By All Means Necessary

They Say...

Review by Steve Huey, All Music Guide

The murder of DJ Scott La Rock had a profound effect on KRS-One, resulting in a drastic rethinking of his on-record persona. He re-emerged the following year with By All Means Necessary, calling himself the Teacher and rapping mostly about issues facing the black community. His reality rhymes were no longer morally ambiguous, and this time when he posed on the cover with a gun, he was mimicking a photo of Malcolm X. As a social commentator, this is arguably KRS-One's finest moment. His observations are sharp, lucid, and confident, yet he doesn't fall prey to the preachiness that would mar some of his later work, and he isn't afraid to be playful or personal. The latter is especially true on the subject of La Rock, whose memory hangs over By All Means Necessary -- not just in the frequent name-checks, but in the minimalist production and hard-hitting 808 drum beats that were his stock-in-trade on Criminal Minded. La Rock figures heavily in the album opener, "My Philosophy," which explains BDP's transition and serves as a manifesto for socially conscious hip-hop. The high point is the impassioned "Stop the Violence," a plea for peace on the hip-hop scene that still hasn't been heeded. Even as KRS-One denounces black-on-black crime, he refuses to allow the community to be stereotyped, criticizing the system that scoffs at that violence on the spoken recitation "Necessary." "Illegal Business" is a startlingly perceptive look at how the drug trade corrupts the police and government, appearing not long before the CIA's drug-running activities in the Iran-Contra Affair came to light. There are also some lighter moments in the battle-rhyme tracks, and a witty safe-sex rap in "Jimmy," a close cousin to the Jungle Brothers' "Jimbrowski." Lyrics from this album have been sampled by everyone from Prince Paul to N.W.A, and it ranks not only as KRS-One's most cohesive, fully realized statement, but a landmark of political rap that's unfairly lost in the shadow of Public Enemy's It Takes a Nation of Millions.