The only problem is: Busta Rhymes is too busy being Busta Rhymes. Get it?: rebirth, a new day, reinvigoration. So he signed with Clive Davis’ J Records and got to work on Genesis. There were mumbles that maybe, with no end-of-millenium Anarchy actually going on, Busta had fallen off a little bit. Pretty busy and high-profile for a guy who kept warning us every year that everything was going to end in 2000.īut then 2000 came, and went, without any kind of Extinction Level Event occurring. He’s also appeared in films like Higher Learning, Shaft, and Finding Forrester.
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proved: a father telling his child a bedtime story suddenly turns into a demon from hell predicting the end of the world - to which the child replies, “Wow, that’s cool! I can’t hardly wait!” A torrent of popular singles accompanied these albums: “Put Your Hands Where My Eyes Can See”, “Iz They Wilding Wit Us & Gettin Rowdy Wit Us?”, “Gimme Some More”, “Bladow!” He’s collaborated with everyone from Puff Daddy (“The Body Rock”) to Ozzy Osborne (“This Means War”, which was basically just Black Sabbath’s “Iron Man” with a muted hip-hop beat and some I’ll-get-you-dirty-rat rantings from Busta), from Janet Jackson (the sexy “What’s It Gonna Be?!”) to Erykah Badu (“One”).īusta Rhymes became an unstoppable record-selling force, but never neglected the kids who love videos these singles were often accompanied by wild and inventive Hype Williams videos, with Busta portraying Day-Glo-painted savages and fly pimps and white dudes and himself, all with his trademark grin and trademark grimace set on an A-B repeat loop. He’s got a real end-of-the-world fixation, but isn’t too serious to have fun with it, as the hilarious opening skit on E.L.E. “Scream at the top of my lungs until you fuckers hear me!” explained it all to me back then: he was a goth, a bright young man with depth and fire and, somewhere, a broken heart.Įverything proceeded apace: each of his subsequent albums, When Disaster Strikes, Extinction Level Event, and Anarchy, was more fiery, more confident, and more apocalyptic than the one that preceded it. In that sad time for rhyme, Busta Rhymes was different, and that difference was just the fact that he was Busta Rhymes. The beats were atmospheric and sparse and screwed-up, reminding me no small amount of the sounds on Divine Styler’s Spiral Walls Reflect Autumns of Light, but they were somehow simultaneously commercialized and humanized by Rhymes’ barbaric yawp. Weird wild stuff emanated from that album: not only was this wild man proclaiming that “There’s only five years left!” like a street preacher, but he was also inventing intercalary skits in which he thoughtfully provided cunnilingus for a female acquaintance only to be shut down when he wanted some reciprocation. Not only was “Woo-Hah! Got You All in Check” a Top 10 single, it also established Busta Rhymes’ persona: a kind of Urban-Goth Coyote, a trickster figure who was all about impending doom, gettin’ into the womb, and shakin’ the room.
He went in a footnote, he came out a star - and he honed that star with subsequent cameos (the remix of Craig Mack’s “Flava in Ya Ear”), the last LotNS album in 1993, and his first solo album, The Coming, which pretty much took over the world in 1996. He went “Rawr, rawr like a dungeon dragon” in his big Caribbean/Flatbush voice and rhymed that with “Your pants are saggin’ ” and muttered and stuttered and toasted and growled through a chorus and a half of pure hip-hop energy, almost completely blowing away Q-Tip and Phife and everyone else on the track. He was Busta but he wasn’t Busta for real until he popped up at the end of A Tribe Called Quest’s 1991 The Low End Theory, anchoring the world’s greatest posse cut, “Scenario”. Busta Rhymes was a member of the acclaimed Long Island crew Leaders of the New School, but that means nothing, really.
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