A Decade of Def Jam

Rip It Up, Issue 220, 1 December 1995, Page 30

A Decade of Def Jam

The year is 1977, and rap music is germinating in the underground, impoverished ghettos of Amerikkka. A first year sociology student, Russell Simmons, goes to a club in Harlem called Charles Gallery, and is blown away by the energy, funk and humour of a young rapper called Eddie Cheeba. Inspired, Russell begins booking rappers as the entertainment for the black frat parties at City College, New York. These parties grow and grow, and Russell begins operating under the slogan ‘Rush — The Force in College Parties’. Promotion leads to artist management, and then to record production. His best known act is the soon to be huge Run DMC.

Meanwhile, Rick Rubin is going through puberty on Long Island, New York. Inspired by the racial and musical melting pot of his community, he becomes a fan of hardcore, metal and rap. By 1984 he is a 21 year old student, and his admiration of Run DMC inspires him to produce his first rap record, ‘lt’s Your’s’, by T La Rock and Jazzy Jay, which just happens to

become Russell Simmons’ favourite record. Eventually, through a bit of divine intervention from the big rapper in the sky, Russell and Rick hook up at a club called Danceteria. In order to protect their investments and promote their artists, Rick suggests they start their own label. Each man fronts $4,000 and Def Jam is born. ‘I Need A Beat’, by LL Cool J, was the first Def Jam release, featuring LL bragging over Rick’s stark production. It was, of course, an immediate smash. Next up on the hit list were the infamous Beastie Boys. Their first big rap hit was ‘Rock Hard’, which was based around a slamming AC/DC drum beat. After this initial success, Columbia Records began to take an interest in this new musical phenomenon, and they cut a deal to help market and distribute Def Jam around the world. In late 86, the Beastie Boys debut, Licensed to 111, was released and went AWOL, quickly going triple platinum. Chuck D had to be convinced to join the label, but Public Enemy became a potent political force, and with the platinum It Takes a Nation of Millions to Hold Us Back, claimed a place in rap history with one of the best albums of it’s decade. A major factor in the success of Def Jam was their street knowledge. They were able to successfully manage rap acts as well as market them. They coached their artists on everything from how to talk to the press, to what to record and what to wear — remember Run DMC and Addidas? By 1987, Def Jam had single-handedly

changed the face of popular music and made millionaires of its founders. The original partnership of Rick Rubin and Russel Simmons had, however, started to sour. Rick had grown bored with rap and wanted to get back into producing more rock acts. Russell was leaning more to the r ’n’ b tip, and a compromise seemed unobtainable. In 1988, Rick and Russell dissolved their agreement and Rick moved to LA to form Def American. Russell, meanwhile, together with Lyor Cohen, who had started to manage Rush, reorganised the structure of Def Jam. Lyor came up with the slogan ‘ls it good for the logo?’, ie. did it fit the Def Jam image? The label regained its focus. In 1993, Def Jam parted with Columbia and Polygram stepped in. With recent signings such as Warren G, Redman and Method Man, Def Jam are still a potent force in hip-hop as they reach their tenth anniversary. With a milestone like that, it’s only appropriate they should mark the occasion with a four CD compilation of 10 years of musical highlights of history in the making. LL Cool J, Public Enemy, The Beastie Boys, Slick Rick, EPMD, Redman, Method Man, Montell Jordan and many more are all present, with some of rap music’s finer moments. Not much else to say really, except hold it now hit it and fight for you right to party, ’cause I’m a rebel without a pause, I can’t live without my radio, I’m that type of guy who loves an around the way girl to bring tha noize, so fight the power and throw ya gunz, ’cause its black steel in the hour of chaos and mama said knock you out, ’cause this is how we do it, motherfucker. Peace.

ANDY