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K-Solo
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Key Information
Kevin Madison, also known as K-Solo (born April 17, 1968) is an American rapper from Brentwood, New York who, along with Redman, EPMD, Das EFX, and Keith Murray, was part of the Hit Squad in the 1990s.
Career
[edit]K-Solo was a member of EPMD's "Hit Squad", featuring on the group's hit Head Banger. His biggest solo hits were "Your Mom's in My Business" and "Spellbound." The rapper later accused DMX of stealing this style when the two were serving time in the same jail.[3] DMX has disputed whether K-Solo developed this style during the 16 months he served in Riverhead Correctional Facility after being convicted of assault in the 1980s or during a later stay in Suffolk jail.[citation needed]
In the mid-1990s, he signed with Death Row Records after hooking up with them at a Pittsburgh concert show. The only track ever released was a bootleg of Kurupt and him freestyling over Snoop's "Gin and Juice". It can be found on YouTube.[citation needed]
In 2003 he toured the world with PMD and DJ Honda and vowed never again citing PMD "flipping over nearly everything but his ticket and record sales."[citation needed]
In 2004 he was working on a new album for his Waste Management Records tentatively titled "There Will Be Hell to Pay" which has not been released.[citation needed]
Feuds
[edit]DMX
[edit]During the mid-1990s through the early 2000s (decade), DMX and K-Solo, who first met as inmates in prison during the course of K-Solo's three-year prison stint, disputed over who was the first to write "Spellbound". Despite that K-Solo released his version in 1990, DMX, who released his version in 1991, claimed that he was the first to write "Spellbound". In his 1998 hit single "Get At Me Dog", DMX told K-Solo to "suck [his] dick". K-Solo later responded to DMX on a track named "The Answer Back", in which K-Solo claimed to be DMX's real father, and alleged that the legitimate reason for DMX's disgruntlement was because K-Solo had given DMX's mother a sexually transmitted infection. As the track continues, K-Solo went on to vindicate himself by saying that it was in fact DMX's mother who had "burned" him first. On Beef II, K-Solo took a lie detector test to prove that he was the first to write "Spellbound". The results were inconclusive.
In an August 2006 interview,[4] he said "The truth of the matter is that being in L.A., I have people that I never would in LA, like Tito Ortiz, Chuck Lidell, true beat-that-ass-niggas. I have personally talked to the UFC folks and they would love to see us fight, I would love to see us fight. I mean we are forever going to be linked in the beef shit because there has not been a clear winner. I feel that I destroyed him, I assume he feels the same. It’s obvious we both don’t like each other and I think it’s the only way to settle this beef, but let’s face it, I saw dude do 50 push-ups and almost fall down afterwards. It took like 10 minutes to catch his breath to smoke another cigarette. Obviously he is not ready for that. It would be the biggest deal in hip-hop in 20 years."
In a January 2007 interview,[5] he was asked why DMX continued to seek conflict, especially with his recent appearance on Hot 97 and stated "He knows what it is. I told him to get into the cage with me. Five rounds, homie, fight me! He wouldn't do it. I am asking Keith Murray to do the same. I’ll break his ass down in two. He’s a five dollar dude. Sign the papers, we’ll set it up, and can handle it. That goes for any ma’fucka who has problems with me. We’ll get in the cage. If you can beat me, you get the money and I’ll get my ass beat. Let people do what they got to do. I’m in war mode. I’m more ready now than I've ever been. People aren't getting away with that dumb shit. DMX can’t fight."
K-Solo has since become very complimentary of DMX after the latter's passing in 2021,[6] detailing how he visited his former rival's grave and even shed tears reflecting on their troubled history.
Keith Murray
[edit]In a January 2007 interview,[5] he responded to claims that he [Keith] knocked him out:
"I was in the hood watching these guys. I ran with one of these guys who was in the hood. A while back, my boy – Ralph Mann got jumped by a few of the L.O.D. cats Keith Murray’s crew]. They were disrespecting Ralph! I put Murray and Redman in the game! So, I put they asses on blast on a mixtape! Murray’s men jumped me on stage and threw me off the bitch. They’re now in court because of the shit. But let me ask you -- how do I get jumped in your club on Christmas Eve and walk out still alright? I could’ve respected it if Murray ran up on me and did his thing. But he didn’t. He thinks that the world is against him. If there was no Kevin Madison there wouldn’t be no Keith Murray, because no one would’ve respected him. Why fight someone that put you on? The only thing that I can think is that Reggie and Erick put him on to doing it. These cats are crazy, though. People were hurt when the Hit Squad broke up. I know people who can call on J. Prince and really cause some problems. Cats are just stupid. That’s the only thing that aggravates me. What else do I have to do to show people that I’m the “original rap criminal”? People don't know what they're playing with."
After Redman contacted both rappers,[7] K-Solo and Keith Murray squashed the beef and have since performed together on multiple Hit Squad shows. K-Solo has even shouted Murray out in numerous interviews since.
Discography
[edit]Albums
[edit]| Year | Title | Chart positions[8] | ||
|---|---|---|---|---|
| Billboard 200 | Top R&B/Hip hop Albums | |||
| 1990 | Tell the World My Name | - | No. 45 | |
| 1992 | Time's Up | No. 135 | No. 36 | |
Singles
[edit]| Year | Title | Chart positions[9] | Album |
|---|---|---|---|
| Hot rap singles | |||
| 1990 | "Spellbound" | No. 7 | Tell the World My Name |
| "Your Mom's in My Business" | No. 2 | ||
| 1991 | "Fugitive" | No. 24 | |
| 1992 | "I Can't Hold It Back" | No. 24 | Time's Up |
| 1993 | "Letterman" | No. 4 |
Filmography
[edit]- Beef II (2004)
- 2fast2real (2004)
- 2Fast2real3 (2008)
References
[edit]- ^ Wade Kergan. "K-Solo". AllMusic. Retrieved 2019-09-25.
- ^ Wade Kergan. "K-Solo". AllMusic. Retrieved 2019-09-20.
- ^ Clark, Kevin (January 10, 2007). "K-Solo: Fuck Everyone". HipHopDX.com. Archived from the original on November 22, 2007. Retrieved 2007-12-29.
- ^ ".: Platform8470 - HipHopZine :". 25 May 2008. Archived from the original on 2008-05-25. Retrieved 22 June 2021.
- ^ a b "K-Solo: Fuck Everyone". HipHopDX.com. 10 January 2007. Retrieved 22 June 2021.
- ^ Unique Access Ent. (2022-04-08). K-Solo on Going To DMX’s Gravesite, How Dr. Dre & EPMD Worked Differently & How He Got His Name. Retrieved 2025-07-17 – via YouTube.
- ^ GossipViv Billings (2016-11-21). K Solo Speaks DMX Spellbound Beef, Getting Jumped By Keith Murray & EPMD Not Having His Back. Retrieved 2025-07-17 – via YouTube.
- ^ "Albums chart history". AllMusic. Retrieved 2007-12-29.
- ^ "Singles chart history". Billboard. Retrieved 2007-12-29.
External links
[edit]
Wikimedia Commons has media related to K-Solo.
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K-Solo
View on Grokipediafrom Grokipedia
Biography
Early life
Kevin Madison, better known by his stage name K-Solo, was born on April 17, 1968, in the United States, with sources varying on his birthplace as Brentwood or Central Islip on Long Island, New York, though some accounts place it in the Bronx or Ozone Park, Queens.[2][6][7] Raised in a working-class environment on Long Island after moving there around age three or four, Madison grew up in the Brentwood neighborhood alongside future EPMD member Parrish Smith, sharing early experiences in the suburban Suffolk County community.[2][7] His family background included connections to the Bronx through relatives; in early 1977, at around age nine, he was introduced to hip-hop by a cousin while visiting the East 233rd Projects, where he first encountered the emerging culture through block parties and early DJs.[7] Madison's upbringing on Long Island in the late 1970s and 1980s exposed him to the growing local hip-hop scene, influenced by New York's broader movement, though he balanced this with other pursuits. As a youth, he developed an interest in boxing after frequent street fights, training rigorously and achieving success as a two-time Empire State boxing champion in amateur competitions.[7] Simultaneously, he began exploring music, starting to rap in informal settings with peers like T.J. Swann and Biz Markie during school years and local gatherings, honing his skills in casual cyphers amid the vibrant East Coast hip-hop environment.[7]Legal troubles
In 1985, K-Solo (born Kevin Madison) faced significant legal challenges stemming from an altercation with two bikers who attempted to assault him outside a motorcycle shop in New York after hurling racial epithets at him. He defended himself by fighting back with a brick against one biker's chain, which led to assault charges.[8][4] He was arrested following the incident and incarcerated in Suffolk County's Riverhead Correctional Facility, where he served a 16-month sentence for the assault conviction.[8][4] During his imprisonment, Madison endured further altercations, including racial taunts from other inmates, which heightened the tensions of his confinement. These experiences, combined with prison rap battles, directly inspired his signature "Spellbound" rhyming technique of spelling out words, which he developed as a creative outlet amid the hostility. The incident that led to his conviction also derailed his amateur boxing aspirations, as the fight and subsequent legal fallout ended any prospects of pursuing that path professionally.[9] Upon release, Madison grappled with immediate personal repercussions, including mental health challenges and difficulties readjusting to life outside prison, which he described as needing time to "get my mind right" after the isolation and trauma.[9] These struggles were compounded by the broader emotional toll of incarceration, affecting his family dynamics and sense of independence in the years following.[9]Musical career
Affiliation with Hit Squad
K-Solo, born Kevin Madison, entered the professional hip-hop scene through his affiliation with the Hit Squad, a collective formed by EPMD members Erick Sermon and Parrish Smith in the late 1980s via their Sleeping Bag Records imprint.[10] The group initially comprised EPMD alongside K-Solo and Redman, expanding to include Das EFX and Keith Murray by the early 1990s, fostering a collaborative environment that amplified East Coast rap talent.[11] This association marked K-Solo's breakthrough, leveraging EPMD's established platform to showcase his skills amid the group's rising prominence.[4] K-Solo's early contributions to Hit Squad projects highlighted his integration into the collective's sound. He made his debut guest appearance on EPMD's 1989 album Unfinished Business, delivering a standout verse on the track "Knick Knack Patty Wack," where his rhythmic flow complemented the duo's funk-infused production.[4] The track "Hit Squad Heist" from Business as Usual (1990) introduced the Hit Squad concept, mentioning K-Solo in its lyrics alongside other affiliates, exemplifying the crew's emerging dynamic. These collaborations emphasized K-Solo's unique rhyming style, characterized by intricate wordplay and spelling techniques, which distinguished him in ensemble tracks and enhanced the Hit Squad's cohesive yet diverse energy.[12] Within the Hit Squad's dynamic, K-Solo emerged as a key performer, particularly in live settings that amplified the collective's raw intensity. His contributions to crew-oriented material brought a narrative-driven edge, setting him apart during group showcases.[13] The affiliation culminated in pivotal events like the 1990 Hit Squad tours, which provided K-Solo with national exposure and propelled his transition to solo endeavors.[14] This period from 1988 to 1992 represented the Hit Squad's peak, offering K-Solo a foundational platform in hip-hop's competitive landscape.[15]Solo releases
K-Solo's debut solo album, Tell the World My Name, was released on May 22, 1990, by Atlantic Records, marking him as the first artist from EPMD's Hit Squad to drop a full-length project.[4] The album featured production primarily handled by PMD (Parrish Smith of EPMD), who also served as executive producer, infusing the project with the group's signature funky, sample-heavy sound.[16] Key tracks included "Spellbound," a gritty opener showcasing K-Solo's rapid-fire delivery; "Your Mom's in My Business," a humorous yet sharp narrative about generational clashes; and "Fugitive," a tense storytelling piece about evading the law.[17] These singles received radio play and MTV rotation through accompanying music videos, helping promote the album's themes of street life, romance, and bravado.[5] Critically, the record earned praise for K-Solo's innovative lyricism and vivid narratives, with AllMusic highlighting its confident tone and avoidance of macho excess, though it commercially underperformed, peaking at No. 45 on the Top R&B/Hip-Hop Albums chart without crossing into mainstream success.[16] Following a period marked by legal challenges, including incarceration, K-Solo returned with his second and final major-label album, Time's Up, issued on June 2, 1992, also via Atlantic Records.[18] The project emphasized themes of perseverance and reflection on personal struggles, with production contributions from Erick Sermon and PMD of EPMD, alongside Sam Sneed, Pete Rock, and K-Solo himself, delivering a harder-edged boom-bap aesthetic.[19] Standout tracks like "I Can't Hold It Back," an energetic lead single with a video that captured its raw energy, and "Long Live the Fugitive," a sequel to his earlier hit that addressed ongoing survival in a hostile environment, underscored the album's introspective edge.[18] Promoted amid K-Solo's post-prison comeback narrative, the singles aimed to reestablish his presence but faced limited airplay. Chart-wise, Time's Up reached No. 135 on the Billboard 200 and No. 36 on the Top R&B/Hip-Hop Albums, reflecting modest sales amid a shifting hip-hop landscape.[19] Reception was mixed, with commendations for the solid beats and K-Solo's improved flow but critiques for lacking the debut's charisma, as noted in reviews that appreciated its underground grit yet lamented its commercial fade.[20]Later career
In the mid-1990s, K-Solo signed with Death Row Records as the first East Coast artist brought on by Dr. Dre, following discussions initiated at a Pittsburgh concert where he connected with label executives including Suge Knight.[21] Despite recording several tracks and an intended album during sessions alongside artists like Snoop Dogg and Tupac Shakur, no official release materialized due to escalating internal tensions, including Knight's volatile interactions with Dre—such as threats involving Dre's girlfriend—and Dre's eventual departure from the label in 1996, which halted K-Solo's project amid the company's growing instability.[21][22] The impact of K-Solo's earlier 1990s legal troubles further complicated his momentum, contributing to a prolonged period of limited major-label opportunities.[6] Throughout the 2000s, K-Solo shifted to independent efforts, focusing on guest features on underground tracks and sporadic collaborations rather than full-length albums, reflecting a lower-profile phase amid personal and industry challenges.[22] Notable appearances included contributions to projects with former Hit Squad affiliates like Redman, though output remained limited without significant mixtape or solo releases during this decade; he was reportedly developing an album titled There Will Be Hell to Pay around 2004, but it went unreleased.[6] This era emphasized selective underground engagements over commercial pursuits, allowing K-Solo to maintain ties within hip-hop circles while navigating a changing landscape. A resurgence in visibility occurred in the late 2010s through media appearances, including the 2019 TRB2HH Docuseries episode "The Untold Story of K-Solo," which explored his Hit Squad roots and broader career narrative via interviews and archival footage.[23] By 2025, K-Solo featured prominently on the My Expert Opinion podcast (Episode 305), where he shared previously unrevealed anecdotes about his Death Row tenure, jail experiences, and reflections on hip-hop evolution, highlighting themes of resilience and artistic integrity.[22] As of 2025, K-Solo remains active with sporadic performances, including a high-energy set at the Rock the Bells Festival in June alongside Redman, Erick Sermon, and Treach, where he revisited classics like "Head Banger" to celebrate East Coast hip-hop's gritty legacy.[24] Recent independent releases, such as the 2023 album Requiem and the 2025 EP Major Pain, underscore his ongoing commitment to the genre, while podcast and festival engagements position him as a reflective elder statesman discussing hip-hop's cultural endurance.[25][26][22]Feuds
Feud with DMX
The feud between K-Solo and DMX originated in the early 1990s during their incarceration at Yaphank Correctional Facility in New York, where the two rappers first met and engaged in a lyrical battle.[7] K-Solo claims he developed his signature "Spellbound" barking and spelling style while imprisoned, drawing from intellectual influences, and that DMX, then an up-and-coming artist, asked to borrow one of his rhymes after losing the battle, which K-Solo permitted.[7] DMX, however, countered in later accounts that K-Solo had stolen the style from him during their shared jail time.[27] Tensions escalated publicly in 1998 following the release of DMX's debut album It's Dark and Hell Is Hot, which featured a similar aggressive, barking delivery that K-Solo accused him of biting directly from his own established technique on tracks like "Spellbound" from his 1990 album Tell the World My Name.[28] K-Solo publicly called out DMX for falsely claiming to have originated the style, including in a 2001 mixtape appearance where he dissed DMX over the jail incident and alleged personal violations, such as rape, while threatening violence with lines like "I ain't Redman, I'll put two in your headband."[28] DMX responded by dissing K-Solo on the unedited version of his 1998 track "Get at Me Dog," accusing him of biting and refusing to fully engage to avoid boosting K-Solo's fading career.[28] The dispute continued through the late 1990s and early 2000s with further exchanges, including K-Solo's 2001 diss track "The Answer Back," where he provocatively claimed to be DMX's biological father and reiterated the style theft allegations, and DMX's radio disses on WQHT with Funkmaster Flex, where he threatened physical confrontation.[7] K-Solo even challenged DMX to a five-round boxing match in 2006, sending unsigned papers to escalate the beef physically, though it never materialized.[7] The conflict was featured in the 2004 documentary Beef II, which highlighted their mutual accusations over the spelling technique's origins without resolution. (Note: While Wikipedia is not cited as a primary source, the documentary's inclusion is verified through multiple secondary references.) Following DMX's death in April 2021, K-Solo reflected on their "love/hate" history in interviews, expressing forgiveness and stating, "In his passing, I forgive DMX and all of that, I don’t hold that dark stuff in my heart," while reaffirming his claim as the style's originator.[29] The feud has seen occasional revivals in discussions, including K-Solo's 2025 podcast appearances where he reiterated the jail origins and intellectual differences, emphasizing no lasting animosity toward his late rival.[22]Feud with Keith Murray
The feud between K-Solo and Keith Murray, both members of EPMD's Hit Squad collective, originated in the mid-1990s amid tensions within the group following EPMD's breakup in 1993. K-Solo, who had introduced Murray to producer Erick Sermon and helped launch his career, accused Murray of biting his distinctive rapping style, particularly his aggressive delivery and wordplay. Murray, in turn, blamed K-Solo for exacerbating the EPMD split by spreading false rumors to Parrish Smith (PMD) that Sermon had orchestrated a robbery against him, which deepened divisions in the crew. These personal accusations highlighted underlying disputes over loyalty and influence within the Hit Squad, where members vied for prominence on tracks and during performances. The rivalry escalated publicly through interviews and indirect disses, with both artists airing grievances about disloyalty to the EPMD camp. In a 2006 interview, K-Solo expressed disappointment in Murray for showing disrespect, while emphasizing his role in Murray's early breakthrough.[7] Although no overt diss tracks directly targeted each other, the conflict spilled into physical confrontations, including an incident where K-Solo alleged he was jumped by a group associated with Murray in a club setting post-Hit Squad era, amid broader neighborhood disputes. By the late 2000s, the feud began to cool, facilitated by mutual connections in the hip-hop community. Erick Sermon noted in 2012 that K-Solo and Murray had reconciled at a B.B. King's performance a few years prior, resolving what he described as the primary lingering beef from the Hit Squad days. This détente allowed for occasional collaborations and joint appearances, such as the full Hit Squad reunion at Rock the Bells in 2010, where both performed alongside EPMD, Redman, and Das EFX, signaling a return to crew unity without unresolved animosity. Further reflections in the 2010s, including Hit Squad shows, underscored rare but effective reconciliations driven by shared history.Musical style and influences
Spelling technique
K-Solo's spelling technique emerged during his 16-month incarceration in Suffolk County's Riverhead Correctional Facility in the late 1980s, where he composed much of the material for his 1990 debut album Tell the World My Name. This method allowed him to channel aggression through structured wordplay while adhering to a clean lyrical approach, avoiding profanity as influenced by the nuns who helped raise him at the Salvation Army.[8][29] Technically, the technique integrates spelled-out words—delivered letter by letter—seamlessly into the rhyme flow, providing punchy emphasis on key concepts, building rhythmic tension, and aiding listener recall in a way that contrasts with standard multisyllabic rhymes by prioritizing phonetic breakdown over syllable stacking. In tracks like "Fugitive," he spells "F-U-G-I-T-I-V-E" to underscore his outlaw narrative, heightening the track's intensity. Similarly, in "Your Mom's in My Business," the taunting "Y-O-U-R M-O-M" amplifies the interpersonal conflict, embedding the spelling as a confrontational hook. This approach differentiated K-Solo within East Coast rap, contributing to the genre's emphasis on clever, aggressive verbal dexterity.[17][30] The style evolved from its debut prominence in Tell the World My Name, where it defined singles like "Spellbound" (featuring "S-P-E-L-L" and "W-E-L-L" to boast lyrical prowess), to recurring elements in later works such as Time's Up (1992) and independent releases into the 2020s, maintaining its role as a signature tool for rhythmic innovation and thematic punch.[31][17][1]Themes and influences
K-Solo's lyrics frequently delve into the harsh realities of street life struggles, portraying the violence, survival challenges, and urban decay faced by young Black men in New York neighborhoods. In tracks like "Fugitive," he narrates personal encounters with racial tension and retaliation, reflecting incidents from his own life such as a 1985 altercation with bikers that underscored broader societal prejudices against Black individuals.[17][8] A prominent recurring theme in his work is anti-drug advocacy within Black communities, where he condemns the destructive impact of narcotics on familial and social structures. For instance, in "Who's Killin' Who?," K-Solo questions the self-inflicted harm caused by drug dealers, stating, "Drug dealers are doin' the cherry in our community / Destroy Black America, brother where's your loyalty?" Similarly, "The Messenger" urges cessation of "fightin' and drug sellin'," positioning these vices as barriers to communal progress and spiritual upliftment.[32] Perseverance following incarceration emerges as a core motif, informed by K-Solo's own experiences of imprisonment in Suffolk County's Riverhead jail during the mid-1990s, which interrupted his career but fueled themes of resilience and redemption in his music. His boxing background, derailed by a racially charged fight that ended his amateur aspirations, further infuses his lyrics with motifs of enduring hardship and fighting back against adversity.[4][33] K-Solo's artistic approach draws heavily from East Coast hip-hop pioneers, incorporating Public Enemy's style of sharp social commentary to address systemic issues in Black America, while adopting EPMD's laid-back production aesthetics and rhythmic flows through his affiliation with their Hit Squad collective. This blend is evident in the funky, sample-heavy beats on his debut album Tell the World My Name, which echo EPMD's influence while channeling Public Enemy's activist edge in politically charged tracks.[17][1] His thematic evolution traces from the boastful, high-energy declarations of his 1990 debut—such as rapid-fire claims of lyrical supremacy in "Speed Blocks"—to more introspective and narrative-driven reflections in the 1990s, as seen in the deeper spiritual and communal critiques of Time's Up. This shift mirrors his personal growth amid legal battles and time away from music, prioritizing substance over gimmicks like his signature spelling technique.[17]Discography
Studio albums
K-Solo released his debut studio album, Tell the World My Name, on May 22, 1990, through Atlantic Records. The project features 12 tracks and showcases production primarily handled by PMD (Parrish Smith of EPMD), with additional contributions from Erick Sermon, emphasizing funky loops and breaks that aligned with the era's East Coast sound.[5][34][35] Standout tracks include "Spellbound," a hit single highlighting K-Solo's innovative spelling technique in lyrics, "Renee-Renee," and the narrative-driven "Tales From The Crack Side." The album peaked at No. 45 on the Top R&B/Hip-Hop Albums chart and received critical acclaim for its fresh storytelling and charismatic delivery, with reviewers praising it as a standout debut amid 1990's competitive hip-hop landscape.[34][4][17] K-Solo's sophomore effort, Time's Up, arrived on June 2, 1992, also via Atlantic Records, comprising 12 tracks that marked a more self-produced direction with input from notable collaborators. Production credits include Sam Sneed on multiple cuts (such as "I Can't Hold It Back" and "Sneak Tip"), alongside Erick Sermon, Pete Rock, Parrish Smith, and K-Solo himself, blending minimalist samples with introspective themes of personal struggle and street life.[18][36] Key highlights feature "Letterman" produced by Pete Rock, "Long Live the Fugitive," and the title track, which reflected a shift toward deeper, reflective content compared to his debut. It reached No. 135 on the Billboard 200 and No. 36 on the Top R&B/Hip-Hop Albums chart, earning moderate praise as a solid follow-up for its production quality and lyrical maturity, though it lacked the breakout impact of its predecessor.[20] Following Time's Up, K-Solo did not release another full-length studio album in the 1990s, though he announced work on a third project titled There Will Be Hell to Pay around 2004 under his Waste Management Records imprint, which remains unreleased as of 2025.[30]Singles
K-Solo's early singles established his presence in the early 1990s hip-hop scene, particularly through releases tied to his affiliation with EPMD's Hit Squad collective. His debut single, "Your Mom's in My Business," released in 1990 from the album Tell the World My Name, peaked at number 2 on the Billboard Hot Rap Songs chart and featured humorous, confrontational lyrics over a sample from Maze's "Before I Let Go."[37] The track's promotional push included a music video that highlighted K-Solo's energetic delivery and spelling technique. Later that year, "Spellbound" served as another single from the same album, famous for its PMD remix and innovative spelling technique; it peaked at #7 on the Billboard Hot Rap Songs chart. "Fugitive" also served as a single from the same album, emphasizing narrative-driven storytelling about evasion and street life; its accompanying video contributed to its visibility in rotation on outlets like Yo! MTV Raps, though it did not achieve the same commercial peak.[38] From his second album Time's Up (1992), K-Solo released "I Can't Hold It Back" and "Letterman" as singles, both of which charted on the Billboard Hot Rap Songs chart, reflecting his continued focus on raw, hardcore rap themes. "I Can't Hold It Back" peaked at number 24, produced by Sam Sneed with a high-energy beat suited to K-Solo's aggressive flow.[39] "Letterman," produced by Pete Rock, incorporated acronym-based wordplay and reached No. 4 on the rap chart, underscoring K-Solo's lyrical innovation amid shifting industry trends toward gangsta rap.[39] Notable guest appearances by K-Solo appeared as singles through Hit Squad collaborations, most prominently on EPMD's "Headbanger" (1992) featuring Redman, from the album Business Never Personal. The track, a posse cut produced by Erick Sermon, peaked at number 11 on the Billboard Hot Rap Songs chart and became a signature Hit Squad anthem, showcasing K-Solo's verse alongside his crew members in a hard-hitting, bass-heavy format. Additional features on EPMD tracks like "Knick Knack Patty Wack" from Unfinished Business (1989) received promo treatment but did not chart as prominently. Hit Squad compilations, such as those on Back in Business (1997), included K-Solo's contributions that occasionally surfaced as standalone promo singles in underground circuits. In the 1990s and 2000s, K-Solo's output shifted to rarer, independent releases amid label issues and feuds. International remixes of earlier hits like "Your Mom's in My Business" appeared in European markets via Atlantic subsidiaries, but saw limited U.S. promotion. By the 2000s, underground promo singles emerged, including features on Def Squad compilations that highlighted his enduring Hit Squad ties without major chart impact.| Year | Title | Album/EP | Peak Chart Position |
|---|---|---|---|
| 1990 | Spellbound | Tell the World My Name | #7 Hot Rap Songs |
| 1990 | Your Mom's in My Business | Tell the World My Name | #2 Hot Rap Songs[37] |
| 1990 | Fugitive | Tell the World My Name | #24 Hot Rap Songs |
| 1992 | I Can't Hold It Back | Time's Up | #24 Hot Rap Songs |
| 1992 | Letterman | Time's Up | #4 Hot Rap Songs |
| 1992 | Headbanger (as guest with EPMD feat. Redman) | Business Never Personal | #11 Hot Rap Songs |
| 2019 | Wossa (feat. others) | Standalone single | N/A[40] |
| 2021 | One Life | Standalone single | N/A[40] |
| 2023 | Nightmare | Standalone single | N/A[40] |
Other work
Filmography
K-Solo has made notable appearances in hip-hop documentaries and music videos, often reflecting on his career, feuds, and contributions to the genre.Documentaries
In the 2004 documentary Beef II, directed by Peter Spirer, K-Solo appears as himself, discussing notable hip-hop rivalries, including his feud with DMX, where he underwent a lie detector test to substantiate his claims.[41][42] He featured in the 2016 docuseries TRB2HH Presents The Untold Story of K-Solo, produced by Industry Muscle, which explores his early career, inventive spelling technique, and lesser-known aspects of his rise in the 1990s New York hip-hop scene.[43][23]Music Videos
K-Solo starred as the lead performer in his own music videos from the early 1990s, showcasing his lyrical style and stage presence.- Your Mom's in My Business (1990), where he raps the lead single from his debut album Tell the World My Name.
- Fugitive (1990), a narrative-driven video based on a track from the same album, depicting themes of pursuit and resilience.
- Spellbound (1990), highlighting his signature wordplay in a visually dynamic presentation.