Rapper Sticky Fingaz was the frontman of hardcore rap goup ONYX and is best known for his husky voice and brash rapping style that dragged the hip-hop sound into the mosh pit. The Brooklyn-born Kirk Jones spent much of his early life as a member of a notorious New York street gang. Jones began performing with his cousin Fredro Starr, and the pair was soon discovered by hip-hop legend Jam Master Jay. Soon after, they formed ONYX. In 1993, ONYX released their first album, Bacdafucup, which became a crossover hit thanks in large part to Sticky Fingaz' gritty style and raspy voice. The group produced two more records before Fingaz left the group to pursue solo projects. Jones also pursued a side career as a film actor. His first solo album, Black Trash: The Autobiography of Kirk Jones, which was released in 2000, is a conceptual album that is cinematic in scope that tells the story of Kirk Jones, a down-on-his-luck ex-con who finds himself wrapped up in the street life. The record stands as an impressive debut that blends Sticky Fingaz' two loves: film and hip-hop. Decade, released on D3 Entertainment, followed in 2003. It didn't fare nearly as well as the debut, but it did crack the Billboard 200.Sticky Fingaz - Black Trash: The Autobiography of Kirk Jones (Nov 21, 2000)
Sticky Fingaz' oft-delayed solo debut, Black Trash: The Autobiography of Kirk Jones, is a bold conceptual endeavor that loosely follows the same format Prince Paul implemented on his hip-hopera Prince Among Thieves. Scripted to fit the silver screen, Black Trash chronicles the trials and tribulations of Kirk Jones, a down-on-his-luck knucklehead who always manages to find trouble. Playing out like a lyrical collage, Black Trash is an emotional roller coaster that tackles the quintessential tale of good vs. evil. Though highly imaginative, like most Hollywood blockbusters, Black Trash fights bouts of long-windedness (this is particularly evident toward the LP's conclusion), yet there is still plenty to chew on in between. Displaying a lyrical diversity that his stint with ONYX rarely suggested, Sticky serves up a slew of profound moral messages on the thought-provoking "Why" and "Oh My God," where in a maniacal state Sticky questions God's existence. Yet, his lyrical transformation is best exemplified on "Money Talks" (featuring Raekwon), where Sticky speaks in third-person, as a dollar bill, and vividly depicts how the material possessions people strive to own eventually end up owning them. While the dramatic ebb and flow of Black Trash is the LP's saving grace, as the running dialogue (contributed by Omar Epps) and frequent skits ingeniously captures the many complex intricacies that make up Sticky/Jones' conflicting personas. However, it is hard to feel sympathetic for the character, as he is a man who, through the course of this LP, shows little regard for human life, kills his best friend, beats his wife, and deserts his child. Yet, similar to James Gandolfini's portrayal of Tony Soprano, Sticky convincingly brings Jones to life, and he is such an enigmatic character that you can't help but root for him, even though he doesn't deserve it.Sticky Fingaz - Decade "...But Wait It Gets Worse" (Apr 29, 2003)
Not nearly as ambitious as Black Trash: The Autobiography of Kirk Jones , Sticky Fingaz' second album also isn't quite as compelling. Off Universal and now on D3 Entertainment — a graveyard of sorts for former major-label artists — the MC produces the bulk of the tracks along with DSP, though wiz Scott Storch takes over for a pair of tracks, both of which are unsurprising standouts. Despite a shortage of strong material and some uninspired production work, Sticky Fingaz remains a remarkable MC, and some might be pleased that he's relying less on gruff, in-your-face shouting and more on a menacing delivery that's kept to a relatively low-key and stern dynamic. Hopefully this will lead to better things. Leave your comment to support.Enjoy! ;)
And remember you must support artists go and buy this albums.
1 I Ain't Trickin' 4:18
On the surface, the sample-reliant productions and monotone rapping styles of Erick Sermon and Parrish Smith had little to recommend them, but the duo's recordings as EPMD were among the best in hip-hop's underground during the late '80s and early '90s. Over the course of four albums (from the 1988 classic Strictly Business to 1992's Business Never Pesonal), they rarely varied from two themes: dissing sucker MCs and recounting sexual exploits. But a closer look reveals that the duo's rhymes were nothing less than incredible, simply undervalued because of their lack of intonation during delivery. EPMD also had a feel for a good groove, and created numerous hip-hop classics, including "It's My Thing," "You Gots to Chill," "Get the Bozack," "Strictly Business," and "Rampage."Though EPMD's hardcore style influenced the urban-oriented gangsta '90s, Erick Sermon (aka E Double E; b. Nov. 25, 1968) and Parrish Smith (aka Pee MD; b. May 13, 1968) were both raised in the Long Island suburb of Brentwood. They moved into rap separately, with Smith DJing for Rock Squad on a single for Tommy Boy. After coming together in 1987 — naming themselves EPMD, short for "Erick and Parrish Making Dollars" — the duo recorded their debut "It's My Thing" in three hours. The single was later licensed to Chrysalis, and EPMD signed to Sleeping Bag/Fresh 
An above-average rapper blessed with a bit of luck and connections as well as talent, Craig Mack practically made Puff Daddy's Bad Boy label with a remix of his 1994 hit "Flava in Ya Ear." Based in Brentwood, Long Island, Mack cut his first single while still a teenager, though nothing came of it. He was working as a go-fer for hometown heroes EPMD when he hooked up with Sean "Puff" Combs, who offered him a spot on a Mar J. Blige remix in 1992. Impressed, Combs offered him a contract on his Bad Boy label, distributed through Arista. What really sold the LP, however, was a platinum remix of the top single "Flava in Ya Ear." Featuring a parade of East Coast talent — The Notorious B.I.G., Rampage, LL Cool J, and Busta Rhymes — it ranked as one of the first posse tracks to go overground in a big way; a Top Ten pop hit, and number one on the rap and dance charts. Mack returned in 1997 (after having severed relations with Cmobs) with Operation: Get Down, an executive production of longtime East Coast head Eric B. The album didn't even make the Top 40, and Mack struggled for a contract during the rest of the decade. After recording a few white labels, he returned to Bad Boy with an appearance on Comb's We Invented The Remix LP ("Special Delivery" featuring Ghostface Killah and Keith Murray) and announced plans for a new Bad Boy LP. 
The first hit album released on Sean "Puff" Combs' Bad Boy label, Craig Mack's Project: Funk da World lacks the hardcore edge of Bad Boy's next breakout artist, The Notorious B.I.G., instead gunning for the dancefloor with a slight hint of street attitude. The beats are laid-back, mid-tempo, and effortlessly funky, influenced by the vibe of Dr. Dre's G-funk sound but not slavishly derivative at all. Mack isn't the most skillful rapper who ever lived, but he's game on most of these tracks, with a low, raspy voice and a loose, casual style that's hard to resist when he's on. When he isn't, he strays a little too far off the beat, or lacks enough variety in his flow and surprises in his rhymes to hold the listener's interest. But he's good enough to work a groove, and sometimes that's all you need for a great dance record. The formula gets repetitive over the course of an entire album, especially on the tracks with too many choruses, but there are some definite high points, most notably the smash "Flava in Ya Ear," "Get Down," and "Funk Wit da Style." There's also a clever sample of the Days of Our Lives theme song on "Real Raw." In the end, Project: Funk da World isn't a bad party record at all, though it's less engaging as a self-contained listen.
