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Biography

**ESG**

In the pantheon of influential yet underappreciated acts, few can claim the seismic impact of ESG's 1981 debut album "Come Away with ESG." This eight-track masterpiece of minimalist funk became one of the most sampled records in hip-hop history, with its hypnotic grooves providing the backbone for countless rap classics. The album's opener "Moody" alone has been plundered by everyone from Public Enemy to Notorious B.I.G., while "UFO" became a cornerstone sample for the Beastie Boys and dozens of other artists. What makes this even more remarkable is that "Come Away with ESG" was created by four teenage sisters from the South Bronx who had barely been playing music for two years.

ESG – which stands for "Emerald, Sapphire & Gold" – emerged from the creative minds of the Scroggins sisters: Renee, Deborah, Valerie, and Marie. Growing up in the South Bronx during the late 1970s, the sisters were surrounded by the nascent hip-hop culture bubbling up from their neighborhood streets. Their mother, concerned about keeping her daughters out of trouble, encouraged them to form a band in 1978. What began as a way to stay busy quickly evolved into something revolutionary.

The band's sound was deceptively simple yet utterly distinctive. Built around Renee's propulsive bass lines, Valerie's minimalist drumming, and the sisters' call-and-response vocals, ESG created a stripped-down funk that was both primal and sophisticated. Their music eschewed traditional song structures in favor of hypnotic grooves that could stretch for minutes, creating an almost trance-like effect. This approach was influenced by their love of disco, reggae, and the emerging no-wave scene, but filtered through their own South Bronx perspective.

Their breakthrough came when they caught the attention of Ed Bahlman, founder of 99 Records, a label known for its eclectic roster of post-punk and dance acts. Bahlman was struck by the raw power of their live performances and their unique sound that seemed to bridge multiple genres. The recording of "Come Away with ESG" was famously economical – the entire album was cut in just a few hours, capturing the spontaneous energy that made their live shows so compelling.

Following their debut's underground success, ESG continued to release music throughout the 1980s, including the albums "ESG" (1982) and "Step Off" (1985). While these records contained equally compelling material, none matched the cultural impact of their debut. Songs like "My Love for You" and "Dance" became favorites in New York's club scene, particularly at legendary venues like the Mudd Club and Danceteria, where their music provided the perfect soundtrack for the city's diverse nightlife.

The true measure of ESG's influence became apparent in the late 1980s and early 1990s as hip-hop producers began mining their catalog for samples. The sisters' rhythmic innovations proved perfectly suited to the emerging art of sampling, with their breaks and grooves providing the foundation for numerous rap classics. Public Enemy's "Night of the Living Baseheads," Notorious B.I.G.'s "The What," and countless other tracks borrowed heavily from ESG's catalog, introducing their music to entirely new generations.

Despite their massive influence on hip-hop culture, ESG never received the financial rewards or mainstream recognition their contributions deserved. The complex world of sampling rights meant that many of the biggest hits built on their music generated little revenue for the original creators. This became a source of frustration for the sisters, who watched their innovations fuel a multi-billion-dollar industry while struggling to make ends meet.

The band experienced various lineup changes over the decades, with different combinations of sisters participating at different times. They continued to tour and record sporadically, releasing albums like "A South Bronx Story" (1999) and maintaining a devoted cult following. Their live performances remained powerful experiences, with the sisters' chemistry and their music's hypnotic power undiminished by time.

Today, ESG's legacy is finally receiving broader recognition. Music historians and critics increasingly acknowledge their pivotal role in bridging disco, punk, and hip-hop, while younger musicians continue to discover and draw inspiration from their catalog. The sisters' story represents both the creative genius that emerged from the South Bronx during hip-hop's formative years and the complex relationship between innovation and compensation in the music industry. Their influence reverberates through contemporary music,