The group debuted for TVT Records in 1995 with the single for Unified Rebelution. Their acclaimed position in the 1990s alternative hip-hop movement, alongside artists including Company Flow, Black Star and Kool Keith, was confirmed when the Jurassic 5 EP was released in December 1997.
The EP was later repackaged with additional tracks and released in December 1998 as the band's full-length debut album, entitled Jurassic 5 LP.
The tracks harked back to the old school attitude of New York's Native Tongues Posse, the seminal late 1980s coalition of artists who reaffirmed rap's social agenda, which included De La Soul, the Jungle Brothers and A Tribe Called Quest. This was evident on the song Concrete Schoolyard ("Let's take it back to the concrete streets/Original beats from real live MCs"), and the album even provided the troupe with a surprise UK Top 40 single when it reached number 35 in November 1998. The other stand-out track, Jayou, was built around a hypnotic flute loop from Pleasure Web's Music Man Part 1 (Music Man Part 1).
In 1999, Jurassic 5 signed to Interscope Records, who re-released the Jurassic 5 EP. This was followed by their second album (their first on a major label), Quality Control.
In 2002, they released their third album, Power In Numbers, which was followed by touring with the newly-revived Lollapalooza festival in the summer of 2003.
Their latest album, Feedback, was released on July 25, 2006.
Where We At
Jurassic 5 Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Speak my mind
Just to reach your mind
Tap a tempo off the instrumental
Just to get the drum line
You know it's my time
Reel up and rewind
Swinging on my grapevine
You heard a brother
Worthy to create rhymes
I take it further than a murder
Or I hate crime
Don't hate on me
What have you done for me lately
Beside to baith me assume and mistakenly
Too abstract than a backpack
To super underground with the beats and rats
'Cause I refuse to bust gatts
And wather down my raps
To get me caught up in a trap
And set me years back. Fuck that!
[Mos Def:]
Yeah right from the start
Remember that feeling
The way the hip-hop used to make you feel
So real like
Getting first signed
Then the first time you heard Planet Rock
Word is over, the God
Staten Island, for real, for real
I heard brother say J5, men them niggas ain't shit
Them niggas never slapped no bitch, never inserted a clip
They never claimed thug or a pimp
Them niggas never made the attempt
Hey yo, they ain't all that
Men Six members men and four of them black
What kind of racist statement is that
They need to change their views
Start talking about the clubbing they do
That's the reason we ain't fucking with you
Today's artist is tough
Talking loud, this isn't enough, yeah
Let's talk about the guns you bust
Nigga, the crack you cut
Or all the cars that you bought wholesale
Or the niggas rattling your cold tail
I've been keeping it real
Let's talk about the ash you feel
Now that's the way to get mass appeal
Y'all ain't heard that wow
The brothers ain't feeling your style
You get stoned play over the radio right now
Where we at
Wh...Whe...Wher...Where we at (YA)
Where we at
Don't deny me, diss or austrsize me
'Cause it's likely I'm all up in your sight gee
It's unreal how you deal and threat us
Your bunch of believers
I can tell just by the way you retreat
Cactus is a discreed fact
They heat rap beat gaps but stay of the knee rack
So you could put your seat back
Pick up your feet and bring facts
Rhymes and beats that we create can defeat that weak crap
'Cause your either bling-bliging or your next tails ringing (dring)
Either way it goes, fat baby ain't signing
The game ain't over until we all get shined
I mean you do your thing and I do mine
In the first verse of Jurassic 5's song "Where We At," Chali 2na raps about speaking his mind and tapping into the instrumental to get the drum line, emphasizing the importance of the beats in their music. He also talks about refusing to compromise his music by rapping about violence or using it as a promotion tool like many others in the industry. Instead, he aims to take it "further than a murder or a hate crime." He calls out others who attempt to put J5 down for not being "tough" or "real" enough, highlighting the hypocrisy of those who use their music to promote negativity and boasting about material possessions. Chali 2na ends the verse by asserting that the game is not over until everyone gets their chance to shine.
In the second verse, Mos Def adds to this theme of staying true to oneself in the face of criticism from the industry. He reminds us of the feeling we had when we first fell in love with hip-hop and how it used to feel "so real." He then calls out others in the industry who try to put down J5 for not being "hard" enough or for not promoting violence or drugs like other successful artists. Mos Def believes that this is the wrong approach and that music should be about more than just being loud and tough, but that it should also encourage positivity and social change.
"Where We At" is a song about standing up for oneself and staying true to one's values in an industry that often prizes image over substance. Jurassic 5 advocates for a different approach, emphasizing the importance of creativity, positivity, and authenticity in music.
Line by Line Meaning
Speak my mind
I share my true thoughts and opinions
Just to reach your mind
I hope to connect with and influence the thoughts of the listener
Tap a tempo off the instrumental
I nod my head or move my body to keep time with the music
Just to get the drum line
I focus on the rhythm of the drums in the song
You know it's my time
I believe that this is my moment to shine and be heard
Reel up and rewind
I repeat and listen back to the song or my own lyrics
Get off that cheap wine
I avoid wasting time and energy on unimportant things
Swinging on my grapevine
I am confident and enjoying my own style and creativity
You heard a brother
I am a respected and talented MC
Worthy to create rhymes
I have the ability to craft original and impressive lyrics
I take it further than a murder
I surpass the violence and negativity that some rappers use in their music
Or I hate crime
I reject hate and intolerance in my music
Don't hate on me
I ask listeners not to criticize or dismiss my music unjustly
What have you done for me lately
I challenge those who criticize me to show their own achievements and contributions
Beside to baith me assume and mistakenly
I point out that it's unfair and unhelpful to judge me without getting to know me or my music
Too abstract than a backpack
I know my music is unconventional or intellectual compared to typical rap styles
To super underground with the beats and rats
I understand that my music is not mainstream and may only appeal to a niche audience
'Cause I refuse to bust gatts
I reject the glorification of guns and violence in music
And water down my raps
I refuse to compromise my artistry by creating music that is overly commercial or generic
To get me caught up in a trap
I recognize the dangers of trying to conform to expectations or trends
And set me years back. Fuck that!
I am determined to remain true to myself and my music, no matter the obstacles
[Mos Def:]
A new speaker takes over the mic
Yeah right from the start
From the beginning of hip hop
Remember that feeling
Recall the excitement and authenticity of early hip hop
The way the hip-hop used to make you feel
Reflect on the powerful emotions that the best hip hop music can evoke
So real like
This music felt authentic and genuine
Getting first signed
Being noticed by a record label for the first time
Then the first time you heard Planet Rock
The excitement of discovering a new and influential song
Word is over, the God
A slang way of acknowledging the end of a previous statement and the importance of the emcee
Staten Island, for real, for real
A reference to the Wu-Tang Clan, recognizing their creative influence
I heard brother say J5, men them niggas ain't shit
Another artist criticizes Jurassic 5's music
Them niggas never slapped no bitch, never inserted a clip
The critic implies that J5 have not engaged in violent or criminal behavior
They never claimed thug or a pimp
J5 haven't embraced the typical macho stereotypes in hip hop
Them niggas never made the attempt
J5 have not tried to fit in with mainstream rap culture
Hey yo, they ain't all that
The critic continues to belittle J5's music
Men Six members men and four of them black
J5 includes multiple members and is diverse
What kind of racist statement is that
Calling attention to the criticism's potentially discriminatory nature
They need to change their views
The critic demands that J5 conform to their expectations
Start talking about the clubbing they do
The critic suggests that J5 adopt more mainstream and flashy topics in their music
That's the reason we ain't fucking with you
The critic is boycotting J5's music due to their perceived lack of appeal
Today's artist is tough
The critic suggests that modern rappers are more aggressive and successful
Talking loud, this isn't enough, yeah
The critic views modern rap as somehow lacking in substance or authenticity
Let's talk about the guns you bust
The critic is calling out rappers who boast about their gun use
Nigga, the crack you cut
The critic suggests that some rappers have ties to drug dealing
Or all the cars that you bought wholesale
The critic points out the materialism and excess of some rappers
Or the niggas rattling your cold tail
The critic references fears that some rappers may have of retaliation or karma
I've been keeping it real
The critic believes they are speaking truthfully and honestly
Let's talk about the ash you feel
The critic is suggesting that rappers open up about their vulnerabilities and struggles
Now that's the way to get mass appeal
The critic argues that authenticity, rather than materialism or violence, is what will truly resonate with listeners
Y'all ain't heard that wow
The critic implies that their message is profound and insightful
The brothers ain't feeling your style
The critic suggests that many listeners are turning away from mainstream rap
You get stoned play over the radio right now
The critic expresses doubt that today's popular rap will stand the test of time
Where we at
A rhetorical question that calls for reflection
Wh...Whe...Wher...Where we at (YA)
An expression of frustration or confusion
Where we at
Repeat of the earlier line
Don't deny me, diss or austrsize me
The emcee is asking for respect and recognition
'Cause it's likely I'm all up in your sight gee
The emcee believes they are already on the critic's radar
It's unreal how you deal and threat us
The emcee is commenting on how critics treat and dismiss underground artists
Your bunch of believers
The critic's fans are blind followers who only accept mainstream rap
I can tell just by the way you retreat
The emcee is reading into the critic's language and attitude
Cactus is a discreed fact
A non sequitur - not sure what this line means
They heat rap beat gaps but stay of the knee rack
Another unclear line, perhaps a reference to the difficulty of staying true to oneself in the face of criticism
So you could put your seat back
An invitation to sit back and listen to the emcee's music
Pick up your feet and bring facts
The emcee challenges the critic to engage with their music on a factual basis
Rhymes and beats that we create can defeat that weak crap
The emcee believes their music is superior to mainstream rap in terms of lyrics and production value
'Cause your either bling-bliging or your next tails ringing (dring)
The emcee is criticizing the materialism and lack of depth in mainstream rap
Either way it goes, fat baby ain't signing
The emcee assures the listener that they won't abandon their principles for commercial success
The game ain't over until we all get shined
The emcee believes there is still room for underground artists to find success
I mean you do your thing and I do mine
The emcee is acknowledging the diversity of rap and the value of different styles and perspectives
Lyrics © Kobalt Music Publishing Ltd.
Written by: Charles L. Stewart, Courtenay D. Henderson, Dante Lamar Givens, Eddie Harris, Lucas Christian MacFadden, Marc F. Stuart, Mark Ali Potsic
Lyrics Licensed & Provided by LyricFind