Burning The Ground Exclusive

When LL Cool J declared “I’m going back to Cali,” he immediately undercut it with a sly, second-thought punchline: “I don’t think so.” That tension—swagger colliding with hesitation—became the central hook of one of hip-hop’s most memorable late-’80s singles.

Originally released in 1987 from the soundtrack to Less Than Zero and later included on his third studio album, Walking with a Panther, “Going Back to Cali” stands as a stark, minimalist classic. Co-written and produced by Rick Rubin, the track distilled the emerging East Coast vs. West Coast dynamic into something more psychological than territorial.

Black-and-White Beats and Coastal Doubt

Sonically, “Going Back to Cali” is pure Rubin: skeletal drum programming, cavernous reverb, and a brooding bassline that feels almost industrial. There’s very little ornamentation—just space, rhythm, and LL’s commanding baritone. The restraint gives the track an ominous cool, matching its iconic black-and-white video aesthetic.

The song peaked at No. 31 on the Billboard Hot 100 and climbed to No. 12 on the Hot R&B/Hip-Hop Songs chart—solid crossover numbers that reflected LL’s growing mainstream reach. By this point, he was no longer just the teenage phenom of Radio; he was a fully realized star navigating fame, geography, and identity.

“I’m Going Back to Cali”… Or Am I?

Lyrically, the record plays like a travelogue filtered through anxiety. LL describes landing in Los Angeles, cruising through the city, and meeting women who are glamorous, confident—and, to his New York sensibilities, aggressively forward. Instead of indulging the fantasy, he recoils. The chorus becomes a mantra of ambivalence:

“I’m going back to Cali.”
“I don’t think so.”

It’s humorous, but it’s also revealing. The bravado is undercut by uncertainty. The seduction of California—sunshine, women, opportunity—is matched by discomfort and cultural displacement.

The concept reportedly stemmed from Rubin’s own ambivalence about leaving New York City for Los Angeles. That push-and-pull energy permeates the track. It’s not anti-West Coast; it’s anti-assumption. It questions whether success requires relocation, whether identity shifts with zip codes, and whether glamour is always worth the price.

In hindsight, it’s fascinating to hear this in 1987—years before the East/West rivalry would escalate into something far darker. Here, it’s playful. Curious. Guarded.

Music Video: Noir Cool in the City of Angels

The music video for “Going Back to Cali” elevated the song’s mystique even further. Directed by Ric Menello, the clip was shot entirely in stark black and white, amplifying the record’s minimalist, almost cinematic tension.

Rather than presenting Los Angeles as a sun-drenched paradise, Menello framed it as shadowy and surreal—more film noir than beach party. Much of the video was filmed in the Venice neighborhood and at the iconic Griffith Observatory. These locations weren’t random. They served as visual homages to two of Menello’s favorite films: Touch of Evil and Rebel Without a Cause, respectively.

The result is a hip-hop video that feels steeped in classic Hollywood mythology. The Observatory, forever linked with James Dean’s adolescent angst, mirrors LL’s own ambivalence in the song—caught between desire and doubt. Venice, with its eclectic boardwalk energy, becomes a stylized backdrop for temptation and spectacle.

The video also features several notable appearances. Producer Rick Rubin pops up, reinforcing his creative imprint on the project. Models Ele Keats and Ally Downs add to the glamorous, slightly surreal atmosphere. And in a wonderfully late-’80s touch, MTV veejay Martha Quinn makes an appearance—cementing the track’s crossover appeal at a time when MTV exposure was cultural currency.

Visually, the monochrome palette strips away California’s expected warmth and replaces it with mood. Shadows dominate. Architecture looms. LL stands centered, confident but contemplative. The aesthetic perfectly mirrors the lyrical refrain: attraction followed by hesitation.

In hindsight, the “Going Back to Cali” video remains one of the most stylish and forward-thinking hip-hop visuals of its era—bridging rap, classic cinema, and MTV-era iconography into one unforgettable black-and-white statement.

The B-Side: “Jack The Ripper”

Flip the single over and the tone sharpens considerably.

“Jack The Ripper” is LL in battle mode—a pointed diss aimed at Kool Moe Dee in response to Moe Dee’s “How Ya Like Me Now.” Where “Going Back to Cali” is restrained and cinematic, “Jack The Ripper” is aggressive and confrontational, reinforcing LL’s position as one of hip-hop’s fiercest competitors.

The track became one of the era’s defining diss records, proving that LL could pivot effortlessly from introspective cool to lyrical combat. It also solidified his reputation as an MC who could defend his crown in the ring.

A Cultural Snapshot

Together, these two tracks capture LL Cool J at a pivotal moment:

• A New York rapper contemplating the West Coast’s allure.

• A mainstream star balancing pop accessibility with street credibility.

• A young icon working with a producer whose minimalist instincts reshaped hip-hop’s sonic landscape.

“Going Back to Cali” endures because it isn’t just about geography. It’s about identity under pressure. It’s about temptation versus loyalty. And it’s about the humor that comes from recognizing your own contradictions.

Nearly four decades later, that simple back-and-forth refrain still lands perfectly.

“I’m going back to Cali.”

“I don’t think so.”

SIDE A:
Going Back To Cali (From Less Than Zero) 4:10

SIDE B:
Jack The Ripper 4:50

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: Def Jam Recordings – 44 07563, Columbia – 44 07563
Format: Vinyl, 12″, 33 ⅓ RPM, Single, Stereo
Country: US
Released: 1988
Genre: Hip Hop, Stage & Screen
Style: Pop Rap, Soundtrack

CREDITS:

• Lacquer Cut By – HW*
• Producer – Rick Rubin
• Written-By – J. T. Smith*, R. Rubin*

NOTES:

“Jack The Ripper” Previously Unreleased Brand New Def Jam from L.L. Cool J

Photography & Artwork Title © 1987 Twentieth Century Fox Film Corporation

Special version from the Original Motion Picture Soundtrack of the Twentieth Century Fox Film “Less Than Zero” on Def Jam / CBS Records, Cassettes and Compact Discs

Buy the 12″ at DISCOGS

VINYL TRANSFER & AUDIO RESTORATION:
-DjPaulT
for BURNING THE GROUND

THE GEAR:
Turntable: Technics SL-1200MK7
Cartridge/Stylus:  Ortofon Concorde Music Black
Turntable Isolation Platform: ISO-Tone™ Turntable Isolation Platform
Platter: Pro Spin Acrylic Mat
Stabilizer: Pro-Ject Record Puck
Phono Pre-amp: Pro-Jec Tube Box DS2
Tubes: Genalex Gold Lion 12AX7 ECC83/B759 Gold Pins Vacuum Tube – Matched Pair
DAC: Alpha Design Labs GT40a USB DAC
Record Cleaning: VPI HW 16.5 Record Cleaning Machine
Artwork Scans: Epson Workforce WF-7610 Professional Printer/Scanner

SOFTWARE:
Recording/Editing: Adobe Audition 25 (Recording)
Down Sampling/Dither: iZotope RX Advanced 2
Artwork Editor: Adobe Photoshop CS5
Click Removal: Manual
FLAC/MP3 Conversion: dBpoweramp
M3U Playlist: Playlist Creator

RESTORATION NOTES:
All vinyl rips are recorded @ 32bit/float
FLAC (Level Eight)
Artwork scanned at 600dpi

**24bit FLAC Only Available For Seven Days!

Password: burningtheground

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