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Hit Squad

The Hit Squad was an influential East Coast hip hop collective formed in the early 1990s by the rap duo EPMD, consisting of Erick Sermon and Parrish Smith, who mentored and managed emerging artists to expand their funk-driven sound and business-oriented approach to the genre.^[1]^[2] Key members included rappers Redman, Das EFX, and K-Solo, along with DJs such as DJ Scratch, DJ Dice, and DJ Twinz, creating a roster known for raw, hardcore East Coast styles that contributed to the golden age of hip-hop.^[1]^[2]^[3] The group gained prominence through collaborations on EPMD's 1992 album Business Never Personal, where Hit Squad artists appeared on multiple tracks, helping the project achieve commercial success and solidify EPMD's role as hip-hop innovators and tastemakers.^[2]^[3] Although the collective disbanded following EPMD's split in 1993 amid internal conflicts, its members went on to notable solo careers, with Redman and Das EFX becoming platinum-selling acts, underscoring Hit Squad's lasting impact on 1990s hip-hop mentorship and crew dynamics.^[2]^[4]

Formation and Members

Origins with EPMD

EPMD, an influential hip-hop duo, was formed in 1987 by Erick Sermon and Parrish Smith (also known as PMD) in Brentwood, Long Island, New York. The pair, whose name stands for "Erick and Parrish Making Dollars," quickly gained attention for their laid-back flow and innovative approach to sampling funk and soul records. Their debut album, Strictly Business, released in 1988 on Sleeping Bag Records, showcased a production style defined by thick, bass-heavy beats and looped samples from classic tracks, such as the iconic interpolation of Eric B. & Rakim's "Eric B. Is President" on the title track. This sound helped establish EPMD as pioneers of East Coast rap, blending streetwise lyrics with a relaxed, party-oriented vibe.^[5]^[6] The duo's sophomore effort, Unfinished Business, arrived in 1989 and continued their momentum while introducing collaborative elements that hinted at a broader network. Key among these was the guest appearance by K-Solo on the track "Knick Knack Patty Wack," where his energetic verse complemented EPMD's production, signaling the emergence of the Hit Squad concept as an informal extended family of affiliated artists. This track, built around samples like Joe Cocker's "Woman to Woman," exemplified how EPMD began integrating outside talent to expand their creative circle without diluting their core sound. The album's success, peaking at number 53 on the Billboard 200, solidified EPMD's role in nurturing emerging rappers from the [Long Island](/page/Long Island) scene.^[5]^[7]^[8] By 1990 and into 1991, EPMD transitioned from a straightforward duo to a burgeoning collective, formalizing ties through their label affiliation with Fresh Records, a subsidiary of Sleeping Bag. This period saw them sign promising artists like Redman, whose debut features on EPMD's Business as Usual (1990) helped cement the Hit Squad's identity as a crew of interconnected talents. These moves reflected EPMD's business acumen, turning personal associations into a structured affiliate system that amplified their influence in the competitive East Coast rap landscape.^[5]^[9]

Core Members and Roles

The Hit Squad was founded and led by the core duo of Erick Sermon and PMD (Parrish Smith), who served as the primary architects of the collective's sound and operations. Erick Sermon, a skilled producer and rapper, handled much of the group's sample-heavy, funk-infused production, drawing from diverse sources to create laid-back yet hard-hitting beats that defined the East Coast aesthetic.^[5] PMD, focused on rapping and business management, contributed sharp, streetwise lyrics while overseeing artist signings and label dealings through their affiliation with Def Jam Recordings.^[2] Reggie Noble, better known as Redman, was signed to the Hit Squad in 1990 after impressing Erick Sermon with a freestyle performance at an EPMD concert in New York. Hailing from Newark, New Jersey, Redman brought an energetic, humorous flow infused with funk elements and vivid storytelling, adding a playful yet aggressive dynamic to the group's roster; his first major appearance came on EPMD's album Business as Usual that same year.^[10] K-Solo, born Kevin Madison in Brentwood, New York, joined as an early affiliate, debuting on EPMD's 1989 track from Unfinished Business. Renowned for his sword-swallowing performances alongside his rapping, K-Solo contributed a gritty battle-rap style characterized by intricate wordplay and aggressive delivery, enhancing the collective's competitive edge in the early 1990s hip-hop scene.^[11]^[12] Das EFX, consisting of Andre "Krazy Drayz" Weston from Brooklyn and Willie "Skoob" Drayton from Teaneck, New Jersey, were signed in 1991 after placing in a talent contest judged by EPMD. The duo introduced their signature "iggity" rhyme scheme—a rapid, stuttering patois-inspired cadence that became a hallmark of innovative East Coast lyricism—infusing the Hit Squad with fresh, playful energy through EPMD's industry connections.^[13]^[14] Among the affiliates, the Knucklehedz duo—Thomas "Tom J" Jimenez and Steve "Steve Austin" Leonard from Brentwood, Long Island—aligned with the Hit Squad around 1990, providing raw, local flavor; their involvement was cut short by the collective's internal shifts. Similarly, Freddie Foxxx, a hard-edged rapper from New York, maintained loose ties as an occasional collaborator, contributing intense, no-holds-barred verses that aligned with the group's hardcore leanings during the early 1990s. DJ affiliates such as DJ Scratch, DJ Dice, and DJ Twinz provided scratching and production support, enhancing the collective's live performances and tracks.^[5]^[15]

Musical Career

Early Collaborations on EPMD Albums

The Hit Squad began to take shape through guest appearances on EPMD's albums in the late 1980s and early 1990s, serving as an informal platform for emerging affiliates to showcase their talents alongside the duo's production. On EPMD's second album, Unfinished Business (1989), K-Solo delivered a standout verse on "Knick Knack Patty Wack," where his aggressive, punchline-driven delivery complemented EPMD's gritty funk-sampling beat built around a Joe Cocker interpolation.^[8]^[16] This track marked K-Solo's introduction to EPMD's circle, helping to establish the raw, streetwise energy that would define the collective. The album achieved commercial success, earning gold certification from the RIAA for sales exceeding 500,000 units.^[17] EPMD's third album, Business as Usual (1990), expanded these collaborations by featuring Redman on two key tracks: the high-energy "Hardcore," where his rapid-fire, alliterative rhymes amplified the duo's booming basslines, and "Brothers On My Jock," which layered his contributions over a Bob James sample for a seamless crew showcase.^[18]^[16] The album also introduced the Hit Squad concept explicitly in the song "Hit Squad Heist," with lyrics name-checking K-Solo and Redman as core members, signaling the group's growing cohesion without a dedicated release. Like its predecessor, Business as Usual sold over 500,000 copies, further validating EPMD's role in nurturing affiliated artists.^[19] By 1991, the Hit Squad's roster expanded when Das EFX impressed EPMD at a talent contest with their innovative, iggedy-infused demo performance, leading directly to their signing and integration into the collective.^[14] These early features emphasized EPMD's signature production—hard-hitting drums fused with obscure funk loops—paired with the affiliates' unpolished, narrative-driven bars that captured East Coast street life, laying the groundwork for the crew's unified sound.^[18]

1992 Peak and Group Projects

In 1992, the Hit Squad formalized its presence as a cohesive East Coast hip-hop collective through high-profile live performances and tours, marking their public debut as a unified group featuring core members EPMD, Redman, Das EFX, and K-Solo. The Hit Squad US Tour that year showcased cyphers and collaborative sets across the country, with members performing together at venues like Club Muse in New York City's Meatpacking District during events such as Lyricist Lounge. This tour, supported by Shuma Management, highlighted the group's dynamic interplay, including DJ Scratch's live scratching alongside freestyles from Redman and Das EFX, solidifying their reputation for energetic, squad-based shows.^[20]^[21]^[22] A key group project during this peak was the recording sessions for potential collaborative material, though label challenges ultimately shelved broader releases; discussions around a full Hit Squad album surfaced amid EPMD's Business Never Personal, which included squad tracks like "Head Banger" featuring Redman and K-Solo's verses over funk-driven beats. These sessions captured the collective's freestyle energy, with "Hit Squad Cypher"-style segments emphasizing group chemistry, but internal and label issues prevented a standalone compilation. Instead, the focus shifted to individual debuts tied to the squad, amplifying their shared momentum.^[23]^[24] Media coverage in 1992 amplified the Hit Squad's buzz, positioning them as a dominant force in East Coast hip-hop alongside emerging collectives like Wu-Tang Clan. Features in The Source magazine, including Issue #36's September cover story on EPMD and a "Hip-Hop Quotable" spotlight on Redman, praised the squad's raw lyricism and production prowess. MTV News profiled the group at their Long Island headquarters, noting how singles from Hit Squad affiliates topped the Billboard rap charts and underscoring their rise as a "growing force" in rap. BET's Rap City appearance that year included interviews with Das EFX, EPMD, and Redman, plus live DJ Scratch footage, further cementing their media footprint.^[25]^[26]^[27]^[28] Prominent singles from Hit Squad members underscored their 1992 commercial peak, with Das EFX's "They Want EFX"—produced by EPMD—debuting as the lead from Dead Serious and reaching #1 on the Billboard Hot Rap Songs chart while peaking at #25 on the Hot 100. Redman's "Tonight's da Night," the third single from his debut Whut? Thee Album, arrived in September 1992 with a jazzy Erick Sermon beat, marking his breakout and contributing to the squad's chart dominance. These releases, backed by the collective's joint promotion, exemplified the Hit Squad's influence on mid-1990s East Coast sound.^[29]^[30]^[31]

Dissolution and Transition

EPMD Breakup Impact

The breakup of EPMD, announced via press release on January 26, 1993, came shortly after the commercial success of their fourth album Business Never Personal, which achieved gold certification. The duo of Erick Sermon and Parrish Smith cited personal differences as the primary reason for the split, though underlying tensions had been building during the album's recording. These included creative disagreements over production and direction, as well as financial disputes stemming from mismanagement and unequal contributions to the group's ventures. The acrimony escalated to violence, including a home invasion at Parrish Smith's residence in early 1992, which Smith attributed to internal conflicts possibly involving Sermon's associates, further straining their partnership.^[32]^[33]^[4] The dissolution profoundly disrupted the Hit Squad collective, canceling ongoing projects and leaving members without centralized leadership or promotional support from EPMD. A planned Hit Squad compilation or expanded release tentatively titled Zero Tolerance, intended to feature the full roster, was shelved amid the chaos, preventing a unified follow-up to the group's 1992 momentum. Prominent affiliates like Redman and Das EFX found themselves navigating the fallout without group direction, with many forced to align with either Sermon or Smith, fracturing the collaborative network that had defined their rise. This lack of cohesion halted joint tours and appearances, stalling the collective's trajectory just as it peaked in visibility.^[34]^[4] Individual members faced immediate career setbacks tied to the instability. K-Solo, a core Hit Squad rapper, released his second solo album Long Live the Struggle in 1994, but its development and rollout occurred amid the post-breakup disarray, limiting promotional synergy with the collective. Similarly, the duo Knucklehedz completed their debut album Strictly Savage in 1993 for East West Records, but it was initially shelved due to the loss of EPMD's endorsement and managerial oversight, delaying its commercial viability for years.^[35]^[36] EPMD's ongoing contract with Def Jam Recordings added to the complications, as the label navigated the duo's separation into solo pursuits while the Hit Squad's shared resources scattered. Sermon remained with Def Jam for his debut No Pressure later in 1993, but Smith's transition involved renegotiations that disrupted group-affiliated deals, contributing to the collective's dispersal and individual members seeking new alliances. These label entanglements, combined with the violent fallout, effectively ended the Hit Squad's structured era in the short term.^[37]

Formation of Def Squad

Following the 1993 breakup of EPMD, which served as a catalyst for reorganization within their extended Hit Squad collective, Erick Sermon assembled a new group centered on himself, Redman, and newcomer Keith Murray as an affiliate.^[4]^[38] This formation of Def Squad occurred in 1993 in New York, marking a deliberate shift under Sermon's leadership as the primary producer and creative force.^[38]^[39] The transition began with key solo singles that highlighted the emerging synergy among the members. Redman's "Can't Wait," released in 1994 from his album Dare Iz a Darkside, was produced by Sermon and showcased their collaborative chemistry through layered beats and energetic flows.^[40] Similarly, Keith Murray's debut single "The Most Beautifullest Thing in This World" from his 1994 album of the same name was helmed by Sermon, emphasizing intricate lyricism and funky production that foreshadowed the group's sound.^[41] Def Squad's first major group output arrived with their 1998 debut album El Niño, which debuted at number two on the Billboard 200 and topped the Top R&B/Hip-Hop Albums chart, earning gold certification.^[42] The project featured polished, Sermon-produced tracks like the group's remake of Sugarhill Gang's "Rapper's Delight," reimagined as "Def Squad Delite," blending nostalgic sampling with modern East Coast flair. Unlike the larger, raw-edged Hit Squad—which included PMD and K-Solo—Def Squad operated as a tighter, Sermon-centric unit, prioritizing refined production and focused collaborations over expansive crew dynamics.^[4]^[43]

Legacy and Reunions

Influence on East Coast Hip-Hop

The Hit Squad, formed by EPMD's Erick Sermon and Parrish Smith, played a pivotal role in shaping the 1990s East Coast rap landscape through their emphasis on collaborative energy and innovative production techniques. By integrating a roster of emerging talents such as Redman, Das EFX, and K-Solo, the collective exemplified a mentorship model that launched solo careers while fostering a gritty, interconnected sound rooted in Long Island's hip-hop scene. This approach not only amplified individual artists but also set a template for crew-based dynamics that prioritized raw lyricism and group synergy over solo stardom.^[44] Musically, the Hit Squad pioneered the heavy use of funk-sampled beats, drawing from sources like Zapp and James Brown to create dense, bass-heavy tracks that bridged the golden age's party vibes with the emerging boom bap era. Albums like EPMD's Business Never Personal (1992) showcased this style, with posse cuts such as "Headbanger" featuring Redman and K-Solo highlighting the format's potential for competitive, multi-artist showcases that influenced later ensembles. Additionally, Das EFX's signature "iggity" cadence—characterized by rapid-fire, stutter-infused rhymes—debuted under the Hit Squad umbrella on their 1992 album Dead Serious, rapidly becoming a widely adopted flow that impacted early '90s delivery styles and even drew imitators like Fu-Schnickens. This innovation extended the collective's reach, inspiring grittier crew models akin to Ruff Ryders and The Lox, where layered verses and energetic interplay defined East Coast posse tracks.^[45]^[44]^[46] Regionally, the Hit Squad embodied Long Island's hardcore rap identity, representing Brentwood's "Strong Island" ethos with unpolished, street-level narratives that contrasted smoother New York sounds while transitioning from golden age accessibility to the introspective boom bap of the mid-1990s. Their mentorship extended to affiliates like Redman and Das EFX, providing a platform that elevated Long Island artists into mainstream contention and influenced subsequent acts from the area. In retrospectives, the collective's output has been hailed for its enduring catalog, with key releases like Business Never Personal (1992) cited as cornerstones of East Coast rap's evolution toward more ensemble-driven projects. The Hit Squad's raw intensity thus inspired broader hip-hop collectives, offering a tougher alternative to the Afrocentric positivity of Native Tongues while emphasizing business-savvy collaboration.^[44]^[47]

Later Developments and Attempts

Following the dissolution of the Hit Squad in the early 1990s, members pursued successful solo trajectories that built on their group foundation. Redman released his sophomore album Muddy Waters in December 1996, which debuted and peaked at number 12 on the Billboard 200 chart and number 1 on the Top R&B/Hip-Hop Albums chart.^[48] Das EFX continued their momentum with follow-up albums including Straight Up Sewaside (1993), Hold It Down (1995), Generation EFX (1998), and How We Do (2003).^[49] PMD issued his second solo effort Bu $ine$$ I$ Bu$ine$$ in 1996 via RCA Records, featuring production from DJ Scratch and guest appearances from fellow East Coast rappers. K-Solo shifted to independent releases in the 2000s, including underground projects distributed through smaller labels. EPMD's reunions in the late 1990s and 2000s occasionally incorporated Hit Squad elements but did not fully revive the collective. The duo's 1997 comeback album Back in Business, released September 16 via Def Jam, featured Das EFX on the track "Intrigued" and maintained a collaborative energy reminiscent of earlier Hit Squad affiliations.^[50] In 2008, EPMD fully reunited for extensive touring, including high-profile sets at Rock the Bells festivals where they shared stages with former Hit Squad associates like Redman and Keith Murray, though no new Hit Squad-specific project materialized.^[51] In 2004, PMD released the Hit Squad compilation Zero Tolerance using previously unreleased verses by original members combined with new material. Efforts to resurrect the Hit Squad as a group in the 2000s and 2010s largely remained informal or unrealized. Fan-driven campaigns gained traction in the 2010s, culminating in one-off performances such as the Hit Squad reunion set at Rock the Bells in 2012, where core members including Das EFX and DJ Scratch reunited onstage to perform classic material.^[52] As of 2025, the Hit Squad has seen no formal revival, with members focusing on sporadic collaborations rather than group endeavors. Redman and Erick Sermon joined Keith Murray for a Def Squad performance at the 2023 BET Awards, delivering '90s-era tracks like "Def Squad" during Hip-Hop's 50th anniversary tribute.^[53] Def Squad's most recent notable activity was this 2023 appearance, following a period of relative dormancy in the 2010s.

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