Music
Much of the acclaim the album received was due to the performance of lead MC Buckshot, who originally went by the name Buckshot Shorty. Ten of the fourteen tracks on the album are Buckshot solo tracks, and he appears on every song but "Son Get Wrec". Buck, who was eighteen at the time of the recording, was a young man trying to establish himself and his crew in the hip hop world. In a 2005 interview with MVRemix.com, Buckshot described a day in his life while recording his debut:
Enta da Stage was really rough for me. It was a really rough era. A lot of people don't know what I went through personally. I think I had just turned eighteen and I had the pressure of running a management company as an eighteen year old shorter than 5'6. I had that problem of people taking my company and my representation seriously. So a day in the life around the Enta da Stage era was based on constant struggle and lettin' people know you respect Duck Down management as a real management company and not just as some little cute thing that Buckshot is doing. Nah, for real, we're management type deal. I was battling keeping Smif-n-Wessun in a good deal, I was battling trying to get Heltah Skeltah a good deal. I was battling trying to bring my record company into existence, so it was a really hard time.Read more about this topic: Enta Da Stage
Famous quotes containing the word music:
“... the majority of colored men do not yet think it worth while that women aspire to higher education.... The three R’s, a little music and a good deal of dancing, a first rate dress-maker and a bottle of magnolia balm, are quite enough generally to render charming any woman possessed of tact and the capacity for worshipping masculinity.”
—Anna Julia Cooper (1859–1964)
“In benevolent natures the impulse to pity is so sudden, that like instruments of music which obey the touch ... you would think the will was scarce concerned, and that the mind was altogether passive in the sympathy which her own goodness has excited. The truth is,—the soul is [so] ... wholly engrossed by the object of pity, that she does not ... take leisure to examine the principles upon which she acts.”
—Laurence Sterne (1713–1768)
“The further jazz moves away from the stark blue continuum and the collective realities of Afro-American and American life, the more it moves into academic concert-hall lifelessness, which can be replicated by any middle class showing off its music lessons.”
—Imamu Amiri Baraka (b. 1934)