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Dre's The Chronic was ubiquitous with not only its reach but also its influence, and Death Row was literally changing the game.
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If you think back, you'll probably remember 1993 as being the pinnacle of gangsta rap - Dr. In that sense, it comes across as a bit derived and undoubtedly confined by its stifled creative ambitions. However, rather than use rap as a starting point and depart from there into a myriad of other directions as they did on The Score, they used rap as a starting point and never depart, instead emulating the popular style of the era. Here they offer their take on rap circa 1993. Yes, Blunted features Wyclef, Lauryn Hill, and Pras, but it's not quite the same trio that fans of The Score have come to know. Those fans no doubt were a little shocked, though, by what they found. But with the benefit of hindsight, it’s a fun, low-stakes gambit straddling the margins of boom bap, jazz rap, and reggae fusion without pause, and it’s a transformative experience for its MCs.Given the brilliance of The Score and the shortage of Fugees albums in the '90s, many fans probably sought out Blunted on Reality. The album scans as a style sampler of early ’90s alt hip-hop.
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For all its eclecticism, Blunted on Reality is still a relic of its era-heavily indebted to rap’s elite samplers and sound-bending maestros, and even -and it's a bit raw and rough around the edges, a mostly croon-free ragga rap opus that’s far less explicit with its social and political ideals than The Score but twice as enthusiastic. The result was a commercial flop, selling (literally) 12 copies, and sending the group back to the drawing board. Under the direction of co-founder Khalis Bayyan (then Ronald Bell), they were working on their debut album called Blunted on Reality.Įach member had a unique musical history, leading to a sonic information trade of sorts-capitalizing on Lauryn’s internal soul music archive, Pras’ hard- and soft-rock reference points, and Wyclef’s reggae reworks. The smorgasbord of sound registered as rap but only when stripping several layers of context away the Fugees packed reggae-flecked, raucous romps and remixes into 18 tracks, and attempted to package it as traditionalist hip-hop. In those moments, before The Score was even conceived, the Fugees were slowly coalescing into a unit. It was created in the early-mid ’90s when the group was still experimenting, on a beat Salaam Remi originally made for. But “Fu-Gee-La” predated the polished, finished project, starting as a raw loosie produced on the fringes of a session for a “Vocab” remix. The Fugees, as many have come to know them, appeared fully formed in 1996 on “Fu-Gee-La,” the lead single from the trio’s ground-breaking, major label opus. When Marcy abandoned the group after a few sessions, the trio adopted the name Tranzlator Crew, then later. And he sought out Wyclef, who was already adapting the music of the Caribbean to fit his own, to add more reggae flavor into the mix. Pras was an instrumentalist who was privy to rap as a kid but blocked from listening to it, instead spending long afternoons scanning the dials of his family radio for hard and soft rock. Even then, Hill was preternaturally talented, with a deep-rooted knowledge of R&B and Motown soul. As Wyclef tells it, Pras was a dreadful trumpet player, but he introduced Wyclef to two young musicians from his Newark high school: the mononymously known “Marcy” and a choir singer named.ĭownload Original Huawei Mobile Partner 23 Latest Version more. Pras sought out Clef to play trumpet in the church band. Wyclef was already something of a local celebrity in the mid ’80s, writing raps in a session produced by for a group called Exact Change (on a single recording that was never released), and picking up the nickname the Rap Translator. Pras Michel first came to at his dad’s church in New Jersey looking to join a band, not a rap group.