A uniquely revealing meeting of hip hop giants. Towards the end of the first wave of hip hop, Run DMC grabbed the mic and changed the face of rap. Their unique blend of tough lyrical artillery and fat-laced B-boy stylings put the street firmly into a genre that had previously modelled itself on the cosmic outfits of ’80s funk bands. They ripped the rhymes, rocked the set, and consigned everyone that came before them to a museum case marked ‘Old School’. Their 1986 album Raising Hell was a compulsory purchase for UK music-lovers.
But hip hop always kept it fresh and fly, and by the ’90s Run DMC’s trailblazing style had been superceded by a whole new generation. Guru, the lyricist half of Gang Starr, was one of this new school, with his unmistakable downbeat vocals making him one of the coolest. His beatmaster DJ Premier quickly claimed legend status as one of the era’s greatest producers. Guru was no slouch in the studio chair either, as his Jazzmatazz series brought jazz musicans together with beats, rappers and vocalists.
In 1993, Run DMC – Joseph ‘Run’ Simmonds, Darryl ‘DMC’ McDaniels and Jason ‘Jam Master Jay’ Mizell – returned after a hiatus, during which the group’s musical and personal fortunes had fallen so low many had written them off completely, including themselves. On the release of their comeback album, the god-friendly ‘Down With The King’, British mag Hip-Hop Connection asked Guru to interview them, with Frank holding the tape recorder. Fresh out of the studio himself after completing his first Jazzmatazz album, Guru confessed how much of an inspiration the group had been for him, and asked them about the old days rapping in the parks and wearing glasses with no lenses in.
A much shorter version of this interview appeared in Hip-Hop Connection, 1993
Guru: When I first heard your shit, that was one of the things that inspired me to take rapping seriously. I was a freshman in college and you were going ‘After 12th grade I went straight to college…’ I was like ‘Oh shit.’
DMC: We went to college for two semesters, and that’s when ‘Sucker MCs’ came out. We got a gig in North Carolina, we flew down there, and when we came back home we got more gigs, like Florida, and we had to take a leave of absence. So we’ve been absent ever since.
Guru: You’re never too old to go back and finish.
DMC: You’re never too old to go back. That’s what’s good. This career, it’s fun, you get to see a lot, you get to learn a lot, and then when you find that you do need to go back to school for something there’s less schooling to do, and then you’re complete.
Frank: Can you see yourself sitting at the back of a lecture hall?
DMC: I can. Sometimes you know I get the urge to go back now. I just went to college because I passed the entrance exam for St Johns, business management, so I went to St Johns ’cos it was right in Queens. Back in high school I didn’t even know that I was gonna be a rapper or nothin’. Jay, he had his little crew from two-fifth street, and they called themselves ‘Two-Fifth Down’, and they was the ones from the neighborhood that would bring the turntables to the park, bring out the crates of records and they would just DJ.
I was reluctant, I wouldn’t get on the mic at first. Run used to go into the park and kick his rhyme, cos they knew him – DJ Run – and I would DJ for him. But then I started going to Rice High School up in Harlem, 124th and Lenox, and I used to see the Cold Crush out there, giving out flyers, and they had tapes going around, for like eight and 12 dollars. I would buy the tapes, bring them back home, ‘Yo, check this out, listen to this!’ and boom-bam. Then I just started writing rhymes in English class, and I had a book of rhymes, and you know…
Russell [Simmons, Def Jam label founder and Run’s brother] told Run, ‘Yo, I’ll let you make records but you got to get out of high school first.’ Run was like the professional in the neighborhood. He used to rap with Kurtis Blow, go into the park and kick his rhyme, ’cos they knew him – DJ Run. Everybody else was just nervous and learning, so Run would come and bust his rhyme. It took a long time before I would get on the mic with him. I would DJ for him, or sit in the park holding my beer sayin’, ‘No you go over I’ll see you later.’ I didn’t really start rapping with him until he came and said ‘Yo D, we got a record.’ When we graduated he came, ‘Yo D, the name of the record is “It’s Like That”, the second record be “Sucker MCs”. Go home and write rhymes about, you know, the world.’ So I went home and we went and put it together. And boom!
Guru: That was it.
DMC: It hit. I remember when I first heard ‘It’s Like That’ on Kiss. I was sitting home, ‘They’re gonna play your record today’. I’m like ‘Yeah right’. It was about eight, eight thirty, ‘Its Like That’ came on — yeah!!!
Guru: That’s dope. I remember when I heard that too.
DMC: Then ‘Sucker MCs’ dropped’…
Guru: ‘I’m driving a Caddy, you’re fixing a Ford’. That one too, ‘Rock Box’ was dope. All of ‘em.
DMC: ‘Rock Box’ got us on MTV. I remember we made two versions, Russell and them had put guitar on it later, so when me and Run heard it we was mad, ’cos we just wanted the beat and the rhyme, with a little echo, with the Tramp beat, boom, and me and Run. When they said they’re gonna put a rock guitar on it, we was little kids, we were like ‘Oh man!’ But then it dropped. What sold me on it was my man Yogi that lived up the block from me. He’s giving me all these praises about ‘Rock Box’, and I’m looking at him like, ‘You like it?’ So then it started to grow and I said yeah. its not corny. It’s new and shit but it was still in there.
Guru: It was something different that nobody ever did.
DMC: That helped us. We did a rock tune on this new album, with Rage Against the Machine. But it ain’t like were gonna try and make ‘Rock Box’ over and over, you know.
Guru: So who did you all work with on the new album?
DMC: Pete Rock did two, EPMD did one, Q-Tip did one, Specialist, who does Mad Cobra and Shabba, he did one, Jermaine Dupri did one, Diamond D did one, and the guy that Jay did Onyx with, he did two.
Guru: Ah yeah, he got some fly beats. I know Onyx. We were trying to get to that video, but we had a show that weekend, we got back like one o’clock in the morning, you guys were all done.
DMC: We got finished at two o’clock, A lot of phone calls. A lot of people came down.
DMC: And Hank shocklee did one.
Guru: You got all the fat producers on your album. I cant wait to hear it all man. I just did a jazz album with these three old cats from records that we be samplin’: Roy Ayers, Donald Byrd, Lonnie Liston-Smith; and three of the new cats: Branford Marsalis, this saxophonist from London, Courtney Pine, and this guy Ronnie Jordan from London, who plays guitar. I did all the production, all the beats. It’s a fusion of hip hop and jazz. I didn’t sample nothing they did, but all my beats are like regular hip hop beats. They played and I just rhymed. Its called Jazzmatazz. I did it because we were one of the first groups to use jazz in rap. Plus, my pops, my uncle and all of them, they love jazz. so that was a tribute to them. But it ain’t like I’m a ‘jazz rapper’. People want to label you.
DMC: Like they labelled us ‘rock rappers’.
Guru: It’s a blessing to be able to do music for a living. That’s a lesson right there in itself.
Frank: What were you doing before?
Guru: Working as a case worker for foster kids. Hustling and running around. Frustrated!
DMC: It’s cool. It’s cool when you get to do something that you like, too.
Guru: Some of these chumps be taking it for granted though.
Guru: We just been talking a little bit, but we was waiting for you. D was talking about when you used to be rocking a mic in the park, and he used to be DJing for you.
Run: Who, D? At Doug’s block? You was good!
Guru: How do you feel about the rappers that come out now? They’re successful and all that, but they don’t know much about the old school, or about the history, the artform.
DMC: What I think they should try to do, I think a lot of rappers should really try to learn their history.
Guru: Does it get to you if these new jacks come up and you can tell they don’t know nothing about the old days and the history of rap. Does it irk you at all?
DMC It doesn’t really irk me, but a lot of the new jacks’ll come out and make hit records and they’ll think that everything before them was wack, weak and abolished. They won’t give the respect that is due to the whole artform.
Guru: I think that’s how you have longevity when you…
Run: …know what it’s about
Jam Master Jay arrives
Guru: We was hanging with Jay at a club in Brooklyn, Rendezvous, the night they had a crazy shoot-out. They had to show up in there. We did something at SOBs I think you were at, too. Branford played with us. He just played with us as a guest.
I wanna talk more about the old school, and stuff like the influences and what it was like. Like when did you all start wearing the sneakers with no laces?
Run: Back in the end of high school. All through high school, way before. We’d wear one red and one green, or one Puma and one Adidas. You brought the girls out comin’ out with no shoestrings. Jay was the man in high school. Old Jay with a big velour, and then sneakers with no shoestrings, and then glasses with no shades in them. That was the move, right there. That was fly.
Jay: Hip hop has a lot to do with fashion. Before Run DMC started we we would go look at Cold Crush, Kool Moe Dee, Kurtis Blow, I mean we really looked up to these kids, you know what I’m saying, and when we go see them on stage, they dressed a whole ’nother way. They was dealin’ with a whole ’nother lifestyle. They was on some rock’n’roll trip…
Jay: Just out like George Clinton or something…
DMC …Rick James!
Jay: They was dressing and beatin’ and buggin’.
DMC: That was like Fearless Four, and Flash, even Cold Crush got into it after a while, wearing all that stuff.
Run: What happened was they got confused because they started going on tour with Rick James, and they saw how much the crowd would respond to them dressed in all like that.
Jay: I was so much of a true B-boy there’s no way in the world I could do that. So when we got our chance, we just dressed the way we dressed in Hollis. To get fly to us was just to be to put on a fresh pair of adidas. Funky fresh out the box. No dirt on them. I never understand how D kept his sneakers so clean. A pair of Lees, and a fresh Al Paco you know what I’m sayin – to match the Adidas. And a velour or a Panama, with the ribbon that’s matching your sneakers.
Run: That’s that pimp shit.
Jay: It’s that pimp shit, but the pimps ain’t rockin’ the Lees, the pimps ain’t rockin’ the jeans. We put that feeling to the public. We let people know that hip hop is not just about the music, its about the style, the culture and the lifestyle. Like I used to be amazed to look at artists the way they drew on the trains. Some kids was crazy dope, a train’d go by, there’d be a gun, and somebody getting’ shot, with their name tagged up.
Guru: Sneaking into a train yard to do that. Just so somebody could notice it, that’s fly.
Jay: Its hectic.
Guru: When you get your tracks together, how do you get your concepts for your album, and your tracks? Do you get your titles first? How do you go about it?
Run: We know what we’re gonna do before we get there. Like we know that it’s gonna fly up, and then it’s gonna drop. It’s hard to say how we made our tracks. We made ’em and we made the vocals at the same time. It was a mixture.
Jay: D would go boom-bap, and then we just had to make you do that again D: boom-bap, ka-boom-boom-bap.
DMC: Or sometimes we would write a rhyme, and just by the way the rhyme go, Jay would say, ‘Yo D, start at the pillar right there, go bang, gonna drop that, like that.
Run: Like when we made ‘Hit It Run’, we wasn’t sampling back then, so we would make verdrrrrrum kish, vrun-de-dun-kish kuf-kuf-kit kuf-ke-kuf-kit.
DMC: Just sit down and play it. Just play it with the drum machine.
Guru: That’s coming back a little, ’cos people are tired of loopin’ breakbeats, so they take samples, chop ’em up, and make your own beat that’s a little similar but new.
Jay: Q-Tip did that.
Guru: All this stuff with sampling, what do you think about that? You got people’s albums coming out late because they gotta clear all the samples.
Run: Truthfully, I love the way this samplin’ stuff sounds, but I wish that the whole thing flips back in a way. I kinda wish it would go away a little bit, ’cos it’s buggin’ me out with getting samples cleared. They want to flip! How much? I’m charging you this, I’m charging you that. I’m tired of having to pay these people.
DMC: I think it is going away.
Run: It needs to go away because it’s buggin’. It’s wack now. It sounds good the way Pete Rock does it, it sounds so def. He’ll muffle the bass a bit and it sounds different. It definitely was a feeling, a whole spirit. But it can go the way where regular tracks sound just as def, like Dr Dre.
Guru: Dr Dre uses a lot of them
Run: He knows what he wants to sample, but he says, maybe I can make this bassline sound like something else. Dr Dre did it so def that you know it can be done.
Jay: Usually, when you sample, you sample just a bassline, then you go somewhere else and get somebody else’s.
Guru: You weave different records and stuff.
Jay: Just like Teddy Riley do. He used different records but he’ll play ’em and he’ll change ’em a little bit.
Guru: The people who are against sampling, they don’t understand that rap music started with turntables. Now it’s a billion dollar industry, but it started with catching a beat, and then the machines came out so you could do more.
Jay: I think rapping evolved from us not wanting to hear disco.
Run: One thing I like is that rap is straight from the ghetto. And God loves to work way down in the dirt. He doesn’t deal in no high industry. That’s why Dr Dre’s video is so cool [Nuthin’ But A G Thang] . His mother screams ‘Snoopy!’ and you know his name was Snoopy when he was a kid. It’s that whole thing what rap stands for. She’s yelling ‘You know if you break something and you can’t pay for it!’
Guru: There ain’t no people dancing or nothing in it. They ain’t trying to play hard, they just…
Run: I like the fact that they already know that Dr Dre is a large producer. ‘I heard your album’s a bomb.’ They ain’t even tryin’ to front for Dr Dre, but he’s large and he’s saying he’s putting my brother Snoop Dog on. That’s what I love so much about the way Dr Dre produced that video. It just shows you what rap is about, and what’s really dope, and you’re still a mystery to a lot of people. Once they get to know you too good, you kind of lose your appeal, but when you start and you’re coming from the street, people be like, ‘Damn, I wonder where that Run is at?’
Jay: Right, they wonder what we’ve been up to.
Run: So now we’re a mystery again. I don’t mean a mystery as in not known, I mean they just want to know more about us again. That’s what makes Snoop Dog so large, and even Dr Dre, as big as he is, he’s still a mystery, ’cos damn, you went and found a nigga named Snoop Dog in Longbeach, and he’s your man now.
Jay: He put Longbeach on the map because the only thing they knew Longbeach for was that riot that they had.
Run: What makes rap really dope is the ghetto aspect – that it’s from the street, and people love to want to know about that, man. They want to know where you from, like what is Guru about, man?’ They saw your video, and just to get a rep the kid bust the bottle and the sneakers, and you’re like, woah, Gang Starr!
Guru: Let me ask you this. How do you feel if somebody say to you, ‘Ah, you’re making a comeback’? As far as I’m concerned you’ve always been here.
Run: My personal opinion about the word ‘comeback’ is that it don’t bother me man. For some people over in Nebraska somewhere funny, they ain’t seen me in a while. You leave somewhere and you’re not hitting that market. You come back! I’m back and I’m hitting again, so the word ‘comeback’ doesn’t bother me.
DMC: I met Madonna the other day and she wants to know what’s up with Run DMC, and I said we trying to come back in the ’90s, come one more time, she’s like, ‘Uh-huh you guys gotta come ten more times.’ I like the people that go ‘You’re still down, youre still together. Run DMC coming again?’
Guru: You were talking about God earlier, how important is religion in y’all lives? I know obviously it is but…
Run: It’s the most important thing. Its the number one thing. In our whole life. God made the world, He made everything. He made us who we are. He made us be larger than everybody. We’re praying all the time. It’s bringing us back into this thing stronger. People used to say Run DMC is dead and stinking. We stand up on faith cos people didn’t think Run DMC had a chance to come back, but we knew, it was up to God, so now we’re hitting again.
Guru: ‘Only G.O.D. could be a king to me, if the god be in me then a king I be.’
Run: Exactly correct. The thing with God is this is our whole life. We get something by the way we hold that God’s doing something. Another person would just think it’s by chance, but things don’t happen by chance. You get a blessing. And we just got blessed. That’s how we take everything. Everything to us is God. And I think I’m speaking for the whole group.
DMC: Since day one. Our whole thing was watch your day.
Run: When we started we was, ‘We gotta watch our day,’ ‘Watch your day, Jay,’ and we just go out of our way to help a brother, or just know that God’s looking at us.
Jay: Just checking your day. You wake up in the morning, you do something positive, go out of your way to do something positive, you will receive a blessing. It comes back to you. If you wake up in the morning and you’re thinking negative, you think, ‘Man, I’m gonna go get with the niggas and shoot these mothers, or I’ma rob up motherfuckers, word – you gonna wind up getting shot, and killed.
Run: That comes back to you.
Jay: In that same life, you wake up in the morning and say regardless: I’m gonna do something positive. I’ma do something good today. I’ma make a difference. That’s faith.
Run: We stand up on faith cos people didn’t think Run DMC had a chance to come back. But we knew that it was up to God, so now we hitting again.
Guru: Tell me about the album and the time in between, like recently. What made this all come together?
Run: We went through seven, eight years of straight success, and then we had to gather it back together. We was making rhymes, I was writing rhymes, Jay was busy producing other acts, we were opening record companies. It wasn’t nothing much. I called D and we met up. I got this thing, let’s write this D – how should we kick a ill style? You know trying to grab time, hang out with each other. That’s all. It was a building process.
Jay: I think when we were on top, even though we used to rock everybody at the shows, we was holding back. We would hold back as a group. There was a lotta ideas I wanted to do, a lotta ideas Run and D wanted to do, that we would never do…
Run: …because we had so many hit records,
Jay: We had so many hit records. It was working.
Guru: How was it working with the different producers?
Run: Diamond’s real old school. So working with him was a lot of fun, EPMD, Hank Shocklee was a pusher, a hard worker,
Guru: He seems real intense.
Run: Jermaine Dupri is a little genius. He knows what he knows. He was good too, and working with the Specialist, he knew what he wanted.
Run: I was kind of dazed, but you now it was cool, going from person to person. I was nervous trying to gather this together. I just wanted to go into the studio and come out with things that I knew were dynamic. I put my input in, and I let them put in their new stuff, ‘cos I didn’t want to be stagnant. I didn’t want to be like, Prince or something. Like ’cos he feel he gotta do it all his self.
Guru: You have a whole album here where you’re working with new producers. Is that the way forward or are you going to go back to working as a self-sufficient unit? What about Run DMC as just you three guys?
Jay: I want a hit record for my group, we’re a professional group. Go in the studio, whoever got the fat tracks, I don’t care if it’s Joe Schmo from the basement. He comes up with the fat track we’ll do it. No, I don’t care who makes our hit. Michael wasn’t like ‘Well I ain’t letting Quincy Jones do that, I’m Michael Jackson…’
Run: A producer don’t mean nothing. Oh, ‘They went platinum this time because Pete Rock helped them,’ so what? Pete Rock didn’t write me my rhyme. Larry Smith made ‘Sucker MCs’, Rick Rubin helped with ‘Raising Hell’, and Russell. These people are producers… Pete Rock didn’t write my rhymes. Pete Rock gave me some music… I did that. I rapped over it. Thank you very much for producing me, see ya. He can’t come and do it on stage for me.
Jay: Let Pete rock go platinum, my whole thing is it’s still Run DMC. We’ve been down for 10, 11 years and we’re not going nowhere. As far as what we’re doing on stage. This is going to be us.
Run: We ain’t got no ego like that. People are going to say what they’re going to say, but the point is, we coming out with these records and they’re hit records. Their beef is, this is just producers. So what? We’re rappers, we’re not producers.
Jay: I want songs, right. I want songs. We didn’t write ‘Walk This Way’. I want songs. I want hits, I want longevity. We have love so we give love. We’re not greedy. The only reason not to take tracks from other people would be money. But if Pete Rock has a fat track, I’m not going to tell him I don’t want it, I just want mine, mine, mine.
Run: You’d go stale like that…
Guru: That’d be fucked up!
Run: The only person I know that do that is Prince and he bugs me out when he comes out with an album that don’t hit. But he does that – he don’t want nobody to do nothing for him.
Guru: Like Premier did five tracks for KRS for BDP’s new album; I didn’t say ‘Yo man you can’t do that because them shits is dope. I knew Premier always wanted to work with somebody like that, I’m not going to say, oh ’cos you’re my DJ, you can’t.’ It’s not about that.
Jay: I’m mad that Premier didn’t do nothing on our tracks…
Run: You were telling us all the time.
Jay: I always wanted Premier to do something on this album. This is a crazy fat album. I know Premier would have helped a lot.
Guru: Future’s bright!
Guru: What about all these so-called new styles that came out? I heard about five demos trying to sound like Onyx. I like certain groups who are doing it – Das EFX, Treach, and Fu Schnickens – but it seems like after that a whole bunch of groups started coming out with the rolling the tongue and that. And those are styles that have been done before. Biz Markie used to do it, when he was just telling stories, and Slick Rick. Even you: you was like ‘riggy rhyme’ and all of that.
Run: Cold Crush was doin’ it too, ‘a lama lama lama.’
Guru: Little 14-year-old kids come up to me, battling me in the street, ‘Yo, you can’t do the triple-tongue-twister, Guru, I’ll burn you! And I’m like, ‘Yo, money, here’s the address, put your stuff on tape, and send us a tape. If it sounds good on tape then that’s how you know. But how do you feel about that whole thing?
Run: About tongue twisting? Its def, sometimes. It’s corny too, man, when all I hear is ‘rhymin’ a riggedy rock the shop and…’ Don’t give me that, know what I’m sayin’. Come to me and give me something that’s real dope.
Guru: Certain groups perfected it though.
Run: Das EFX was incredible. And then Fu Schnickens does his thing. My personal thing is, I don’t really want to hear this new guy, that I never heard, comin’ with a whole lot of that jiggedy rock da dack da jiggedy ’cos you heard Das EFX and now that’s what you want to do.
Run: You dont wanna do that now ’cos they did it already. That’s fake, man.
Guru: Just like after you came out other groups came out using rock. They tried to rhyme the way y’all rhyme, the whole thing. Like when Chuck D came out a lot of groups came out trying to rhyme like Chuck…
Run: …and be Afrocentric and all that.
Jay: But that’s positive I think what they was talking about was cool.
Run: Its good for that awareness, but if you do it and its wack its just wack anyway, it ain’t going to hit, just sayin’ ‘I’m black’.
Jay: But somebody gonna see it. Just getting that message across to one other person, I still think that’s positive.
DMC: The whole thing is positive.
Run: It’s definitely positive.
Jay: I mean we was talking about styles, but when you start talking about what they talking about, that’s positive, because when we was comin’ up, there was nobody talking about ‘black’ nothing. In the late ‘70s there was no young black folk on TV.
DMC: It was all disco and John Travolta.
Guru: How is it like, playing live, playing big shows again? Like at Radio City everyone came to see Naughty By Nature, but you killed the show.
Run: People didn’t know what to expect, but Naughty knew we was gonna be dope.
Jay: Naughty looks out man. When nobody cared about Run DMC, Treach was going around doing his interviews, saying. ‘Yo, my favourite people are Run DMC.’ I mean we were dead and stinking to everybody, but he always gave us mad respect and he didn’t lose no face. West coast was going mad, blowin’ up, Treach was like, ‘Yo, I’m down with Run DMC, Run’s my idol, I rap like Run. When we first met him, he was like I love you. I give y’all mad props.
Run: Our record wasn’t even out yet.
Jay: He was ‘Oh, y’all about to do your record? Yo, we coming out about the same time, let’s go on tour together.’ Promoters didn’t want to go with us but he was like if Run DMC ain’t going, we not going.
Run: He was looking out for us. He knew we wanted that and we needed that.
Guru: That’s loyalty…
Run: That’s loyalty and he’s hot as a fire cracker.
Guru: But he’s real, he ain’t like souped or nothing. He’s real.
Jay: On the strength of that I always give them props. We go on stage, we battle we leave the stage. After Radio City, we hung out all night: me and my man. For all the people out there that’s trying to diss, I don’t want to say no names, but y’all niggas need to chill.
Guru: It’s like we went on the EPMD tour for the Hit Squad, we opened up for all of them, we didn’t care. And after that we all had fun together and that was just how it was, and that’s how it’s supposed to be. But what the media does, sometimes – and people in the industry – they make you feel like there ain’t enough room for everybody to get some. They ask you, ‘What do you think of this artist, what do you think of that artist?’ Just because I did a record with jazz in it, what do I think of Digable Planets. They alright. I got nothing against them. I met them and they was cool people. They doing their thing, I’m doing my thing. It’s not the same thing but it’s all involved in rap and hip hop. Each group is different, has their own style and originality, but why always do we have to get compared from one to the other?
Frank: Well, that’s marketing, that’s how the business does it…
Guru: It’s not cool. When I get asked questions that could be worded like I dissed a group, I’ll be like, ‘Man, listen, I ain’t saying nothing.’
Run: Ain’t no reason to diss. There’s room for everybody to get busy.
Guru: If you concentrate all your energies on dissing you get nowhere at all.
Run: Jesus, you get nowhere at all.
Guru: One thing I always noticed with y’all. Stage is like y’alls home, man.
Jay: Out of all this shit, the interviews, the making the records, the sampling, all that, the stage is the real shit. The stage is like being in the park. Everything else is like, you know, working, bugging. These two years we’ve toured a lotta clubs, we did a lotta club gigs and what-not, and we just got crazy mad tight as a band.
Run: That’s the love. That’s the flavour.
Guru: Y’all have always had that. That’s one thing they can never take away.
Run: I don’t wanna boost us up, but we know we’re a band live. All we got to really do is perform in front of these people that have heard that Run DMC’s fallen off. They’ll see we’re the def, the real fly band. When Jay comes out and scratches live, we will hurt up a group so bad, hurt up a rap magazine so bad.
Jay: Even when we fell off. Even when the whole world was saying we were wack, we were going to a club…
Run: …and hurting!
Jay: Behind anybody, in front of anybody, whatever, Shabba Ranks, whoever was hype at that moment. We would go into a spot and give them a run for their money. Like you know – hits are hits.