Retrospective Review: Enta da Stage by Black Moon
Before it was Enter the Wu-Tang (36 Chambers), Illmatic, or Ready to Die, there’s Enta da Stage.
In the vibrant hip-hop landscape during the late ‘80s and ‘90s, a handful of albums have achieved an enduring legacy marked by impeccable tracklists and consequential cultural shifts. Enta da Stage, the debut album from Black Moon, is a notable example of such work. The initial lines of their second single, “How Many MC’s…,” reflect Buckshot’s unique stylistic approach that fueled competition within the rap genre.
I'm takin' ya back; come follow me
On a journey to see a for-real MC
Rewind to 1992, when the hip-hop world was experiencing a transformative phase. New artists emerged, disputing the reign of established giants. Dr. Dre’s The Chronic rose to challenge Ice Cube’s commanding presence following his N.W.A. tenure, signaling a fresh epoch for West Coast rappers. Dre’s mentee, Snoop Doggy Dogg, distinguished himself with seamless vocals harmonizing with Dre’s production, inspired by Funkadelic tunes.
Meanwhile, the East Coast was not devoid of luminaries—Nas earned accolades as the potential successor to Rakim. DJ Premier from Gang Starr, Erick Sermon of EPMD, and Pete Rock revolutionized the genre’s sound through the boom-bap style. Defined by its rugged soul samples and bass-dominant beats, this new approach offered a raw, unfiltered canvas for artists to paint their street narratives.
At this transformative moment, Brooklyn-based Black Moon grabbed the spotlight with their 1992 surprise hit “Who Got da Props?” With support from DJ Chuck Chillout of Video Music Box, Buckshot effectively captured the untamed energy of New York City’s most infamous borough. Evil Dee, another integral part of the group, showcased his deep-rooted appreciation and understanding of hip-hop through his creative choices. He borrowed elements from Ronnie Laws’ 1975 track “Tidal Wave,” deftly repurposing them to serve the group’s musical objectives.
By the close of 1993, the genre was still finding its footing. Tracks like “Slave,” a highlight of Enta da Stage, signaled what was to come in later influential projects, including works by Smif-N-Wessun’s Dah Shinin’, Mobb Deep’s The Infamous, and Big L’s Lifestylez ov da Poor & Dangerous. Buckshot’s compelling lyrics on Enta da Stage run the emotional gamut. They evoke the thrill akin to witnessing a late ‘80s Mike Tyson fight, yet also instill a discomfort comparable to the dread of being singled out for a late-night mugging.
Though this unusual blend may appear counterintuitive for commercial success, one who listens through the album’s 14 tracks reveals its indubitable influence on the genre during the ‘90s. Black Moon secured their distinct foothold in the competitive hip-hop community and left a lasting impression on the genre.
Enta da Stage served as a raw, unfiltered lens through which listeners could experience the neighborhoods of Brooklyn—Bushwick, Crown Heights, and Brownsville—each replete with their own anxieties and unique atmospheres. Powered by Buckshot’s evocative lyrics, 5ft’s unapologetically natural aura, and Beatminerz’s textured beats, the album became an experiential portal to Brooklyn’s lesser-known corners. Buckshot’s vivid storytelling, fortified by Beatminerz’s eclectic production and 5ft’s authentic portrayal of street life, invited audiences to witness this lesser-known Brooklyn.
Mr. Walt and Evil Dee of Beatminerz—two of the Bushwick-based trio—rose to prominence as architects of an unmistakable auditory experience unique to the East Coast. Not content to simply blend in, their approach set them apart: their knack for mining rare ‘70s funk grooves was augmented by dashes of West Indian soca and reggae, enriching the already multi-layered Brooklyn narrative laid out in the album.
Amidst the relentless portrayal of Brooklyn’s darker sides, tracks such as “Ack Like U Want It” offers a reprieve, harking back to the freeform cyphers that defined the early ‘90s. Meanwhile, “Son Get Wrec” doesn’t stand alone as the album’s only Buckshot-less track but amplifies 5ft (Accelerator)’s contribution to Black Moon’s oeuvre. His lyrics match the album’s intensity, bringing to light the struggles and reality of existing in early-‘90s Brooklyn.
The album’s sampling genius remains one of its less-celebrated aspects, a jewel in hip-hop production. Mr. Walt’s choice to incorporate elements from The Art Ensemble of Chicago’s “Odwalla” and Ten Wheel Drive’s “Come Live with Me,” as showcased in the track “I Got Cha Opin,” proves him an audacious curator of sound. This track alone would be instructive for any budding hip-hop producer.
Beyond the music, the album’s influence reached into vernacular and fashion. Slang from tracks like “Son Get Wrec” and “I Got Cha Opin” infiltrated rap enthusiasts’ global lingo. Concurrently, the album served as an unwitting influencer in hip-hop fashion, extending Timberland boots’ already burgeoning popularity and introducing the world to the First Down winter coat through Buckshot in the “I Got Cha Opin (Remix)” video.
When set against contemporaneous touchstones like Enter the Wu-Tang (36 Chambers), Ready to Die, and Illmatic, Enta da Stage holds its own as a defining work of its era. The album was an inaugural release for Duck Down Records and a catalyst that sustained the label’s longevity in an often ephemeral industry. Doing so set the stage for the Boot Camp Clik, another critical assembly that would significantly influence the genre’s trajectory.
Though the album may not receive the same universal acclaim as some of its peers, its cultural and musical imprint is undeniable. It didn’t merely reflect its environment; it shaped and influenced realms far removed from the Brooklyn neighborhoods it vividly depicted.