Breaking Atoms is a masterful blend of lyrics, production, and turntablism. Unlike many of its contemporary counterparts, none of the tracks can be regarded as filler. Every song is a solid piece of work displaying thoughtfulness, ingenuity, and versatility. Large Professor contributes the lion’s share of the album’s content by providing both production and lyrics. Even though he is commonly acknowledged for his extensive list of production credits, Breaking Atoms serves as a testament to his skill as a song writer and emcee. With a strong, straightforward delivery, astute word play and clever use of metaphors, he breaks down concepts like troubled relationships, police brutality and people’s hypocritical use of language, turning atypical topics into classic compositions like “Looking at the Front Door”, “Just a Friendly Game of Baseball”, and “Peace Is Not the Word to Play.

    A large portion of Breaking Atoms’ legendary status and widespread influence can be attributed to its production. Indeed, it is Large Pro’s choice of samples and skillful arrangements that distinguish the LP from other releases of the same era. Each track contains multiple layers of funk, soul, and jazz blended into cohesive instrumentals that compliment the song’s concept with the appropriate mood. The samples are often accompanied by looped breaks or boom-bap drums, chopped up and reassembled via the SP-1200. Then there’s the creative use of filters to isolate bass lines and other instruments, an approach that has inspired countless producers to incorporate the same technique in their tracks, including heavy weights like DJ Premier and Pete Rock. Without a doubt, the beats on Breaking Atoms established Large Professor as one of Queen’s most prominent producers, placing him in high demand for future collaborations with artists like Mobb Deep, Slick Rick, and Nas.
 
    After its initial release in 1991, Breaking Atoms was out-of-print until 1997 when it was repressed with eight additional tracks by Wild Pitch Records. The more recent 2006 reissue, courtesy of the Japanese import label P-Vine Records, includes seven bonus tracks, two of which, “Looking at the Front Door (uncut)” and “Time”, have been unreleased until now. The uncut edition of “Looking at the Front Door” is basically a re-edit of the album version. Instrumentally, no new elements have been added, only subtly rearranged or dropped. For instance, Donald Byrd’s “Think Twice” is more prominent in the breaks, the scratching has been limited to one segment and the Detroit Emeralds sample at the end of the album version is missing. Lyrically, the song has been reduced to two verses instead of three with a few new lines added: “I got a nickel and dime dame that loves to complain, hates my game, puts shame in my name.” The song “Time” sounds like a classic Main Source track from ’91: sample heavy instrumental, boom-bap drums, scratching in the chorus and socially conscious lyrics. The song is dope. It leaves one to conclude that the only reason it was withheld from the ’91 release is that it doesn’t quite fit in with the overall vibe of the album.

    1991 was a great year for hip hop. It is the latter end of the golden age, an era blessed by outstanding releases from quintessential groups like Run DMC, Public Enemy, Gang Starr, and A Tribe Called Quest. It was a time when you could take a chance on an unknown artist and come up on some great material nine out of ten times. That’s how I discovered Breaking Atoms. I remember standing under the sterile lights of Sam Goody examining the cassette, clueless about the content, but intrigued by the cover; three brothers focused on a record atomizing under a needle. I purchased it based strictly on that image and my positive track record with blind purchases so far. Suffice to say I was not disappointed. Even in the midst of the golden age, Breaking Atoms was an album that rarely left my deck. This reissue captures that nostalgic period in time. Yes, the price is expensive, reflecting its import status. However, if you don’t scoop it up now, you may end up paying twice as much on Ebay later. This classic has a history of going in and out of print erratically, don’t sleep.

    On disc one, the original album is followed up by freestyles and excerpts of G. Rap and Polo on Marley Marl’s “In Control” radio show on WBLS. This portion acts as a dividing line between the original album and the material that preceded it. The excerpts successfully supply a nostalgic context for the era that generated classics such as “It’s a Demo”, “I’m Fly”, and “Riker’s Island.” Disc one concludes with the hard to find alternative version of Big Daddy Kane’s “Raw” featuring Kool G. Rap. A classic in which two lyrical geniuses trade verses and syncopated syllables over a loop of Bobby Byrd’s “Hot Pants”; without a doubt, one of the strongest collaborations ever. Those familiar with the Cold Chillin’, “Droppin’ Science” compilation know this track. However, what they probably don’t know is the version on “Droppin’ Science” is missing the first nine seconds. Those nine seconds are intact on the “Road To The Riches” deluxe edition, a must have for any Kool G. Rap aficionado with obsessive compulsive disorder.

     Disc two contains 14 tracks of material either previously unreleased or only available on vinyl. It is on these tracks that the nascent, raw essence of Kool G. Rap’s remarkable word play and delivery is captured. Only to find its perfect compliment in Polo’s cuts and Marley’s sample heavy, break-beat laden tracks. Although digitally re-mastered, all the tracks retain that early, authentic sound unique to Marley Marl’s second floor apartment in Queens known as The House of Hits. The spontaneity and unrefined nature of the tracks shine through in songs like the original 12inch version of “It’s A Demo”. There is no re-editing of the scratches that sometime fall off-beat. There is no sonic synthesis between the 808 hi-hats and the loops lifted off LPs. And there certainly is no studio polish added to the Kool Genius of Rap’s lispy vocals. This is hip hop in the raw; just beats and rhymes. The original 12inch of this release was backed with “I’m Fly”, another true-school track that consists of nothing more than a drum machine generated beat, scratches and vocals. No melody, no bass line, no groovy samples. Just hard snares in-your-face, coupled with heavy cuts and formidable articulations. “Riker’s Island” follows suit, but remains unique in its subject matter as G. Rap poses a warning to young hoods selling drugs and engaging in violence. In “Rhyme Tyme” and the 12inch version(s) of “Poison”, the production and lyrical formula is slightly elevated by the use of classic samples and G Rap’s noticeably more confident delivery. For the discerning production head, the deluxe edition also provides instrumentals for all of the aforementioned original 12inch releases, except “Poison”. However, also included in the deluxe version is the instrumental for “She Loves Me, She Loves Me Not”, plus an A capella version of “Men At Work”. The former showcases Marley’s production prowess, the latter is a lesson in lyrical acrobatics and breath control.

    One of the intangible benefits of the deluxe edition is a clear understanding of the group’s progression. This is a snapshot of a revolutionary moment in which Marley Marl’s ingenuity changed the production game forever, while G. Rap’s gave birth to today’s Queensbridge gangster rap. From their first single in 1986, to the full album in 1989, this group raised the bar for all hip-hop releases that followed. And it doesn’t take an enthusiast to appreciate the comprehensive collection of previously unreleased and vinyl-only singles the deluxe edition offers. All heads will appreciate this re-release, not only because of the digitally re-mastering that preserves the original sonic flavor, but also for the piece of history captured within this two disc set. Do not sleep on this reissue.