
EPMD - Strictly Business 7-Inch
A: Strictly Business (Radio Mix)/ B: Strictly Business (Instrumental Mix)
Few groups arrive as fully formed as EPMD did. This dropped as the third single from the album of the same name, and further cemented their distinctive aesthetic: Slow rhyming, trading lines rather than the rappers being confined to their own verses, and backings that were ruthlessly funky and simple at the same time.
Theyâd go on to be labelmates with Public Enemy when Def Jam picked up their contract in 1990, and to compare and contrast the two is illuminating. While PE at that time were making waves with the Bomb Squadâs breathless, kitchen sink approach to production, EPMD were equally adored for taking the opposite approach.
Here, thereâs a sprinkle of drums from Kool & The Gangâs oft-sampled âJungle Boogieâ, paired with a very recognisable portion of Eric Claptonâs âI Shot the Sheriffâ. And thatâs pretty much it â the two samples are linked, looped and left to their own devices. Such was Erick and Parrishâs confidence in their own rhyming ability and strong voices, no further embellishment was needed.Â
That confidence extends to the subject matter. While their debut album and later projects were heavy with concepts â the âJaneâ series â and notable guest verses, this was the third straight single of pure brag rap. Two MCâs, one beat, a whole heap of lyrics about how good they were. Itâs something you canât do unless you truly are special, and this duo most certainly were.
Paired with the classic instrumental version, which didnât make it to the US 7â releases â itâs only on a hard-to-track-down French 7â pressing from 1989 â this this is a timely reminder of how breathtakingly perfect hip-hop can be.
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Description
A: Strictly Business (Radio Mix)/ B: Strictly Business (Instrumental Mix)
Few groups arrive as fully formed as EPMD did. This dropped as the third single from the album of the same name, and further cemented their distinctive aesthetic: Slow rhyming, trading lines rather than the rappers being confined to their own verses, and backings that were ruthlessly funky and simple at the same time.
Theyâd go on to be labelmates with Public Enemy when Def Jam picked up their contract in 1990, and to compare and contrast the two is illuminating. While PE at that time were making waves with the Bomb Squadâs breathless, kitchen sink approach to production, EPMD were equally adored for taking the opposite approach.
Here, thereâs a sprinkle of drums from Kool & The Gangâs oft-sampled âJungle Boogieâ, paired with a very recognisable portion of Eric Claptonâs âI Shot the Sheriffâ. And thatâs pretty much it â the two samples are linked, looped and left to their own devices. Such was Erick and Parrishâs confidence in their own rhyming ability and strong voices, no further embellishment was needed.Â
That confidence extends to the subject matter. While their debut album and later projects were heavy with concepts â the âJaneâ series â and notable guest verses, this was the third straight single of pure brag rap. Two MCâs, one beat, a whole heap of lyrics about how good they were. Itâs something you canât do unless you truly are special, and this duo most certainly were.
Paired with the classic instrumental version, which didnât make it to the US 7â releases â itâs only on a hard-to-track-down French 7â pressing from 1989 â this this is a timely reminder of how breathtakingly perfect hip-hop can be.












