Illegal Foreign Object

By the time Big Daddy Kane released his debut album, Long Live The Kane on June 21st, 1988, he’d already spent years in clubs and house parties rockin’ the mic like no other. He was battle-tested, brimming with confidence, and unquestionably lyrical. The year before, Kane dropped his singles for “Get Into It” and “Raw”. His cadence on the tracks served notice to all challengers: Kane was the real deal (and as he would prove in ’88, he wasn’t here for any half-steppin’).

If LL Cool J brought the charisma, Rakim brought the technique, and KRS-One brought the philosophy, then Kane brought the swagger to hip-hop. Oh, there were other confident MCs before him, of course. Melle Mel and Chuck D each brought strength to their lyricism — a loud, booming voice. Kane’s power was different — he was smooth with his. There was something with Kane’s swagger — when Kane told you he was the best, there was something about how he said it that simultaneously made you think that all others were the worst. It was like lyrical condescension in his tone — like he couldn’t believe he was having to remind you he was the best. Every line was drenched in, “Of course, I’m the one. Who else would it be?”

This is not a knock on current hip-hop, but Long Live The Kane is a record that exists on the lyrical abilities of one man. It isn’t loaded with guest rappers or padded with instrumentals — just one man, a mic, and otherworldly ability.

The song for Kane’s first video, “Ain’t No Half-Steppin’” is a classic. By any metric, it is one of the greatest tracks in hip-hop history. If you told me it was the best, I wouldn’t argue with you for a second. Rapping over a beautifully produced Marley Marl track that pieced together samples from Heatwave (“Ain’t No Half Steppin’”), ESG (“UFO”), and The Emotions (“Blind Alley”), Big Daddy Kane flows over the beat with “I’m the authentic poet to get lyrical/For you to beat me, it’s gonna take a miracle”, then hangs back to stagger his wordplay with, “So when I roll on you rappers, you better be ready to die/Because you’re petty, you’re just a butter knife, I’m a machete/That’s made by Ginzu, wait until when you try to front/So I can chop into your body/Just because you try to be basing Friday the 13th/I’mma play Jason”. Big Daddy Kane puts on a clinic on this track.

“Set It Off” remains Kane’s favorite track he’s ever recorded. He told Rock The Bells, “During that time, I was listening to a James Brown compilation, and there’s a horn breakdown on ‘Get Up, Get Into It, Get Involved’. I knew I wanted that for the beat, so I got Marley to add it. I was also inspired by ‘Sex Machine’ from that same compilation, and I wanted something to match the energy from the intro (when James is talking, and then the beat drops). If I’m losing energy on stage, or I’m in pain and moving slow — ‘Set It Off’ takes me there, automatically as soon as that beat drops.”

Iron sharpens iron, and being a member of the Juice Crew, while writing lyrics for Biz Markie and Roxanne Shanté, and being surrounded by names like MC Shan, Kool G Rap, and Masta Ace unquestionably honed his skills. Long Live The Kane is the product of greatness meeting greatness, then becoming iconic.

Track List:

1. Long Live The Kane 10/10
2. Raw – Remix 10/10
3. Set It Off 10/10
4. The Day You’re Mine 8/10
5. On The Bugged Tip 9/10
6. Ain’t No Half-Steppin’ 10/10
7. I’ll Take You There 9/10
8. Just Rhymin’ With The Biz 9/10
9. Mister Cee’s Master Plan 10/10
10. Word To The Mother (Land) 9/10

Grade: 94