Fresh, and Big Daddy Kane. Iwas looking onwards to seeing these icons in the game rip the Hippodrome stage. Did they have? Unfortunately, I arrived around 9PM or so, approximately an hour or so after show commencement. When I made my way through the elegant hallway to the seating area, I could say that Lana Moorer, known to the musical world as MC Lyte, was onstage. Her long-time dj, K-Rock, was spinning some old school tunes such as "Before I Let Go" to get the crowd energized. The venue, at least from the lower level vantage point I had, was nearly 70% full, and they showed enthusiasm for the trip down memory lane with Lyte. For at least 5 to ten minutes, call and response was the technique employed by MC Lyte. I wanted to hear lyrics, lyrics, and more lyrics from her, but either I arrived too deep or she was enveloping the crowd within a nostalgic journey. Lyte teased the crew with her verse from "Self Destruction", letting the Baltimore contingent know that she was "funky fresh dressed to impress, ready to party". "Ruffneck", another staple in her lyrical arsenal, was performed. K-Rock kept the party vibe alive bycomplimenting her stern the wheels of steel. Truthfully, I was a little disappointed in Lyte's performance; I've seen her have a star performance at Pier Six Pavilion maybe two years ago at the most. I don't need to speculate, but I acknowledge that MC Lyte is a consummate performer, full of witty lyricism. She is subject of delivering a top-notch performance, and I didn't see that at the Hippodrome. Reggie Reg, who served as cohost for the show, announced a ten minute break for the hip hop hungry fans throughout the venue. DJ Titan handled the turntable spins during this brief break from the scheduled performances. A fitting tribute for Gang Starr emcee Guru included familiar joints such as "Hardly To Get A Rep", "Mass Appeal", and "Don't Get It Personal". More obscure cuts such as "The ? Remains" rounded out the protection to a meet and underrated emcee. It was cool vibing to this music, because Gang Starr is division of my hip hop DNA, which caused me to get Mass Appeal: The Better Of Gang Starr. After intermission, the wheels of steel were engaged by a green-eyed deejay, Grandmaster Dee. The somewhat subdued crowd in the Hippodrome warmed up oncethe drumsfrom the instrumental "The Champion Is Here" reverberated throughout the spacious building. Grandmaster Dee thenhit the Charm City crowd with some vintage music fromThe Isley Brothers, DeBarge, Rufus Featuring Chaka Khan, The Staples Singers, Rick James, The Commodores, and Parliament. Once "Hollywood Swinging'" from Kool & The Gang blasted from Dee's Technics 1200 turntableonstage, the seminal group Whodini emerged. Jalil and Ecstasy received a nice ovation once they hit the stage. Jalil had to move the sound crew at the Hippodrome to adjust the microphones and monitors. Once the phone was to his liking, Jalil was satisfied that the Whodini show could go on. Onstage with Whodini were two dancers: Wiz, a New York transplant now residing here in Baltimore, and Doctor Ice, who many may recall from another influential hip hop crew, UTFO. They showed much fluidity dancing, while fan favorites such as "5 Minutes Of Funk" and "Friends" were performed. Those songs brought back memories of my youth, when the medicine was innocent yet edgy. It was a hip hop family function when Dana Dane joined Whodini, as "Freaks Come Out At Night" pumped up the audience. A nice touch to the execution was Doctor Ice resurrecting his poetry from "Roxanne Roxanne"over the C-Murder track "Down For My N's". For whatever reason throughout their set, Jalil was often more alive and energetic, while Ecstasy, with his trademark Zorro-style hat, didn't quite have enthusiasm behind his lyrical delivery. Doctor Ice and Wiz continued to save the goods from a dancing standpoint, however. Their seemingly choreographed dance routines were the foreground of the Whodini performance. Whodini hit the crew with "I'm A Ho" before going the point to the New Edition tune "Is This The End". The operation was cool from a nostalgia sense, but was a little underwhelming from a performance standpoint. Maybe I'm a tad bit jadedbecause I can remember Whodini bringing the raw hip hop energy at the Civic Center for the Fresh Festival back in 1985, but I expected more. DJ Kenny K was on the wheels of steel with a protection to another fallen hip hop icon, Jam Master Jay. Songs from the deep Run-DMC catalog filled the venue, putting everyone in attendance inan old school state of mind. Reggie Reg then prompted DJ Kenny K to accept the push back to the years of Odell's, the society most intimately associated with Baltimore party life. Once the protection and memory lane trip was ended by DJ Kenny K, it was now time for "The World's Greatest Entertainer". Chill Will and Barry Bee, The Get Fresh Crew, warmed up the anticipating Hippodrome crowd before Doug E. Fresh made his way to the stage. A loud roarmet one of the most versatile hip hop artists as he was movement and center. "Keep Rising To The Top" was the low place of performance for "The World's Greatest Entertainer". Chill Will and Barry Bee then played memorable songs from bygone years, such as "ABC" by the Jackson 5 and "Before I Let Go" by Maze Featuring Frankie Beverly. Doug E. Fresh also linked in on the festivities by winning the crew down a nostalgic trip through 1970's television. "Sanford and Son" and "The Jeffersons" were but a few of the memorable show themes that put the Hippodrome crowd in a joyous mood. However, everyone in attendance was anticipating the most stylish and best storyteller hip hop has ever witnessed: Slick Rick. Once the horns from "The Show" blasted through the speakers, MC Ricky D emerged on the stage, looking dope and dapper as usual. He rocked a tan velour jogging jacket, platinum eyepatch, and an insanely ridiculous number of truck jewelry adorning his neck. Of course, no Doug E. Fresh and Slick Rick performanceiscomplete without the ultimate song, "La-Di-Da-Di". Doug E. Fresh brought the high energy beat box, while Slick Rick captivated the crew in attendance. Every word from this call was rhymed in unison by the hip hop audience, and it was a beautiful moment during the evening. "Children's Story" followed, as Slick Rick went through the hip hop favorite with ease. Doug E. Fresh gave the mostly mature hip hop audience something to smile about with an impromptu rhyme that I've never heard before over the new school song of the second and appropriately titled "Teach Me How To Dougie". The most touching part of the even was Doug E. Fresh bringing his mother onstage to dancing with him. This brought a thunderous cheer from the audience, as "Momma Fresh" boogied with her son. Doug E. Fresh then prompted The Get Fresh Crewto slow down the tempo with an Isley Brothers tune. I was definitely touched by this moment, but it signaled the end of the show. As the 80's-inspired hip hop crowd exited the venue,I could just sit back and reminisce about a bygone era that I am proud to have experienced firsthand.Truthfully, I was defeated that I didn't see Big Daddy Kane, Special Ed, or Dana Dane perform. Also, the performances were somewhat lackluster in nature. One thing I always statein my description about so-called "old school hip hop" is that a record is apt to the crowd.There were moments of showmanship during this evening at the Hippodrome, but I noticed the artists leaning too hard on other artists music instead of their own catalog, which to me was a mistake. I wanted to see each and every performer givethe fans their all,but I didn't get that sense. Even though Iam making this observation, the fact remains that IwillALWAYS have a particular point in my head and center for all of the artists on the bill, and I look ahead to seeing them, along with innumerable other hip hop artists from that"Golden Era", perform again here in Baltimore. All in all, it was a near night, especially at the afterparty, where MC Lyte and Dana Dane made appearances,but it could have been better. A special shout-out goes to Headline Beauty Salon and DTLR for sponsoring this event, and I desire that Baltimore will proceed to be a position where true hip hop can be enjoyed.
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