Curtis Blow had a commercial for Sprite, but Hammer got Pepsi to sponsor the Monster Arena Tour. Run-DMC went platinum, but Hammer moved his Whitney Houston number. The Beastie Boys conquered rock radio, Hammer conquered radio itself. People ridiculed how Hammer jacked an entire chunk of Rick James and Prince, but Puffy built an empire from “Taking ’80s hits/But does it sound so crazy?” rice field. Hammer had Saturday morning cartoons and puppets like The Beatles and New Kids on the Block. He was the first to show that rap’s success is not determined by the limited imagination of record labels.
Hammer’s success occurred in the space between Run-DMC’s 1986 and Dr. Dre’s 1993.walk this road,” proved that rap can work with pop music. when “Nuthin’ But a ‘G’ ThangNo. 2 hit Dr. Dre proves that the most primitive, uncompromising, unedited rap music is now pop music. As far as the music industry is concerned, all of the roughly six years in between have been growing pains. What is this new sound that is already out of our control and how do we market it?
No document better captures this moment rap monsterHammer, Vanilla Ice, Young MC, Tone Loc, DJ Jazzy Jeff & the Fresh Prince, Fat Boys, Technotronic, Snap!, C+C Music Factory and more. Released in 1999 by Razor & Tie. Nostalgia was his minor and early success of the decade. those great 70’s Compilation, and now was on the hair metal compendium monsters of rockshortly after the release of rap monsterRazor & Tie co-founders and producers Craig Balsam and Cliff Chenfeld announce the first volume of an ambitious new series. kids bop.
like its ancestors, rap monster It was crude, shameless, cheap-looking, somewhat inconsistent, and at $26.99 plus $5.95 shipping and handling, it wasn’t cheap by any means. Black Sheep’s original version of “the choice is yours’, not the iconic remix. Not available in stores you bought it off the tv like a shamwowIt sold over 250,000 units, but I’m not sure I actually saw it before I purchased a $6 copy from Discogs to do this review. (You’d need Biz Marky, Marky Mark, Digital Underground, Chris Cross, and the Beasties of the Bastard Era to fully cover the ’90s pop-rap bubble). It stands as the most complete compendium of the most jiggy eras before the jiggy era.