“Anything where you invest your time and your passion, and you put your soul into it, I don’t think it’s ever easy to walk away from.” Busta personified the fears of his competitors.
A nod to his character in John Singleton’s Higher Learning (simply named “Dreads”) and his towering locks, the moniker also has an allegorical ominousness. The dragon had evolved, becoming “the Dread” (“Do My Thing”). albums, all the public and journalistic conjecture, and years of song-stealing features, Busta proved he could wreck the discotheque solo, remain raw, and bring the ruckus for an entire album. The Coming, which celebrates its 25th anniversary this weekend, was a culmination and a confirmation. Over the course of an hour, his focus doesn’t waver. Thoughtful and sometimes intense, Busta chooses his words carefully, processing every question before responding and occasionally pausing between sentences. Though he speaks calmly, every word is in bold typeface, any change in octave-however slight-the equivalent of adjusting the font size. ” The bass in his voice never disappears. “I got my plaques before I put out When Disaster Strikes. The Coming went platinum within the same year of its release,” Busta says, speaking via phone from his Brooklyn condo. “I don’t know where you got that information from, my brother. They maintain his 1996 solo debut, The Coming, was certified platinum on January 13, 1999. The future was his alone, with or without a past.Īccording to Busta Rhymes, the Recording Industry Association of America is wrong. The world heard Busta become the “dungeon dragon” and never looked back. 57 on the Billboard Hot 100 in July 1992. The third single from ATCQ’s all-time classic The Low End Theory, “Scenario” peaked at no. appeared on A Tribe Called Quest’s “Scenario” in 1991. Whispers about a Busta solo album turned to deafening exclamations after L.O.N.S. “We were watching show at this club called Building, and he was like, ‘When is that going to happen?’ Straight up. “He’s like, ‘When is he gonna go solo?’” Ross recalls Shecter saying. Hampton’s praise was likely personal opinion, but it also cohered with the company line at the publication then considered hip-hop’s bible.ĭante Ross-the renowned A&R who worked with De La Soul at Tommy Boy before decamping to Elektra to sign Brand Nubian, KMD, Leaders of the New School, and, eventually, Busta Rhymes-remembers talking to Source cofounder Jonathan Shecter around the time the review ran. Discussing the album, though, almost seems like an afterthought. … You want more of him than the group can provide.” She then suggests Busta record an EP but remain in the group, comparing his “polyrhythmic flow” to John Coltrane and Charlie Parker solos.
jam is you can’t help waiting for Busta to get on the mic. “I hate to be the one to put it on paper and shit, but Busta needs to do a solo album,” dream hampton wrote in her 1993 Source review of L.O.N.S.’s sophomore album, T.I.M.E. Leaders of the New School, or L.O.N.S., didn’t have to go up in flames, but Busta needed room to spread his wings and scorch the earth before the end of the millennium. The group’s post-show split confirmed what everyone on staff at The Source magazine already knew: 16 bars could no longer cage the roaring dungeon dragon from East Flatbush. And you hear the defeat in his voice as he stands opposite his group and says to the cameraman, “Please don’t film this, B.” You can read the tension on the face of a then 21-year-old Busta Rhymes, who was appearing on the show with the group that provided his entry to the music industry. Leaders of the New School were disintegrating in real time. The writing was always on the wall, but in 1993 it was on camera for Yo! MTV Raps. Today, we’re going deep on Busta Rhymes’ legendary debut, The Coming, which incinerated the rap game when it arrived in March 1996.
BUSTA RHYMES BREAK YA NECK DIRTY INSTRUMENTAL SERIES
The 1996 Rap Yearbook, a recurring series from The Ringer, will explore the landmark releases and moments from a quarter-century ago that redefined how we think of the genre. No year in hip-hop history sticks out quite like 1996: It marked the height of the East Coast–West Coast feud, the debut of several artists who would rule the next few decades, and the last moment before battle lines between “mainstream” and “underground” were fully drawn.
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