Before Hip-Hop: The Unexpected Origins of Proto-Rap

Before hip-hop became a global phenomenon, the foundations of proto-rap were already being laid through various musical and spoken-word traditions. Though rap is often credited as emerging in the 1970s in New York City, elements of its rhythmic vocal delivery can be traced back to much earlier influences, spanning multiple cultures and genres. From beat poetry to funk music, these early forms of rhythmic storytelling helped shape what would eventually become proto-rap and, later, hip-hop.

The Last Poets and Gil Scott-Heron: The Voices of Change

In the late 1960s and early 1970s, spoken-word artists like The Last Poets and Gil Scott-Heron used rhythmic speech over percussive backgrounds to deliver powerful social and political messages. The Last Poets, a collective of poets and musicians, combined African drumming with sharp, rhythmic poetry that directly influenced early proto-rap artists. Similarly, Gil Scott-Heron’s ‘The Revolution Will Not Be Televised’ (1971) was an early example of blending spoken-word poetry with jazz and funk, mirroring the cadence and delivery that would later define proto-rap and rap music.

Jamaican Toasting: A Direct Link to Proto-Rap

Another key influence on proto-rap’s development came from Jamaican toasting, a style where DJs would talk rhythmically over instrumental versions of songs. Pioneered by figures like U-Roy and Big Youth, toasting was an essential part of the Jamaican sound system culture of the 1960s and early 1970s. When Jamaican DJ Kool Herc moved to the Bronx and began throwing block parties, he brought this tradition with him, directly influencing the birth of proto-rap’s MC culture.

Rock and Funk’s Unexpected Contribution

While funk is widely recognized as a precursor to proto-rap, rock music also played an unexpected role. Songs like Bob Dylan’s ‘Subterranean Homesick Blues’ (1965) featured fast-paced, rhythmic delivery reminiscent of early proto-rap. Likewise, funk legends like James Brown pioneered the use of groove-heavy rhythms and call-and-response vocal patterns that would later be sampled and emulated by early proto-rap producers and MCs.

Radio DJs and Comedy Routines: Rhyming Before Rap

Even outside the world of music, early proto-rap was shaped by radio DJs and comedians who used rhythmic speech to entertain. 1970s New York radio DJs like Grandmaster Flowers and Frankie Crocker were known for their smooth, rhythmic banter over funk and soul records, a style that would later be adopted by proto-rap MCs. Additionally, comedic performers such as Pigmeat Markham released tracks like ‘Here Comes the Judge’ (1968), which had a rhythmic, proto-rap-like flow that predated hip-hop’s mainstream emergence.

Proto-Rap Didn’t Appear Overnight

Though hip-hop is often associated with the Bronx in the 1970s, the art of rhythmic speech had been evolving for decades across different cultures and genres. From the socially conscious spoken-word of Gil Scott-Heron to the playful toasting of Jamaican DJs, the elements of proto-rap existed long before it was officially recognized as a genre. Understanding these roots not only highlights the depth of hip-hop’s history but also its deep connections to a broader musical and cultural legacy.

Also Read: How an Italian Singer Fooled the World With a Fake English Song

—Silviya.Y