Bono Says PE Should Roll Right Into Rock Hall

Bono Gives Chuck D World Tour Advice on U2 Private Jet 1992
Bono Says PE Should Roll Right Into Rock Hall
Since artists become eligible for induction 25 years after the release of their first recording, many of the influential figures of mid-1980s hip-hop are only now beginning to be recognized.

“Public Enemy, for instance, needs to go straight in,” Bono said. “That’s as important a moment as the Beatles. It changed popular culture for the next 25 years, and it was important as the Beatles.”

Chuck D continues to be instrumental at creating a very cool music destination with Norm Levy http://Beyond.FM

Norm Levy, Johnny “Juice” Rosado & Chuck D Produce James Brown Tribute CD & DVD

To Listen to the full Album and Watch all of the Video content please click here:

Produced by Norm Levy, Johnny Juice and Chuck D

To Listen to the full Album and Watch all of the Video content please click here:

Chuck D has forwarded the motion when it comes to payback in homage to Mr James Brown, who passed on Christmas Day 2006. In tribute to Mr Dynamite, The Hardest Working Man In Show Business , SLAMjamz artists collected under the moniker of The PEEPS OF SOULFUNK have re-performed 10 of the JB classics called ‘TRIB TO MR JB’. Produced by DJ JOHNNY JUICE ROSADO the artist roster contributions include KYLE JASON, CHUCK D, music by The baNNed and that’s Brian Hardgroove on bass, KHARI WYNN on guitar , ROCKY BRYANT on drums, VICTOR BURKS on keys, Matthew DePalmma and crew as horn section. The added vocals by CREW GRRL ORDER, MOST HIFI, KENDO THE ALMOST FAMOUS , PROFESSOR GRIFF, THE SCALLIONS, THE IMPOSSEBULLS, HEET MOB and DIRTY NORTH.

Personnel: Chuck D (vocals); C-Doc, Tirade, Ronnique “MsRo” Hakwins (vocals); Dirty North, Kendo The Almost Famous, Crew Grrl Order, HeetMob, Most Hi-Fi, Jahi, Professor Griff (rap vocals); Shawn Franklin, Mike Franklin (various instruments); Khari Wynn (guitar); Jason Metcalf (flute, baritone saxophone); Jeff Sheloff (saxophone, horns); Brian Hogans (alto saxophone); Matt Townsend (tenor saxophone); Marc Osterer (trumpet); Matt DePalma (trombone); The Depalma Horns (horns); Victor Burks (keyboards); Ricky Gordon (vibraphone, percussion); Brian Hardgroove (bass guitar); Rocky Bryant (drums); Johnny “Juice” Rosado (congas, bongos, percussion, turntables); DJ President Ike (scratches); Taylor Hairston, Tyler Hairston, Jacquelyn Richards, EEYCS Posse (background vocals); The Slamjamz Artist Revue.

Additional personnel: Kyle “Ice” Jason (vocals); and The baNNed, Public Enemy.

The production has also been executively supported by NORM LEVY from MEDIA STREET


5.0 out of 5 stars KEEPING THE JAMES BROWN LEGACY ALIVE !!!, February 11, 2008
Review: by TRAWIC11 


Once again, I like to thank Chuck D and the Slamjamz crew for stepping up and paying a true, overdue tribute that the Godfather deserves. This tribute was everything the Godfather would have hoped for. Tibb to JB is a cover of James Brown’s most legendary hits, but with an updated twist on 3 levels:

1) MUSICALLY: The band “THE BANNED” are amazing and in my honest opinion, are 2nd to “THE ROOTS” as far as being my favorite Hip Hop band. The production on the cover version of “It’s a Man’s, Man’s World” (my favorite on the tribute) was brilliant to the point were it was hard for me to decide whether the original or cover version is better. They did a superb job with the Horn arrangements and the vibes added a jazz-funk quality to the cover song.

2) VOCALLY: Kyle Jason, Chuck D, and the Slamjamz crew did a fantastic job and added a new dimension to the cover versions with a unique, full, and rich lyrical texture yet staying true to (and embellishing) the “James Brown Vocal/Ad-lib Rap” trademark. There no question that James had powerful vocals, but I always had a “What If” analysis in the back of my mind. What if James had some of the lyrical abilities of Chuck D, Common, Mystikal, Ludacris, and Scarface mixed together with his powerhouse vocals/yelps/screams. Tribb to JB (in my opinion) had lyrically painted a perfect picture of the endless “What If” possibilities of James Brown.

3) CONSCIOUSNESSLY: Tribb to JB reminds us of what James Brown music stood for: BLACK AWARENESS, BLACK IDENTITY, AND STRENGTH. The last song on the album is an absolute eye opener for Hip-Hop and made a powerful statement you will never forget. Public Enemy had invited a young girl name Autumn on stage at a show from BB Kings Club to do a rendition of James Brown’s 1972 song “King Heroin”. The song was tribute to one of relatives that died from drug abuse. Autumn might be young, but has a maturity and wisdom of a wise elder woman. This little girl truly touched and moved my heart deeply. This also explains why I have no respect for these “crack dealing rappers” of today like 50 Cents and Young “Snowman” Jeezy glamorizing the drug culture into the fabric of pop culture and don’t want to show any accountability for their immature actions in return, affecting innocent families like Autumn’s deceased relative. Her rendition of King Heroin is a true indication that James Brown’s legacy will not be forgotten and will be passes on from generation to generation.

After James died, I was very disturbed by 3 things:

THE MAJORITY OF HIP-HOP NOT REPRESENTING AT JAMES BROWN’S FUNERAL: With a huge number turn out for James funeral, I was very disappointed that most of the Hip Hop industry (not to mention the music industry in general) was M.I.A at the funeral. The only people at the funeral who represented Hip Hop were Chuck D and Hammer (much love to both). Even the King of Pop Michael Jackson, who was secretly laying low in the Middle East from the heat of the child molestation trial, put his fame aside and risked the media backlash by traveling to U.S. territory to Augusta, GA to paid his final respect and farwell to his mentor with honor (much love to MJ).

TODAY’S HIP HOP NOT LEARNING & RESPECTING HIS LEGACY: With Hip Hop now being in a state of self-centered selfishness, it was a disrespectful blow to the face that the majority of Hip-Hop did not acknowledge the Godfather’s passing. With VIBE & THE SOURCE cluttering the magazine with materialistic ads, half naked women, overrated gossips of the latest Hip Hop beefs, etc. You would think that they would at least take time out to publish a meaningful special edition in paying tribute to James Brown for what he brought to the table for Hip-Hop. Instead, they only gave “the Godfather” a lame tribute and went back to business as usual. They claim to be representing Hip-Hop, yet ROLLING STONE magazine manage to do a far better job in honoring the Godfather with than those two magazines put together. Hip-Hop owes a debt, and unpaid royalties to James Brown for sampling his music without paying him back or at least giving him credit in the liner notes. Fortunately, Chuck D and ?uestlove from ‘the Roots’ represented Hip Hop and showed support in a symposium at Princeton University to celebrate the innovations and legacy of James Brown. Among the people present were James Brown’s musician legends Fred Wesley, Alfred ‘Pee Wee’ Ellis, and Alan Leeds, James Brown’s former right hand tour manager from back in the heyday. (again much love to Chuck D and ?uestlove)