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Bad Daddy was originally a one album project. It started around the same time as two other Reapalife projects in 1998-1999, NUMB's Hard Times and Ned Vicious' Story of a Legend in the Making. It began as Ned and I began making beats and writing stuff together when we couldn't get samples cleared for the original official version of Hard Times we finished in 1999. There were actually five different incarnations of Hard Times, the first four going back to 98 and with lots of samples from underground labels. Still hot, but just couldn't get everything cleared. In the end, we began writing ourselves and it turned out that was best.
Bad Daddy had three original volumes like the early Hard Times, and got changed and rearranged often as my moods changed. The album was originally entitled Verbal Jujitsu and it was designed to showcase my oral stylings. It gradually became more autobiographical which resulted in disk one, disc two was the politics, and disc three was what was left of the more braggadocio old school stuff. It was released in 2001, but by 2004 our new studio facilities and new musical vibe encouraged me to remix a lot of the old stuff and create a bunch of new tracks and re-release the whole 3 volume collection.
Smokestack Niggaz was made to deal with all the fakers and frauds who are hating on the Reapa and the fact that an old guy was still up in "their" game. I was rhyming when these MC's were in diapers and in the other game before then, so I resent all this playa-hating.
Warriors in Babylon was written as a tribute to Robert Marley (RISE-Rest in Struggle Everylasting) and to the local Burg reggae and roots outfits that I vibed with at the time including Stable Roots, Iya Ites, Ras Greg, Ron B (Iron Lion), and Warren Weaver. Hopefully, some of the tracks Greg, Warren, and I flipped at Dave's Taverna will see the light someday.
Sharang 'N Demetric was dedicated to Sharang Sullivan and Demetric Walker. Sharang was a smart sister and an outstanding dancer whom I went to school with from elementary to high school. I found out that she had passed away suddenly at our five year reunion. What was disturbing was not that we were so close, but that she was kind of always there. I always expected her to be somewhere with her dance and that we'd always kind of run into each other. She was an inspiration although i never got to say so. I began to think about how fleeting life is. This came to mind again when I heard that one of my students Demetric Walker had passed away in a car wreck, while rescuing some other student friends (whom i also knew). Again, there was someone you just didn't expect to be gone so soon who was in the other realm. So I made this song not so much about death which we all experience, but sudden death that takes away people we just feel and for whom we barely have time to grieve.
No Haps and Breakin' Point were written largely as allegorical reflections on my failing marriage and the fallout for my skepticism towards relationships in eurocentric society which continues.
Natural Grass is my comment on the continued senselessness behind the illegality of marijuana use. Legalize it!
Dead Men (Do Tell Tales), If Only Dese Streetz Could Talk, and Got 2 B A Miracle are about growing up in a working class/lower class Afrikan neighborhood in the ATL and the odds against ya.
The Timebomb beat was one me and Vicious fought over after I wrote it for the Hard Times NUMB lp. He got it, but this is my revenge. I wrote my own version, remixed it and changed the arrangement a bit.
The Drug Deal was written in tribute to the Drug Policy Alliance and their efforts to end the senseless drug war wit' its relentless incarceration o' da black.
Eyes Dat See in The Dark is about the hidden serial killas of the ghetto. The "mainstream" in this society knows about the killas dat prey on the "important" people, but there are killers that roam free in the underground and nobody really gives a damn. I try to step inside their minds and the equally diseased minds of the rest of us.
Grand Imperial is about that colonialist US activity in Iraq. Some of us got dat PE-Flava vision and it still ain't blurry, son. We sees ya and God does too and he gone git ya'll.
The Ballad of Bad Daddy is a song to a another song from the original version of Bad Daddy entitled "Bad Daddy." Ya'll follow dat? Anyway, felt like I needed a theme song so I lifted a tag line from the original song and wrote new music and lyrics for this one.
Roots (Love 'N' Truth) is my tribute to my homebase for life. Dixie Hills ATL son, the NoWhat side. We call it Boothill. I'm yo blood and when we come up, we come up together.
No Trees 'bout the fucked up environmental picture in the hood. Place humans in anti-human environments and you get anti-human type behavior. Ya dig?

Hope you enjoy it.

Checking out Volume Two, eh? This is the Afrikan revolutionary album in general.
Coal N2 Diamonds is a hip-hopasized version of an old Afrikan story I told in my griot days when I was younger designed to get Afrikan children to see the divinity in themselves. It actually is an adaptation of an acoustic song written for an album I'd like to record someday with a folk band based on the seven principles of the Nguzo Saba. Part of the immediate inspiration then is Kwanzaa, Dr. Maulana Karenga and my revolutionary work on behalf of the pan-Afrikan collective.
The Good Ship Beggin' is my revolutionary conservative take on much of the civil rights rhetoric of the 1960's which I find reactionary because of its de-emphasis on communal self-empowerment in favor of integrationism. Most of those so called leaders are just riding on the good ship BEGGIN. Reapa ain't beggin for shit.
Million Man Mob expresses both my admiration and my disdain for the Million Man March in 1996. I loved the energy and brotherhood, I was irritated at the lack of results. I wanted it to be far more militant, but it ended up as another 1963 retread. Individual groups of brothers made it valuable, but I think the core leaders betrayed many and made good and plenty. My inspiration was Rev. Dr. Khallid Abdul Muhammed (rest in peace), who was busy becoming the only modern US citizen condemned by the US congress for his speech. I knew him, he wasn't a hater, just really angry and having so few ways to express and vent as many brothers..he went over the edge. I'll never forget him or the New Afrikan Panthers he spawned.
Panic is my 5-0 you can kiss my ass track. My Fuck The Police. I was inspired by the independent film, Birth of a Nation in which the music of Ice Cube and PE is played in the background of the LA rebellions after the King brutalization. PE was always and remains a musical and political influence on me, especially Burn Hollywood Burn and Fight The Power. This song is written in the style of both of those tracks as a theme song for a rebellion the system calls a riot.
Reminisce was inspired and the first lyric verse reflects a pastime of mind in the hood in the ATL. I would sit for hours on the steep hill of my driveway and watch the birds as they prepared to fly south from the advancing winter. I even had a theme song that was entitled, loosely, Goodbye Birds, Come Back Tomorrow. My heart felt a desire to fly with the birds. Today, I reminisce on those idyllic times.
ReapaBounce is my counterattack against the Puritanesque US attitude about the human body and sexuality. Lil' Boom Boom and Undercover Lover are too, but with more devious edges. Guard yo grill and yo girls son, Reapalife crew is on the prowl.
What's Going On is another nod to NUMB and to Hard Times. R-Squared and Ned Vicious were on this track and never got a chance to do it live. Ned and I talked about us doing a new version, but never got to it, so I made it more of a singing thing and dropped it like dis.
The social critique runs throughout this lp from Hip-Hop Souljah, to Ridin' On the Train, to Borrowed Time, and perhaps culminating in Everyday Life. Enjoy...If you aren't sca'd! :)

Volume Three is a mix of consciousness and consternation. Supernatural is dedicated to one of my best friends Lashawn who came in my life to bail a brother out at one of those nearly fatal moments.
Pitchblack and Misery are classic Boothill Clique work. Me plus Ned Vicious equals other rhyme crews basically 'liminated.
Peacemeal, Sunrise, Let Me Fall, Dear God, The World is Cryin continue my lament for the lost souls in this so-called civilization and global pax Americana empire.
Epitaph is written for our fallen soldiers. Aaliyah, JMJ, 2Pac, Pun, Biggie, Barry White, Marvin..man we miss yall cats. Specially Aaliyah. My biggest regret is not so much that I never got to meet the sister, but just that I never got a chance to tell her how much of an influence her music, beauty, and style was to a brother in some dark hours. god gets all the good ones yall. We losing too many too soon yall.
Tailfeather (Get Da Bump) goes out to all the queens currently acting like U know whats in the Burg that won't give a brother no play unless he got cash or flash. In just about a minute, ya'll gone be done missed the boat and dat's for treal, u know?
WHO Da Real Terrorist is about the US biological and chemical weapons program. Folks, we don't have to go anywhere near the Middle East to find the source of the world's weapons of mass destruction and distraction. Whoop! Here dey is and I ain't pulling punches for sh**.

Sinista Minista was the follow-up thematically to Bad Daddy, hence the title. I am an ordained minister, so that explains the second word. Sinista normally refers to something menacing and hip-hop is certainly that, especially to bible-toting righteous type, wanna be superior religious dogmatists. But for me, sin is from the ancient Afrikan term which means balance or equilibrium. Thus, sin is the downside of good , suggesting the existence of the law of karma (in contradistinction to the Eurocentric concept of sin as evil and evil being the opposite, as if one can choose one or the other without consequences in the opposing direction).
All Ya'll Hataz (U got Beef) was written again for those in the Burg hip-hop community who continue to attempt to wrongly play this brother from the hood 'cause he gots degrees and is a minister. I can git grimy, too folks, and the god I pray to if you cross my son, my money, or my life wrong is the one that will give me the power to transmute you back to the cosmic dimension with my nine. Don't forget it.
Whiplash was written about my relationship history which involves an endless list of disasters in which I'm in love, the other person appears to be, later abandons me, only to recapitulate later when I'm so alienated I could care less (hence the term "whiplash").
Vex' Song (Needle on the Record) was written for fellow rapper and friend Vex Bliss from Indigenous Womb who was going through an equally trying relationship turmoil. I tried to put to words the advice I felt I could give.
Cell Black H is my shout out to the almost 2 million Afrikan men locked down. Just want o let them know we ain't forgit'em and let everybody else know that the real prison is the prisons of the minds out here!
I Hear Voices is my tribute to those characterized as the mentally ill who often get that way because they are more sane than the rest of us here in the national loony bin.
Worker Man is a tribute to the working class, you know, the majority of the people who bust they ass everyday making money for the uncaring elites...like my pops who worked 40 years pushing wealthy elite cancer patients around and fought in Korea for a democracy he didn't have in segregationalist Ga. Trent Lott can still kiss my ass, I ain't going back!
Cyanide Lisa is for my girl Lisa (U knows who you are) who still can't decide whether to play kings or jokers in the deck. U know?
Blowin' Up is my antidrug and addiction song..that is for the drugs that should be so characterized...Hint, hint! Check it out and holla back!

The first of two volumes of Old School 2 Def is just that..old school 2 def and 2 da deaf dat can't seem to hear us over all them posturing gunclaps and fake studio imagery.
1 Way O' Anotha is written to the CBers and I don't mean radio, who be not playing our hits, the club owners that don't be staging our shows, the record stores that don't put our shit in the racks, and the cops that be shutting the goods down. I'm gone git mine, we gone git ours. Reapalife..Believe dat!
Fairy Tales is about how mainstream America treats the reality of inner-city life as a fantasy, when people gots to live dat.
Say What Dey Want is about all the perpetration that goes on in the so-called dating scene. I play a character giving advice to a young'un about how to get dat all important hook-up.
Reverse D Dog and When Peace Goes 2 War are just the god droppin' wisdom.
Mirage and Complicated are both dedicated to Sister Nina who was there when a brother was low to offer consolation and understanding. Hopefully, brother reciprocated... They also relate to the sheer hell one has to go through these days to try to cultivate a halfway decent relationship.
Last Letter is to the ex. Nuff said.
Guilty is a remix of an old song from one of those thousand one unreleased NUMB hits entitled Court is in Session. More old school now and without the offending samples.
Nigga What is a quick joint that I came up with to a Ned Vicious track. First time I used one of his tracks on my album. I'll probably be doing that more often. Ned, get the dials ready, son. The student is now the teacher. I was so enthused on that, I decided to throw on another Vicious track, What's My Name and do the duet thing we've done in the past.
hope ya'll like it and get both volumes. Reapalife, son, UH-HUH!

Volume Two of Old School 2 Def is the "conscious" piece of da duality. We start off with Hip-hop Niggaz, still trying to purge dem frauds and fakes that don't know the culture up out da game. Phenomenon and Feel My Shit are in the same vein.

Soundbyte wit' Substance was named in opposition to all the radio static dat be having soundbytes with no real content. This track was produced by DJ Sseleman, I just added and remixed my vocals. Guestin' on dis is my boy B-One. It's dedicated to him since he recently had a lfe threatened accident. We live to see the day you pick you mike back up son. Love forever.

Deathwish is a reminder of how we used to rhyme straight off the top off the block in the dozens. It sets up the fictional scenario of such a battle just to gi yous a taste of the way we used ta do it.

WildLife is a track with Murda Mal that was on the original version of his Wild Life CD.

Thank U is dedicated to the King of rock Jam Master Jay. May he live forever.

Neva Say Die is a shot out to all my homies in hoods and barrios and reservations worldwide strugglin' ginst dem odds and trying to rise up.

Dem Bones would be rather straightforward, but it was based on an old crazy Euroamerican folk song one of my teachers used to sing in elementary school. I also thought it was incredibly stupid, but it always stayed in my head. Here we give it a kick, ya know?

Girl Got Problems? Self-explanatory. Still looking for the queens and trying to drop off the STP crew ya'll.

So Lovely is for the queens dat actually act like it.

Hope ya feel me, peace.

Just to give you a sneak peek at the some of the new tracks. You've got The Game (Capitalism), an attack on market economics. Song for the Future (Your Loving Side) a touching ode to Reapa's son, stepdaughters, and all kids. Comfort Zone is about how we can all get comfortable amidst dis madness. Challenging' U to step out, u know what I'm saying? Dante's Ascent (Into the Ghetto) is based on da whole Dante's Inferno literary scenario, only dis time he's in the hood lookin' for heaven. Fat chance, huh? Not so and Reapa tell ya why. Locomotive is a collab with Signifier of Indigenous Womb. There's the obligatory Boothill Clique collab with Ned Vicious on a killa piece called "Ya'll Know Me" (clubs git ready!). "Nuttin' but Crap" is spittin' fire over all da nonsense dat done invaded the culture. "Terminally Uncool" is about what it feels like daily to be a voice in da wilderness in da madness of dis fake hardcore gangsta mentality. My favorite track is "Dem Blues" and if'n U eva had'em, U undamastands it. Check out the 8 mp3s on this site and dey ain't even the same as on the 12-inch so yall KNOW it's bout to git wicked...
And get dis...the lyrics are available as a separate publication from C4Press!

On volume two we gots DJ Ego written for somebody dat knows who dey is. Day N Da Life is an autobiographical joint. "Hope" is about trying to reflect on the impact of the intracommunal violence. "Blessing of the Blade" is for all ya Burg frauds out dere who gives a brotha no love. Eat one up with salt son..we gone do dis anyways witout cha and if I don't know ya now, forget me later!

Welcome to the Assassin Nation, son! Music 4 Da Ancestors is exactly like that, a mixmaster verbal libation for does that done gone befo', U know? Day I Los' Moms is about the government conspiracy that led to my natural mother's untimely demise. nuttin' but da truth boy... Letting Go is about spiritual renewal and the fact dat you can't rise up less you let shit go. I was sittin' at Highlawn Pavilion in the Burg when the lyrics to Tomb of the Da Unknown Soldier wrote themselves. Dey is what dey wanted to be! Foxhole is finally my chance to work with Vex Bliss and Signifier of the Indigenous Womb (deepkatz on da prowl!) Hurricane was written in the middle of one in between power outages (Isabella to be exactamundo). Aint' No Doubt is me and Ned Vicious (dat's right the Boothill Clique) hooking up again and doing our thang. Lots of the other tracks are for all the male and female frauds out there. The males who front the mike and blow smoke up my ass saying they gone put us on or do sumpin' wit me and den diss us when dey shows (punks u know who are--eat one up)! The females who basically play themselves like hoes rather than queens and go after the brother with the flash and cash when they could be rolling wit' sumpin' mo' betta. You dissed me all this time. Don't switch up now cause you ain't gettin' snizzle but da D. U heard? Atl flava with the Va swing. Still no sell out, no weak brothas, and no compromise from the 36 in the 04. Seen?

Thanks for checking out the Death to All Hataz Volume One. Well, Verbal Skyhawk was inspired by a lyric I dropped on a song with Temptin' for her first Reapalife lp. I Know The Lord (Pure Love) is of course, my statement of fealty to Garveyite Christianity and written during a time when I'm reconnecting with the congregational ministries. I Ain't B Did Nuttin' To Nobody was again, inspired by a lyric and this time one dropped by Mal G on his solo album, Wild Life. Naturally (The Bomb) is just me and Ned (ie. Boothill) doing our thang. Black Soul Radio is the title track for my new radio show on the internet on that network. I know I'm gone get in trouble for that one :) Before The Storm was written for the victims of Katrina and the tsunami. Anyways this the new digs for the 06...39 and still rhyming son..eat'em up!

Volume Two of Death to All Hataz
Mo Betta is the theme for the Mo Betta Live 365 Pan-African revolutionary radio station. Pandora's Box is written about a brief relationship I had with this sister named Hope and the implications for a lot of what I think and feel about modern Afrikan relations in Babylon is the 21st. Death to All Hataz was actually inspired by the cover artwork on the album. White Pearl is dedicated to my pops, Eulas C. Strong on the advent of the elder god's 80th birthday. Mad love, pops. Ya'll raised a Reapa right! S.H.A.R.P. is dedicated to the organization S.H.A.R.P. which tries to represent for conscious hip-hop. Had a chance to meet them at a conference out West. Hip-hop Intercourse is a track off of a album by Tempt'N, a regionally local sister who's doing her thing. I'm still lobing her voice so I stuck this hot one back on here. The same is true for Razor's Edge which is a new song I recorded to a beat I wrote for her. She had recorded a track Tempt'N on it, so I decided it would be cool to splice the two records together mix tape style and see what we got. Here it tis! Psycho was actually written for this sister I met who was rolling with a group called 7 at the time. We were going to do it as a duet, but sister got bogged down, presumably with the move and life. So in tribute I did it anyway, largely in its original style and format albeit with modified lyrics. Maybe this will be a future splice. Mic Ruff is the first of what will be many records with my 7 year old son, Reapa Jr. otherwise known as Kamau Imani. We won't even stop in the next generation. See ya at the crossroads!

Central Command is the first release from our new label C4 (Culture, Consciousness, and Collective Confidence) and fits the moniker as DP touches on Pan-Afrikan culture, Christianity, contemporary politics, and other conscious matters.

Code Name Deadly Occupation Poet

A collection of poetry works

Afrikan revolutionary and deadly poetics from Dr. Nikitah Okembe-RA Imani, an uncompromising for voice for Afrikan self-love, communal empowerment, and liberation.