457. The Lyrical Strength of One Street Poet – D-Boy
THE LYRICAL STRENGTH OF ONE STREET POET (1990)
In 1990 I was working for The Benson Company in Southern California and would regularly (daily?) drop by the offices of my favorite record company, Frontline Records, to hear the new releases before anyone else. I still remember walking into the offices to listen to the new D-Boy release that was dropping a few months later. His first album had sold very well and I was able to spend several days with he and his mother in the studio while in Dallas hanging out with Tim Miner who was producing the project.
There was something wrong. I walked into the office and I noticed that no one was at the front desk and everyone was in the back office and several people were huddled together and others were sitting on the floor with their backs against the wall. Brian Tong and Mike MacLane came out of the office when they saw me and told me to come into Brian’s office.
“D-Boy was murdered.”
That’s all they said for the longest time. No reasons. No suspects. No motive.
What D-Boy produced before his untimely departure was brilliant. Stunning. Legit. “Drop the Mic” just took Christian Rap to a whole different level in three and a half minutes. Samples, scratches, beats, melodic vocals. Everything that was absent from the scene at the time but would soon become common place filled the record and changed the industry. Quality, integrity and authenticity was the new bar that needed to be raised.