The Impact and Legacy of Kool G Rap & DJ Polo’s Live and Let Die

G Rap is a master at commanding attention, whether he is robbing a train, ranting about his sexual frustrations, discussing his insanity, or ruling the streets.

Live and Let Die, the 1992 album by Kool G Rap and DJ Polo, was one of the bleakest of its genre. To make a name for themselves, rappers Nathaniel ‘Kool G Rap’ Wilson and Thomas ‘DJ Polo’ Pough produced uncompromising music depicting ghetto existence. Their third album came out 30 years ago and is the finest collection of nihilistic lyrics ever recorded. It had the same vibe as Ready to Die but without any of the radio friendliness.

Upon the release of Live and Let Die, Kool G Rap and DJ Polo quickly became household names. Road to the Riches and Wanted: Dead or Alive established Kool G Rap as a hip-hop industry lyricist. He gained popularity due to his eloquent delivery and unusual characteristics, including his heavy lisp and incisive lyrics. The songs Road to the Riches, Men at Work, Poison, and Streets of New York are all excellent examples of hip-hop music. One of the most significant rap passages of all time may be found in his contribution to Marley Marl's posse song, The Symphony. Hip-hop greats such as Nas, Big Pun, and The Notorious B.I.G. have all cited him as an inspiration.

Kool G Rap was an early innovator of what has become known as "Mafioso rap," or rap music written from the point of view of fictional mobster characters similar to those in The Godfather or Goodfellas. It's reasonable that rappers who rap about engaging in criminal acts would draw inspiration from more "glamorous" depictions seen in existing pop culture. Although there are some Mafioso-themed rap songs in Live and Let Die, the film is also heavily inspired by the more traditional gangsta rap that was popular in states like California and Texas. The album's production style reflects this influence. By looking outside his regular circle, Kool G Rap went in a new direction for production help on Live and Let Die. Marley Marl was responsible for all aspects of production on Road to the Riches and had previously collaborated with Big Pun and Biz Markie on Wanted: Dead or Alive. He took a different approach for Live and Let Die and enlisted Los Angeles beatmaker Sir Jinx to create the album's overall sound.

Before he worked with G Rap, Sir Jinx was well-known for his collaborations with Ice Cube and his crew. Jinx had created Cube, and the two of them had released songs as part of the group C.I.A. in the middle of the '80s. He became well-known for his work as a producer on Cube's solo albums, notably the earlier ones like AmeriKKKa's Most Wanted, Kill At Will EP, and Death Certificate. In addition to working with Yo-Yo, he produced most of 1991's Ain't a Damn Thing Changed, the first LP by WC and the M.A.A.D. Circle. The sound of AmeriKKKa's Most Wanted, where Sir Jinx collaborated with the Bomb Squad, is present in his producing work. The noise is so thick that it frequently sounds like a wall of noise. The ambiance is perfect for the album's theme. G-Rap was well-known for its complex warfare rhymes and grim depictions of urban degradation. There are songs with a cinematic quality, songs that make you think, and songs that are almost cartoonishly violent. Like the previous albums by Kool G Rap and DJ Polo, Live and Let Die is primarily a narrative of criminality and criminal activity, with some lighter moments and lyrical wizardry from G Rap.

The album's release date had to be pushed back many times, and it nearly didn't come out because of its focus on criminal themes. Two different occurrences almost postponed the release of Live and Let Die, which had been scheduled for late 1991. The now-famous Gilbert O'Sullivan sample lawsuit, filed against fellow Juice Crew member Biz Markie and Cold Chillin' Records, threw everything off and altered how samples were used in hip-hop for good. As a result, getting the necessary sample approval took close to a year. Both the cover art, depicting two federal narcotics agents strung up and only seconds away from being set upon by a pair of ravenous Rottweilers, and the film's content were judged too violent and explicit for Time Warner to publish Live and Let Die. Time Warner did not want its albums to be political talking points, and Live and Let Die is no exception.

The presence of DJ Polo would have been an excellent addition to Live and Let Die. What exactly Polo brought to the table is a mystery that has yet to be solved. He is credited with producing their first two albums, but it needs to be clarified if he scratched any records. He seems to be superfluous in Live and Let Die. Though he contributed a few adlibs to the beginnings of tracks, G Rap barely mentions him in the credits. As a result, their breakup following this album was not unexpected.

Despite the absence of major label promotion for Live and Let Die after Time Warner's split, G Rap has continued to get praise for the album. DJ Polo would eventually fade into obscurity, while G Rap would have a successful solo career. In 1995, Cold Chillin' released their last album, the excellent 4,5,6. In the decades after, he released a slew of albums, alone and in collaboration with other producers and MCs. The album Live and Let Die by G Rap is probably not his most remarkable, yet it has been sampled more than any other by a wide margin. Artists, especially in New York City's underground rap scene, utilized it as a model throughout the '90s. Many attempted to imitate G Rap, but none could match his lyrical depth and narrative skills. While the record was unjustly treated poorly due to election-year politics, its impact may still be felt today.