Born Earl Simmons, on December 18, 1970 in Baltimore, Maryland, DMX was raised from an early age by his aunt in New York City's Yonkers district. He took his name from the DMX digital sound machine, and developed a reputation as a DJ on the local projects.

He won Source magazine's Unsigned Hype Award in January 1991, and released the promo single 'Born Loser' for Columbia Records the following year. He managed to escape from Columbia's punitive contract, but little was heard from him afterwards apart from a 1994 single, "Make A Move". He made a dramatic re-entry onto the hip-hop scene with a show stopping appearance on LL Cool J's "4,3,2,1". Further cameos on Mase's "24 Hours To Live", The Lox 's "Money, Power & Respect" and the remix of Ice Cube 's "We Be Clubbin'' built up a highly marketable reputation.

It was the perfect artistic set-up for a game that was coming out of Puff Daddy's self-proclaimed “Hammer era” into a harder, more broken-bottle, strife laden world where heart, credibility, strength, and attitude meant just as much as brightest suit or hottest girl. Heads were ready for tales of real life, stories of struggle and survival, pain and the ability to get by, the kind of urban tales DMX had always thrived at.

Newly signed to Ruff Ryders/ Def Jam Records, DMX returned to recording with the powerful "Get At Me Dog" single, a US Top 40 single built around a B.T. Express guitar sample. Marketed as a return to the chaotic, raw roots of street rap, he became hip-hop's latest sensation during 1998 when his debut album, It's Dark And Hell Is Hot, entered the US Billboard album chart at number 1. An impressive slice of east coast hardcore rap, the album centered around DMX's ferocious lyrical approach.

“I think society is finally ready to deal with reality,” DMX said a few days before his first album was to drop, “so for that reason I ain't got no choice but to blow!”

The follow-up, Flesh Of My Flesh, Blood Of My Blood, stayed at number 1 in the US for three weeks during January 1999. The album included cameo appearances from the Lox, Jay-Z, Mary J. Blige ("Coming From") and Marilyn Manson ("The Omen"). After contributing to the Ruff Ryders' chart-topping Ryde Or Die Vol. 1 set, DMX quickly laid down tracks for his new album. Despite being his third release in the space of two years, ... And Then There Was X was another quality slice of hardcore rap and a welcome antidote to the bland hip-hop product still flooding the American market. The album followed its predecessors to the top of the US charts in January 2000.

DMX's fourth album, The Great Depression, was no exception. Entering the charts at number 1, making him the first artist to have all four of his first albums debut at number 1. His latest, The Great Depression, replaces "Ruff Ryders Anthem" with "Bloodline Anthem," a big up to his newest allegiance at Def Jam, Bloodline records.

With only two production credits on this album, Swizz Beatz is no longer the go-to guy for X's groundbreaking grit. But that didn't stop the music from remaining as dark and daring as ever, courtesy of neophyte Black Key. The first single, "We Right Here," confirms the arrival of X, and verifies that when blending a reserved rhythm with the dog's signature snarls, his hit-making abilities are perpetual. There's also a distinctive hybrid of heavy metal and hip-hop that makes tantalizing tracks such as "I'm a Bang" and "Who We Be" slam-dancing party starters, reminiscent of Onyx and Ice-T's work with Body Count in the early '90s.

Beyond the music, X's sincere subject matters keep the album enticing. On "Shorty Was the Bomb," he reveals how one night of passion led to an ongoing problem with a wayward woman. He even attacks materialism in hip-hop on "Trina Moe," where he raps: "We already know how much your watch is worth / Talk about helping the hurt, savin' a church" (something X knows all about). DMX has a knack for turning his inner demons and desires into a soundtrack for success.

At times, The Great Depression sounds like a therapy session for X. "I Miss You" begins as a dedication to DMX's diseased grandmother, but concludes with him actually rapping to her in heaven, filling her in on the faults of family members that haven't followed her disciplinary structure. X continues on this spiritual path as he makes amends with God on "A Minute for Your Son." It's a sermon that's both eerie and astonishing because, when X cries out for acceptance, it's not from his fans or the media -- but from his creator.

Cut to Grand Champ, the fifth and final album of one of hip-hop's most beloved and influential heroes. One of the most memorable MCs of all time. The only artist who has spent a career inspiring followers around the world to bark and rhyme in loud bursts of manic, ghetto energy, only then to get them to read and rap and think and cry in private moments of honest thought and introspection. No one in hip-hop has ever done it better. No one has meant more. Now, in September 2003, a final book of verse:

Not only does the album mark a return to form for The Darkman X, it is the perfect coda for a career that began in 1998. Grand Champ also represents a creative reunion with Dee and Waah Dean, the two brothers, who along with X, turned the Ruff Ryders label during this same period into the biggest in the world. Also making appearances on the album are fellow Ruff Ryders, The LOX, Eve, Swizz Beatz, Drag-On, Infa-Red & Cross as well as Bloodline's own, Big Stan.

Like all of DMX's album titles, this fifth one means what it says but then so much more. As much as It's Dark & Hell Is Hot was a haunting self-description, and Flesh Of My Flesh represented a life-giving bond to the community from whence he came, Grand Champ is the final, absolute statement of presence and purpose. Last year, X asked the world “Who We Be”, now he answers the question “who he is…”

A dog term, the “Grand Champ” is the title bestowed upon the penultimate winner of a dog fight, a pit-bull fight, as you better know by now. It's a title not easily earned, a spot not easily took, so best believe our favorite hero is bringing all the heat and the drama, the pain, suffering and joy that defines the world of DMX. Let's be clear, there are no competitors.

“Where The Hood At?”, the album's first single, is a ferocious ball of fire and brimstone that has already become an instant DMX classic to be put in the history books next to “Get At Me Dog”, “What's My Name?” and “Who We Be”. Set off with a monster bass thump by Tuneheadz, the latest in a phenomenal line of Double-R producers.

Maybe it's because he's spoiled us with four unforgettable albums going back to 1998 and the all-time hip-hop classic, It's Dark & Hell Is Hot. Or maybe it was just that voice. Maybe it was because we wanted to hear more music from the brotha who turned his name into an acronym (E.A.R.L.) and with journalist Smokey D. Fontaine opened his soul to pen “the best hip-hop biography ever written,” a book Publisher's Weekly compared to the great Manchild In The Promised Land. Or maybe we were just fiending for that growling spitfire delivery that never ever wants to leave your head. The real growl, the X growl, no imitators allowed. Either way, you have to feel good, ‘cause he's back. The wait is over. “Yo, yo, yo…the dog is here!”

“Get It On The Floor” just may be one of the illest club tracks the young producer prodigy you know as Swizz Beatz has ever done. “Get It On The Floor” demands that its audience ride to this motherfucker, bounce to this motherfucker, freak to this motherfucker… Can you say “Party Up Part. 2”? Let's get it on…

“All the other great MCs they come from Yonkers…”

You know who said it, and you know how true it is. Now, together on wax for the first time, the young'n 6X-platinum 50 Cent teams up with X for the incredible “Shot Down.” Produced by G-Unit beatmaker Saleem, this dark, ghetto morality tale (with a guest verse from LOX member Styles) is a dialogue between men, artists, dogs…one generation to another.

Produced by the great Kanye West, “Dogs Out” gives X the perfect mid-tempo 808 melody to get off his chest all that's been troubling a master of his craft. And while “Ruled Out,” DMX's stab at Ja Rule doesn't appear on the album, "Dogs Out" give X an opportunity to throw a few jabs at the Queens emcee.

“We Go Hard” brings Harlem's Cam'ron to a driving No I.D. bass beat, reuniting the duo that made “Pull It” an underground classic seven years prior.

Anyone that has followed X's life and music knows that behind every curse and growl there is a plea for forgiveness, behind every rage-filled tale of pain or deceit or vengeance there is a strong moral center. It's this kind of introspective soul-searching that has made this man a hero among his peers, turned this artist into an icon. See, after close to 17 million records sold, DMX is still trying to open his heart to the worlds around him, still trying to expose his innermost feelings about life and struggle to his fans.

“The greatest gift the Lord has given me is the gift of the word, the ability to communicate with,” he admitted in his best-selling autobiography E.A.R.L (Ever Always Real Life), “and I know now that I'm here to share everything that I have learned. That's why I've always said I don't want sales, I want souls.”

And more souls he will save with two of the most moving songs he has ever written. The first is called “My Life, ” a spiritually-centered call and response new testament, built over a darkly moving live drum and piano, our most realest street prophet does it again. Bless us all. Then comes “The Rain.” Reminiscent of the great confessionals “Coming From” or “Let Me Fly”, if “The Rain” is the last verse on wax we hear from the artist who has moved so many, so be it. He's said what there is to say.

Let us pray. Oh, you know it's there. “The Prayer V”. Could there be another way? Five albums, five prayers. It will not be written here. Just listen.

X's energy is in his delivery, in the unforgiving way he climbs on top of a rhyme, bites its head off and dives down its throat. X's passion is in his meaning, in the painfully honest way he penetrates his own soul to protect and repair the souls of his people. So while one could discuss “Thank You” his Grease-produced duet with Patti Labelle that samples the classic “I Want To Thank You” record, or the “Rob All Night (If I'm Gonna Rob)” joint X spits over a sick Rocwilder track, right here, right now, it's all about “We're Back.” One of the most musically powerful songs DMX has ever recorded, “We're Back” marks the perfect final chapter to a storied and unforgettable career. Horns, drums, baby cries. You have to feel it to believe.

Twenty years into a music career. Seven years into superstardom. Grand Champ is the fifth and final album from an incredible artist. How lucky we are to have been witness.

“Yeah I like animals better than people sometimes, especially dogs…”

DMX. It doesn't get any better.