The Rawkus Records Chronicles - Chapter 2

Following on from my post a couple of weeks back on the Lyricist Lounge compilations I felt it only right that the Soundbombing Volumes 1 – 3 were acknowledged as well. Perhaps this post should have preceded it given the release dates etc but it hasn’t.

Rawkus Records compilations are definitely some of the greatest around that showcase underground hip-hop and help promote lesser known artists. In the case of the Soundbombing series there are certain moments that are absolutely no exception. The first compilation of the Soundbombing series was released in 1997 and features DJ Evil Dee and Black Moon as the hosts. The main emphasis on this compilation is that it features all singles put out on the Rawkus Label as opposed to the later Soundbombing releases that are not solely Rawkus released singles.



One of the notable criticisms of this compilation is the incessant banal comments from Evil Dee that evidently disrupt the albums flow, but with this aside you can definitely pick out some great tracks from it. Perhaps Volume one doesn’t weigh in quite as hefty as the following release, but it still has its high points and it was definitely from releases like this that helped lay foundations for Talib Kweli and Mos Def’s later projects.



Volume 2 of the Soundbombing series would be unanimously agreed as being the best out of the three for many reasons. Perhaps Rawkus tidied up their game in the interim between the release of Volume one and Volume two and made certain they came back with a blast. Some might suggest that this was also the best timing for the label before it got inundated with wealth and the original elements of Rawkus went out the window. This is merely a suggestion, I am not really sure.



One of the defining factors of this particular compilation in the series is the collection of prolific collaborations evident throughout. The first of these is ‘B-Boy Document 99’ which is an absolute anthem and features a collaboration between High and Mighty, Skillz and the mighty Mos Def. For me it’s the turntabalism skills of DJ Mighty Mi throughout the track that make it stand out and never get tedious.

The second notable collaboration for me is between Common Sense and Sadat-X on ‘1-9-9-9 .‘ Perhaps it could be said that the hook after a while gets slightly repetitive and could have done with being varied, but alongside Common’s story telling this track is definitely enjoyable.



Volume 3 seems to be where a lot of fans have said Rawkus’s style altered for the worse and fell into the trap of commerciality and in turn lost a lot of its original flavour. It’s obviously something that is in the human nature to turn down the commercial route if higher wages can be earned and for an eternity we have seen this happen to a host of musicians. Sadly this is what happened to a very promising underground hip-hop record label and as a result didn’t sell nearly as well as its predecessor.



Despite a plethora of promising emcees on the back cover the tracks they are featured on do not follow suit. However amidst the rubble there are definitely some rappers that still hold it down. One particular gem for me is Pharoahe Monch’s freestyle over Jonell’s ‘Round and Round’ but the other rappers on the track fail to keep up with Monch’s consistency.