Hit Squad Takes Out Richmond

Last night, at the Return of the Hit Squad show in Richmond, it was like hip hop never died. The boom-bap the echoed in the cavernous hall of the former department store now known as the Showplace apparently can raise the dead, just look at this blog today. The emcees that make of the hip-hop collective that left its imprint on hip hop charts in the 1990s all made it to the show, overcoming delayed flights, thunderstorms, snarled traffic caused by a presidential visit and a last minute change in venue. Even the Knuckleheadz, a group whose chance at success was derailed by the squad's violent and unfortunate break-up in 1992, were present, opening squad's set with a spirited and confident presentation.

EPMD, followed, which surprised some of the crowd, who didn't expect to see the headliners so soon. Back in the day, a change in the anticipated line up usually means somebody didn't show up. But they were joined by K-Solo for their second song,"Knick Knack Patty Wack," which was anything but. The rapper has been MIA from the rap scene for years and was probably the performer most people were curious to see. K-Solo yielded the stage to Keith Murray, who had more luck stage diving in Richmond than he did back in 1994, when hit the floor at the Flood Zone. Murray stage persona is barely-managed chaos, yet he never seemed to run out of breath or energy.

Das Efx followed, and the former Virginia State University students haven't lost a step, even if one of them has ditched his locks. The rest of the night continued this way, with members of squad performing a couple of songs, walking off and coming back a few moments later. It was an ingenious way to maintain the energy level of a concert featuring aging b-boys who can still get down, just for not as long.

"This is the Hit Squad," Erick Sermon repeated for the young fans in the audience. "He is a DJ," he said pointing to rap veteran DJ Scratch. "I'm not with the fast boom-bap," the rapper said in brief speech about the current state of hip-hop that reminded the audience of his last name. "And I'm not a hater either, 'cause I got money. But that shit is ignorant!"

25 Choice Cuts, Day Two

The list continues.

14. "Please Listen To My Demo" EPMD Unfinished Business
Erick Sermon and Parrish Smith shared the story of their humble begininings over a breezy loop that was a stark contrast from the hardcore sound of "Unfinished Business." Rappers don't always tell the truth, but this song has a degree of validity and humility that's audible.

15. "Grand Puba, Positive, & L.G." Brand Nubian One For All
This track is so infectious and funky there was no need for a clever title. Grand Puba shines on this cut from the street classic without his Brand Nubian brothers. Positive & L.G. filled in nicely and had you wishing more songs were a lot like this.

16. "Represent" Nas Illmatic
The centerpiece of one of hip hop's greatest albums. Nas conveys of the harsh realities of urban life over DJ Premeir's trademark boom-bapstic production. With casual references of rap beefs ("Before the BDP conflict with MC Shan/Around the time when Shante dissed the Real Roxxane") Nas pulls you into his state of mind and doesn't let go.

17. "Drink Away the Pain (Situations)" Mobb Deep feat. Q-Tip The Infamous
An jazzy ode to alcoholism disguised as just another street story from the Queensbridge duo, taken from "The Infamous." Q-Tip shares production credit and offers a artful verse that appeals to both the fashion conscious and criminal minded. "Daney take me away, Daney take me away."

18. "So Far To Go" Common featuring D'Angelo Finding Forever
Produced by the late J. Dilla, this track is a welcome shift on the Kanye West-dominated "Finding Forever." I'd like to pretend this song proves the reclusive R&B singer featured on the hook still has it, but the track was several years old when it was released here. It's timelessness is a testament to the extraordinary talents of the producer and the artists.

19. "Thirtysomething" Jay-Z Kingdom Come
The former Def Jam CEO birthed adult contemporary rap with this track from "Kingdom Come." Over a Dr. Dre beat, Mr. Carter welcomes the wisdom that comes with aging and makes it sound cool to be older that Lil' Wayne. A bold stance to assume in the face of hip hop's relentless youth movement.