Hubbry Logo
Dame GreaseDame GreaseMain
Open search
Dame Grease
Community hub
Dame Grease
logo
7 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Dame Grease
Dame Grease
Dame Grease
View on Wikipedia
from Wikipedia

Key Information

Damon J. Blackman (born August 9, 1974), better known by his stage name Dame Grease or simply Grease, is an American record producer from New York City. In 1996, he gained recognition in the hip hop industry through his production work with Bad Boy and The LOX, while also establishing the sound of DMX and Ruff Ryders.

Music career

[edit]

1996–2006: Career beginnings and Vacant Lot

[edit]

Grease has produced several artists throughout his career. He has worked extensively with East Coast hip hop group, The LOX. Their use of Grease's sounds helped them acquire the street buzz that landed them their deal on Puff Daddy's Bad Boy Records in 1996. Grease produced several songs on LOX's debut album, Money, Power & Respect, including the hit We'll Always Love Big Poppa.[1][2] He was a producer on fellow Bad Boy artist Mase's quadruple platinum album Harlem World (1997). This led to Grease's work as the primary music producer on DMX's debut It's Dark and Hell Is Hot (1998),[3][4] producing thirteen of its nineteen tracks.[1] With this project Grease helped Ruff Ryders Entertainment build its image. During this time, Grease mentored Bronx-bred disc jockey Swizz Beatz, who soon became another sample-free producer.

Dame Grease then landed a deal with Priority Records to release music through his own label, Vacant Lot,[3] despite offers to be one of Puff Daddy's legendary Hitmen[3] or an in-house producer on Ruff Ryders.

In 1999, Dame Grease produced two tracks on Tricky's Juxtapose album.

In 2001 Dame Grease began composing music, providing the score for the Steven Seagal/DMX blockbuster Exit Wounds, as well as for the 2003 box-office hit, Cradle 2 the Grave, starring Jet Li, DMX, Gabrielle Union, and Anthony Anderson, and for Never Die Alone (2004).[1][5]

Dame Grease also teamed up with DMX on the "Ain't No Sunshine" soundtrack, a remake of Bill Withers 1972 classic of the same name.

Grease put in work on several music projects throughout 2004 and 2005, including albums from LL Cool J, Kelis, DJ Kay Slay, DJ Envy, Slick Rick, Ol' Dirty Bastard, and an artist on Dr. Dre's Aftermath label named Aimee Terrin. Grease also kept the underground bubbling with "Crown Me", a collaboration between T.I., Cam'ron, and Juelz Santana. In 2006, Dame Grease produced "Life Be My Song", a track on DMX's sixth studio album Year of the Dog... Again.[6]

2007–2013: After the Break

[edit]

After a break in the mid-2000s, Grease reemerged in 2007, securing DJ Drama's lead-off "Takin' Pictures" (featuring Young Jeezy, Rick Ross, Jim Jones, T.I., and Young Buck) and Freeway's single Big Spender (featuring Jay-Z).[3] Grease also produced several tracks on Hell Rell's debut album For the Hell of It.[3]

In 2009, Dame Grease produced the track "Lamborghini Dreams" for Curren$y which was to have been included on Curren$y's This Aint No Mixtape: (Championship Edition) but which was never released.[7]

In a 2010 radio interview, Dame discussed projects with the LOX, DMX and his Max B project, pairing Max with unreleased verses from Notorious B.I.G. and 2 Pac.[8] In that year he also collaborated with Magix Music Maker, a software, online services and digital content provider, to create a signature software called the Grease-A-Lizer (MAGIX Music Maker Greasealizer Version), which allows users to create their own tracks using "customized loops and keyboard samples" produced by Dame Grease.[3][5] The product was released March 15, 2010.[9]

In 2010, Dame Grease continued producing French Montana.[3][5] Dame also launched Lot Musik Recording Studio dedicated to fostering young talent.[1]

Dame released his own album, Goon Musik in 2011. It includes the single "Sour Diesel", which features N.O.R.E. and Styles P. Meeno, Bigga Threat and Tony Wink provided vocals for the album.[1] Dame made a production appearance on French Montana's Mister 16: Casino Life "All Night". Dame was executive producer on DMX's seventh studio album, Undisputed, which was released in September 2012.[5]

In December 2012, Dame Grease ran into Riff Raff while working on DMX's Undisputed album at Good Charlotte Studio in Hollywood. A few days later Riff Raff came back to the studio and recorded Hologram Panda in 7 hours. The mixtape version was released December 12, 2012, and the album version was released April 4, 2013, through 101 Distribution.

In 2013 Dame Grease started working with the "New Outlaw Order" a Faction of 2pac's Outlawz (Makaveli Records/ Thug Life 365). He was picked up by Vacant Lot Records and followed up with the album The Uprising produced by Dame Grease and Niamson released on December 25, 2015.

Discography

[edit]
Main article: Dame Grease production discography

Albums

[edit]
  • Live on Lenox (2000)[10][11][12]
  • What's Really Hood? (2003)
  • Goon Musik (2008)
  • Martial Law (2015)
  • Diary of Wave God (with Massfivestar) (2016)
  • Live On Lenox Remastered (2016)
  • Invincible Armour (with Joe Young) (2017)

Mixtapes

[edit]
  • Goon Music 1.5 (The Doomship) (2008) with Max B
  • Goon Music 2.OWWW (2009) with Max B and French Montana
  • Tanya aka T6: The Introduction (with Tanya T6) (2009)[13]
  • Strip Club Music (2010)
  • Stash Box (2010)
  • Wave Gang volumes 1–10 (2009–2013)[14]
  • Hologram Panda (with Riff Raff) (2012)[15]
  • City of Cocaine (with Cokeboy Brock and Droop Pop) (2016)

Singles/EP's

[edit]
  • "We'll Always Love Big Poppa" Puff Daddy, Faith Evans, 112, the Lox (Tribute To Notorious B.I.G.) (1997)
  • "Love and Hate" and "Feel the Rush" Mic Vandalz and Dame Grease (1998)
  • "For Real" Tricky with Dj Muggs and Dame Grease (1999)
  • "Bom Bom Diggy/Hot Like a Sauna" Tricky with Dame Grease (1999)
  • "God Love Us" Nas (Nastradamus) (1999)
  • Live on Lenox (12", Promo, Smplr) (2000)
  • "Drugs in da Club" (12") (2000)
  • "Ur Only a Customer" LL Cool J (Exit 13) (2008)
  • "We Run NY" French Montana, Max B, Dame Grease (2009)
  • "End of Time" Lumidee, Styles P (2010)
  • "Crack Babies" Method Man, Joe Young (Invincible Armour) (2017)
  • "Crack Babies 2.0" Method Man, Raekwon, Masta Killa, Cappadonna, Joe Young (Invincible Armour) (2017)
  • "Dangerous" E-Moe, C Jenkz, Dame Grease (2017)
  • "Guerrilla" Vita (rapper), CHG Unfadable (Lifestyle) (2017)

Scored soundtracks

[edit]
  • Turn It Up (New Line Home Entertainment 2000)
    • "Ja Rule, Pras, Robert Adetuyi"
  • Exit Wounds (Warner Home Video 2001) – Producer[1]
    • "Steven Segal, DMX, Andrzej Bartkowiak"
  • Cradle 2 the Grave (Warner Home Video 2003) – Producer[1]
    • "Jet Li, DMX, Andrzej Bartkowiak"
  • Never Die Alone ( Fox Home Entertainment 2004)
    • "DMX, David Arquette, Ernest R. Dickerson"

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Dame Grease

View on Grokipedia
from Grokipedia
Dame Grease, born Damon Blackman on August 9, 1974, in and raised in , New York, is an American hip hop and occasional recording artist best known for his dark, gritty beats that shaped the sound of late-1990s East Coast rap. A key architect of the collective, he rose to prominence in 1996 by producing demos that helped secure deals for artists like at . His production style, characterized by heavy sampling, ominous atmospheres, and hard-hitting drums, became synonymous with the raw energy of New York street rap during the era. Grease's breakthrough came with his extensive contributions to 's landmark debut album It's Dark and Hell Is Hot (1998), where he served as the primary producer and crafted tracks such as "Get at Me Dog," "Stop Being Greedy," and "Niggaz Done Started Something" featuring DMX, **Mae**, and [The LOX](/page/The_Lox).[](https://www.allmusic.com/artist/dame-grease-mn0000665518)[](https://www.revolt.tv/article/2019-09-04/86564/the-produce-section-i-11-of-dame-greases-most-iconic-beats)[](https://about.me/damegrease) This work helped propel the album to multi-platinum status and solidified Ruff Ryders as a dominant force in hip hop, with Grease molding the label's signature aggressive sound alongside collaborators like **[Swizz Beatz](/page/Swizz_Beatz)**.[](https://hiphopdx.com/interviews/producers-corner-dame-grease/) He also produced pivotal cuts for The LOX's *[Money, Power & Respect](/page/Money,_Power_&_Respect)* (1998), including "If You Think I'm Jiggy" and "We'll Always Love Big Poppa," as well as Mae's "Niggaz Wanna Act" from (1997). Throughout his career, Grease has collaborated with a wide array of artists, including Nas and N.O.R.E. on "Body in the Trunk" (1998), Cam'ron on "Good Morning America" (2000) and "Crown Me" (2004), Jay-Z and Freeway on "Roc-A-Fella Billionaires" (2007), and Mary J. Blige on "Dance for Me" (2001). Beyond production, he launched the Vacant Lot imprint through Priority Records in the early 2000s and has released his own projects, such as Goon Musik (2008), Martial Law (2015), and Diary of Wave God (2016), often featuring artists like Max B. Remaining active into the 2020s, Grease continues to influence hip hop through remixes and unreleased material, including over 50 tracks with DMX, as well as recent collaborations such as Coke Wave 3 with Max B and French Montana (2025).

Early life and background

Childhood and upbringing

Dame Grease, born Damon J. Blackman on August 9, 1974, in , , entered a world shaped by the vibrant yet challenging urban landscape of New York. His family origins traced back to , where and church music formed a foundational part of his household soundscape, instilling an early appreciation for rhythmic and gospel-infused traditions. As a child of the disco era, Blackman grew up listening to its infectious beats, which mingled with the emerging sounds of and in his home environment. Following his birth in the Bronx, Blackman relocated to Harlem, where he spent his formative years during the 1980s and early 1990s—a period marked by the explosive rise of hip-hop culture in New York City. Raised amid Harlem's dynamic street scenes, he navigated the socioeconomic pressures of the crack epidemic and gangsta rap's inception, experiences that deeply influenced his worldview and connection to urban life. In this hip-hop-saturated neighborhood, Blackman was immersed in a community alive with local sounds, tuning into MTV's eclectic programming on channel 25, which exposed him to a broad array of genres from techno to classical alongside hip-hop's raw energy. Harlem's street culture became a defining element of Blackman's youth, as he roamed its blocks with peers, absorbing the unfiltered pulse of New York City's creative undercurrents. This environment, rife with the era's social complexities, fostered resilience and a keen ear for echoing through daily life, laying the groundwork for his later creative pursuits without yet venturing into formal production.

Initial involvement in music

Dame Grease began his entry into music production in the mid-1990s, immersing himself in the vibrant East Coast hip-hop landscape of . Raised in , he drew inspiration from the neighborhood's street culture and the raw, aggressive sounds dominating the local scene, which shaped his initial creative direction. Largely self-taught, Grease honed his skills through hands-on experimentation, focusing on original keyboard compositions rather than heavy sampling—a method uncommon among peers at the time. He started with basic setups in his home, emphasizing passion and innovation over advanced technology to craft beats that echoed the intensity of and underground influences he absorbed from and local airwaves. This approach allowed him to develop a distinctive style rooted in the gritty essence of New York hip-hop. Grease's early networking occurred within New York's underground hip-hop community, where he connected with aspiring artists and fellow producers through informal street gatherings and local studios. These relationships, built on shared roots and mutual respect for authentic sounds, provided platforms for collaboration and feedback. His upbringing was instrumental in fostering this gritty sonic identity, connecting him to the pulse of the city's emerging talent. Among his first informal productions were demo beats created for local acts, including early tracks for the group , which circulated in the underground circuit and earned him initial acclaim for his innovative production flair. These unreleased demos highlighted his ability to blend soulful elements with hard-edged rhythms, laying the groundwork for broader recognition without the backing of major labels.

Music career

Early career and Bad Boy Records (1995–1998)

Dame Grease, born Damon J. Blackman, entered the professional music scene in the mid-1990s through his burgeoning production talents in , where he had self-taught beat-making using basic equipment. His early breakthrough came in 1996 when he began creating demos for the Yonkers-based rap group (Jadakiss, Styles P, and Sheek Louch), whose gritty street sound aligned with his dark, sample-heavy beats. These demos generated significant underground buzz, helping secure a record deal with under Sean "Puff Daddy" Combs, establishing Grease as an extended affiliate of the label. By 1997, Grease's association with Bad Boy solidified as he contributed productions to The LOX's debut album Money, Power & Respect, released in January 1998. He handled full production on key tracks like the title song "Money, Power & Respect" (featuring and ), which peaked at number 17 on the and earned gold certification, and "If You Think I'm Jiggy," a club-oriented single that reached number 30 on the Hot 100. Additionally, he served as co-producer on "Everybody Wanna Rat," showcasing his ability to blend ominous samples with the group's raw lyricism, contributing to the album's platinum success (over one million copies sold). These efforts marked Grease's first major-label placements and highlighted his role in bridging Bad Boy's polished aesthetic with harder-edged East Coast rap. During this period, Grease also began shaping the emerging collective through informal collaborations in the New York hip-hop circuit. Around 1997, he first met (Earl Simmons) via mutual connections in the Bad Boy and Yonkers scenes, where DMX was building his buzz as a solo artist; their initial sessions laid the groundwork for Grease's signature gritty, cinematic production style that would define Ruff Ryders' raw energy. While still tied to Bad Boy projects, Grease produced early unreleased demos and tracks for DMX and LOX affiliates, including rough cuts that circulated on underground tapes, fostering the aggressive sound that propelled toward independence. This transitional work positioned Grease as a pivotal figure in the late-1990s shift from Bad Boy's shine to Ruff Ryders' hardcore edge.

Breakthrough and peak years (1998–2006)

Dame Grease achieved his breakthrough in 1998 as the primary producer on DMX's debut album It's Dark and Hell Is Hot, where he handled 13 out of 18 tracks, delivering the gritty, orchestral sound that defined the project's raw energy and commercial dominance. The album debuted at number one on the and was certified quadruple platinum by the RIAA, selling over four million copies in the United States and establishing Grease as a key architect of late-1990s East Coast hip-hop. His contributions, including beats for hits like "" and "," amplified DMX's street narratives with haunting samples and booming drums, propelling the record to widespread acclaim. Building on this momentum, Grease founded the Vacant Lot imprint in partnership with around 2000, creating a platform to nurture Harlem-based talent and expand his production imprint beyond major labels like Bad Boy. Through Vacant Lot, he released his debut Live on Lenox Ave. that same year, featuring collaborations with artists such as , Scarface, and emerging acts like H.O.T. Ones, which captured the vibrant, unpolished essence of street life. The project received positive nods in the hip-hop community for its authentic flavor and Grease's signature production, though it remained more of a cult favorite than a chart-topper, highlighting his role in spotlighting underground voices. During the early 2000s, Grease solidified his peak influence with key productions for artists including and members of , such as and , blending soulful loops and aggressive rhythms to fuel the era's gritty rap anthems. Tracks like 's "My Hood" from the 2000 album and features on DMX's projects involving showcased his ability to craft beats that resonated with New York's rap elite, contributing to the regional sound's evolution amid rising mixtape culture. These efforts cemented Grease's reputation as a go-to for high-stakes collaborations, amassing credits on multiple platinum-selling releases.

Vacant Lot and independent era (2007–2013)

Following the momentum from his major label successes in the mid-2000s, Dame Grease transitioned to greater independence around 2007, regaining full control of his Vacant Lot imprint after earlier partnerships, including with , had concluded. This shift allowed him to operate Vacant Lot as a standalone entity, focusing on self-directed projects and alternative distribution deals, such as with Babygrande Records. The move reflected a broader pivot in the hip-hop industry toward artist-owned labels amid declining major label support for street-level producers. A key milestone in this era was the release of Grease's debut solo album, Goon Musik, on May 27, 2008, through Vacant Lot in partnership with Babygrande Records. Grease handled all production, mixing, and mastering himself, while also delivering vocals on most tracks, framing the project as a "hip-hop opera" that narrated street life with gritty, introspective beats. The album featured collaborations with artists like Bigga Threat, E-Nast, and Tanya T6, emphasizing raw, orchestral production styles over commercial polish, and it marked Grease's evolution from behind-the-scenes to multifaceted artist. Grease further solidified his independent footprint with the Wave Gang mixtape series, co-curated with DJ Delz and spanning 10 volumes from 2009 to 2013 under Vacant Lot. These releases championed the "wave" aesthetic—a wavy, melodic trap precursor popularized by Harlem's underground scene—blending hypnotic synths and booming bass with freestyles and posse cuts. Volumes like Wave Gang 3 (2009) and Wave Gang 5 (2010) highlighted Grease's production on tracks such as "Vigilante" and "If It Ain't About Money," distributing via mixtape circuits to bypass traditional retail constraints. Central to this period were Grease's collaborations with emerging Harlem talents Max B and French Montana, whom he mentored through Vacant Lot. He produced key tracks for their 2009 joint mixtape Coke Wave, including "Goon Music" featuring Meeno and E-Snaps, which fused wave flows with his signature dramatic strings and helped launch their careers amid Max B's legal troubles. Additional joint efforts, such as Goon Music 1.5 (The Doomship) (2008) with Max B and Goon Music 2.OWWW (2009) with both artists, underscored Grease's role in nurturing the Coke Boys collective, though industry hurdles like distribution bottlenecks and artist incarcerations complicated major breakthroughs.

Recent projects and collaborations (2014–present)

Following the independent mixtape approach of his earlier work, Dame Grease continued to build his catalog through self-released projects in the mid-2010s. In 2015, he independently released the album , a 17-track effort featuring raw hip-hop beats and guest appearances from artists like E-Moe on tracks such as "Just Breathe." The project showcased his signature gritty production, distributed initially through digital platforms. In , Dame Grease took on a full production role for Joe Young's album Invincible Armour, handling all beats across 12 tracks on the Vacant Lot Records release. The project featured high-profile guests including on "Crack Babies" and other Wu-Tang Clan affiliates, emphasizing themes of resilience and street life. This collaboration highlighted Grease's ongoing ties to New York rap's foundational figures. Entering the 2020s, Dame Grease adapted to the dominance of streaming services by launching the Wave Instrumentals series in 2025, focusing on beat tapes for producers and artists. Volume 1, released in May, included tracks like "Tattoo's," while Volume 3 followed shortly after on May 31 with eight instrumental compositions totaling 19 minutes. These releases, available on platforms like and , reflect his shift toward digital-first distribution while preserving his Harlem-originated sound through wavy, sample-heavy beats reminiscent of his Wave series roots. Throughout 2025, Grease maintained active collaborations with rap contemporaries, producing Max B's single "I Don't Know," a groovy track released in September that captured the artist's signature style post-incarceration. Following Max B's release from on November 9, 2025, Grease reunited with him and in the studio for new sessions, signaling continued momentum in their long-standing partnerships. This work, alongside his instrumental output, underscores his enduring influence in New York's underground scene via streaming and direct artist partnerships.

Production style and influences

Signature production techniques

Dame Grease's production is renowned for its employment of dark, gritty drum patterns paired with heavy basslines, which became emblematic of late-1990s East Coast hip-hop. These elements create a raw, aggressive foundation that emphasizes street authenticity and intensity, often featuring hard-hitting kicks and snares layered over rumbling sub-bass to drive the rhythm forward. A hallmark of his approach involves layering orchestral samples with urban street sounds to evoke a cinematic atmosphere, blending sweeping strings or horns from classical or film sources with gritty effects like vinyl crackle or ambient city noises. This technique adds depth and narrative tension, transforming beats into immersive soundscapes that mirror the dramatic storytelling in hip-hop. Grease achieves this through meticulous chopping and manipulation of samples, often slowing them down to integrate seamlessly with the percussion. His workflow centers on the sampler series, such as the MPC 2000 and 3000, for hands-on beat construction, complemented by digging for samples from both vinyl and CDs to source obscure loops from , , and orchestral records. This method allows for organic sample discovery and precise arrangement, prioritizing tactile control over digital presets to maintain a , analog warmth in his productions. Over time, Grease's style evolved from the raw, high-energy aggression associated with early Ruff Ryders tracks to smoother, groove-oriented beats influenced by wave , incorporating synth modules for melodic fluidity while retaining his core gritty edge. This shift reflects a broader adaptability, moving toward more atmospheric and layered compositions in his independent work.

Key influences and sampling approach

Dame Grease's production style draws heavily from the and traditions of the 1970s, influenced by his family's Southern roots in , where he was exposed to and records during his childhood. Raised in after being born in , this upbringing immersed him in a diverse sonic landscape that blended these foundational elements with the emerging hip-hop scene of the and . His early influences also include grooves, as seen in his sampling of unexpected sources like the ' "" for DMX's "," where he emphasized avoiding conventional hip-hop samples to create fresh, rocking loops. Grease's sampling approach prioritizes obscure and rare tracks, often sourced from CDs for their crisp clarity while also utilizing vinyl for exclusive material not readily available on digital platforms like , focusing on hidden gems in , , and R&B catalogs, such as Bill Withers' work, which he enhances with a personal twist to respect the original while transforming it. This philosophy leads to his signature method of flipping samples into menacing, atmospheric beats tailored for hardcore rap: by slowing down the source material, chopping it like a , and layering hard-hitting drums, Grease crafts dark, gritty soundscapes that evoke tension and intensity, as demonstrated in his contributions to Ruff Ryders releases. In later years, Grease shifted from heavy sample reliance toward synth and keyboard-driven production, pioneering a move away from - and -based beats toward more synthesized textures inspired by contemporaries in hip-hop's evolution. This evolution incorporated trap and wave elements, evident in his trap-friendly beats for DJ Drama's projects and wavy, melodic productions for , blending atmospheric synths with booming 808s to adapt his dark aesthetic to modern street rap. His instrumental works continue to nod to classic and roots while experimenting with these contemporary influences.

Film and media contributions

Scored soundtracks

Dame Grease entered film scoring in 2001 with the action thriller , directed by and starring and , where he composed original tracks that fused hip-hop beats with pulsating action sequences to heighten the film's high-stakes tension. His contributions included a notable remake of Bill Withers' 1972 classic "," reinterpreted with to underscore the movie's gritty street narrative. Building on this debut, Grease provided key musical elements for in 2003, another Bartkowiak-directed action film featuring alongside , crafting tense urban atmospheres through productions like Big Stan's "Hand That Rocks the Cradle," which integrated heavy bass and rhythmic intensity to mirror the plot's heist-driven chaos. He extended this approach to (2004), a -led , where his score delivered brooding, atmospheric layers that amplified the film's dark exploration of urban vice and isolation. Prior to these full scores, Grease contributed to the 2000 film Turn It Up, starring and Michel, by selecting and producing soundtrack cuts such as tracks from his Live on Lenox project, which were featured to enhance the movie's hip-hop-infused drama. Leveraging his post-DMX breakthrough, Grease's film endeavors bridged hip-hop production with Hollywood, applying signature techniques like layered sampling and raw percussion to achieve gritty realism in cinematic .

Other media productions

Dame Grease composed the score for the 2025 reality-TV series Love and , which delves into the competitive and romantic dynamics of women's bikini basketball leagues. In addition to his musical contributions, Grease received production credits for music videos tied to his artist collaborations, including Method Man's "Grand Prix" in 2018, where he handled the underlying track production that shaped the visual narrative. He also produced promotional media for his own projects, such as the 2000 commercial for the Dame Grease's "Live on Lenox Ave." The Album, featuring artists like and to highlight the release's street-oriented sound.

Discography

Studio albums

Dame Grease's studio albums represent key milestones in his evolution as a producer and artist, often blending his signature gritty soundscapes with themes drawn from street life, personal introspection, and . His discography emphasizes full-length projects that showcase his production prowess, occasional , and collaborations with affiliated artists from his Vacant Lot Records imprint. While early releases leaned toward ensemble efforts highlighting unsigned talent, later works became more personal and experimental. Live on Lenox (2000), released on July 18, 2000, via Priority Records in partnership with Vacant Lot Records, served as Dame Grease's debut full-length project and introduced his Vacant Lot crew to a wider audience. The album's concept revolves around raw, unfiltered depictions of Harlem's Lenox Avenue scene, featuring high-energy tracks with booming basslines and soulful samples that capture the era's hardcore hip-hop vibe. Standout tracks include "The Future" featuring DMX, Big Stan, and Meeno, which opens with a cinematic urgency emphasizing survival and ambition, and "Good Morning America" with Cam'ron and H.O.T. Ones, blending boastful lyricism with orchestral flourishes. As a breakthrough during his peak years (1998–2006), it highlighted Grease's ability to curate talent, though reception noted its compilation-like structure over solo focus, earning praise for its authentic street energy in underground circles. What's Really Hood? Vol. 1 (2003), released via Koch Records, compiled tracks from Vacant Lot artists with Grease's production throughout, focusing on gritty narratives of urban life and crew dynamics in . Notable tracks include "Hood Intro" featuring and Bigga Threat, and "Money Ave," showcasing raw street tales over heavy beats. It served as a label showcase during his transitional period post-Priority. Goon Musik (2008), issued on May 27, 2008, by Babygrande Records, marked a shift to a more intimate solo endeavor where Dame Grease handled all production and delivered his own verses, exploring themes of 's underbelly, resilience, and "goon" culture— for relentless street hustlers. The album's narrative unfolds like a "hip-hop ," with Grease narrating hood experiences through dark, piano-driven beats and sparse synths, distinguishing it from his earlier group efforts. Key highlights include "Lotzilla" with Bigga Threat and The Loose Cannons, a gritty anthem on and , and "Connecticut Kush" featuring loose, hazy flows over funky loops. Released during his independent era (2007–2013), it received positive nods for its raw authenticity and Grease's multifaceted role, though commercial reach was limited; critics appreciated its personal depth as a window into street life without mainstream polish. Martial Law (2015), Dame Grease's third solo studio , dropped on May 5, 2015, via Vacant Lot Records and distributed digitally through platforms like and , comprising 17 tracks that evolve his sound toward harder, more politically charged territory. The project's core theme intertwines "martial law" metaphors with real-world social realities, addressing police brutality, , and systemic through ominous beats, heavy percussion, and sampled news clips for a documentary-like feel. Notable cuts feature "Amerika" with Chi-Ill, critiquing American inequality with trap-infused aggression, and "Bob Marley" alongside Bigga Threat, fusing influences with hip-hop to evoke resistance. In the context of his recent projects (2014–present), it showcased an matured production style with deeper collaborations, earning acclaim in niche hip-hop outlets for its timely relevance and sonic innovation, though broader reception remained underground due to independent distribution. Diary of Wave God (2016), a collaborative album with Massfivestar via Vacant Lot Records, delved into the "wave" aesthetic with psychedelic, melodic beats and introspective lyrics reflecting Harlem's evolving street culture. Key tracks highlight Grease's production layering hazy synths over trap rhythms, emphasizing themes of legacy and resilience. Set in Stone (2019), a full-length collaboration with released via ST. Records, featured 10 tracks blending East Coast lyricism with Grease's gritty, sample-heavy style, exploring perseverance and hip-hop authenticity. Standouts include "Set in Stone" feat. and "Heartbeat," praised for their hard-hitting drums and soulful loops.
Album TitleRelease DateLabelKey ThemesNotable Tracks
Live on LenoxJuly 18, 2000Priority / Vacant LotHarlem street survival, crew showcase"The Future" (feat. , Big Stan, Meeno), "Good Morning America" (feat. , H.O.T. Ones)
What's Really Hood? Vol. 12003KochUrban life, label showcase"Hood Intro" (feat. Loon, Bigga Threat), "Money Ave"
Goon MusikMay 27, 2008BabygrandePersonal hood narratives, resilience"Lotzilla" (feat. Bigga Threat, The Loose Cannons), "Connecticut Kush"
Martial LawMay 5, 2015Vacant LotSocial oppression, urban reality"Amerika" (feat. Chi-Ill), "Bob Marley" (feat. Bigga Threat)
Diary of Wave God (with Massfivestar)2016Vacant LotWave aesthetic, legacyVarious wave-influenced tracks
Set in Stone (with )September 13, 2019ST. RecordsPerseverance, authenticity"Set in Stone" (feat. ), "Heartbeat"

Mixtapes and EPs

Dame Grease has utilized mixtapes and EPs as key platforms for experimenting with his signature "wave" sound, fostering collaborations with emerging s and building a dedicated fanbase during his independent era, where such releases provided essential visibility without major label support. The Wave Gang series, spanning 2009 to 2013, consisted of multiple volumes that showcased Grease's production style through high-energy hip-hop tracks emphasizing wavy, atmospheric beats and street narratives. Volumes such as Wave Gang (2009), co-hosted by DJ Delz, featured artists like and on tracks including "Ovatime," highlighting themes of hustle and crew loyalty to engage fans in the underground scene. Subsequent installments like Wave Gang 3 (2009) and Wave Gang 4 (2010) continued this approach, incorporating freestyles and skits with contributors such as and , while Wave Gang 10: The Grand Finale (around 2013) wrapped the series with a broad array of MCs to solidify its role in development by providing beats for raw, unpolished performances that attracted aspiring rappers. These mixtapes were distributed via digital platforms and circuits, enhancing fan engagement through exclusive drops and live event tie-ins. In 2012, Grease released Hologram Panda, a collaborative EP with rapper Riff Raff (also known as Jody Highroller), which pushed experimental boundaries by blending trap elements with psychedelic, hologram-inspired production on tracks like "Panomera 911." The project, comprising 12 songs, explored surreal themes and innovative sampling, distributed primarily as a free digital on sites like MixtapeMonkey to reach niche audiences and encourage viral sharing among fans of alternative hip-hop. This EP played a pivotal role in cross-pollinating Grease's wave aesthetics with Riff Raff's eccentric style, aiding both artists' development by exposing them to new listener bases. The Wave Instrumentals series, launched in the 2020s, shifted focus to beat showcases with Volumes 1 through 3 released by mid-2025, offering stripped-down versions of his productions for producers and rappers to build upon. Volume 1 (May 19, 2025) and Volume 2 (May 30, 2025) each contained 10 instrumental tracks emphasizing moody synths and rhythmic loops, while Volume 3 extended this with additional variations available on streaming platforms like and . These releases engaged fans and collaborators by providing accessible tools for freestyles and remixes, underscoring Grease's ongoing influence in beat-making communities. Early Vacant Lot promos included the 2000 mixtape Dame Grease's "Live On Lenox Ave.," a single-sided cassette promo that previewed his raw production for label artists, distributed through channels to build hype and connect with street-level fans during his initial independent push.

Singles and collaborations

Dame Grease's production on DMX's debut single "," featuring , from the 1998 album It's Dark and Hell Is Hot, marked one of his earliest major breakthroughs, peaking at number 39 on the and number 4 on the chart. The track's gritty, orchestral beat, built around a sample from B.T. Express's "Everything Good to You (Ain't Always Good for You)" (1974), helped propel DMX to and exemplified Grease's signature dark, cinematic style in late-1990s hip-hop. Another key single from the same , "Stop Being Greedy," also produced by Grease, showcased his ability to craft aggressive, sample-heavy anthems that captured the raw energy of New York street rap, though it did not chart as highly as its predecessor. Grease further contributed to DMX's success with "Niggaz Done Started Something," a featuring and Ma$e that served as a high-energy collaboration highlighting Ruff Ryders' collective sound. Beyond , Grease produced The LOX's "Money, Power & Respect" from their 1998 debut Money, Power & Respect, a platinum-certified track that peaked at number 17 on the and became a staple of East Coast rap, emphasizing themes of street ambition over a haunting loop sampled from Dexter Wansel's "New Beginning" (1979). In 2001, his work on Mary J. Blige's "Dance for Me" from peaked at number 92 on the and number 41 on the chart, blending R&B with club-ready beats and demonstrating Grease's versatility in mainstream pop-rap crossovers. Grease produced DMX's introspective "The Convo" from It's Dark and Hell Is Hot (1998), a narrative-driven track that highlighted his skill in creating moody, dialogue-infused productions. Later collaborations included French Montana's "Bury Me a G" (~2009, from ), an early Coke Boys-era track that gained underground traction for its wavy, melodic sound. More recently, Grease reunited with longtime collaborator on the 2025 single "I Don't Know," released September 3, 2025, amid Max B's return from incarceration, featuring groovy, nostalgic production that evoked their signature wave aesthetic and quickly amassed streams on digital platforms. In 2025, Grease also produced "Fallen" for emerging artist Nimboujee under ST. Records, with input from label head , positioning it as a soulful, introspective track aimed at building buzz in rap scene. These efforts underscore Grease's enduring role in fostering new talent through targeted, high-impact singles outside traditional album formats.

References

  1. https://rateyourmusic.com/artist/dame-grease
  2. https://www.revolt.tv/article/2019-09-04/86564/the-produce-section-i-11-of-dame-greases-most-iconic-beats
  3. https://hiphopsince1987.com/2023/music/dame-grease-misty-blanco-will-be-releasing-remix-to-their-hit-record-move-around-2023-remix-uploading-now/
  4. https://www.bet.com/photo-gallery/1xut9m/super-producers-of-the-90s-and-the-top-of-the-millennium/xmai78
  5. https://www.allmusic.com/artist/dame-grease-mn0000665518
  6. https://hiphopdx.com/news/ruff-ryders-producer-dame-grease-says-he-has-50-unreleased-dmx-songs-wants-def-jam-to-release-them/
  7. https://pitchfork.com/thepitch/the-return-of-max-b/
  8. https://www.rapreviews.com/2008/05/dame-grease-interview/
  9. https://hiphopdx.com/interviews/producers-corner-dame-grease/
  10. https://rapindustry.com/dame-grease-producer/
  11. https://allhiphop.com/features/dame-grease-still-pushing-hits-from-dmx-to-jay-z/
  12. https://www.about.me/damegrease
  13. https://www.discogs.com/release/460958-The-Lox-Money-Power-Respect
  14. https://www.okayplayer.com/the-secret-history-of-dmxs-its-dark-and-hell-is-hot/310672
  15. https://hiphopgoldenage.com/list/ranking-dmxs-albums/
  16. https://www.utdailybeacon.com/life_and_culture/entertainment/hip-hop-collection-falls-flat/article_2c297caf-6543-5762-b941-883a81db9e09.html
  17. https://www.allmusic.com/album/live-on-lenox-ave-mw0000050163
  18. https://www.nytimes.com/2001/02/18/nyregion/in-harlem-s-ravaged-heart-revival.html
  19. https://genius.com/Camron-my-hood-lyrics
  20. https://www.youtube.com/watch?v=msEoXraOi7Y
  21. https://ambrosiaforheads.com/2016/01/dmx-producer-dame-grease-wants-guinness-world-record-for-songs-in-year/
  22. https://hip-hop-music.fandom.com/wiki/Dame_Grease
  23. https://www.discogs.com/release/1427608-Dame-Grease-Goon-Musik
  24. https://www.allmusic.com/album/goon-musik-mw0000786104
  25. https://archive.org/details/Dame-Grease_and_DJ_delz_presents-wave_Gang_32009
  26. https://www.buymixtapes.com/popout-player.php?album_id=9480
  27. https://www.amazon.com/Dame-Grease-Presents-Wave-Gang/dp/B002SIKVX8
  28. https://genius.com/albums/French-montana-and-max-b/Coke-wave
  29. https://www.youtube.com/watch?v=G-WlzfxRWto
  30. https://music.apple.com/us/album/martial-law/983800620
  31. https://open.spotify.com/album/1xFBhd16On2oMBvwzFQiBd
  32. https://www.discogs.com/release/9722765-Joe-Young-Invincible-Armour
  33. https://ambrosiaforheads.com/2017/02/joe-young-invincible-armour-album-stream/
  34. https://music.apple.com/us/album/wave-instrumentals-volume-3/1817774807
  35. https://audiomack.com/dame-grease-1/song/tattoos
  36. https://open.spotify.com/album/66513s95Vpjvkez9UNaERC
  37. https://open.spotify.com/track/4ed1kTYmNMsiH8dOufDWvb
  38. https://www.facebook.com/treasure.blue/photos/-the-wave-is-almost-home-harlem-stand-up-max-b-touches-down-november-9-2025-the-/26263891703199412/
  39. https://beattips.com/beattips-top-30-beatmakers-of-all-time-dame-grease/
  40. https://www.okayplayer.com/behind-the-beat-dame-grease-on-how-disco-music-inspired-dmxs-get-at-me-dog/755469
  41. https://the5thelementmag.wordpress.com/2013/05/06/the-wavy-movement-gets-greasy-a-5th-element-interview-with-dame-grease/
  42. https://www.popdust.com/popdust-presents-dame-grease-2606246857
  43. https://about.me/damegrease
  44. https://www.newswire.com/news/platinum-selling-producer-dame-grease-to-executive-produce-dmx-next-lp-94190
  45. https://amsterdamnews.com/news/2011/04/12/rap-maestro-dame-grease-comes-off-slick-with-a/
  46. https://www.discogs.com/release/1208420-Various-Cradle-2-The-Grave-Music-From-And-Inspired-By-The-Motion-Picture
  47. https://www.reverbnation.com/damegrease/song/22604768-dame-grease-amerika-ft-chi-ill
  48. https://genius.com/albums/Dame-grease/Live-on-lenox-soundtrack
  49. https://www.imdb.com/name/nm10051234/
  50. https://www.youtube.com/watch?v=9XZ2zwDJ5-s
  51. https://www.youtube.com/watch?v=u6MLZpAKxTo
  52. https://www.discogs.com/master/250224-Dame-Grease-Dame-Greases-Live-On-Lenox-Ave-The-Album
  53. https://www.harlemworldmagazine.com/dame-grease-live-lenox-remastered-youre-not/
  54. https://www.allmusic.com/album/whats-really-hood-vol-1-mw0001109264
  55. https://store.ihiphop.com/products/dame-grease-goon-musik
  56. https://www.pr.com/press-release/614234
  57. https://www.youtube.com/watch?v=f5Nz4TTm8Hs
  58. https://music.apple.com/us/album/set-in-stone/1476313871
  59. https://www.discogs.com/artist/173545-Dame-Grease
  60. https://open.spotify.com/album/1wfyB6tXIoNNRWLIaKXhyC
  61. https://www.youtube.com/watch?v=6O77BDEHDFE
  62. https://www.last.fm/music/Dame%2BGrease/Dame%2BGrease%2B&%2BDJ%2BDelz%2B-%2BWave%2BGang%2B10%2B%28The%2BGrand%2BFinale%29
  63. https://music.apple.com/us/album/hologram-panda/632337996
  64. https://mixtapemonkey.com/534/riff-raff-dame-grease-hologram-panda
  65. https://music.apple.com/us/album/wave-instrumentals-volume-1/1814537562
  66. https://music.apple.com/us/album/wave-instrumentals-volume-2/1814537645
  67. https://www.facebook.com/DAMEGREASE129/videos/dame-grease-wave-instrumentals-volume-3-is-now-available-on-all-streaming-platfo/2162652204208133/
  68. https://www.discogs.com/release/30467645-Dame-Grease-Dame-Greases-Live-On-Lenox-Ave-The-Mixtape
  69. https://www.whosampled.com/sample/6225/DMX-Sheek-Louch-Get-at-Me-Dog-B.T.-Express-Everything-Good-to-You-%28Ain%2527t-Always-Good-for-You%29/
  70. https://www.whosampled.com/sample/652/The-Lox-DMX-Lil%2527-Kim-Money%2C-Power-%2526-Respect-Dexter-Wansel-New-Beginning/
  71. https://www.musicvf.com/Mary+J.+Blige.songs
  72. https://www.youtube.com/watch?v=F1pECj6FPts
  73. https://music.apple.com/us/song/i-dont-know/1835902162
Add your contribution
Related Hubs
User Avatar
No comments yet.