If you really look back on the career of Jeru The Damaja, the takeaway is this. Here was a man from the borough of Brooklyn, who released two underground classic LP’s in the mid 90′s, both produced entirely by DJ Premier. Yet this event happened during a transitional phase that hip-hop was going through, that just so happened to be taking place in his own backyard: Biggie Smalls and the Bad Boy explosion.

Jeru represented a voice for the underground heads, many whom were against Puff and company’s practice of shiny suits and shameless beat-jacking. Jeru had no problem calling Puff out by name on “One Day”, a one-verse, white label promo that would set up his second LP, Wrath Of The Math. In the song, Jeru played rap’s superhero, out to “save hip-hop”, before it was cliché to do so.

Looking back, Jeru – and other rappers with the same intent – failed that mission. This was an era before cats started to use the phrase “hip-hop is dead”, believing that it still could be salvaged, and that it was worth saving. But these two classic albums were released at a turning point in rap music, when the old rules would be left behind. Things would never be the same again.

At that time, we saw many rappers try to conform to the sudden shift in sound that was happening in hip-hop. Formerly raw acts were abandoning Timberland for Versace, in an embarrassing period of bad music and poor crossover attempts. Jeru was never guilty of this.

Jeru has released a few small indie projects over the last two decades, but the Perverted Monk has largely been retired to the temples, almost as if he was blackballed by the major label system, after making moves on Puff. With The Hammer, rap’s Winter Soldier returns from the dead, his mission still in tact.

Although this is only an EP, what’s different this time around is that Jeru is again paired with one of the greatest producers of all time; but it’s not DJ Premier, but instead, The Large Professor. Although only an EP, The Hammer, sounds as if Jeru never put his mic down, staking his claim in its brief, under 30 minute playtime.

Hip-Hop heads have been beaten and abused by an influx of subpar and downright bad material over the past two decades, which is what makes Jeru and Extra P’s approach so great. This is unapologetic, Brooklyn basement rap, as songs like “Point Blank” and “The Hammer” find Jeru back in his element.

On “So Raw”, Jeru bodies a sleazy loop, meshed with a cut up Big Daddy Kane sample, paying homage to his own Brooklyn forefather. “A.R.M.E.D.” is shared with The Beatnuts, while the previously released “Solar Flares” finds Jeru spitting super-scientifical madness over a smooth, late night banger from Large Pro.

And then…it’s over. Our hero retires back to his fortress of solitude, perhaps never to seen again, or at least not for many more years. If there is a downside to The Hammer, aside from it’s length, it’s that we don’t get to really meet the mysterious man behind microphone, as Jeru is clearly focused on carrying out his mission. However The Hammer is a concise, yet necessary EP, that suggests there is a future classic, full-length album lurking somewhere in the minds of these two creators. And it’s needed now more than ever. One day…

Jeru The Damaja has returned with The Hammer EP, an eight song release that was first previewed with last year’s “Solar Flares”, produced by Large Professor. Additional production by P.F. Cuttin’, JuJu Of The Beatnuts, The Polish Kid, and Engineer Lou Sabor. Check out the cover art and tracklist for the project below, as well as the previously released 2013 single, “Solar Flares”, produced by Large Professor. The EP is on iTunes now for just $3.99.

01 Intro
02 Point Blank
03 So Raw
04 Attack the Wack (Skit)
05 A.R.M.E.D (feat. The Beatnuts)
06 Solar Flares (prod. Large Professor)
07 The Hammer
08 Dr. Freedman (Outro)

You Must Learn: “This year in particular marks the 20th Anniversary of a hip-hop record distinguished by its raw sound, uncompromising lyricism, and social commentary: Jeru the Damaja’s debut album, The Sun Rises In The East. 1994 was a powerful, transformative year for hip-hop. Nas, OutKast, and Biggie Smalls each dropped their debut albums, while other more established artists released projects regarded both then and now as milestones in the genre. Jeru was only 21 years old when he recorded the The Sun Rises; 22 when it came out on Payday Records. And the album was well received in the hip-hop community.

“You Must Learn” was produced and edited by Peter Oasis, written by Dharmic X, and executive produced by Evan Auerbach (of @UpNorthTrips), with narration from Soul Khan. The intro was produced by DJ Flipout, and the artwork was designed by Kelly Green. “You Must Learn” was recorded in your mother’s basement next to your favorite blogger somewhere in Bed-Stuy, Brooklyn.

The Damaja makes a much needed return to the game, backed by Large Professor for “Solar Flares”.

Two indelible 90′s rap classics are explored in-depth for Complex’s new Magnum Opus series, as the artists themselves, along with various producers, rappers, and industry figures tell the stories behind these two classic tracks.

This is almost a Crooklyn Dodgers reunion. Almost. From Kid Tsunami’s forthcoming compilation LP of the same name, due April 2013. Check out the full tracklist below.

1.) AR Toxic f/ Kool Keith w/ Chuck Chilla (guitar)
2.) Bang Exclusive f/ Sean Price w/ Chuck Chilla (guitar)
3.) Get It f/ Prince Po
4.) Catch Wreck f/ O.C.
5.) Twothousand40 f/ Masta Ace
6.) On Course f/ Thirstin’ Howl the 3rd & Sadat X
7.) What It Was f/ J-Live
8.) No Guarantees f/ Yesh
9.) Worldwide Connex f/ Craig G
10.) Take It Back f/ El Da Sensei
11.) Down Pat f/ Percee P
12.) Authentic f/ Bahamadia
13.) The First Letter f/ AG
14.) Art Of War f/ Kool G Rap
15.) These Are The Facts f/ KRS-One
16.) The Chase f/ Buckshot, Chubb Rock, Pharoahe Monche & Jeru The Damaja

***all tracks produced by Kid Tsunami

Joell Ortiz borrows Jeru’s classic Petestrumental for this freestyle. He kinda murdered this.

LISTEN: 2Pac – “Watch Your Mouth”

LISTEN: 2Pac – “NY 87″ (feat. Dogg Pound)

DJ Premier Blog digs up this slightly older interview with Preem, with added commentary from Jeru the Damaja and Teflon.

Steve Ortiz comes through with footage from last night’s Hip-Hop Legends show in NYC. Pete Rock and C.L. Smooth on stage (not) drinking Cisco.

DJ Premier Blog gets the drop on the title track to Group Home’s upcoming Gifted Unlimited Rhymes Universal LP.

LISTEN: Group Home – “G.U.R.U.” (feat. Jeru The Damaja) (MP3)

Group Home – “G.U.R.U.” (feat. Jeru The Damaja) (MP3)

There are versions of this freestyle session floating around the innanet, but we noticed most of them are a paltry five minutes long. UNACCEPTABLE! We dug into the cassette archives and released the full, uncut, 18 minute session, as each Jeru, Cappadonna, and Ghostface take over the Tim Westwood show in 1996. 45 megs of your IPod, eaten.

Ghostface + Cappadonna + Jeru The Damaja – “Freestyle On Tim Westwood 1996″ (MP3)

While Jeru isn’t necessarily destined to outsell his previous two albums with this independently released record, he does actually lay any doubts to rest. Jeru has picked up the production chores himself, and while, of course, they don’t beat Premier’s tracks, they are actually still surprisingly good. This time around, the drums aren’t as raw as Primo’s trademark style, and are instead handed in for some more basic 80′s style drum breaks, but with the fresh sample selections, and Jeru’s cadence, they work well together. Tracks like “Great Solar Stance” and “Seinfeld” don’t bite the Premier formula, but still create the vibe found on his previous efforts. The production style is still dope, still Jeru, and still Brooklyn.

Lyrically, Jeru is still as fresh as he was on When The Sun Rises In The East as well as its follow-up. Following tradition, he expands on some classic themes, such as on “Bitchez Wit Dikz”, the third in the bitches vs. queens series, and “Renagade Slave”, an obvious sequel to “The Frustrated Nigga”. He even picks up where Ice Cube left off on “It Was A Good Day”, with “What A Day”, describing another perfect day in his own perfect world. Also lending a hand to this album is hip-hop heroine, Miz Marvel, who lends her liberal rhymes to a few tracks, including three of her own solo tracks. Although, fans of Jeru might not be open to her, as her inclusion takes away from the main focus - the Damaja himself.

Sure, the drums aren’t as raw and the cuts are not as precise. We’d all take Primo’s beats over Jeru’s any day, but who can be mad at him for doing it himself - (and doing it well!?!?) Bottom line is, if you choose to listen to this album with an ice grill on because Primo isn’t present, then you’ve already decided you don’t like it, and you are playing yourself. But if you are a true listener, give Jeru a chance, because he’s proven that he does still have it, and can hold is own. And what the fuck is Pras doing these days, anyway?