First off, I’d like to thank MC Izzy Ice (or “Iz”) and DJ Majesty for forming Da King & I and creating 1993′s Contemporary Jeep Music. If one requested an album which encapsulated the transitional feeling of ’93 (or mid-’92 to the tip of ’94…aka the “early-mid 90′s”), in being a step away from the playful funk motif into a lower-ended, edgier, raw “hoodies and 40-Below’s” sound that maintained the fundamental emphasis on exuding originality, this would be one of those I’d throw in that person’s hand alongside Enta Da Stage, Enter the 36 Chambers, Mecca and the Soul Brother, Stunts, Blunts, and Hip Hop, and Intoxicated Demons. This album was criminally slept-on as it wreaks of ambition and ingenuity (call it “creative drive”, perhaps)…playing host to a wide array of beats, some hard, some still playful, but all with layered samples and whip rattling basslines…plus the flipping through concepts and styles, song to song, flawlessly executed with unusual agility by Iz (style AND content).

And now to today’s feature presentation…

Peep the Buckshot cameo ‘pon mention of calling his “rugrats”…real Brooklyn shit.

Not only is the song retarded dope…but the original records Maj used to put the beat together are equally as ill:

The “jeep bass” and then some.

The hook/alternate sample.

And lastly, the drums…

Check for the break clocking in around the 2:12 mark. Let me just say that these drums have a similar effect on me as “Synthetic Substitution” or “It’s a New Day“, in that I end up going apeshit for damn near any song (or at least the beat, if the song is trash) that has utilized this (let’s see: Dre and Snoop’s “Deep Cover”, the Liks’ “Make Room”, Heather B’s “All Glocks Down”, Pete Rock & CL’s “Anger In The Nation”, PE’s “Get The Fuck Outta Dodge”, LL’s “Mama Say Knock You Out”, De La’s “Eye Know”…you get the pic). Rugged, especially when cats keep the horns in the drum track, to add to the rhythmic element.

Speaking of favorite songs that have utilized the above-highlighted drum break…