<p>By Malice Intended</p><p>At the close of the 1980’s, the relative simplicity of early rappers gave way to the complexity of the “lyrical” MC. More concerned with honing their craft than motivating party people to dance, the lyrical rapper was a perfectionist. Rakim, Big Daddy Kane, KRS-1 and the D.O.C rode the crest of that wave to worship and reverence befitting gods. At the same time, rappers of a more traditional mold continued in the call and response traditions of the pioneers. This coexistence was also evident in rap’s female contingent. While Salt & Pepa infiltrated the pop charts with Go-Go infused beats, Lana Michele Moorer surveyed the battlefield and mounted her campaign for the lyrical crown.</p><p>In 1988, MC Lyte’s debut Lyte as a Rock established her as a verbal pugilist with aggressive diss tracks like “10% Diss.” The reception was unanimously positive. She was instantly regarded on the same level as her male contemporaries. The follow-up, 1989’s Eyes on This, cemented that legacy further. Overseen by the same creative team as its predecessor (Audio Two and King of Chill), it was even more sonically satisfying. Eyes positioned Lyte as the queen bee of the lyrical hive.</p><p>The lead single, “Cha Cha Cha” was indicative of the attitude that drove the entire album. The slightly catchier beats gave a dose of energy to the proceedings without sacrificing the gritty boom bap aesthetic of the first album. Lyte’s lyricism, aggressive and calculated, remained front and center. This was undoubtedly an MC’s showcase. Lyte’s robust enunciation never undermined her tough girl swagger. She was articulate, yet her verses were peppered with the slang and cadence of the streets. In terms of technical proficiency, she had it all. One of the most perfectly balanced MC’s of either gender.</p>
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