Run Dmc Its Like That Remix Zippy

The album's production, handled entirely by Rick Rubin with a remix by DJ Jazzy Jay, has been noted by critics and music writers for Rubin's minimalist style and stripped-down aggressiveness.[15][16] Steve Huey of AllMusic described the production for Radio as "bare-bones" and "skeletal", while calling the instrumentation "basically just a cranked-up beatbox."[16] The sound of Radio is mostly punctuated by DJ scratching and features occasional brief samples, which emphasize a downbeat.[16] In summing up the musical style of Radio, Huey stated "The result is rap at its most skeletal, with a hard-hitting, street-level aggression that perfectly matches LL's cocksure teenage energy."[16]

run dmc its like that remix zippy

The lyrical themes regarding the culture and the way of life of inner city youth that surface in Radio, including the growing and popular b-boy attitude ("I Can't Live Without My Radio", "Rock the Bells") and teenage promiscuity ("Dear Yvette"), along with LL's "teenage energy", as described by writer Nelson George, helped appeal to a younger music audience and were essential in the album's commercial success.[15] LL Cool J's lyricism on Radio is highlighted by clever disses, playful boasts and braggadocio raps.[16][17] Columnist Stephen Holden of The New York Times described LL Cool J as "a brawny young giant with the animal magnetism and amiable self-assurance of the young Muhammad Ali."[3] "I Want You" and "I Can Give You More" have been recognized by listeners of hip hop as the first hip-hop ballads, and have been cited likewise by several music writers and critics.[15]

The emerging new school scene was initially characterized by drum machine-led minimalism, often tinged with elements of rock, as well as boasts about rapping delivered in an aggressive, self-assertive style. In image as in song, the artists projected a tough, cool, street b-boy attitude. These elements contrasted sharply with the 1970s P-Funk and disco-influenced outfits, live bands, synthesizers and party rhymes of acts prevalent in 1984, rendering them old school.[48] In contrast to the lengthy, jam-like form predominant throughout early hip hop ("King Tim III", "Rapper's Delight", "The Breaks"), new school artists tended to compose shorter songs that would be more accessible and had potential for radio play, and conceive more cohesive LPs than their old school counterparts; the style typified by LL Cool J's Radio.[49] A leading example of the new school sound is the song "I Can't Live Without My Radio", a loud, defiant declaration of public loyalty to his boom box, which The New York Times described as "quintessential rap in its directness, immediacy and assertion of self".[3] It was featured in the film Krush Groove (1985), which was based on the rise of Def Jam and new school acts such as Run-D.M.C. and the Fat Boys.[50]