Born Felix Delgado in Havana, Cuba, in 1974, Cuban Link has come a long way to fulfill his dreams. In 1980, Cuban’s father was exiled from Cuba and shipped off 90 miles to the United States, eventually settling in New York City—the South Bronx (South, South Bronx) to be exact.
Despite a language barrier, Cuban adapted quickly to his surroundings. He spent only one year in bilingual classes, made neighborhood friends and soaked up the local hip-hop culture until he began writing lyrics at age 15.
Soon after, he met Triple Seis and Big Punisher, his future partners in rhyme, and everything snapped into place. "We clicked like brothers," Cuban remembers fondly. Like blood relatives, they had each other’s backs as they tried to storm the rap game. When he hooked up with the Terror Squad under Fat Joe, a neighborhood acquaintance everyone hoped could launch them, Pun looked out for Cuban and Seis. "Pun could appreciate Joe for bringing him along as his hypeman, but I appreciate Pun for bringing me along," says Cuban. "Pun used to do shows with Joe for $50, then turn around and give me $20." More importantly, he refocused Cuban when he’d lost interest in rhymes following his stabbing and hospitalization in 1994. Together they made waves in the hip-hop community, meriting respect from lyrical heavyweights like Nas, who quoted their lyrics back to them when they first met.
First heard alongside Pun on the Beatnuts smash "Off the Books" in 1997, Cuban subsequently cultivated buzz with memorable appearances on Pun’s platinum Capital Punishment ("Glamour Life"), Fat Joe’s Don Cartagena ("Bet Ya Man Can’t (Triz)") and the eponymous Terror Squad LP ("Tell Me What You Want"). His raw lyricism, edges rough enough for the streets, and pretty boy appeal made him a valuable commodity and earned him a deal with Atlantic Records. But when Pun died suddenly on February 7, 2000, everything fell apart. "Flowers for the Dead," Cuban’s premier solo single and tribute to his immense partner, couldn’t begin to relate the loss. Without Pun to mediate, Cuban began butting heads with Joe over managerial decisions and his Atlantic Records debut, 24K, was shelved. Ultimately he bought his way out from under both, and retreated to launch his solo career properly. Around the same time, Cuban was sliced in the face at a popular New York night club. Having regrouped and resurfaced with independent MOB Records (Men of Business), Cuban views his revamped debut, Chain Reaction, as an opportunity to make things right and fulfill a promise to Pun and Seis.
Once collectively known as the Full-A-Clips crew, and also the Caribbean Connection, they swore they’d become the first Cuban, Puerto Rican (Pun) and Dominican (Seis) rappers to go platinum. "The dream lives on," says Cuban. "Pun took care of his job, now we gotta do ours." With platinum-plus status on the brain, Cuban stocked Chain Reaction with something for everyone. "I wanted to make a universal album where everybody can get a piece of it and enjoy it," explains Cuban. "Ain’t no barrier, it breaks through that." Concerned about industry blackballing, Cuban made sure that radio couldn’t deny his lead single. Displaying exceptional versatility for a hardcore artist, "Sugar Daddy," featuring sexy songstress Mya and producer Tiger, is a sensual gem sure to satiate mamis hungry for sexual healing. "He who owns the ladies’ hearts owns this game," explains the grinning Latin lothario. Attentive to the opposite sex on "My Lady," produced by Big Menz, as well as "Coming Home With Me," tailored by Swizz Beatz, there is little doubt that Cuban will hold the game in a headlock.
More than simply "the Latin flirt who gets more ladies than Captain Kirk," Cuban shows a penchant for setting fiestas aflame on "Private Party," a crunk Big Menz beat that he rides with all the crowd motivating energy one would expect from a rapper raised in the birthplace of hip-hop. Fans of the gritty style Cuban perfected while battling on the block and earning his first moniker, Lyrical Assassin, receive plenty of the rapid-fire, multi-syllable rhyme patterns they crave. The hard-knocking "Talk About It," produced by Swizz Beatz and featuring Jadakiss, hits dead center, as does the Swizz-blessed "Shakedown," which teams with triumphant horns and soulful wails to mark Cuban’s return. D. Omen’s "Time," laced with a sped up Ruben Blades sample, has a frenetic stadium rock aesthetic and bounce beat that few could freak so ably.
Although he didn’t live to see his twin’s debut album realized, in spirit Pun is present on the project. Still mourning the loss of his close friend, Cuban recorded "The Letter to Pun," a touching message he sends to Pun over Air Supply’s "Making Love Out Of Nothing at All’s" airy piano. If Pun is watching over from above, as he is imagined in the song, he’ll be pleased to find his friend working hard to make good on his platinum promise, continuing a long journey started 24 years ago in Cuba.
