Lyrical Juggernauts: The Legacy of Def Squad and El Niño

The era of Redman, Sermon, and Murray: Did El Niño live up to the expectations? #Hipop50

During the summer of 1992, EPMD unveiled their fourth studio album, Business Never Personal. The release created an impactful resonance within the hip-hop world, much akin to the detonation of a potent explosive, as Hit Squad, the renowned supergroup, prepared to revolutionize the music industry.

EPMD held a sense of intrigue for me as they consistently dominated conversations in the local community, despite not ruling the airwaves. The pervasive sounds of their chart-topping song “Crossover” and tracks from Hit Squad artists like Das EFX, Redman, and K-Solo were frequently booming from vehicles and portable radios. The release of “Head Banger” sent a ripple of excitement throughout the hip-hop community, to the extent that members of the Wu-Tang Clan have publicly noted this record as influential in their group’s organizational structure.

As the dust settled from the monumental impact of the “Head Banger” ensemble track, others struggled to comprehend the implications of Erick Sermon and Parrish Smith’s professional divergence. However, the debut of Redman’s classic album, Whut? Thee Album, later in the same year, indicated promising potential within the Hit Squad group.

In the following months, as the members chose allegiances between the two leaders who had branched off to guide their individual factions, the collective fractured. Smith retained the Hit Squad title and partnered with Das EFX. At the same time, Sermon fostered a close bond with Redman and his emerging protégé, Keith Murray, forming the Def Squad and presenting Murray in his 1993 solo album, No Pressure.

Sermon achieved significant success in the early ’90s as a revered rap and R&B music producer, overseeing a substantial portion of Redman’s work, thus solidifying his position as one of the decade’s preeminent solo artists. Murray forged his unique career path with his 1994 debut, The Most Beautifulest Thing In This World, earning recognition for his innovative use of advanced vocabulary.

El Niño emerged as one of 1998’s most highly anticipated albums featuring two esteemed emcees and expert-level production. With Redman’s magnetic personality and signature humor leading the charge, tracks like “Def Squad Delight” and “Full Cooperation” showcased the group’s impromptu lyrical delivery and brotherly rapport.

Sermon continued to demonstrate his dual talents in producing compelling beats and delivering potent verses, a skillset cultivated during his early career with EPMD. Notable lines from his verse on “Full Cooperation” reveal a confident and compelling delivery that cements his reputation within the genre. Redman’s unique lyrical style, epitomized in his verses, elevated the group’s lead single, securing its success with a style that continues to resonate with listeners.

Though much of the album didn’t quite live up to its lofty expectations, it’s clear that the members were juggling multiple commitments at the time, with recent solo releases and contractual obligations for future projects. Redman, for instance, appeared to be looking towards future collaborations with Def Jam cohort, Method Man.

Despite some shortcomings, El Niño did have its shining moments, as Parrish Smith’s hook on “Countdown” intended to recapture the magic of 1992’s “Head Banger.” Alongside Smith on “Countdown” was Jamal, recognized as the group’s fourth member, who had previously collaborated with Erick in the group Illegal for their 1993 track “We Getz Busy.” Jamal’s debut album, Last Chance, No Breaks, released in 1995, bore a strong Def Squad influence, with both its singles produced by members of the collective.

Opening with the track “Check N’ Me Out,” El Niño immediately demonstrates the group’s signature hardcore rap style over Sermon’s funky, bass-heavy rhythm. The verses by Redman and E-Dub reveal a strategy that the group occasionally deviated from.

Despite its overreliance on skits and early tri-coastal experimentation, El Niño is a nostalgic soundtrack in 1998, reminding us of the days of oversized clothing and the hidden treasures carried in our backpacks. The powerhouse trio illustrated that lyrical proficiency and a good time weren’t mutually exclusive, even if they didn’t entirely meet the expectations of a generation who had grown up on their music.

Originally published at https://shatterthestandards.substack.com.