While ‘Gangsta Rap’ was simmering and formulating on the west coast in the late 80’s, a new generation of thought provoking hardcore rap that incorporated gangster elements was already establishing its foundation at the end of the decade. The infamous rap group, Brothers 4 The Struggle, was known for this brand of emerging hip hop. Brothers 4 The Struggle, hailing from the Midwest’s most famous city, Cleveland, Ohio started its phenomenal run just before the turn of the decade and catapulted a decade of hits in the 90s that still endures a lifespan of cultural icon status.

Brothers 4 The Struggle, made up of the lyrical intellect Pratt Attack, the visually graphic street virtuoso storyteller Paycheck, the dogmatic backbone Total Package and super producer Mix Master Quick first captured the ears of America just before the start of the 90s. Hip hop heads have not stopped keeping them in rotation since their reign, which started with the single “Back In The Day (Ready Rocks)” from the debut EP, “Straight Outta Cleveland: In Full Effect”.The Brothers 4 The Struggle were also known by the acronym B4TS, or sometimes people just referred to them as ‘the Brothas’. The group’s debut EP may be the most impressive independent release ever with sales competing with their peers who were national recording acts that had full support of their big named labels. In addition, in an era when music had a dwindling shelf life, the ingredients in “Back In The Day (Ready Rocks)”, more commonly referred to simply as ‘Ready Rocks’, was intoxicating. It’s mesmerizing beat merged with rhythmic melodies, shocking lyrical content and gritty uncompromising vocals touched a nerve in the urban landscape. B4TS had its finger on the pulse of youth for years with one song in a time when songs came in and played out quickly. Pratt Attack’s longtime friend Quick Gee added to the flavor and success of the groundbreaking single by joining in penning the song and appearing on it.

In the early years (the early 90s) Brothers 4 The Struggle promoted itself primarily on word of mouth and pounding the pavement. Their talent and product was extremely likeable and supported beyond anything that we see today with the methods they used then. This was before cell phone technology, social media and the internet as we know it today. The impact Brothers 4 The Struggle had then without technology was greater than some artists have today. They have stood the test of time with their mystique and urban folklore, as many fans still categorize them in their classic section and years after their prime new fans continue to side . Many of Cleveland’s now famous artists and deejays look at Brothers 4 The Struggle as an influence.

After the debut EP the group was on a roll that couldn’t stop. The movement was fueled by the artists themselves, the hypnotic beats of its insightful and ahead of the curve producer and the fans—oh, the fans!! It was like a rollercoaster ride that just kept going further up. The ride continued with the second project, the full length album “Frantic In The Inner City Ghetto”. This sophomore effort sealed the deal and placed Brothers 4 The Struggle in the position of prestige that they still dwell in today. No other artists had actually released a sequel to big song until B4TS did with “Chop Chops” which was the follow up to “Ready Rocks”. The whole idea was unprecedented, yet brilliant, and it’s still an uncommon practice in the music industry because rarely does anyone have the creativity to conceptualize or write such a thought. The “Frantic” album also expanded the Brothas’ portfolio commercially, as it spawned an underground hit entitled “It’s Over” that became theme music for a number one rated radio station show segment. Other hits, like the never to be forgotten “Let Go My Ego” from this album went “platinum in the streets”. The “Frantic In The Inner City Ghetto” album was a classic of all time and of all music genres, as every song had exceptional production, conceptual and writing quality. It was truly a moment in time.

Big record companies started paying a lot of attention to B4TS. Those big named labels gave Brothers 4 the Struggle lots of regard because they couldn’t figure out how Rampage Records, a small independently ran company based in the midwest, could be maintaining such a buzz without national support. The local support was so strong it lead to regional expansion. By the time the next project dropped, an EP which featured The Pratt Attack called “Back On The Scene”, the group was gaining notoriety and entering uncharted territory for a local group—but they were way beyond local in so many ways. “Back On The Scene” was the start of a new phase whereby Rampage Records strategized and positioned the group to optimize their careers by doing solo projects, which at the time was a developing trend with rock, R&B and rap groups. The difference with the Brothas is that they pledged their allegiance and would never leave the group—they’d always be a Brother 4 The Struggle first. “Back On the Scene” was a good release and satisfied the fans because although it featured Pratt Attack all of the group was still on it. It theoretically introduced more of Pratt Attack’s philosophy while still staying raw, clubbish and streetwise (which was the B4TS formula). “Back On The Scene” included the surprise change-up single, “The Devil Came To Cleveland” and the remix to “It’s Over”, which to this day is probably the most heavily rotated theme music in a time span in commercial radio history. These songs and other street anthems was a change from the Brothas norm, which was refreshingly inviting and a transformation the fans embraced. It also had the fans longing for the next full length album. Until that album would come B4TS continued in the studio recording tracks, booking concerts and expanding merchandising. T-shirts bring worn by the movers, shakers, b-boys, dope boys, real hip hop heads, hustlers and fans around the city with the Brothers 4 the Struggle logo were a status symbol. Intense followers displayed B4TS slogans on their personalized license plates and the promoters were booking the Brothas for major concerts. One Cleveland show had to decide if Brothers 4 The Struggle or Scarface and Geto Boys would headline.

The Brothers 4 The Struggle took over Cleveland and all of Ohio and then penetrated music circles beyond home base. That’s when L.A. based companies began to make offers. By the time “Rather Be Judged By 12 Than Carried By 6” was released in 1994, the Brothas had been on an almost 5 year run that had already exceeded more nationally recognized acts. “Rather Be Judged By 12 Than Carried By 6” was a full length album that went track for track with any other chart topping CD released that year. In fact, it was an album that emulated a script brought to the big screen. Listening to it felt like sitting in a theater watching a movie. Rugged beats, aggressive and politically charged lyrics meshed with staunch rebellious conscious themes reinvented the Brothas. And it happened at the right time, when the average hip hop advocate and everyday urban and alternative music listener had been conditioned and primed to hear it like it was, with no regard to deception. The timing of the group’s fourth release in 5 years could not have been better. Less radio play and more non-mainstream support actually helped build the importance of underground success, and the Brothas were taking no prisoners—unapologetic and devoted to announcing the real truth of the times, which somewhat seems like they forecast what was to come and exists nowadays. At the time Brothers 4 The Struggle were considered a cross between Public Enemy and N.W.A., which was a feat no other group had accomplished or even attempted.

After 5 releases Rampage Records was picked up and landed a deal by a major national distributor and label, SOLAR, founded by Dick Griffey. SOLAR records had ties with the likes of Dr. Dre, Snoop Dogg and Babyface and the deal looked to be a promising one. That merger solidified that the B4TS movement would be forever etched in the history of hip hop music. The release of the Brothas sixth project, “No Hard Feelings”, went on to further expand their fan base due to its affiliation with a national distributor until SOLAR had to close its doors the same year as the deal was initiated.

Brothers 4 The Struggle continues to maintain its music catalog as Paycheck has continued to release projects and Pratt Attack has mostly been quiet, writing and still rapping takes a backseat to his spiritual lifestyle. Total Package considered backing other groups but the magic of B4TS still keeps him busy as new avenues and technology allow him to maintain Rampage Records’ legacy, introducing Brothers 4 the Struggle to a new generation and providing hard to get music to relentless fans. Mix Master Quick is still a production and engineering genius also basking in his spirituality.

In closing, if you were one of those who had the chance to feel and experience the Brothers 4 The Struggle era at its peak, you know why its such a big deal. For those who didn’t, it’s still on and poppin’—get with the movement!!

WRITTEN BY Will F. Moore Brothers 4 The Struggle historian