King of Rock [Deluxe Edition] [Digipak] (CD - 1985)

Additional personnel includes: Yellowman (vocals); Eddie Martinez, Bobby Gass, Rick Rubin, Larry Smith, Davy-D (guitar); Sam Jacobs (percussion); Orange Krush.

Run-D.M.C.: Jason Mizell, Joseph Simmons.

Personnel: Eddie Martinez, Larry Smith , Rick Rubin, Bob Gass (guitar); Sam Jacob (percussion); Daryl Simmons.

Additional personnel: Larry Smith (guitar); Eddie Martinez, Rick Rubin, Bob Gass, Sam Jacob .

Audio Mixers: Tony Torrez; Elai Tubo; Chuck Chillout; Randy Murray; Latin Rascals.

Liner Note Author: Andrew Graham.

Recording information: Chung King Studios (09/14/1984-07/13/1985); Philadelphia, PA (09/14/1984-07/13/1985).

Authors: Rick Rubin; Eminem; MCA ; 50 Cent; Ice-T; Kid Rock; Chuck D.

Photographers: E.J. Camp; Josh Cheuse; Glen E. Friedman; George DuBose.

Though RUN-DMC's follow-up to KING OF ROCK, RAISING HELL, would propel the trio to worldwide fame, KING OF ROCK was a glimpse of things to come. With the rock guitars of "King of Rock," RUN-DMC was laying the groundwork for the classic cover of Aerosmith's "Walk This Way." One of the first rap videos to go into full rotation on MTV, "King of Rock" has become a classic song and one of RUN-DMC's signature phrases. KING OF ROCK also includes "Rock the House," "You Talk too Much," and "Can You Rock It Like This." In its lyrical and musical lexicon, the album bears the sheen of the time in which it was produced--KING OF ROCK is all about two MCs telling their fans why they're rap royalty.

Take the title of Run-D.M.C.'s King of Rock somewhat literally. True, the trailblazing rap crew hardly abandoned hip-hop on their second album, but they did follow through on the blueprint of their debut, emphasizing the rock leanings that formed the subtext of Run-D.M.C. Nearly every cut surges forward on thundering drum machines and simple power chords, with the tempos picked up a notch and the production hitting like a punch to the stomach. If the debut suggested hard rock, this feels like hard rock -- over-amplified, brutal, and intoxicating in its sheer sonic force. What really makes King of Rock work is that it sounds tougher and is smarter than almost all of the rock and metal records of its time. There is an urgency to the music unheard in the hard rock of the '80s -- a sense of inevitability to the riffs and rhythms, balanced by the justified boasting of Run and D.M.C. Most of their rhymes are devoted to party jams or bragging, but nobody was sharper, funnier, or as clever as this duo, nor was there a DJ better than Jam Master Jay, who not just forms the backbone of their music, but also has two great showcases in "Jam-Master Jammin'" and "Darryl and Joe" (the latter one of two exceptions to the rock rules of the album, the other being the genre-pushing "Roots, Rap, Reggae," one of the first rap tracks to make explicit the links between hip-hop and reggae). Even if there a pronounced rock influence throughout King of Rock, what makes it so remarkable is that it never sounds like a concession in order to win a larger audience. No matter how many metallic guitar riffs are on the record, this music is as raw and street-level as the debut. It manages to be just as dynamic, exciting, and timeless as that album, as it expands the definition of what both Run-D.M.C. and rap could do. [Arista/Legacy reissued King of Rock as a deluxe edition in 2005, containing four bonus tracks -- Run-D.M.C.'s demo of "Slow and Low," which was given to the Beastie Boys for their debut album, Licensed to Ill, a live version of "Together Forever," a previously unreleased remix of "Jam-Master Jammin'," and a recording of "King of Rock" taken from the group's performance at Live Aid -- and liner notes by Andrew Graham.] ~ Stephen Thomas Erlewine minimize