by Alex Henderson
Back in hip-hop's old school era -- roughly 1978-1982 -- albums were the exception and not the rule. Hip-hop became a lot more album-minded with the rise of its second generation (Run-D.M.C., Whodini, the Fat Boys, among others) around 1983-1984, but in the beginning, many MCs recorded nothing but singles. Two exceptions were the Sugarhill Gang and Kurtis Blow, whose self-titled debut album of 1980 was among hip-hop's first LPs and was the first rap album to come out on a major label. Thus, Kurtis Blow has serious historic value, although it is mildly uneven. Some of the tracks are superb, including &The Breaks& (a Top Five R&B smash in 1980) and &Rappin' Blow, Part Two,& which is the second half of Blow's 1979 debut single, &Christmas Rappin'.& And &Hard Times& is a forceful gem that finds Blow addressing social issues two years before Grandmaster Flash & the Furious Five popularized sociopolitical rapping with 1982's sobering &The Message.& Some of the other tracks, however, are decent but not remarkable. Switching from rapping to singing, Blow detours into Northern soul on the Chi-Lites-influenced ballad &All I Want in This World (Is to Find That Girl)& and arena rock on an unexpected cover of Bachman-Turner Overdrive's &Takin' Care of Business.& While those selections are likable and kind of interesting -- how many other old school rappers attempted to sing soul, let alone arena rock? -- the fact remains that rapping, not singing, is Blow's strong point. And Mercury really screwed up by providing only the second half of &Christmas Rappin'&; that landmark single should have been heard in its entirety. But despite its flaws and shortcomings, Kurtis Blow is an important album that hip-hop historians should make a point of hearing.