Run-D.M.C. - Albums [1984 - 2007]

**FkThRIAA01** · 03-27-2009 02:23 AM

Run-D.M.C. - Albums [1984 - 2007]

Run-D.M.C. was an influential hip hop group from Hollis, in the Queens
borough of New York City. Founded by Joseph "DJ Run" Simmons, Darryl
"D.M.C." McDaniels, and Jason "Jam-Master Jay" Mizell, the group is arguably
the most important and influential act in the history of hip hop. They were
the biggest act in hip-hop throughout the 1980s and are credited with
breaking hip hop into mainstream music.[1][2] In 2004, Rolling Stone ranked
them number 48 in their list of the greatest musical artists of all time.[2] In
2007, the trio was named Greatest Hip Hop Group of All Time by MTV.com
They were also named Greatest Hip Hop Artist of All Time by VH1.[4] They
will be inducted into the Rock and Roll Hall of Fame on April 4, 2009, the
second hip-hop group to be inducted.

Code:

Career

Early

The three members of Run-D.M.C. grew up in the neighborhood of Hollis in 
the Queens borough of New York City, USA.[2] As a teen, Joseph Simmons 
was recruited by his older brother, an up and coming hip-hop promoter 
named Russell Simmons, to be the onstage DJ for rapper Kurtis Blow--who 
was managed by Russell. Performing as "DJ Run, Son of Kurtis Blow," the 
younger Simmons soon began trading rhymes with Kurtis Blow and 
beat-boxing for the audience. [6] He would often come back to Hollis and 
play his taped performances for his friend Darryl McDaniels. Previously, 
McDaniels had been more focused on athletics than music, but soon began 
to DJ after purchasing a set of turntables. Simmons convinced McDaniels to 
start rapping, and though McDaniels wouldn't perform in public, he soon 
began writing rhymes and calling himself "Easy D." Simmons and McDaniels 
(who, over time, had overcome his early stage fright) started hanging around 
Two-Fifths Park in Hollis in late 1980, hoping to rap for the local DJs that 
performed and competed there. The most popular local DJ at the park was a 
youngster named Jason "Jazzy Jase" Mizell. Mizell was known for his flashy 
wardrobe and b-boy attitude; but had had troubles with the law as a teen. 
He'd decided to pursue music full-time and began entertaining in the park 
soon after. Eventually, Simmons and McDaniels rapped in front of Mizell at 
the park and the three were immediate friends. Following Russell's success 
managing Kurtis Blow, he helped Run record his first single, a song called 
"Street Kid." The song went unnoticed, but despite the single's failure, Run's 
enthusiasm for music was growing. He wanted to record again--this time 
with his co-hort Easy D; but Russell refused, citing a dislike for D's rhyming 
style. [7] After they completed high school and started college in 1982, 
Simmons and McDaniels finally convinced Russell to let them record as a duo, 
and they recruited Mizell (who now called himself 'Jam-Master Jay') to be 
their official DJ. A year later, in 1983, Russell agreed to help them record a 
new single and land a record deal; but only after he changed D's name to 
'DMC' and christened the group 'Run-D.M.C.'--a name, incidentally, that the 
group hated. DMC said later, “We wanted to be the Dynamic Two, the 
Treacherous Two — when we heard that [crap], we was like, ‘We’re gonna 
be ruined!’” 

Debut Album and the End of the "Old School"

After signing with Profile Records, Run-D.M.C. released their first single "It's 
Like That/Sucker MCs", in late 1983. The sound was a revolution in hip hop; 
aggressive, cocky rhymes over spare, minimal, hard-hitting beats. Previously, 
rap music had been chiefly funk and disco-influenced, but Run-D.M.C.'s 
sound, like their name, was unlike anything that had been heard in rap 
before. The single was well received, peaking at #15 on the R&B charts.
 The trio performed the single on the New York Hot Tracks video show in 
1983. Emboldened by their success, Run-D.M.C. recorded their eponymous 
debut and, released in 1984, Run-D.M.C. was an instant hit and, arguably, 
rap's first classic album. Hit singles such as "Jam-Master Jay" and "Hard 
Times" proved that the group weren't one-hit wonders, and the landmark 
single "Rock Box" was a groundbreaking fusion of raw hip-hop and hard rock 
that would become a cornerstone of the group's sound and paved the way 
for the rap rock movement of the late 1990s. Run-D.M.C.'s swift ascension 
to the forefront of rap with a new sound and style meant that old school hip 
hop artists had become outdated--in more ways than one. Along with 
pushing rap into a new direction musically, Run-D.M.C. changed the entire 
aesthetic of hip hop music and culture. Old school rappers like Afrika 
Bambaataa and Melle Mel of Grandmaster Flash and the Furious Five tended 
to dress in the flashy attire that was commonly attributed to rock and disco 
acts of the era: tight leather, chest-baring shirts, gloves and hats with 
rhinestones and spikes, leather boots, etc. Run-D.M.C. discarded the more 
glam aspects of early hip hop's look and incorporated a more 'street' sense of 
style. Their look had been influenced by the way Jay dressed. When Russell 
Simmons saw Jay's flashy-yet-street b-boy style, he insisted the entire 
group follow suit. [10]Run said later, "There were guys that wore hats like 
those and sneakers with no shoestrings. It was a very street thing to wear, 
extremely rough. They couldn’t wear shoelaces in jail and we took it as a 
fashion statement. The reason they couldn’t have shoelaces in jail was 
because they might hang themselves. That’s why DMC says ‘My Adidas only 
bring good news and they are not used as felon shoes.'"[11] That embrace 
of the look and style of the street would define the next 25 years of hip hop 
fashion.

"King of Rock," "Raising Hell" and Superstardom

After the success of their first album, Run-D.M.C. looked to branch out on 
their follow-up. 1985's King of Rock saw the group furthering their rap-rock 
fusion on songs like "Can You Rock It Like This" and the classic title track; 
while "Roots, Rap, Reggae" was one of the first rap/dancehall hybrids. The 
music video for the single "King of Rock" received heavy rotation on MTV and 
featured Run and DMC wreaking havoc in a museum that resembles the Rock 
and Roll Hall of Fame, (though the Hall of Fame museum wouldn't officially 
open for another nine years.) The video was interpreted as a reaction to the 
rock establishment's dismissal of rap music--a dismissal that echoed pop and 
jazz performers' early distaste for rock a generation before. The song was 
the group's biggest hit at that point and the album was certified platinum. 
Building on their ever-growing crossover appeal, Run-D.M.C. performed at the 
legendary Live Aid benefit shortly after King of Rock was released. They were 
the only rap act invited to perform.

In late 1985, Run-D.M.C. appeared in the classic hip hop film Krush Groove, a 
fictionalized re-telling of Russell Simmons' rise as a hip hop mogul and his 
struggles to get his own label, Def Jam Recordings, off the ground. The film 
featured a young Blair Underwood as "Russell," along with appearances by 
old-school legend Kurtis Blow, The Fat Boys, teen pop act New Edition, 
Prince protege Sheila E., and hip hop's first White rap group the Beastie 
Boys, who were signed to Simmons' Def Jam label. The movie was a hit and 
further proof of hip hop's continued mainstream visibility.

Returning to the studio in 1986, the group teamed with producer Rick Rubin 
(who had just produced teenage phenom LL Cool J's acclaimed debut album 
Radio) for their third album. Titled Raising Hell, it would go on to be the 
group's most successful album and one of the best-selling rap albums of 
all-time, spurred by the lead single "Walk This Way" a cover of the classic 
hard rock song by Aerosmith. The original intention was to just rap over a 
sample of the song, but after Rubin and Jay insisted on doing a complete 
cover version, Aerosmith's Steven Tyler and Joe Perry joined Run-D.M.C. in 
the studio to add vocals and lead guitar, respectively. The song became one 
of the biggest hits of the 80s, cemented Run-D.M.C.'s crossover status and 
resurrected Aerosmith's career. The music video for the song, in which 
Run-D.M.C. begins performing in a room separated from Aerosmith--only to 
break down the wall and join them onstage in concert, received heavy 
rotation on MTV. Raising Hell boasted four tracks that reached the top five 
on the Billboard Hot 100, with the single "My Adidas" leading to the group 
signing a $1.6 million endorsement deal with the sneaker brand and Adidas 
forming a long-term relationship with Run-D.M.C. and hip hop. [12]


The success of Raising Hell is often credited with kick-starting hip hop's 
golden age, (the period from roughly 1986 to 1994, when rap music's 
visibility, variety, and commercial viability exploded onto the national stage 
and became a global phenomenon) officially ending the 'old school' era, 
(though it can be argued that Run-D.M.C.'s debut was the 'beginning of the 
end' of the old school.) Their success directly paved the way for acts like 
the aforementioned LL Cool J and the Beastie Boys (who released their own 
multi-platinum debut, the Rubin-produced Licensed to Ill, later in 1986) to 
have similar commercial success, confirming hip hop as a marketable, thriving 
musical genre. The group toured in the wake of the album's success, but the 
'Raising Hell Tour' was marred by violence, particularly fights between rival 
street gangs in places like Los Angeles. Though Run-D.M.C.'s lyrics had been 
confrontational and aggressive, they typically denounced crime and 
ignorance; but the media began to blame the group for the incidents. 
Run-D.M.C. would call for a day of peace between the gangs in L.A.


"Tougher Than Leather," Changing Times, and the Comeback

After spending 1987 on tour supporting Raising Hell, Run-D.M.C. released 
1988's Tougher Than Leather. The album saw the group discarding much of 
its rap rock leanings for a grittier, more sample-heavy sound. In the two 
years since ...Hell, rap music had begun sampling classic funk and soul 
records and lyrics had become even more confrontational, complex and 
gritty. Tougher Than Leather reflected the shift, and, despite not selling as 
well as its predecessor, the album boasted several strong singles, including 
the anthemic "Run's House" and the funky "Beats to the Rhyme." Though at 
the time considered a somewhat disappointing follow-up to the blockbuster 
Raising Hell, and dismissed by DMC as 'rushed,' the album has grown in 
stature and is now considered by many to be an underrated classic. In the 
2000 liner notes for the album's re-release, Chuck D. of Public Enemy would 
call the album "...a spectacular performance against all odds and 
expectations."[13] Later in 1988, the group made their second film 
appearance in Tougher Than Leather, a would-be crime caper that was 
directed by Rick Rubin and featured special guest performances by the 
Beastie Boys and Slick Rick. The film bombed at the box office, but 
strengthened the link between Run-D.M.C. and the Def Jam label. Though 
the group itself was never signed to the label, they were managed by Russell 
Simmons, produced by Rick Rubin (who was co-founder of Def Jam, along 
with Simmons), and often shared the spotlight with acts on the label's roster.


One of those acts was the political rap group Public Enemy, who had been 
signed to Def Jam since 1986. P.E. didn't achieve their major commercial 
breakthrough, however, until they released 1988's seminal It Takes A Nation 
of Millions To Hold Us Back. The success of the album, along with popular 
and acclaimed releases by burgeoning rap acts Eric B. & Rakim, N.W.A., 
Boogie Down Productions, and Big Daddy Kane challenged Run-D.M.C.'s reign 
at the top of hip hop. Public Enemy, in particular, became the most 
talked-about rap act, with front-man Chuck D. and hype man Flavor Flav 
becoming superstars.

Amidst the changing times and sliding sales, Run-D.M.C. released Back from 
Hell in 1990. The album was the worst-reviewed of their career, as the group 
tried to re-create itself musically with ill-advised forays into New Jack Swing 
(a then-popular style of production that sonically merged hip hop and 
contemporary R&B) and sometimes-preachy lyrical content. The two singles 
released, the anti-drug, anti-crime song "Pause", and gritty street narrative 
"The Ave," had little success, and the group began to look outdated. Reeling 
from their first taste of failure, personal problems began to surface for the 
trio. DMC, who had been a heavy drinker throughout Run-D.M.C.'s career, 
was beginning to lose control of his alcoholism. Jay was involved in 
life-threatening car accident and survived two gunshot wounds after an 
incident in 1990. In 1991, Run was charged with raping a college student in 
Ohio (the charges were later dropped.)


With so much personal chaos and professional uncertainty, the members 
turned to faith to try and steady their lives. Both Run and DMC joined the 
church, with Run becoming especially devoted following his legal troubles and 
the toll it took on his finances.[15] After a three-year hiatus that seemingly 
saw rap music move on without them, the rejuvenated Run-D.M.C. returned 
in 1993 with Down With the King. Building on the gritty sound of Tougher 
Than Leather, and adding some subtle religious references, the album 
featured guest appearances and production by several hip hop notables, 
(including Pete Rock & CL Smooth, Q-Tip of A Tribe Called Quest, Jermaine 
Dupri and more.) Buoyed by the title track and first single, the album entered 
the charts at #1 and returned Run-D.M.C. to the airwaves. Jam Master Jay 
also found success on his own; he had founded his own label JMJ Records 
and the rap group Onyx, (whom he had discovered and produced), 
experienced tremendous success in 1993 following the release of their hit 
single, "Slam."

Later that same year, Run became an ordained minister, and in 1994 the 
iconic group appeared in The Show, a Def Jam-produced documentary that 
featured several of hip hop's biggest acts discussing the lifestyle and 
sacrifices of the industry.

A 'Break' From Recording, Group Friction and A Tragic End

Over the next few years, the group did very little recording, as Jay produced 
and mentored up and coming artists, (including a young Queens-born rapper 
named 50 Cent, who would eventually be signed to the JMJ label); Run got 
divorced, re-married and began to focus on his spiritual and philanthropic 
endeavors; and DMC, also married, made an appearance on the Notorious 
B.I.G.'s 1997 double-album Life After Death, and raised his family. But the 
group continued to tour around the world, though over a decade of living a 
rap superstar lifestyle was beginning to take a toll on DMC. He was beginning 
to tire of Run-D.M.C., and there was increased friction between he and the 
eager-to-return-to-recording Run, (who had adopted the moniker "Rev. Run" 
in light of his religious conversion)and while on tour in Europe in 1997, DMC's 
ongoing battle with substance abuse led to a bout of severe depression that 
led to prescription drug addiction. His depression continued for years so 
much so that the rapper contemplated suicide. [16]


In 1997, producer and remixer Jason Nevins remixed "It's Like That" and "It's 
Tricky". The remix of "It's Like That" hit number 1 in the United Kingdom, 
Germany, and many other European countries. A video was made for "It's 
Like That", although no new footage of Run-D.M.C. appeared in the clip. In 
1999, Run-D.M.C. recorded the theme song for WWE wrestling stable 
D-Generation X entitled "The Kings," and also made an appearance in a rare 
version of the music video "Bodyrock" by Moby. In 2000, their version of "The 
Kings" was included on the album, WWF Aggression. The group finally 
returned to the studio, but in an increasingly tense environment, as Run and 
DMC's differences had begun to show. In the wake of the exploding 
popularity of rap rock artists like KoRn, Limp Bizkit, and Kid Rock, Run wanted 
to return to the aggressive, hard rock-tinged sound that made the group 
famous, while DMC, who had become a fan of thoughtful singer-songwriters 
like John Lennon, Harry Chapin, and Sarah McLachlan, wanted to go in a 
more introspective direction. Appearing on VH1's popular documentary series 
"Behind The Music" in early 2000, DMC confirmed that he was creatively 
frustrated and played some songs that he was recording on his own. The 
continued friction led to DMC sitting out most of the group's recording 
sessions in protest. Rev. Run, in defiance, recorded anyway--inviting several 
guest stars like the aforementioned Kid Rock, Jermaine Dupri, Stephan 
Jenkins of Third Eye Blind, Method Man, and fellow Queens MCs Nas and 
Prodigy of Mobb Deep to contribute to the project. There were numerous 
delays due to the personal problems, and when it was finally released in 
2001, Crown Royal, Run-D.M.C.'s first new album in almost eight years, 
featured only three appearances by DMC. Despite no major singles, the 
album initially sold well. Many critics blasted the lack of DMC's involvement 
and fans questioned whether this was a 'true' Run-D.M.C. album, but the set 
also received some positive reviews. Entertainment Weekly (4/6/01, p.120) 
noted that "on this hip-hop roast, new schoolers Nas and Fat Joe pay their 
respects with sparkling grooves....Run's rhymes are still limber." [17]

After the album was released, Run-D.M.C. embarked on a worldwide tour with 
their "Walk This Way" compatriots, Aerosmith. The tour was a rousing 
success, celebrating the connection between the two acts and 
acknowledging the innumerable amount of rap and rock acts that had been 
influenced by their seminal collaboration 15 years prior. Even though he had 
little to do with the album, DMC was relishing the stage. He was suffering 
from an inoperable vocal disorder that had rendered his once-booming voice 
a strained mumble, but he had come out of his depression and appeared 
revitalized on the tour. There was even talk of Run-D.M.C. finally signing with 
the Def Jam label the following year. Rev. Run, however, had been growing 
increasingly tired. His family was growing and he was running his brother 
Russell's Phat Farm clothing imprint, and Run-D.M.C. had become less of a 
priority. Aerosmith was beginning to discuss extending the successful tour, 
but while on the bus headed to another performance, Run announced that he 
was leaving and wasn't interested in coming back. To the others' shock, Run 
was reported as having said, "Yo, tomorrow, we're gonna tell [Aerosmith] we 
ain't gonna do the tour. We're gonna go home. Y'all have to figure out what 
y'all are gonna do. Because I don't want to perform no more."[18]

Despite the protests of DMC, Jam-Master Jay and Steven Tyler, Run was 
adamant. While their touring career seemed over, it remained to be seen if 
the legendary crew would ever record again. But any hopes of new 
Run-D.M.C. material were crushed on October 30, 2002, when Jam-Master 
Jay was shot and killed at his recording studio in Queens. The entire hip hop 
community went into shock following the news, but for his former 
band-mates, it was devastating. DMC initially didn't believe the news, 
thinking 'They're saying [he was shot] because it's Jay's studio--it's not 
gonna be Jay and it's gonna be all good.' The sad truth was slowly accepted 
by DMC and Run, who received the news from EPMD's DJ Scratch. Outside 
the studio where the murder took place, fans and friends gathered and left 
Adidas sneakers, albums, and flowers for the legendary DJ. As of January 
2009, the case has yet to be solved, echoing the unsolved murders of fellow 
hip hop legends 2Pac and The Notorious B.I.G.. In the aftermath, Run and 
DMC announced that the group was officially disbanding, and they retired the
 Run-D.M.C. moniker.[19]

Post-Breakup

In 2004, Run-DMC were one of the first acts honored on the first annual VH1 
Hip Hop Honors, alongside legends like the Sugarhill Gang and 2Pac. The 
Beastie Boys paid tribute, but Rev. Run did not attend the show. Run 
released his first solo album, Distortion in 2005 to strong reviews and 
moderate sales. DMC followed suit, though his Checks Thugs and Rock N Roll 
was slightly less successful. Around the time of releasing the album, DMC, 
who had recently discovered that he was adopted, appeared in VH1's "My 
Adoption Journey," a documentary chronicling his re-connection with his 
biological family. He has recently been featured in the new video game, 
Guitar Hero: Aerosmith making a cameo in the song "Walk this Way" and "King 
of Rock," and he frequently contributes to VH1 programs such as the I Love 
The... series and released the song "Rock Show" featuring singer Stephan 
Jenkins. Rev. Run also turned to television, starring in "Run's House" a reality 
show that followed his life as a father and husband. The show has become 
one of the most popular on MTV and made reality stars of his daughters 
Vanessa and Angela. Rev. Run joined Kid Rock's 2008 "Rock N Roll Revival 
Tour" performing "It's Like That", "It's Tricky", "You Be Illin'", "Run's House", 
"Here We Go", "King of Rock" and "Walk This Way" with Kid Rock.


In 2007, Jam Master Jay's wife Terry Corely Mizell, DMC and Rev Run 
launched the J.A.M. Awards in Jay's memory. Promoting Jay's vision for social 
Justice, Arts and Music ("J.A.M."), artists included Snoop Dogg, LL Cool J, 
Raekwon, M.O.P., Jim Jones, Papoose, Everlast featuring DJ Muggs, Kid Capri, 
De La Soul, Mobb Deep, Dead Prez, EPMD, Biz Markie and Marley Marl. In 
October 2008, 50 Cent announced plans to produce a documentary about his 
fallen mentor, Jam-Master Jay.[20] It was announced in 2008 that 
Run-D.M.C. have been nominated for 2009 induction into the Rock and Roll 
Hall of Fame. On January 14, it was announced that Run-D.M.C. will in fact 
be one of the five inductees to the Rock Hall.[21] They would become the 
second rap act to be awarded the honor (after Grandmaster Flash & the 
Furious Five in 2007).[22]

In June 2007 DMC appeared with Aerosmith performing 'Walk This Way' for 
their encore at the Hard Rock Calling festival in London, England.

Legacy

Run-D.M.C.'s influence on hip hop music, culture and history is significant to 
say the least. Allmusic.com's Stephen Thomas Erlewine states succinctly 
that "...More than any other hip-hop group, Run-D.M.C. are responsible for 
the sound and style of the music."[23] Musically, they moved hip hop and 
rap music away from the funk and disco-oriented sound of its beginnings; 
into an altogether new and unique sonic imprint. Their sound is directly 
responsible for transforming rap music--from dance-and club-oriented funk 
grooves like "Rapper's Delight" and "The Breaks" to an aggressive, 
less-danceable approach. Characterized by sparse, hard-hitting beats--as 
typified on hits like "It's Like That", and "Peter Piper"--this would form the 
foundation of hardcore hip hop--particularly hardcore east coast hip hop. As 
such, Run-D.M.C. is considered the originators of the style; and hardcore hip 
hop would dominate the next two decades of rap music, from the bombastic, 
noisy sound of Public Enemy and stripped minimalism of Boogie Down 
Productions to the gritty thump of early Wu-Tang Clan and Nas. Their 
influence was not limited to the East Coast, of course, as L.A.'s N.W.A., on 
their landmark 1988 album Straight Outta Compton, showed heavy influences 
from Tougher Than Leather-era Run-D.M.C., and Chicano rap act Cypress Hill 
were heavily influenced by Run-D.M.C.'s fusion of rap and rock. Early on, the 
group rarely sampled and rarely looped anything over their skeletal beats, 
and the funky minimalism of producers such as Timbaland and The Neptunes 
is drawn from Run-D.M.C.'s fundamental sound.

Their groundbreaking rap rock fusion proved to be immensely influential 
among rock artists, with 80s bands like Faith No More, Anthrax--who's 
collaboration with Public Enemy on "Bring the Noise" was directly influenced 
by "Walk This Way"--and the Red Hot Chili Peppers adding elements of rap to 
alternative rock and heavy metal. Most notably, the rap rock sound became 
extremely popular in the 90s, with bands like Rage Against the Machine, 
KoRn, Sublime, and Limp Bizkit gaining worldwide popularity by furthering 
Run-D.M.C.'s template of aggressive rhymes over hard rock riffs.

Aesthetically, they changed the way rappers presented themselves. Unlike 
their forbears, Run and DMC rarely smiled--and they didn't dance. They 
delivered their rhymes in an aggressive, angry--almost confrontational, style 
and sometimes shared rhymes on a single verse--trading rhymes, 
line-for-line. Onstage, Old school rappers had previously performed in flashy 
attire and colorful costumes, typically had a live band and, in the case of 
acts like Whodini, had background dancers. Run-D.M.C. performed with only 
Run and DMC out front, and Jam-Master Jay on the turntables behind them, 
in what is now considered the 'classic' hip hop stage setup: two turntables 
and microphones. They embraced the look and style of the street; wearing 
jeans, lace-less Adidas sneakers, and their trademark black fedoras; 
shunning both the over-the-top wardrobe of previous rap stars like the 
Furious Five and Afrika Bambaataa, and the silk-shirted, jheri curled, ladies' 
man look of rappers like Kurtis Blow and Spoonie Gee. Followers LL Cool J and 
the Beastie Boys also dressed down, and seemingly overnight, rappers were 
wearing jeans and sneakers instead of rhinestones and leather outfits. From 
Adidas track suits and chunky rope chains to baggy jeans and Timberlands, 
hip hop's look remained married to the styles of the street.

According to the Rolling Stone Encyclopedia of Rock & Roll, "Run-D.M.C. took 
hardcore hip-hop from an underground street sensation to a pop-culture 
phenomenon. Although earlier artists, such as Grandmaster Flash and the 
Sugar Hill Gang, made rap's initial strides on the airwaves, it was Run-D.M.C. 
that introduced hats, gold chains, and untied sneakers to youth culture's 
most stubborn demographic group: white, male, suburban rock fans. In the 
process, the trio helped change the course of popular music, paving the way 
for rap's second generation."[24]

Prior to Run-D.M.C., rap had been a singles-driven genre; as most rap songs 
were intended for use in clubs. Run-D.M.C. was the first rap act to conceive 
of cohesive, focused hip hop albums that were meant to be appreciated as a 
whole. As such, their approach, (with the release of their first four albums, 
Run-D.M.C., King of Rock, Raising Hell, and Tougher Than Leather), helped 
push hip hop into more musically and artistically ambitious territory and 
launched a golden age of hip hop albums; typified by landmark releases such 
as LL Cool J's Radio, the Beastie Boys' Licensed to Ill, Public Enemy's It Takes 
A Nation of Millions To Hold Us Back, Eric B. & Rakim's Paid In Full, Boogie 
Down Productions' Criminal Minded, N.W.A.'s Straight Outta Compton, Big 
Daddy Kane's Long Live the Kane, Ultramagnetic MCs' Critical Beatdown, Slick 
Rick's The Great Adventures of Slick Rick and more.

Historically, the group achieved a number of notable firsts in hip hop music 
and are credited with being the act most responsible for pushing hip hop into 
mainstream popular music, initiating it's musical and artistic evolution and 
enabling it's growth as a global phenomenon. Run-D.M.C. is the first rap act 
to have reached a number of major accomplishments:

    * A #1 R&B charting rap album
    * The first major rap act to appear on American Bandstand (the Sugar Hill 
Gang appeared on the program in 1981)
    * The first rap act to chart in the Top 40 of the Billboard Hot 100 more 
than once
    * The first rap artist with a top 10 pop charting rap album
    * The first rap artist with RIAA-certified gold, platinum, and multi-platinum 
albums
    * The first rap act to appear on the cover of Rolling Stone magazine
    * The first rap act to receive a Grammy Award nomination
    * The first rap act to make a video appearance on MTV
    * Signed to an athletic product endorsement deal (Adidas)

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And now, On to the albums!

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Run-D.M.C. - Run-D.M.C. [1984]

1. Hard Times
2. Rock Box
3. Jam-Master Jay
4. Hollis Crew (Krush-Groove 2)
5. Sucker M.C.'s (Krush-Groove 1)
6. It's like That
7. Wake Up
8. 30 Days
9. Jay's Game