E 1999 Eternal [PA]

Performer: Bone Thugs-N-Harmony
Engineer: Aaron Connor
Producer: DJ U-Neek
Distributor: RED Distribution

Notes: Bone Thugs-N-Harmony: Krayzie Bone, Layzie Bone, Bizzy Bone, Flesh'n'Bones, Wish Bone. Recorded at Trax Recording Studio, Hollywood, California. "Crossroad"--re-titled "Tha Crossroads" when it was released as a single--won a 1997 Grammy Award for Best Rap Performance By A Duo Or Group. E. 1999 ETERNAL was nominated for a 1996 Grammy Award for Best Rap Album. "1st Of Tha Month" was nominated for a 1996 Grammy for Best Rap Performance By A Duo Or Group. Bone Thugs-N-Harmony: Krayzie Bone, Layzie Bone, Bizzy Bone, Flesh'n'Bones, Wish Bone. Recorded at Trax Recording Studio, Hollywood, California. "Crossroad"--re-titled "Tha Crossroads" when it was released as a single--won a 1997 Grammy Award for Best Rap Performance By A Duo Or Group. E. 1999 ETERNAL was nominated for a 1996 Grammy Award for Best Rap Album. "1st Of Tha Month" was nominated for a 1996 Grammy for Best Rap Performance By A Duo Or Group. Perhaps Bone Thugs-N-Harmony have created a new genre of music and should no longer be considered "rap." No, they're not singing over a rap beat, or rapping over an R&B tune or sampled loop; so what exactly are they doing? What Bone Thugs-N-Harmony are doing is fascinating the industry with an idiosyncratic vocal style--call it harmony hip-hop. E. 1999 ETERNAL, Bone Thugs-N-Harmony's first full-length release, further displays the trio's Cleveland-born music, and continues to concentrate on their thuggish-ruggish lifestyle. While Bone touch on the same themes as the bulk of gangsta rappers, they transform their world into a horror-filled fantasy. Thus, "Crossroad" deals not only with the reality of death, but with the inevitability of meeting the "missed ones" on the other side; and "Down '71 (The Getaway)" tells a tale of the group's escape from an execution. Not only are Bone Thugs-N-Harmony vocally unique (the a capella "Me Killa" is the rap equivalent of doo-wop), but the beats represent both the East and West coast rap schools. On E. 1999 ETERNAL, D.J. U-Neek controls the boards, and helps Bone establish a Midwestern brand of hip-hop. Perhaps Bone Thugs-N-Harmony have created a new genre of music and should no longer be considered "rap." No, they're not singing over a rap beat, or rapping over an R&B tune or sampled loop; so what exactly are they doing? What Bone Thugs-N-Harmony are doing is fascinating the industry with an idiosyncratic vocal style--call it harmony hip-hop. E. 1999 ETERNAL, Bone Thugs-N-Harmony's first full-length release, further displays the trio's Cleveland-born music, and continues to concentrate on their thuggish-ruggish lifestyle. While Bone touch on the same themes as the bulk of gangsta rappers, they transform their world into a horror-filled fantasy. Thus, "Crossroad" deals not only with the reality of death, but with the inevitability of meeting the "missed ones" on the other side; and "Down '71 (The Getaway)" tells a tale of the group's escape from an execution. Not only are Bone Thugs-N-Harmony vocally unique (the a capella "Me Killa" is the rap equivalent of doo-wop), but the beats represent both the East and West coast rap schools. On E. 1999 ETERNAL, D.J. U-Neek controls the boards, and helps Bone establish a Midwestern brand of hip-hop.

Q (3/00, pp.116-7) - 5 stars out of 5 - "...nobody...could do what they do....rapping at breakneck pace either against or with each other, underpinned by Armageddon-fixated spirituality....just doo-wop interplay, jazz-style scatting and staggeringly tight harmonies. Truly extraordinary." Q (3/00, pp.116-7) - 5 stars out of 5 - "...nobody...could do what they do....rapping at breakneck pace either against or with each other, underpinned by Armageddon-fixated spirituality....just doo-wop interplay, jazz-style scatting and staggeringly tight harmonies. Truly extraordinary." Vibe (9/95, p.188) - "...bridging decidedly West Coast, bumping beats and harmonizing choruses with complicated Eastern-style flows, the quintet illuminate[s] the possibilities of mid-western hip hop--married to neither coast but obviously inspired by both..." Vibe (9/95, p.188) - "...bridging decidedly West Coast, bumping beats and harmonizing choruses with complicated Eastern-style flows, the quintet illuminate[s] the possibilities of mid-western hip hop--married to neither coast but obviously inspired by both..." The Source (9/95, p.98) - 3.5 Mics (out of 5) - "...Bone offer so much complexity and cleverness that you rarely catch...due to the flow and style...along with Prince (circa 1979) type melody...is just a sample of what to check for..." The Source (9/95, p.98) - 3.5 Mics (out of 5) - "...Bone offer so much complexity and cleverness that you rarely catch...due to the flow and style...along with Prince (circa 1979) type melody...is just a sample of what to check for..." NME (Magazine) (8/19/95, p.50) - 7 (out of 10) - "...their ability to ring some supernatural changes on the silky Warren G/Montell Jordan formula...has produced a darker, more deadly cocktail..." NME (Magazine) (8/19/95, p.50) - 7 (out of 10) - "...their ability to ring some supernatural changes on the silky Warren G/Montell Jordan formula...has produced a darker, more deadly cocktail..."

Proteges of the late Erick "Eazy-E" Wright, Bone Thugs-N-Harmony quickly found a mass audience for their unique style, a predecessor of the South's screwed up movement. With a combination of syrupy R&B harmonies with gang-banger imagery and double-time, tongue-twisting rhymes reminiscent of the East Coast raggamuffin style, the five Bones (each of whom would have solo careers) earned their place in the hip-hop pantheon. "Tha Crossroads," a rare and elegiac ballad on death and the hood, became one of the biggest pop hits of the 1990s.

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