Oakland in the late '80s was a different beast entirely. Long before the parachute pants became a global punchline and the "Hammer Time" memes took over the internet, Stanley Burrell was a man on a mission. He wasn't just a rapper; he was an entrepreneur who had already served in the Navy and worked as a batboy for the Oakland Athletics. People forget that. They focus on the high-energy dancing, but they miss the raw hustle.
Honestly, if you want to understand how a local dancer became a diamond-selling titan, you have to look at 1988. Specifically, you have to look at Turn This Mutha Out.
This wasn't just another track on the radio. It was a statement. When it dropped as the second single from his major-label debut, Let’s Get It Started, it didn't just climb the charts—it kicked the door down. While the "pop-rap" label eventually became a weight around his neck, this specific era of Hammer was surprisingly gritty.
The Sound of a Revolution (Before the Pop Crossover)
The 12-inch version of Turn This Mutha Out is a masterpiece of early sampling. You’ve got the iconic "Apache" breakbeat from the Incredible Bongo Band—a foundational pillar of hip-hop culture—layered under Hammer’s frantic, staccato delivery. It wasn't "U Can't Touch This" levels of commercial yet. It was faster. More aggressive.
Basically, Hammer was trying to prove he could out-rap and out-dance anyone in the game. The song itself is a high-octane blend of James Brown-style showmanship and the emerging New Jack Swing sound. Produced by Hammer and Felton Pilate (who had already put in work with Con Funk Shun), the track felt like a bridge. It bridged the gap between the old-school funk of the '70s and the high-gloss production of the '90s.
Why the 12-Inch Version Matters
Most people today hear the album version and think it sounds a bit dated. They aren't entirely wrong. But back in 1988, if you were in a club, the Turn This Mutha Out (Edit) or the various remixes were the gold standard.
- It featured heavy basslines that pushed sound systems to the limit.
- The use of the "canned audience" effect made the track feel like a live event.
- DJs loved it because the BPM (around 111) was perfect for transitioning between styles.
The Chart Performance Nobody Talks About
We often hear that Hammer didn't "do well" on the pop charts until 1990. That's a bit of a myth. While Turn This Mutha Out didn't hit the top of the Billboard Hot 100, its impact on the specialized charts was massive.
It peaked at No. 3 on the US Rap charts. Think about that for a second. In an era where you had N.W.A, Public Enemy, and Big Daddy Kane all vying for space, Hammer was holding down the top five. He also cracked the Top 15 on both the Dance and R&B charts. The song was a massive success in the streets and the clubs long before it ever hit the suburban malls.
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The album, Let’s Get It Started, eventually went double platinum. That doesn't happen by accident. It happened because tracks like this were being played on repeat in Oakland, New York, and Atlanta. Hammer was the first "Indian over the hill" who wasn't from New York to really make a dent, as some hip-hop historians like to put it.
The Music Video and the "Hammer Effect"
The video for Turn This Mutha Out is a time capsule of pure athleticism. No CGI. No green screens. Just Hammer and his troupe of dancers—which eventually grew to a massive size—performing choreography that most modern artists would struggle to maintain for thirty seconds.
He was moving at a speed that felt superhuman.
You’ve got the braids, the early versions of the signature pants, and that relentless Oakland energy. It wasn't just about the music; it was the visual package. This song laid the groundwork for the massive Pepsi commercials, the cartoons, and the Adam's Family soundtracks that would follow.
But there was a downside.
The very things that made Turn This Mutha Out a hit—the accessibility, the dancing, the "mutha" hook—eventually led to Hammer being labeled a sellout. Critics started saying he was "too pop." Even Ice Cube threw a few subliminal shots his way on "Check Yo Self," referencing the "butler" and the "House of Pain."
Acknowledge the Nuance: Was He "Real" Hip-Hop?
This is where the debate gets interesting. If you talk to Gen Xers from the Bay Area, they’ll tell you Hammer was "bout that." He kept real figures from the neighborhood in his entourage. He made sure his community ate.
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His brother was respected. Suge Knight supposedly wouldn't even mess with him.
So, when you listen to Turn This Mutha Out today, don't just hear a "throwback" track. Hear a man from a three-bedroom project apartment in Oakland who took James Brown samples and turned them into a multimillion-dollar empire. He was the prototype for the "rapper-as-a-brand" model that Jay-Z and Diddy would later perfect.
How to Appreciate the Song Today
If you're going back to revisit this era, don't just stream the Greatest Hits version on your phone speakers. You'll miss the point.
- Find the 12-inch Remix: Specifically, look for the versions with the "Apache" sample. The bass is much deeper and the energy is significantly higher than the standard radio edit.
- Watch the Arsenio Hall Performance (1989): If you want to see why he was the biggest star on the planet, watch his performance of this song on Arsenio. It is a masterclass in stage presence.
- Listen for the Samples: Try to pick out the Parliament-Funkadelic influences. The track is a "Who's Who" of funk history, sampling Jerome "Bigfoot" Brailey and George Clinton.
MC Hammer might be remembered for the bankruptcy and the "Hammer Time" catchphrases, but Turn This Mutha Out proves he was a legitimate force of nature. It’s a high-speed, funk-drenched record that still has the power to get a room moving if the DJ has the guts to play it.
Next time you hear that opening beat, remember: this was the moment the world realized that Oakland had something to say, and they were going to say it louder than anyone else.
Actionable Insights:
To truly understand the era, compare Turn This Mutha Out with contemporary tracks from 1988 like Tone Lōc’s "Wild Thing" or Young MC’s "Bust A Move." You'll notice that Hammer’s production was significantly more complex and dance-floor oriented, which explains why he was able to cross over so effectively. If you're a DJ or a producer, study the way Felton Pilate layered those 808s with traditional funk breaks; it's a blueprint for the "Pop Rap" sound that dominated the following decade.