A rough-toned Yonkers MC who debuted with hometown friends the LOX on a DJ Clue mix-tape, DMX hit the big time in early 1998 when his single "Get at Me Dog" became a club and radio smash. The rapper had first appeared seven years earlier however, in an "Unsigned Hype" column by The Source back in 1991. He was signed to Columbia a few years later, but the deal fell through before recording had even begun. DMX guested on tracks by LL Cool J, Mase and Mic Geronimo (among others), then signed to Def Jam in 1997. His debut album It's Dark and Hell Is Hot debuted at number one in May 1998, and eventually sold platinum four times over. A startling debut, It's Dark and Hell Is Hot catapulted DMX to instantaneous icon status. Before even listening to the album, DMX's persona pervades via the album title and the cover art. And as one song succeeds another, it quickly becomes evident that DMX's most impressive talent isn't so much his lyrics, or his flow, or his songwriting, or his producers; these are all impressive, no doubt, but it is his dramatic stance as the ideological zenith of urban manhood that makes his music so potent. It's no coincidence that DMX stands tattooed and shirtless on his album cover with a grim expression and high-held face--it's all part of his well-crafted persona. On "Intro," he introduces himself via an extended monologue that seems more of an imposing threat than an introduction. Next comes "Ruff Ryders' Anthem," a simple yet powerful summation of his ethic, followed by one song after another that similarly explores DMX's diametric world of dogs and bitches, heaven and hell, respect and pity, power and weakness, and so on. Not only is this persona crafted with perfection, but it's also accompanied by a myriad of talents: DMX's rousing lyrics, aggressive flow, sincere delivery, and producers Swizz Beatz and Dame Grease's inventive beats are all dazzling. - All Music Guide, '02. X's '98 press Kit is HERE.
Rest In Peace, Dark Max X...
