Jeru the Damaja Albums (5)
What The Critics Say
Though both Jeru the Damaja and Nas released their debut LPs in 1994, the former hasn't had the same kind of success and name recognition that his fellow New Yorker enjoys. A big part of this is because Jeru has been nowhere near as prolific. While Nas continued to make albums throughout the '90s and 2000s, some of them with poppy enough hooks that he was able to cross over into new territory, Jeru ditched beatmaker-extraordinaire DJ Premier (which Nas didn't do until much later) after his second album, The Wrath of the Math, came out; he kept on criticizing commercial hip-hip (a move that generally doesn't help radio play), and completed only two albums between 1995 and 2005, neither of which were particularly impressive. Now, with the issuing of Still Rising, a clear allusion to his debut, The Sun Rises in the East, on his own Ashenafi Records, Jeru is trying to re-stake his claim as an East Coast force. With a couple of unknown but generally capable, producers, the MC presents a compelling enough case regarding his verbal authority, both directly ("How Ill," where he spits "Bring peace to the Gaza Strip 'cause I got so much clout/Mario owe me dope for knocking Donkey Kong out/Wolfgang Puck gave me paper to teach him to cook/J.K. Rowling asked me to write the next Harry Potter book") and indirectly, like in the provocative "Airplay," which takes a close, thoughtful look at society, commenting both on the way blacks have been treated and how they treat themselves, in a way that's not often heard in hip-hop ("Like the days of step-and-fetch-it we still acting like fools/We have the most expensive cars but oldest books in school"). There are some weak points on the record -- the boring closer "Streets," or "Quantum Leap," which is a little too close to Nas' mainstream breakout, "If I Ruled the World" -- and there's no real "standout" track, but, as the title implies, this is a process that isn't over, and Still Rising puts Jeru back on the path to MC venerability. ~ Marisa Brown, All Music Guide
What The Critics Say
Jeru the Damaja returned from a three-year absence with Heroz4hire, an independent album released on his own Knowsavage label, featuring both production and mixing by Jeru himself. His rapping style, as dense and inventive as ever, entails listening to the album at least three or four times to understand the tongue-twisting rhymes. From his last album, Jeru continues his interrogation of women with more than love on their mind on "Bitchez Wit Dikz," and contributes an apocalyptic production to the historical saga "Renagade Slave." Jeru is surprisingly good as a producer, weaving scratchy, repetitious samples around tough, lo-fi beats -- similar to DJ Premier's work on the first two Jeru LPs. Though the hooks here aren't quite as catchy as Premier's, the incredibly raw production suits the independent status of Heroz4hire. Jeru also shares the mic and the credits on several tracks; female rapper Mizmarvel appears on "Verbal Battle" and "Anotha Victim." Highlights include the hilarious New York exposé "Seinfeld" and the paternity case "Blue Jean (Safe Sex)." ~ John Bush, All Music Guide
What The Critics Say
Jeru reunited with DJ Premier for this slightly sprawling second record, though fans must have been delirious with joy to find it was similar to -- and usually just as strong as -- his debut. Though it's clear Jeru isn't as hungry a rapper as he was two years earlier, he has just as much to say, and he's just as angry with the state of hip-hop and black life in general. Jeru goes into metaphysical drama once again with "One Day," wherein commercial rappers (including Puff Daddy and Foxy Brown) kidnap hip-hop, and continues his comic-book battles with the evils of rap amidst the backdrop of the Big Apple on "Revenge of the Prophet (Part 5)." Jeru also spends plenty of time directly addressing real-life issues, dissecting the crass, money-hungry hip-hop scene on "Scientifical Madness," running a sequel to "Da Bichez" called "Me or the Papes," and preaching more knowledge on "Ya Playin' Yaself." His version of the classic braggadocio track comes with "Not the Average" and "Whatever," where he uses knowledge as well as immense skills to foil anyone who's testing him. Though Wrath of the Math did sound similar to Jeru's debut, Premier was even more wide-ranging for his backing tracks, ranging from the comparatively atmospheric ("Invasion") to a succession of momentary samples from out of nowhere ("Physical Stamina"). Unfortunately, it was their last time together; perhaps a bit jealous of Premier's sizable profile, Jeru began producing himself with his next record, Heroz4hire. ~ John Bush, All Music Guide
'The Sun Rises in the East'
Release Date 4/1/1994
Tracks 13
Label London
See Album Tracklist and Review
What The Critics Say
DJ Premier's first album-length production outside of Gang Starr was his best by far. Where Premier's productions hadn't shone underneath the cracking, over-earnest vocals of Guru, with a superior stylist like Jeru these tracks became brilliant musical investigations with odd hooks (often detuned bells, keys, or vibes), perfectly scratched upchoruses, and the grittiest, funkiest Brooklynese beats pounding away in the background. Of course, the star of the show was Jeru, a cocksure young rapper who brought the dozens from the streets to a metaphysical battleground where he did battle with all manner of foe -- the guy around the corner on "D. Original" or an allegorical parade of hip-hop evils on "You Can't Stop the Prophet." The commentary about inner-city plagues arising from spiritual ignorance only continued on "Ain't the Devil Happy," with Jeru preaching knowledge of self as the only rescue from greed and violence. Jeru also courted some controversy with "Da Bichez," at first explaining, "I'm not talkin' 'bout the queens...not the sisters...not the young ladies," but later admitting his thoughts ("most chicks want minks, diamonds, or Benz"). His flow and delivery were natural, his themes were impressive, and he was able to make funky rhymes out of intellectual hyperbole like: "Written on these pages is the ageless, wisdom of the sages/Ignorance is contagious." It lacks a landmark track, but The Sun Rises in the East stands alongside Nas' Illmatic (released the same year, and also boasting the work of Premier) as one of the quintessential East Coast records. ~ John Bush, All Music Guide
