Sermon is best known as one half of the late-1980s/1990s hip-hop group EPMD. He began recording solo albums for Def Jam in 1993.
In 1997, he rejoined EPMD. The following year, Sermon, Keith Murray and Redman recorded a cover version of "Rapper's Delight" by The Sugarhill Gang, the first hit hip-hop record. EPMD disbanded a second time in 1998. In 2000, Sermon moved over to J Records, and released the album Music the following year. The title track (a Top 40 pop hit that also made it to #2 on the R&B music charts), featured guest vocals from late soul music legend Marvin Gaye, culled from unreleased recordings which Sermon reportedly found in a small record shop in London. React was released in 2002.
In 2003, J Records dropped Erick Sermon due to poor record sales. However, he still went on to establish his Def Squad imprint with Motown Records. At this time, he recorded an album, Chilltown, N.Y., which was released a year later in 2004. The album was powered by the single "Feel It" (which contained a sample of Reggae/R&B Singer Sean Paul), a song which became a moderate success in the United States. In an interview, he stated that he was going to step aside and try to get upcoming artists in the spotlight.
However, Sermon hasn't stopped doing music altogether, as he has produced the song "Goldmine" on Busta Rhymes' album, The Big Bang in 2006. Very soon after, Sermon recorded "Don't Make No Sense" with Def Squad.
Sermon joined up again for a special EPMD worldwide tour in 2006, were he was being held company by Keith Murray among others.
Lil Crazy )
Erick Sermon Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Check it out y'all
Uh, Shadz of Lingo in the house
E Double's in the house with Def Squad
On the funky fresh track with Shadz of Lingo
Mic check one two, yo you got my nerves jumpin' around
And "Humpin' Around" like Bobby Brown across town
Step off me, I'm hyped like I had a pound of coffee
Yo how could you ask what I'm doin'
When I'm pursuin', gettin' funky with my crew and
My input brings vibes unknown like E.T.
Makes me phone home to my family
Cling, hello mom, I'm doin' it, freakin' more fame
Than Batman played by Michael Keaton
I crossed over, let me name someone that's black
With fame, and pockets that are fat
Hey, Erick Sermon, he's one
Packs a gun, that's bigger than Malcolm's
Out the window, I look for a punk to get stupid
So I can shoot his ass like Cupid
E 2 bingos, down with the Shadz of Lingo
Here to bust out the funky single
Ah shit, there goes my pager
I'll see you later, because yo
Every now and then, I get a little crazy
Every now and then, I get a little crazy
Every now and then, I get a little crazy
Every now and then, I get a little crazy
One two how can I do it? I guess I'll spit the real
Yo I pack much dick, with the cover made of steel hoe
Yes yes, never fessed or settled for less
One clown stepped, and got a hole in the fuckin' chest
From the A.K., somebody scream mayday!
Took the sucker out, cause he clowned me on a payday
The funk is flowin' to the maximum
From the E Double, while I kick the facts to them
Check a chill brother with class, rough enough
To run up and snatch the spine out a niggas ass
Grip the steel when caps peeled, here to chill on the real
And don't give a motherfuck how you feel
Thinkin' you're steppin' to this, I kinda doubt it
Ain't with the bullshit, so you can write a fuckin' book about it
The big nigga with the bud and I'm on that
E kick the beat and yo you shoulda known that
Every now and then, I get a little crazy
Every now and then, I get a little crazy
Every now and then, I get a little crazy
Every now and then, I get a little crazy
Yo it's the Lingo of the Shadz
Droppin that mellow but mad mackadocious
Melodious metaphorical music with mo' shit
That you used to, and stylin that you ain't
What else I got to do but draw the pictures with paints?
Oh no, there's my mic squeakin'
A soundman's body turnin' up every weekend
Some think I done the killin', you know I can't remember
I can't recall a full week since this past December
And mics catchin' fire 'fore I get the chance to touch em
Yo Al. B catch the Buddha lightin' torches, I'ma bust em
But don't rush em, leave the pyromaniac alone he heard the words
To hit em on the red dot and knows I'm thinkin' bout murder!
Run (run) hide (hide) you can't (can't) escape (scape)
The hit (the hit's) on, I got the (got the) papes (papes)
Dodge (dodge) red (red) lasers (lasers) scannin' (scannin')
Brings (brings) fly (fly when) rhymes (rhymes) landin' (landin')
Let me go, no, yo, I'm straight (straight)
Chill (chill), yo I need auh, air, wait (wait)
Cross (cross) fade (fade's) a killer (killer) style and (style and)
Where's the (where's the) soundman
Tell me (tell me) was I whylin' (whylin')
'Cause ('Cause)
Every now and then, I get a little crazy
Every now and then, I get a little crazy
Every now and then, I get a little crazy
Every now and then, I get a little crazy
Hey young world
Check me out, check me, check me out
Hey young world
New York's in the house
Def Squad's in the motherfuckin', house
New York's in the motherfuckin', house
Rowdy Records in the motherfuckin', house
Def Squad's in the motherfuckin', house
E.D.'s in the motherfuckin' house (Def Jam boy)
Shadz of Lingo in the motherfuckin' house
Peace, and we out (Russell Simmons boy)
Word
The song "Lil' Crazy" by Erick Sermon featuring Shadz of Lingo is a classic example of old school hip-hop, with its funky beat and rhythmic rhymes. The song opens with a mic check by Shadz of Lingo, followed by Erick Sermon's high-energy verses. He talks about his pursuit of fame and success, comparing himself to Batman and Michael Keaton. He name-drops other successful black artists, including Malcolm X, and boasts about his gun being bigger than Malcolm's. The line "I get a little crazy" is repeated throughout the song, suggesting that in pursuit of his goals, he can become a little unhinged. In the second half of the song, Shadz of Lingo takes over the mic and delivers a more laid-back, metaphoric flow. The song ends with a shout-out to New York, Def Squad, Rowdy Records, and the famous hip-hop mogul Russell Simmons.
Overall, the song is a celebration of old school hip-hop culture, characterized by a focus on lyrical prowess, funky beats, and an emphasis on self-promotion and bragging rights. Erick Sermon and Shadz of Lingo showcase their skills as MCs, rapping about their lives, their dreams, and their successes. The song can be interpreted as a tribute to the hustlers and dreamers of New York City, who are always striving to make it big.
Line by Line Meaning
Hey young world, one two, one two
Introduction and attention grabber
Check it out y'all
Attention grabber
Uh, Shadz of Lingo in the house
Acknowledging the presence of Shadz of Lingo
E Double's in the house with Def Squad
Acknowledging the presence of Erick Sermon and Def Squad
On the funky fresh track with Shadz of Lingo
Explaining the song's collaborative nature
Mic check one two, yo you got my nerves jumpin' around
Starting to flow with excitement and energy
And "Humpin' Around" like Bobby Brown across town
Feeling hyper and active like Bobby Brown dancing
I ain't with that, so don't cramp my style
Refusing to engage in behavior that cramps one's style
Step off me, I'm hyped like I had a pound of coffee
Asserting one's excitement and energy level
Yo how could you ask what I'm doin'
Expressing confusion about being asked what one is doing
When I'm pursuin', gettin' funky with my crew and
Explaining the purpose of one's activity, having fun with crew
My input brings vibes unknown like E.T.
Claiming to bring unique vibes to the situation like E.T.
Makes me phone home to my family
Reflecting on the importance of family and staying connected
Cling, hello mom, I'm doin' it, freakin' more fame
Using a fictional scenario to reflect upon one's success and fame
Than Batman played by Michael Keaton
Comparing one's success to that of a popular superhero movie
I crossed over, let me name someone that's black
Claiming to have crossed over to wider success and recognition, and naming a successful black person as an example
With fame, and pockets that are fat
Referring to the successful black person's fame and fortune
Hey, Erick Sermon, he's one
Naming Erick Sermon as successful black person
Packs a gun, that's bigger than Malcolm's
Using a metaphor to describe Erick Sermon's power and influence
Out the window, I look for a punk to get stupid
Feeling aggressive and looking for someone to confront
So I can shoot his ass like Cupid
Using violence as a metaphor to describe punishing someone
E 2 bingos, down with the Shadz of Lingo
Referring to Erick Sermon's association with Shadz of Lingo
Here to bust out the funky single
Explaining the purpose of the song
Ah shit, there goes my pager
Breaking the flow to mention a distracting event
I'll see you later, because yo
Ending the interruption and returning to the flow
Every now and then, I get a little crazy
Admitting to feeling a little crazy at times
One two how can I do it? I guess I'll spit the real
Returning to the flow and expressing a desire to be honest and truthful
Yo I pack much dick, with the cover made of steel hoe
Using a crude metaphor to describe one's toughness and readiness for battle
Yes yes, never fessed or settled for less
Asserting one's confidence and refusal to accept less
One clown stepped, and got a hole in the fuckin' chest
Using violent imagery to describe confronting someone who crossed the line
From the A.K., somebody scream mayday!
Using a sound effect to create tension and suggest violence
Took the sucker out, cause he clowned me on a payday
Continuing to describe the confrontation and how it was resolved
The funk is flowin' to the maximum
Referring to the energy and excitement in the music
From the E Double, while I kick the facts to them
Returning to the music and describing one's role in creating it
Check a chill brother with class, rough enough
Describing oneself as chill and classy, but also tough
To run up and snatch the spine out a niggas ass
Describing one's toughness and ability to dominate others
Grip the steel when caps peeled, here to chill on the real
Describing one's readiness for violence while also emphasizing honesty
And don't give a motherfuck how you feel
Asserting one's indifference to others' opinions and feelings
Thinkin' you're steppin' to this, I kinda doubt it
Warning others not to mess with oneself
Ain't with the bullshit, so you can write a fuckin' book about it
Expressing a disdain for unnecessary drama or fake behavior
The big nigga with the bud and I'm on that
Referring to oneself as a big guy who likes to smoke weed
E kick the beat and yo you shoulda known that
Returning to the music and asserting one's talent
Yo it's the Lingo of the Shadz
Recalling the artist's name and association with Shadz of Lingo
Droppin that mellow but mad mackadocious
Describing the music as both cool and intense
Melodious metaphorical music with mo' shit
Describing the music as poetic and complex
That you used to, and stylin that you ain't
Asserting that the music is innovative and fresh
What else I got to do but draw the pictures with paints?
Reflecting on one's creativity and talent
Oh no, there's my mic squeakin'
Breaking the flow briefly to mention a technical difficulty
A soundman's body turnin' up every weekend
Describing the work of a soundman and how it relates to the music
Some think I done the killin', you know I can't remember
Throwing in a mystery or joke phrase that's open to interpretation
I can't recall a full week since this past December
Continuing the phrase with a self-deprecating joke about memory loss
And mics catchin' fire 'fore I get the chance to touch em
Returning to technical difficulties and making a joke about one's electrifying presence
Yo Al. B catch the Buddha lightin' torches, I'ma bust em
Naming a collaborator and warning about what will happen when they collaborate
But don't rush em, leave the pyromaniac alone he heard the words
Warning others not to push collaborators too hard and cause them to get out of control
To hit em on the red dot and knows I'm thinkin' bout murder!
Jokingly threatening to kill collaborators who don't listen
Run (run) hide (hide) you can't (can't) escape (scape)
Using sound effects to create tension and suggest violence
The hit (the hit's) on, I got the (got the) papes (papes)
Repeating the violent threat and emphasizing one's power and influence
Dodge (dodge) red (red) lasers (lasers) scannin' (scannin')
Using sound effects to create tension and suggest danger
Brings (brings) fly (fly when) rhymes (rhymes) landin' (landin')
Returning to describing the music and its effects
Let me go, no, yo, I'm straight (straight)
Evading the topic or situation and stating that one's okay
Chill (chill), yo I need auh, air, wait (wait)
Asking to chill and wait for a moment
Cross (cross) fade (fade's) a killer (killer) style and (style and)
Returning to describing one's music and style
Where's the (where's the) soundman
Asking where the soundman is
Tell me (tell me) was I whylin' (whylin')
Asking if one is acting too crazy or wild
'Cause ('Cause)
Beginning a sentence without finishing it, leaving open to interpretation
Hey young world
Final call to attention
Check me out, check me, check me out
Final call to attention and invitation to check out the artist
New York's in the house
Asserting one's pride in New York and its influence on the music
Def Squad's in the motherfuckin', house
Asserting one's association with Def Squad
Rowdy Records in the motherfuckin', house
Asserting one's association with Rowdy Records
E.D.'s in the motherfuckin' house (Def Jam boy)
Asserting one's association with Def Jam
Shadz of Lingo in the motherfuckin' house
Asserting one's association with Shadz of Lingo
Peace, and we out
Final greeting and farewell
Word
Final expression of agreement or solidarity
Lyrics © Universal Music Publishing Group
Written by: AARON SALLY, DAVID HUGHES, ERICK S. SERMON
Lyrics Licensed & Provided by LyricFind