Williams‘ ambitious but unsuccessful Belly.  (More Here)

Man, I’m gonna be honest. I did not expect these brothas to last as long as they have. Foreal!! Everybody was going crazy “The Lox, The Lox!!”, I was like… Man Please! Much too my surprise these cats have stayed in the game. They caught me out there with Jadakiss first album. We was riding around with J Force and the line that caught us off guard was ” I see you working out, back and chest all nice… but this 12 gauge will put your six pack on ice! ” HAAAAAA!!!! We were fluxing rolling in that bitch. Ever since then I gave them an ear, if not just for the enjoyment of the lyrics.

Over the years, each of them released at least 2 albums, numerous Mix Cd’s as well as formed their own company…D-Block! So here’s to the 10 (or 12) years of the Lox, putting it down! Check out the bio. BOKAPPPPPPPPPPP!!!

Bio:

In the summer of 1999, the celebrated Yonkers Rap trio the LOX found themselves in a fight for freedom. Disappointed with the direction of their career on Bad Boy, the group wanted to be released from their contract in order to join the newly formed Ruff Ryders/ Interscope label. The Ruff Ryders had always served as the Lox’s managers and the group felt like the new Double R label could better represent the hard-core sensibilities which they expressed in their rhymes. Bad Boy was known for its radio friendly dance hits and high priced videos, while the LOX were quickly establishing themselves as Hip-Hop’s rawest group. The identities clashed, the LOX just didn’t feel comfortable in the shiny suits. “We just needed to be with a rougher label” says Sheek. “A harder label that fit our image.” 

The LOX tried all of the legal maneuvering available to be released from their contract with Bad Boy. However, when the lawyers and conference calls didn’t work, the group did what they do best. They took their story to the streets. At a New York rap concert, the defiant group sported “Let the Lox Go” T-shirts and sparked a grass roots movement to “Free the Lox.” To a Hip-Hop public tired of all the flossing and commercialism which was dominating the art form, the struggle to release rap’s most important trio symbolized an effort to purify the music. To return Hip-Hop back to its essence as an important form of urban expression. The streets spoke up loud and clear and the Lox were finally released to a heroes welcome. “We really changed the game by doing that.,” says Styles concerning the contractual drama. “It might take years from now, but other people are gonna do it. We made it so they don’t have to be scared to speak up.” 

“You are always better off with your people no matter what.” says Jadakiss about the group’s excitement about joining their Ruff Ryder family which includes Eve, Drag-ON, DMX and red hot producer Swizz Beats. “Even if we would have gone over to Bad Boy and everything was sweet and alright, you are always better off with your people and your family because they love you and you love them. That’s gonna beat anything in the world.” (More Here)