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Up first is 1987's "Mythological Rapper." This is on Zakia Records, and in fact is his very first single. The A-side with D-Moet, "Hey Love," eventually found its way onto his debut LP on Profile, XL, but for whatever reason, they left this one off. Based on its title, you might expect something like Kool Moe Dee's verse Olympian from "Get the Picture:" "Aphrodite would freak as her knees get weak, and Venus would peak off every word I speak. And Zeus would get loose, fully induced, and I'd make Apollo's rhymes sound like Mother Goose. And by night's end, Mercury is so hyped he'd spread the word that there's a god on the mic." But nah, it's just King Sun going hard over a tough beat by D-Moet and Cut Master DC. The premise is just that fake MCs, or mythological rappers, need to suffer the brunt of his battle raps.
I've heard speculation over the years about who he's dissing on this record, but I'm convinced this is just general "sucker MC"-type targeting. Lines like, "see, I'm waitin' for one of you to slip up and make a mistake; just to mention my name, that is all it would take," suggest these shots are open to anyone who dares step in front of them. And who he's talking over the course of his many bars (this is a seven minute song with six or seven verses) keeps changing. At one point the "you" is a woman he's talking sex smack to: "I get the booty hole warm like the quiet storm; I go to work and go berserk and work you out your skirt. You really dig me 'cause I'm thick, but then you think it would hurt. But see, you told me you're a woman, I guess you can hang; don't blame it on me if I hurt your thang." I mean, I could be wrong, but I hope that's not directed at Big Daddy Kane or Rakim!
Admittedly, that brief diversion is more the exception than the rule. It is mostly battle rhymes. But again, things he says keep suggesting he could be talking about anyone who crosses him: "rappers are cryin', cussin' and swearin', calling me names, but I can't hear 'em. They always get nervous every time I go near 'em. Soft like tissue, fear is the issue. Just when you least expect that I'll diss you, I'll take away your title, I'll make you bow. I'm the King and I have spoken, and I mean now; so drop to your knees and lower your head; don't think about repellin' one word I've said!" Of course I'm familiar with subliminal disses, but I think sometimes we just want the drama too much and force ourselves to find it. But don't let your blood lust for a good diss record cause you to miss this strong little record. The beat's pretty raw, with smacking drums and bells, with a simple, stuttering "mythological, mytholog-mytho-myth-mythological" vocal sample for a hook. But they don't really cut it up 'till the end of the song. All in all, it's better than a lot of the stuff that made it onto XL; I'm surprised they left it off.
The original "Big Shots" is a really tight narrative crime rap, that's equal parts "Road To the Riches," "A Children's Story" and the final verse of "The Message." Right from the jump, "Once upon a time there was a big diesel kid who just got sprung from a ten-year bid. Ten years is a long time; he left as a pup, but came out as an adult, about to act up." There's just some great writing in here like, "you dissed him and you just got smoked, then he'd take your spot and leave your family broke. Even 5-O was petro and wouldn't even act up; to give him a ticket, they'd have to call in for back-up." And it's the details that really put it over similar crime stories: "never again would homeboy go thirsty 'cause he bought a mansion in Paterson, New Jersey: the house that was owned by Lou Costello. At the age of 25, life was so mellow; a father of four, each had different mothers. That's to my knowledge, might've had others." It's a predictable but effective rise and fall tale all set to a classically atmospheric "Nautilus" loop produced by King Shameek, who cuts up a tried and true "Gangster Boogie" vocal sample for the understated hook.
Yeah, the one weak spot of the song is that, lyrically and sample-wise, we've heard it all many times before. It's so pure, though, you wouldn't want to replace it with a remix. But revitalize it with a whole new energy that turns it into a hyper companion piece? Yeah, that could work, and a pre-Hot 97 Funkmaster Flex did just that. I can't even pull out all the samples that're thrown into this pot (though I do recognize a little Trouble Man). King Sun adds some new adlibs ("yo Flex, we're livin' extra large"), but the story's all the same. However, this is a much higher energy and denser track, and of course Flex is cutting up on the hook; it feels like an entirely different story. If you want the best telling of these lyrics, the original version does still suit it better. But this mix is hot enough that you'll need it in your crates, too.
And other than that, the albums and the two isolated 12"s ("Sippin' Brandy" and "New York Love") are all you need. There is some later-era 12" with exclusive remixes of his "Pimp" song with Ice-T, but I definitely wouldn't file that under "essential." Of course, you still might want his other 12"s for their instrumentals or just as collector's items for hot songs. But these are the two, and surprisingly, they don't seem to get much shine.
