Customer Reviews

Stunts Blunts & Hip Hop

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Yep, it's another "classic era" New York n***a album, but you can't front on this one. It's funny, because in a way, back then things for all of us were way more violent, but at the same time they were more innocent. So, in a way, this record can now be viewed as a memory piece set to exceptionally dope tracks.

Diamond's lyrics, as we all know, weren't exactly verbal pearls of wisdom but they were a passably enjoyable accompaniment to his slambangin' beats. Basically, it didn't matter what the hell HE said, 'cause he had hardcore players like the in-they-prime Brand Nubian who dropped "A Day in the Life," which was SUCH a product of its time that to this day, you can still practically smell the weed smoke and Kush incense wafting out your CD player whenever you crank this tune up.

Other highlights include "I'm Outta Here", which still gives me shudder-inducing flashbacks to crazy s**t that went down among various people I knew back in the early 90s, the (now-hard-to-believe-it-ever-was-a) club anthem/proto-antichickenhead manifesto "Sally Got a One Track Mind", and the totally authentic relationship song, "Red Light Green Light" ('don't mean to dis, but I don't frenchkiss').

Seek this one out and hold it close.

Peace out to Elf Fletcher, who did the inside CD artwork!!!

This album came out when hip-hop artists were hungry and had to perform well, or they would get snipped from their label right quick. This was before people could make wack, ice and Moet-laden raps and coast through gold or platinum courtesy of a lot of ignorant listeners. This album covers everyday life topics that everyone can relate to like the dilemma between long-term relationships and one-night stands as elaborated on in "Red Light, Green Light," the eventual deterioration of gold-diggin' girls who were spoiled from day one in "Sally Got a One Track Mind," or the tension of sticky situations in "I'm Outta Here". The rest of the album contains other topics barely touched by today's emcees and just straight skills on the mic. This was the best era that hip-hop had ever seen and Diamond D was not only in tune with it, but ahead of it as well. It is shocking to hear him foreshadow the inevitable decline of hip-hop on "Stunts,Blunts,&Hip-Hop", when he says "back then it wasn't done for the cash, I hope the legacy continues to last." Well, the legacy has not lasted to its fullest extent in all ciphers, so I have to be content living in the past with this album by my side, and if you are a true hip-hop head I recommend you do the same. Peace, The Sugglife MC

Diamond D's 1992 debut is a really underrated album from the golden era of east coast hip hop. Diamond would soon gain huge underground status as a member of the Diggin' in the Crates crew, the New York collective that gained acclaim for their clever battle rhymes and artistic beats using obscure samples from old recordings. But even when D.I.T.C. got press, Diamond always seemed to be overshadowed by the more recognizable names of Big L, Fat Joe, Showbiz & AG, Lord Finesse, OC, and Buckwild. "Stunts, Blunts & Hip Hop" is a classic that too many people are still sleeping on. In 1992, alternative New York hip hop was evolving with focused LPs on the heels of Pete Rock & C.L. Smooth's Mecca and the Soul Brother and A Tribe Called Quest's The Low End Theory. Diamond went against the grain, and "Stunts, Blunts & Hip Hop" is built around single songs. There's no pervading message or idea, the songs are all individually minded compositions. Diamond's a producer first and a rapper second, but here he establishes himself as an expert at both. His beats are wonderfully appealing, emitting a very breezy and light quality that gives off fun and cheerful vibes. The beats are built around simple loops and choppy instrumental samples, and his sound is unique and creative. He can come off as soulful and jazzy, but you wouldn't describe him primarily as either. Diamond is really entertaining on the mic too, and his raps reflect a lot of what was so great about hip hop in 1992. Even though this was a strictly underground album, the genre was in such a state that an LP like this could have major label distribution and even get radio spins. Diamond raps about the life of an urban average-Joe. He tells stories of awkward confrontations, female escapades, and living in New York. His flow and vernacular are pretty average, but he's got such a likable personality and character that you can't help but love his verses. "Stunts, Blunts & Hip Hop" doesn't have a bad track on it, and at 23 tracks and almost 70 minutes, that's really saying something. Even the musical interludes are all dope. Add some excellent collaborations and you've got the recipe for an awesome album, one which I highly recommend. If you like the sound of early-90s east coast rap, then you'll love this album, because everything that was so great about it is in abundance here.

After the intro, the album opens with the single "Best Kept Secret." A catchy beat and some light punchlines make this one a winner. The classic "Sally Got a One Track Mind" comes next, which has wonderful breezy production and a nice performance from Diamond, just pure dope hip hop. The thick, rich horns and classic New York attitude of "Step to Me" make the song a real highlight, and "*!*! What U Heard" is similarly nice. "I'm Outta Here" and "A Day in the Life" are the lyrical highlights of this album. The former is some excellent storytelling, telling of isolated troublesome events from the perspective of "John Doe." The latter, a collaboration with Brand Nubian narrating "a day in the life of three black men." Both tracks have nice loops and good vibes. The great "Red Light, Green Light" is upbeat, catchy, and laced with slick stories. "I Went for Mine" is also awesome, with a funky beat and the classic, breezy flute sample that Busta Rhymes would use for "New York S..." fourteen years later. "Check One, Two" and "What You Seek" are both solid products of 1992 hip hop, displaying the innocent, fun state of rap at that time. The beat on "Confused" is phenomenal, a rich and funky track with a soulful hook and clever rhymes, telling party tales, followed by the long D.I.T.C. posse cut "Pass Dat S..." The freestyle "Yo, That's That S..." and "K.I.S.S. (Keep It Simple Stupid" don't stand out but are both great in their own rights. The upbeat title track and great sax-laced "Feel the Vibe" close the album.

"Stunts, Blunts & Hip Hop" doesn't hit you over the head with lyricism or out-of-this-world production, but the incredible consistency and great feel of the album makes it a borderline classic. Diamond would go on to other good things in his career, and his debut remains one of his finest works. Slick punchlines, fun stories, and dope beats are the criteria for any D.I.T.C. album, and it's never more true than on this one. For the fans of D.I.T.C., Gang Starr, Brand Nubian, A Tribe Called Quest, and Pete Rock & C.L. Smooth, I hope you'll treat yourself to "Stunts, Blunts & Hip Hop." This one doesn't have the same recognition as concurrent releases by the artists previously mentioned, but it's just about every bit as enjoyable, it's feel good music.

This is one of those albums that was slept on thanks to the poor marketing and promotional efforts of Mercury. A majority of this album is tight and while it doesn't rely on G-Funk and cursing like many of today's albums, it an album that you can play for years and years to come.

one of the best producers in hip hop that should be placed at the same level of Dr. Dre. rare loops unforgotten beats and the lyrics, c'mon, one of the best ever, yeah you better believe it. check ot this album if you just starting your collection and experience the outstanding production if you heading in this direction.

Stunts, Blunts & Hip Hop (Chemistry Ltd./Mercury/Polygram 1992)

Diamond D, or Diamond, which was his official name (another artist own the rights for the name Diamond D), where trained by the old-school legend Jazzy Jay, first as a DJ, then as a producer. The Bronx' best kept secret had also learned to rap, and this soloalbum came as a little surprise on many.

As a producer (and D.I.T.C.-member) Diamond D already had the chance to work with names like Lord Finesse and Showbiz & AG, but after Stunts, Blunts & Hip Hop, new and bigger opportunities opened. He became an exceptional popular remixer during the 90's, with names like Brand Nubian, Ras Kass and Tha Alkoholiks knockin' on his door, and today he is looked upon as a legend up there with DJ Premier and Pete Rock.

Naturally it's the production that is this records strong side, with genius samples and a refreshing jazzy sound. You gotta search long, if you wanna find great breaks like these, I mean they call themselves "Diggin' In The Crates" for a reason.

Besides help from Showbiz, Jazzy Jay and Q-Tip, Diamond did most of the stuff here himself, both behind the boards and on the mic. When it comes to the rappin', he has an ultracomfortable voice and flow, and he is great at tellin' stories (Check out "Sally Got A One Track Mind", "I'm Outta Here" and "Red Light, Green Light".) The first single was the rough "Best Kept Secret", other favorites includes "Step To Me" and "F*** What U Heard" which uses a Grand Puba vocalsample on the hook. 23 songs might have been to much, but except the new jack swing contribution "Confused", everything here worked perfect. Stunts, Blunts & Hip Hop was an impressive solid debutalbum from an unique multitalent, and all fans of D.I.T.C. and New York-rap from the early 90's, seriously need to check out this. 67 minutes of pure hip-hop, without gimmicks.

This album is so dope and I think that I think that Diamond's satirical disses and self-bragging is absolutely consummate and the 70's and soul jazz feel of the album makes this one of my favorite all time. Each song is so well-crafted and that there are no highlight songs because every one of them is the best definitely :o) seriously. If you love old-school, everything here is so dope. And they don't make old school rap records like they used to.

I've always heard Diamond D in the production credits on many early albums back in the 90's, and he had a little flow here and there. I didn't know he pulled an album on his own with the Psychotic Neurotics back in 1992, but I kept seeing it on Amazon, and had to buy it.

"Stunts, Blunts, and Hip Hop" gave me a feel of what hip hop was like back in '92. Diamond would have a flow full of odd stories on tracks such as "I'm Outta Here" and "A Day In The Life". His jazzy type production also flowed all throughout the album as it shows on "Best Kept Secret" and "Check One Two". Unlike many other Diggin In The Crates members, Diamond D's rhymes were just about having fun in everyday life, and staying out of trouble. He didn't weigh his rhymes on heavy drugs or shooting people. But along with being laid back, Diamond could also pull stunts as he shows in the song "Sally Got A One Track Mind" and "Confused" that you might like. "Pass Dat S**t" is a nice cut with would feature Fat Joe and others. Big L and Showbiz make a brief appearance also.

My only knock is his repetative style on most tracks comming off with rhymes like that are too laid back such as "As a young buck, people always called me shorty/ and when I was broke I used to chip in for 40's..." or "In other words, I'm official/ I never go out like a wet piece of tissue..." Thats not bad but that type of rhyme style flows in most of the album, making his rhymes seem kind of dry at points.

If you like storytelling rhymes, some old 90's rhymes to nod your head to or some early 90's hip hop/jazzy type production, this album is perfect for you. He can prove like he said on one track, "swift with the words and the verbs and the pronouns"

Lyrics: B+
Production: A-
Guest Appearances: B
Musical Vibes: A-
Overall: B+

Favorite Tracks: Best Kept Secret, Sally Got A One Track Mind, I'm Outta Here, A Day In The Life, Check One Two, Pass Dat S**t, Freestyle (Yo, That's That Sh...), F What You Heard

When Diamond D. first started in the music business, he was under the tutelage of legendary DJ Jazzy Jay. He then went to record as a member of the short lived duo the Ultimate Force. They recorded one album "I'm Not Playin'" in 1988, but their label folded before the album was scheduled for release (It was eventually issued under Traffic Entertainment Group almost ten years later). From there, he lent his production talents to other artists- most notably with Lord Finesse. It was there that Diamond D. would produce four tracks on Finesse's first and only album for Wild Pitch "Funky Technician"- including the title track. After attracting attention from record executives, he signed with PWL America/Mercury Records in 1991. He also connected with Lord Finesse and Fat Joe to form the artist and production collective Diggin' In The Crates- or D.I.T.C.. In 1992, the industry saw an influx of three notable D.I.T.C. albums- the first being Lord Finesse's second album- and first for Giant/Reprise Records- "Return Of The Funky Man" in January. Several months later came Showbiz & AG's debut "Runaway Slave" and Diamond D.'s debut "Stunts, Blunts & Hip Hop"- both of which were released on the same day on September 22, 1992.

While the album stays true to its title, most of the album is mostly focused on the concept of hip hop. Blunts are barely discussed on the title track "Stunts Blunts And Hip Hop", and the songs devoted to stunts are few and far between ("Red Light, Green Light", "Confused" and the lament about a promiscuous girl "Sally Got A One Track Mind"). He tells three different stories about various people gone into hiding on "I'm Outta Here" and critiques the music industry on "Feel The Vibe". He collaborates with Brand Nubian on the mellow "A Day In The Life" and does the posse cut "Pass Dat $%&*" with guest vocals from his group The Psychotic Neurotics with one of the first appearances of Fat Joe. Diamond D. retells his story of getting into the music industry on "I Went For Mine"- a song that largely inspired Busta Rhymes' 2006 song "New York #@&!". Overall, "Stunts Blunts & Hip Hop" is a great debut from Diamond D., but it is not without its flaws. The first of which is Diamond D.'s rapping, which isn't bad but pales in comparison to his production skills. Also, the album runs on a bit long at 67 minutes with a few songs that could have been left on the cutting room floor. Still in all, it's a solid recording from hip hop's golden age that has still managed to sound fresh since its original release date.

Diamond D and the DITC crew were integral to the development of Hip Hop, particularly during the "Golden Age". This is a "Must Have" album for anyone who considers themselves a true fan of Hip Hop. This is classic Hip Hop at it's best.