Hip-Hop

Enter the Wu-Tang (36 Chambers)
Artist: Wu-Tang Clan
Released: 1993

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Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Don't Stop...Planet Rock (The Remix EP)
Artist: Afrika Bambaataa & the Soulsonic Force
Released: 1992

An updated EP takes the by-now-ancient "Planet Rock" beat and runs it through the 1990s hip-hop production machine. The results aren't all that successful, even though the sound is now contemporary. But its hook was old-school, as was its charm. The newer version lacks bite. ~ Ron Wynn, All Music Guide

An updated EP takes the by-now-ancient "Planet Rock" beat and runs it through the 1990s hip-hop production machine. The results aren't all that successful, even though the sound is now contemporary. But its hook was old-school, as was its charm. The newer version lacks bite. ~ Ron Wynn, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Run-D.M.C.
Artist: Run-D.M.C.
Released: 1984

Years after the release of Run-D.M.C.'s eponymous 1984 debut, the group generally was acknowledged to be hip-hop's Beatles -- a sentiment that makes a lot of sense, even if Run-D.M.C. isn't quite the equivalent of a rap Please Please Me. Run-D.M.C. were the Beatles of rap because they signaled a cultural and musical change for the music,... [+] Read More

Years after the release of Run-D.M.C.'s eponymous 1984 debut, the group generally was acknowledged to be hip-hop's Beatles -- a sentiment that makes a lot of sense, even if Run-D.M.C. isn't quite the equivalent of a rap Please Please Me. Run-D.M.C. were the Beatles of rap because they signaled a cultural and musical change for the music, ushering it into its accepted form; neither group originated the music, but they gave it the shape known today. But, no matter how true and useful the comparison is, it is also a little misleading, because it implies that Run-D.M.C. also were a melodic, accessible group, bringing in elements from all different strands of popular music. No, Run-D.M.C.'s expanded their music by making it tough and spare, primarily by adapting the sound and attitude of hard rock to hip-hop. Prior to this, rap felt like a block party -- the beats were funky and elastic, all about the groove. Run-D.M.C. hit hard. The production is tough and minimal, built on relentless drum machines and Jam Master Jay's furious scratching, mixing in a guitar riff or a keyboard hit on occasion. It is brutal urban music, and Run and D.M.C.'s forceful, muscular rhymes match the music. Where other MCs sounded cheerful, Run and D.M.C. prowl and taunt the listener, sounding as if they were a street gang. And while much of the record is devoted to braggadocio, boasting, and block parties, Run-D.M.C. also addressed grittier realities of urban life, giving this record both context and thematic weight. All of this -- the music, the attitude, the words, the themes -- marked a turning point for rap, and it's impossible to calculate Run-D.M.C.'s influence on all that came afterward. Years later, some of the production may sound a bit of its time, but the music itself does not because music this powerful and original always retains its impact and force as music. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing The Low End Theory
Artist: A Tribe Called Quest
Released: 1991

While most of the players in the jazz-rap movement never quite escaped the pasted-on qualities of their vintage samples, with The Low End Theory, A Tribe Called Quest created one of the closest and most brilliant fusions of jazz atmosphere and hip-hop attitude ever recorded. The rapping by Q-Tip and Phife Dawg could be the smoothest of any rap... [+] Read More

While most of the players in the jazz-rap movement never quite escaped the pasted-on qualities of their vintage samples, with The Low End Theory, A Tribe Called Quest created one of the closest and most brilliant fusions of jazz atmosphere and hip-hop attitude ever recorded. The rapping by Q-Tip and Phife Dawg could be the smoothest of any rap record ever heard; the pair are so in tune with each other, they sound like flip sides of the same personality, fluidly trading off on rhymes, with the former earning his nickname (the Abstract) and Phife concerning himself with the more concrete issues of being young, gifted, and black. The trio also takes on the rap game with a pair of hard-hitting tracks: "Rap Promoter" and "Show Business," the latter a lyrical soundclash with Q-Tip and Phife plus Brand Nubian's Diamond D, Lord Jamar, and Sadat X. The woman problem gets investigated as well, on two realistic yet sensitive tracks, "Butter" and "The Infamous Date Rape." The productions behind these tracks aren't quite skeletal, but they're certainly not complex. Instead, Tribe weaves little more than a stand-up bass (sampled or, on one track, jazz luminary Ron Carter) and crisp, live-sounding drum programs with a few deftly placed samples or electric keyboards. It's a tribute to their unerring production sense that, with just those few tools, Tribe produced one of the best hip-hop albums in history, a record that sounds better with each listen. The Low End Theory is an unqualified success, the perfect marriage of intelligent, flowing raps to nuanced, groove-centered productions. ~ John Bush, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing The Predator
Artist: Ice Cube
Released: 1992

Released in the aftermath of the 1991 L.A. riots, The Predator radiates tension. Ice Cube infuses nearly every song, and certainly every interlude, with the hostile mood of the era. Even the album's most laid-back moment, "It Was a Good Day," emits a quiet sense of violent anxiety. Granted, Ice Cube's previous albums had been far from gentle,... [+] Read More

Released in the aftermath of the 1991 L.A. riots, The Predator radiates tension. Ice Cube infuses nearly every song, and certainly every interlude, with the hostile mood of the era. Even the album's most laid-back moment, "It Was a Good Day," emits a quiet sense of violent anxiety. Granted, Ice Cube's previous albums had been far from gentle, but they were filled with a different kind of rage. On both AmeriKKKa's Most Wanted (1990) and Death Certificate (1991), he took aim at society in general: women, whites, Koreans, even his former group members in N.W.A. Here, Ice Cube is more focused. He found a relevant episode to magnify with the riots, and he doesn't hold back, beginning with the absolutely crushing "When Will They Shoot?" The song's wall of stomping sound sets the dire tone of The Predator and is immediately followed by "I'm Scared," one of the many disturbing interludes comprised of news commentary related to the riots. It's only during the aforementioned "It Was a Good Day" that Ice Cube somewhat alleviates this album's smothering tension. It's a truly beautiful moment, a career highlight for sure. However, the next song, "We Had to Tear This Mothafucka Up," eclipses the relief with yet more calamity. By the time you get to the album-concluding "Say Hi to the Bad Guy" and its mockery of policeman, hopelessness prevails. The Predator is a grim album, for sure, more so than anything Ice Cube would ever again record. In fact, the darkness is so pervasive that the wit of previous albums is absolutely gone. Besides the halfhearted wit of "Gangsta's Fairytale, Pt. 2," you won't find any humor here, just tension. Given this, it's not one of Ice Cube's more accessible albums despite boasting a few of his biggest hits. It is his most serious album, though, as well as his last important album of the '90s. ~ Jason Birchmeier, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Greatest Hits
Artist: Whodini
Released: 1990

When funksters and soulsters who reached adulthood in the 1960s and '70s criticize rap, their #1 complaint is usually that too much of it isn't melodic enough. But they seldom make that complaint about Whodini, which in the mid-'80s, enjoyed a lot more support from R&B fans than the more forceful and abrasive sounds of Run-D.M.C. or LL Cool J.... [+] Read More

When funksters and soulsters who reached adulthood in the 1960s and '70s criticize rap, their #1 complaint is usually that too much of it isn't melodic enough. But they seldom make that complaint about Whodini, which in the mid-'80s, enjoyed a lot more support from R&B fans than the more forceful and abrasive sounds of Run-D.M.C. or LL Cool J. While those artists rocked hard, Whodini grooved. Many of Whodini's early albums are well worth acquiring -- including Escape and Back in Black -- but for the more casual listener, Greatest Hits serves as a fine introduction. From the poignant rap ballad "One Love" to such addictive and highly danceable grooves as "Five Minutes of Funk" and "Freaks Come Out at Night," Greatest Hits makes it clear why Whodini was so successful in the mid-'80s. ~ Alex Henderson, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing The Chronic
Artist: Dr. Dre
Released: 1992

With its stylish, sonically detailed production, Dr. Dre's 1992 solo debut The Chronic transformed the entire sound of West Coast rap. Here Dre established his patented G-funk sound: fat, blunted Parliament-Funkadelic beats, soulful backing vocals, and live instruments in the rolling basslines and whiny synths. What's impressive is that Dre... [+] Read More

With its stylish, sonically detailed production, Dr. Dre's 1992 solo debut The Chronic transformed the entire sound of West Coast rap. Here Dre established his patented G-funk sound: fat, blunted Parliament-Funkadelic beats, soulful backing vocals, and live instruments in the rolling basslines and whiny synths. What's impressive is that Dre crafts tighter singles than his inspiration George Clinton -- he's just as effortlessly funky, and he has a better feel for a hook, a knack that improbably landed gangsta rap on the pop charts. But none of The Chronic's legions of imitators were as rich in personality, and that's due in large part to Dre's monumental discovery, Snoop Doggy Dogg. Snoop livens up every track he touches, sometimes just by joining in the chorus -- and if The Chronic has a flaw, it's that his relative absence from the second half slows the momentum. There was nothing in rap quite like Snoop's singsong, lazy drawl (as it's invariably described), and since Dre's true forte is the producer's chair, Snoop is the signature voice. He sounds utterly unaffected by anything, no matter how extreme, which sets the tone for the album's misogyny, homophobia, and violence. The Rodney King riots are unequivocally celebrated, but the war wasn't just on the streets; Dre enlists his numerous guests in feuds with rivals and ex-bandmates. Yet The Chronic is first and foremost a party album, rooted not only in '70s funk and soul, but also that era's blue party comedy, particularly Dolemite. Its comic song intros and skits became prerequisites for rap albums seeking to duplicate its cinematic flow; plus, Snoop and Dre's terrific chemistry ensures that even their foulest insults are cleverly turned. That framework makes The Chronic both unreal and all too real, a cartoon and a snapshot. No matter how controversial, it remains one of the greatest and most influential hip-hop albums of all time. ~ Steve Huey, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Me Against the World
Artist: 2Pac
Released: 1995

Recorded following his near-fatal shooting in New York, and released while he was in prison, Me Against the World is the point where 2Pac really became a legendary figure. Having stared death in the face and survived, he was a changed man on record, displaying a new confessional bent and a consistent emotional depth. By and large, this isn't the... [+] Read More

Recorded following his near-fatal shooting in New York, and released while he was in prison, Me Against the World is the point where 2Pac really became a legendary figure. Having stared death in the face and survived, he was a changed man on record, displaying a new confessional bent and a consistent emotional depth. By and large, this isn't the sort of material that made him a gangsta icon; this is 2Pac the soul-baring artist, the foundation of the immense respect he commanded in the hip-hop community. It's his most thematically consistent, least-self-contradicting work, full of genuine reflection about how he's gotten where he is -- and dread of the consequences. Even the more combative tracks ("Me Against the World," "Fuck the World") acknowledge the high-risk life he's living, and pause to wonder how things ever went this far. He battles occasional self-loathing, is haunted by the friends he's already lost to violence, and can't escape the desperate paranoia that his own death isn't far in the future. These tracks -- most notably "So Many Tears," "Lord Knows," and "Death Around the Corner" -- are all the more powerful in hindsight with the chilling knowledge that he was right. Even romance takes on a new meaning as an escape from the hellish pressure of everyday life ("Temptations," "Can U Get Away"), and when that's not available, getting high or drunk is almost a necessity. He longs for the innocence of childhood ("Young Niggaz," "Old School"), and remembers how quickly it disappeared, yet he still pays loving, clear-eyed tribute to his drug-addicted mother on the touching "Dear Mama." Overall, Me Against the World paints a bleak, nihilistic picture, but there's such an honest, self-revealing quality to it that it can't help conveying a certain hope simply through its humanity. It's the best place to go to understand why 2Pac is so revered; it may not be his definitive album, but it just might be his best. ~ Steve Huey, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing The Best of Kurtis Blow
Artist: Kurtis Blow
Released: 1994

While he made many groundbreaking singles, Kurtis Blow was never a consistent album artist, making this best-of collection his definitive artistic statement. Throughout the early '80s, Blow helped define what rap could do, and these tracks confirm his status as one of hip-hop's legendary acts. ~ Stephen Thomas Erlewine, All Music Guide

While he made many groundbreaking singles, Kurtis Blow was never a consistent album artist, making this best-of collection his definitive artistic statement. Throughout the early '80s, Blow helped define what rap could do, and these tracks confirm his status as one of hip-hop's legendary acts. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Licensed to Ill
Artist: Beastie Boys
Released: 1986

Perhaps Licensed to Ill was inevitable -- a white group blending rock and rap, giving them the first number one album in hip-hop history. But that reading of the album's history gives a short shrift to the Beastie Boys; producer Rick Rubin and his label, Def Jam; and this remarkable record, since mixing metal and hip-hop isn't necessarily an... [+] Read More

Perhaps Licensed to Ill was inevitable -- a white group blending rock and rap, giving them the first number one album in hip-hop history. But that reading of the album's history gives a short shrift to the Beastie Boys; producer Rick Rubin and his label, Def Jam; and this remarkable record, since mixing metal and hip-hop isn't necessarily an easy thing to do. Just sampling and scratching Sabbath and Zeppelin to hip-hop beats does not make for an automatically good record, though there is a visceral thrill to hearing those muscular riffs put into overdrive with scratching. But, much of that is due to the producing skills of Rick Rubin, a metalhead who formed Def Jam Records with Russell Simmons and had previously flirted with this sound on Run-D.M.C.'s Raising Hell, not to mention a few singles and one-offs with the Beasties prior to this record. He made rap rock, but to give him lone credit for Licensed to Ill (as some have) is misleading, since that very same combination would not have been as powerful, nor would it have aged so well -- aged into a rock classic -- if it weren't for the Beastie Boys, who fuel this record through their passion for subcultures, pop culture, jokes, and the intoxicating power of wordplay. At the time, it wasn't immediately apparent that their obnoxious patter was part of a persona (a fate that would later plague Eminem), but the years have clarified that this was a joke -- although, listening to the cajoling rhymes, filled with clear parodies and absurdities, it's hard to imagine the offense that some took at the time. Which, naturally, is the credit of not just the music -- they don't call it the devil's music for nothing -- but the wild imagination of the Beasties, whose rhymes sear into consciousness through their gonzo humor and gleeful delivery. There hasn't been a funnier, more infectious record in pop music than this, and it's not because the group is mocking rappers (in all honesty, the truly twisted barbs are hurled at frat boys and lager lads), but because they've already created their own universe and points of reference, where it's as funny to spit out absurdist rhymes and pound out "Fight for Your Right (To Party)" as it is to send up street-corner doo wop with "Girls." Then, there is the overpowering loudness of the record -- operating from the axis of where metal, punk, and rap meet, there never has been a record this heavy and nimble, drunk on its own power yet giddy with what they're getting away with. There is a sense of genuine discovery, of creating new music, that remains years later, after countless plays, countless misinterpretations, countless rip-off acts, even countless apologies from the Beasties, who seemed guilty by how intoxicating the sound of it is, how it makes beer-soaked hedonism sound like the apogee of human experience. And maybe it is, maybe it isn't, but in either case, Licensed to Ill reigns tall among the greatest records of its time. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Cypress Hill
Artist: Cypress Hill
Released: 1991

It's hard enough to transform an entire musical genre -- Cypress Hill's eponymous debut album revolutionized hip-hop in several respects. Although they weren't the first Latino rappers, nor the first to mix Spanish and English, they were the first to achieve a substantial following, thanks to their highly distinctive sound. Along with Beastie... [+] Read More

It's hard enough to transform an entire musical genre -- Cypress Hill's eponymous debut album revolutionized hip-hop in several respects. Although they weren't the first Latino rappers, nor the first to mix Spanish and English, they were the first to achieve a substantial following, thanks to their highly distinctive sound. Along with Beastie Boys and Public Enemy, Cypress Hill were also one of the first rap groups to bridge the gap with fans of both hard rock and alternative rock. And, most importantly, they created a sonic blueprint that would become one of the most widely copied in hip-hop. In keeping with their promarijuana stance, Cypress Hill intentionally crafted their music to sound stoned -- lots of slow, lazy beats, fat bass, weird noises, and creepily distant-sounding samples. The surreal lyrical narratives were almost exclusively spun by B Real in a nasal, singsong, instantly recognizable delivery that only added to the music's hazy, evocative atmosphere; as a frontman, he could be funny, frightening, or just plain bizarre (again, kind of like the experience of being stoned). Whether he's taunting cops or singing nursery rhyme-like choruses about blasting holes in people with shotguns, B Real's blunted-gangsta posture is nearly always underpinned by a cartoonish sense of humor. It's never clear how serious the threats are, but that actually makes them all the more menacing. The sound and style of Cypress Hill was hugely influential, particularly on Dr. Dre's boundary-shattering 1992 blockbuster The Chronic; yet despite its legions of imitators, Cypress Hill still sounds fresh and original today, simply because few hip-hop artists can put its sound across with such force of personality or imagination. ~ Steve Huey, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Radio - FIRST EDITION
Artist: LL Cool J
Released: 1985

Run-D.M.C. was the first rap act to produce cohesive, fully realized albums, and LL Cool J was the first to follow in their footsteps. LL was a mere 17 years old when he recorded his classic debut album Radio, a brash, exuberant celebration of booming beats and B-boy attitude that launched not only the longest career in hip-hop, but also Rick... [+] Read More

Run-D.M.C. was the first rap act to produce cohesive, fully realized albums, and LL Cool J was the first to follow in their footsteps. LL was a mere 17 years old when he recorded his classic debut album Radio, a brash, exuberant celebration of booming beats and B-boy attitude that launched not only the longest career in hip-hop, but also Rick Rubin's seminal Def Jam label. Rubin's back-cover credit ("Reduced by Rick Rubin") is an entirely apt description of his bare-bones production style. Radio is just as stripped-down and boisterously aggressive as any Run-D.M.C. album, sometimes even more so; the instrumentation is basically just a cranked-up beatbox, punctuated by DJ scratching. There are occasional brief samples, but few do anything more than emphasize a downbeat. The result is rap at its most skeletal, with a hard-hitting, street-level aggression that perfectly matches LL's cocksure teenage energy. Even the two ballads barely sound like ballads, since they're driven by the same slamming beats. Though they might sound a little squared-off to modern ears, LL's deft lyrics set new standards for MCs at the time; his clever disses and outrageous but playful boasts still hold up poetically. Although even LL himself would go on to more intricate rhyming, it isn't really necessary on such a loud, thumping adrenaline rush of a record. Radio was both an expansion of rap's artistic possibilities and a commercial success (for its time), helping attract new multiracial audiences to the music. While it may take a few listens for modern ears to adjust to the minimalist production, the fact that it hews so closely to rap's basic musical foundation means that it still possesses a surprisingly fresh energy, and isn't nearly as dated as many efforts that followed it (including, ironically, some of LL's own). ~ Steve Huey, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing All Eyez on Me
Artist: 2Pac
Released: 1996

Maybe it was his time in prison, or maybe it was simply his signing with Suge Knight's Death Row label. Whatever the case, 2Pac re-emerged hardened and hungry with All Eyez on Me, the first double-disc album of original material in hip-hop history. With all the controversy surrounding him, 2Pac seemingly wanted to throw down a monumental epic... [+] Read More

Maybe it was his time in prison, or maybe it was simply his signing with Suge Knight's Death Row label. Whatever the case, 2Pac re-emerged hardened and hungry with All Eyez on Me, the first double-disc album of original material in hip-hop history. With all the controversy surrounding him, 2Pac seemingly wanted to throw down a monumental epic whose sheer scope would make it an achievement of itself. But more than that, it's also an unabashed embrace of the gangsta lifestyle, backing off the sober self-recognition of Me Against the World. Sure, there are a few reflective numbers and dead-homiez tributes, but they're much more romanticized this time around. All Eyez on Me is 2Pac the thug icon in all his brazen excess, throwing off all self-control and letting it all hang out -- even if some of it would have been better kept to himself. In that sense, it's an accurate depiction of what made him such a volatile and compelling personality, despite some undeniable filler. On the plus side, this is easily the best production he's ever had on record, handled mostly by Johnny J (notably on the smash "How Do U Want It") and Dat Nigga Daz; Dr. Dre also contributes another surefire single in "California Love" (which, unfortunately, is present only as a remix, not the original hit version). Both hits are on the front-loaded first disc, which would be a gangsta classic in itself; other highlights include the anthemic Snoop Dogg duet "2 of Amerikaz Most Wanted," "All About U" (with the required Nate Dogg-sung hook), and "I Ain't Mad at Cha," a tribute to old friends who've gotten off the streets. Despite some good moments, the second disc is slowed by filler and countless guest appearances, plus a few too many thug-lovin' divas crooning their loyalty. Erratic though it may be, All Eyez on Me is nonetheless carried off with the assurance of a legend in his own time, and it stands as 2Pac's magnum opus. ~ Steve Huey, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing 3 Feet High and Rising
Artist: De La Soul
Released: 1989

The most inventive, assured, and playful debut in hip-hop history, 3 Feet High and Rising not only proved that rappers didn't have to talk about the streets to succeed, but also expanded the palette of sampling material with a kaleidoscope of sounds and references culled from pop, soul, disco, and even country music. Weaving clever wordplay and... [+] Read More

The most inventive, assured, and playful debut in hip-hop history, 3 Feet High and Rising not only proved that rappers didn't have to talk about the streets to succeed, but also expanded the palette of sampling material with a kaleidoscope of sounds and references culled from pop, soul, disco, and even country music. Weaving clever wordplay and deft rhymes across two dozen tracks loosely organized around a game-show theme, De La Soul broke down boundaries all over the LP, moving easily from the groovy my-philosophy intro "The Magic Number" to an intelligent, caring inner-city vignette named "Ghetto Thang" to the freewheeling end-of-innocence tale "Jenifa Taught Me (Derwin's Revenge)." Rappers Posdnuos and Trugoy the Dove talked about anything they wanted (up to and including body odor), playing fast and loose on the mic like Biz Markie. Thinly disguised under a layer of humor, their lyrical themes ranged from true love ("Eye Know") to the destructive power of drugs ("Say No Go") to Daisy Age philosophy ("Tread Water") to sex ("Buddy"). Prince Paul (from Stetsasonic) and DJ Pasemaster Mase led the way on the production end, with dozens of samples from all sorts of left-field artists -- including Johnny Cash, the Mad Lads, Steely Dan, Public Enemy, Hall & Oates, and the Turtles. The pair didn't just use those samples as hooks or drumbreaks -- like most hip-hop producers had in the past -- but as split-second fills and in-jokes that made some tracks sound more like DJ records. Even "Potholes on My Lawn," which samples a mouth harp and yodeling (for the chorus, no less), became a big R&B hit. If it was easy to believe the revolution was here from listening to the rapping and production on Public Enemy's It Takes a Nation of Millions to Hold Us Back, with De La Soul the Daisy Age seemed to promise a new era of positivity in hip-hop. ~ John Bush, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Paid in Full
Artist: Eric B. & Rakim
Released: 1987

One of the most influential rap albums of all time, Eric B. & Rakim's Paid in Full only continues to grow in stature as the record that ushered in hip-hop's modern era. The stripped-down production might seem a little bare to modern ears, but Rakim's technique on the mic still sounds utterly contemporary, even state-of-the-art -- and that from a... [+] Read More

One of the most influential rap albums of all time, Eric B. & Rakim's Paid in Full only continues to grow in stature as the record that ushered in hip-hop's modern era. The stripped-down production might seem a little bare to modern ears, but Rakim's technique on the mic still sounds utterly contemporary, even state-of-the-art -- and that from a record released in 1987, just one year after Run-D.M.C. hit the mainstream. Rakim basically invents modern lyrical technique over the course of Paid in Full, with his complex internal rhymes, literate imagery, velvet-smooth flow, and unpredictable, off-the-beat rhythms. The key cuts here are some of the most legendary rap singles ever released, starting with the duo's debut sides, "Eric B. Is President" and "My Melody." "I Know You Got Soul" single-handedly kicked off hip-hop's infatuation with James Brown samples, and Eric B. & Rakim topped it with the similarly inclined "I Ain't No Joke," a stunning display of lyrical virtuosity. The title cut, meanwhile, planted the seeds of hip-hop's material obsessions over a monumental beat. There are also three DJ showcases for Eric B., who like Rakim was among the technical leaders in his field. If sampling is the sincerest form of admiration in hip-hop, Paid in Full is positively worshipped. Just to name a few: Rakim's tossed-off "pump up the volume," from "I Know You Got Soul," became the basis for M/A/R/R/S' groundbreaking dance track; Eminem, a devoted Rakim student, lifted lines from "As the Rhyme Goes On" for the chorus of his own "The Way I Am"; and the percussion track of "Paid in Full" has been sampled so many times it's almost impossible to believe it had a point of origin. Paid in Full is essential listening for anyone even remotely interested in the basic musical foundations of hip-hop -- this is the form in its purest essence. ~ Steve Huey, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Greatest Hits
Artist: Kool Moe Dee
Released: 1993

With a history dating back to the early days of Sugar Hill Records, Kool Moe Dee was able to reinvent himself as a solo artist during the latter half of the '80s, and in the process helped rap transform from an underground party music into a cultural phenomenon. Greatest Hits collects 14 of the most essential items from this seminal figure,... [+] Read More

With a history dating back to the early days of Sugar Hill Records, Kool Moe Dee was able to reinvent himself as a solo artist during the latter half of the '80s, and in the process helped rap transform from an underground party music into a cultural phenomenon. Greatest Hits collects 14 of the most essential items from this seminal figure, kicking off with his two best-known songs -- the catchy "Wild Wild West" and the influential safe-sex rap "Go See the Doctor." His flow is most definitely old-school -- nearly every couplet is squared off at the end -- but his technique was in the top of its class for its pre-golden age time period ("Look at Me Now" is impressive by any standard). His chief rival was LL Cool J, and not just in the abstract sense -- their on-record feud was the most legendary in early hip-hop, and it's chronicled here on "Let's Go," "Death Blow," and "How Ya Like Me Now." His MC boasts are among the best of their time, but he was also ambitious enough to tackle socially conscious material; apart from the aforementioned "Go See the Doctor," there's "No Respect," a cautionary tale of a street hustler who lost everything, and the Chuck D/KRS-One team-up "Rise 'n' Shine." His production is often heavy on the synths and drum machines, though there are also some James Brown-type samples; a few tracks are produced by new jack swing legend Teddy Riley, and those constitute some of the earliest work in his career. All in all, Greatest Hits is an essential look back at one of the greatest talents the old school ever produced. ~ Steve Huey, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Sex Packets
Artist: Digital Underground
Released: 1990

Sex Packets is a vibrant, wildly funny record that transcends any attempt to dismiss it as mere novelty. Novelty records are throwaways -- cheap gags that are funny once, but never pay off with repeat plays, something that Sex Packets certainly does. Sex Packets is layered like any good story. Corny jokes, gross-out tales, flights of fancy, and... [+] Read More

Sex Packets is a vibrant, wildly funny record that transcends any attempt to dismiss it as mere novelty. Novelty records are throwaways -- cheap gags that are funny once, but never pay off with repeat plays, something that Sex Packets certainly does. Sex Packets is layered like any good story. Corny jokes, gross-out tales, flights of fancy, and sheer absurdist humor co-exist comfortably, usually within the course of one song. Take "The Humpty Dance," their breakthrough single and timeless party anthem. Within that one song, Humpty Hump spills out countless jokes, spinning between inspired allusions and thuddingly obvious cut-ups, which are equally funny because of the irrepressible, infectious nature of his rap. And he's so confident in his skills, he's sexy, which is kind of what the album is about -- it knows that sex is funny, and sexier because of it. But the very name of the album should be a clear indication that Digital Underground doesn't take any of this stuff all that seriously while creating elaborate, fantastical settings that reveal boundless imagination. The showiest number, of course, is the "Sex Packets" suite that concludes the album, built around their idea for a drug that creates full-blown sexual fantasies (virtual reality before it was in vogue), but their skill at creating distinctive worlds is just as apparent on the endless party of "Doowutchyalike." These are the things that are buried beneath the band's jokes and an enormous amount of George Clinton samples. Much of the music on Sex Packets uses the P-Funk canon as their foundation (a notable exception being a swinging interpolation of a Jimi Hendrix Band of Gypsys cut on "The New Jazz (One)," a cracking showcase for their team vocal skills). It's so strong an influence, it may seem easy to reduce Digital Underground to the status of mere Clinton imitators, but they take his blueprint, expand it, and personalize it, creating a record that is as loose and funny as anything in the P-Funk empire, and in some ways, easier to access, since the party feels wide open. Few hip-hop albums sound as much like a constant party as this, and years later, it's still impossible to resist. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Follow the Leader
Artist: Eric B. & Rakim
Released: 1988

Having already revolutionized hip-hop, Eric B. & Rakim came up with a second straight classic in their sophomore album, Follow the Leader, which basically follows the same blueprint for greatness, albeit with subtle refinements. Most noticeably, Eric B.'s production is already moving beyond the minimalism of Paid in Full. Follow the Leader finds... [+] Read More

Having already revolutionized hip-hop, Eric B. & Rakim came up with a second straight classic in their sophomore album, Follow the Leader, which basically follows the same blueprint for greatness, albeit with subtle refinements. Most noticeably, Eric B.'s production is already moving beyond the minimalism of Paid in Full. Follow the Leader finds him changing things up more often: dropping in more samples, adding instruments from musician Stevie Blass Griffin, and generally creating a fuller sound over his rock-solid beats. It's still relatively spare, but the extra sonic weight helps keep things fresh. For his part, Rakim wasn't crowned the greatest MC of all time for the variety of his lyrical content, and Follow the Leader is no different. Yet even if he rarely deviates from boasting about his microphone prowess (and frankly, he's entitled), he employs uncommonly vivid and elaborate metaphors in doing so. A case in point is "Microphone Fiend," which weaves references to substance addiction throughout in explaining why Rakim can't keep away from the mic. The album-opening title cut is one of his most agile, up-tempo lyrical showcases, demonstrating why he's such a poetic inspiration for so many MCs even today. "Lyrics of Fury" manages to top it in terms of sheer force, using the break from James Brown's "Funky Drummer" before it saturated the airwaves. And, of course, there are several more turntable features for Eric B. Follow the Leader may not have broken much new ground, but it captures one of the greatest pure hip-hop acts at the top of its form, and that's enough to make the album a classic. ~ Steve Huey, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Black Sunday - RUFFHOUSE
Artist: Cypress Hill
Released: 1993

Black Sunday made Cypress Hill's connection to rock & roll more explicit, with its heavy metal-like artwork and noisier, more dissonant samples (including, naturally, stoner icons Black Sabbath). It's a slightly darker affair than its groundbreaking predecessor, with the threats of violence more urgent and the pot obsession played to the hilt... [+] Read More

Black Sunday made Cypress Hill's connection to rock & roll more explicit, with its heavy metal-like artwork and noisier, more dissonant samples (including, naturally, stoner icons Black Sabbath). It's a slightly darker affair than its groundbreaking predecessor, with the threats of violence more urgent and the pot obsession played to the hilt (after all, it was a crucial part of their widespread appeal). Apart from those subtle distinctions, the sound of Black Sunday is pretty much the same as Cypress Hill, refining the group's innovations into an accessible bid for crossover success. In fact, it's a little startling how often Black Sunday recycles musical ideas and even lyrical catch phrases from the endlessly inventive debut. And the rock-derived, verse-chorus song structures start to sound a little formulaic by the end of the record (how many choruses feature Sen Dog repeating part of whatever B Real just said?). But in spite of that, Black Sunday still sounds vital and lively, since the group has a surer sense of craft. Most of the tracks are fleshed out into structured songs, in contrast to the brief sketches that punctuated Cypress Hill. The album benefits immensely from the resulting clutch of excellent singles (and songs that could have been), and while a couple of tracks feel redundant and underdeveloped, Black Sunday is overall a consistent, engaging listen, especially the flawless first half or so. Unfortunately, it's also the group's last great album, thanks to the musical recycling operation that began here and would handicap much of their subsequent work. ~ Steve Huey, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing It Takes a Nation of Millions to Hold Us Back
Artist: Public Enemy
Released: 1988

Yo! Bum Rush the Show was an invigorating record, but it looks like child's play compared to its monumental sequel, It Takes a Nation of Millions to Hold Us Back, a record that rewrote the rules of what hip-hop could do. That's not to say the album is without precedent, since what's particularly ingenious about the album is how it reconfigures... [+] Read More

Yo! Bum Rush the Show was an invigorating record, but it looks like child's play compared to its monumental sequel, It Takes a Nation of Millions to Hold Us Back, a record that rewrote the rules of what hip-hop could do. That's not to say the album is without precedent, since what's particularly ingenious about the album is how it reconfigures things that came before into a startling, fresh, modern sound. Public Enemy used the template Run-D.M.C. created of a rap crew as a rock band, then brought in elements of free jazz, hard funk, even musique concrète, via their producing team, the Bomb Squad, creating a dense, ferocious sound unlike anything that came before. This coincided with a breakthrough in Chuck D's writing, both in his themes and lyrics. It's not that Chuck D was smarter or more ambitious than his contemporaries -- certainly, KRS-One tackled many similar sociopolitical tracts, while Rakim had a greater flow -- but he marshaled considerable revolutionary force, clear vision, and a boundless vocabulary to create galvanizing, logical arguments that were undeniable in their strength. They only gained strength from Flavor Flav's frenzied jokes, which provided a needed contrast. What's amazing is how the words and music become intertwined, gaining strength from each other. Though this music is certainly a representation of its time, it hasn't dated at all. It set a standard that few could touch then, and even fewer have attempted to meet since. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing E 1999 Eternal
Artist: Bone Thugs-N-Harmony
Released: 1995

Following the surprise success of Bone Thugs-N-Harmony's summer 1994 anthem "Thuggish Ruggish Bone," the group returned a year later with E 1999 Eternal, an impressive debut full-length that dismisses any notion that the group was merely a one-hit wonder. From beginning to end, the album maintains a consistent tone, one that's menacing and... [+] Read More

Following the surprise success of Bone Thugs-N-Harmony's summer 1994 anthem "Thuggish Ruggish Bone," the group returned a year later with E 1999 Eternal, an impressive debut full-length that dismisses any notion that the group was merely a one-hit wonder. From beginning to end, the album maintains a consistent tone, one that's menacing and somber, produced largely by DJ U-Neek, who frames the songs with dark, smoked-out G-funk beats and synth melodies. The Bone Thugs interweave their voices well, trading off verses and harmonizing on the choruses; plus, they sound more enthused and collaborative here than they ever again would, as they would later splinter and grow apart. There are a few standout moments, most notably the Grammy-winning ballad "Tha Crossroads" and the feel-good welfare ode "1st of the Month," as well as, of course, some obligatory blaze-some-to-this tracks, "Budsmokers Only" and "Buddah Lovaz." The intermittent tracks are good old-fashioned gangsta rap about murder, drugs, and money, though Bone's harmonious delivery makes them exceptionally interesting. In the end, the consistent tone that makes E 1999 Eternal such a beginning-to-end listen is unique among Bone's subsequent albums, which tend to be jumbled, as is the remarkable group cohesiveness, which is central to the appeal of standout songs like "Tha Crossroads" and "1st of the Month." Putting aside the disappointments that lay ahead for Bone, E 1999 Eternal stands as one of the most accomplished, unique hardcore rap albums of the '90s, one that's often unfairly overlooked, if not dismissed entirely. [The original release featured a different version of "Tha Crossroads" titled simply "Crossroad" that was quickly replaced by the radio-aired, Grammy-winning "Mo Thug" remix.] ~ Jason Birchmeier, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing The Great Adventures of Slick Rick
Artist: Slick Rick
Released: 1988

Slick Rick's reputation as hip-hop's greatest storyteller hangs on his classic debut, The Great Adventures of Slick Rick, one of the most influential rap records of the late '80s -- for better and worse. Most of the production is standard early Def Jam, but Rick's style on the mic is like no one else's. His half-British accent and odd, singsong... [+] Read More

Slick Rick's reputation as hip-hop's greatest storyteller hangs on his classic debut, The Great Adventures of Slick Rick, one of the most influential rap records of the late '80s -- for better and worse. Most of the production is standard early Def Jam, but Rick's style on the mic is like no one else's. His half-British accent and odd, singsong cadences often overshadow the smoothness of his delivery, but there's no overlooking the cleverness of his lyrics. His carefully constructed narratives are filled with vivid detail and witty asides, and his cartoonish sense of humor influenced countless other rappers. He'll adopt a high voice for his female characters, and even duets with his old alter ego MC Ricky D on "Mona Lisa." But there's also a dark side to The Great Adventures -- namely its vulgarity and off-handed misogyny. No MC had ever dared go as far on record as Rick, and the tracks in question haven't really lost much of their power to offend, or at least raise eyebrows. The notorious "Treat Her Like a Prostitute" is the prime suspect, undermining well-intentioned advice (don't trust too quickly) with cynical, often degrading portrayals of women. "Indian Girl (Adult Story)," meanwhile, is an X-rated yarn with a barely comprehensible payoff. Yet this material is as much a part of Rick's legacy as his more admirable traits, and he was far from the last MC to put seemingly contradictory sides of his personality on the same record. And it's worth noting that most of his Great Adventures, no matter how dubious, end up as cautionary tales with definite consequences. That's especially true on the tragic "Children's Story," in which a teenage robber's increasingly desperate blunders lead to his destruction. In the end, The Great Adventures is simply too good not to deserve the countless samples and homages by everyone from Snoop Dogg to Black Star. ~ Steve Huey, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Life After Death
Artist: The Notorious B.I.G.
Released: 1997

It may have taken the Notorious B.I.G. a few years to follow up his milestone debut, Ready to Die (1994), with another album, but when he did return with Life After Death in 1997, he did so in a huge way. The ambitious album, intended as somewhat of a sequel to Ready to Die, picking up where its predecessor left off, sprawled across the span of... [+] Read More

It may have taken the Notorious B.I.G. a few years to follow up his milestone debut, Ready to Die (1994), with another album, but when he did return with Life After Death in 1997, he did so in a huge way. The ambitious album, intended as somewhat of a sequel to Ready to Die, picking up where its predecessor left off, sprawled across the span of two discs, each filled with music, 24 songs in all. You'd expect any album this sprawling to include some lackluster filler. That's not really the case with Life After Death, however. Like 2Pac's All Eyez on Me from a year before, an obvious influence, Biggie's album made extensive use of various producers -- DJ Premier, Easy Mo Bee, Clark Kent, RZA, and more of New York's finest -- resulting in a diverse, eclectic array of songs. Plus, Biggie similarly brought in various guest rappers -- Jay-Z, Lil' Kim, Bone Thugs, Too $hort, L.O.X., Mase -- a few vocalists -- R. Kelly, Angela Winbush, 112 -- and, of course, Puff Daddy, who is much more omnipresent here than on Ready to Die, where he mostly remained on the sidelines. It's perhaps Puffy himself to thank for this album's biggest hits: "Mo Money Mo Problems," "Hypnotize," "Sky's the Limit," three songs that definitely owe much to his pop touch. There's still plenty of the gangsta tales on Life After Death that won Biggie so much admiration on the streets, but it's the pop-laced songs that stand out as highlights. In hindsight, Biggie couldn't have ended his career with a more fitting album than Life After Death. Over the course of only two albums, he achieved every success imaginable, perhaps none greater than this unabashedly over-reaching success. Ready to Die is a milestone album, for sure, but it's nowhere near as extravagant or epic as Life After Death. ~ Jason Birchmeier, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing The Biz Never Sleeps
Artist: Biz Markie
Released: 1989

On the cover to The Biz Never Sleeps, Biz Markie's in the lab with his chemistry set, cooking up a concoction of colorful liquids that's bound to explode sooner or later. Inside, however, the music wasn't quite as dynamic; Markie decided to produce and write this record entirely by himself, instead of relying on help from Cold Chillin'... [+] Read More

On the cover to The Biz Never Sleeps, Biz Markie's in the lab with his chemistry set, cooking up a concoction of colorful liquids that's bound to explode sooner or later. Inside, however, the music wasn't quite as dynamic; Markie decided to produce and write this record entirely by himself, instead of relying on help from Cold Chillin' beatmaster Marley Marl (who'd produced his excellent debut). The results veered dangerously close to the standard indulgent sophomore album, though Markie's natural charm and a blockbuster hit ended up carrying the proceedings. It certainly didn't start out very well, the opener being a long-winded "Dedications" that was little more than the title indicated, and "The Dragon," a one-joke track about odd smells. Rap fans with a sense of humor, however, were willing to forgive nearly anything after hearing "Just a Friend," the result of an intriguing story rap interspersed with a bizarre bout of crooning that, once again, ably demonstrated how far Biz's charm could take him (in this case, all the way to the Top Ten). "Spring Again" and "I Hear Music" were yet more loopy productions with a universal theme, while Markie even sounded intoxicating while freestyling about a non-existent dance over a simple loop ("Mudd Foot"). It was obvious the (teenage) lunatics had been released from the asylum; the wonders of visual technology allowed the Biz and T.J. Swan to have their thank-you lists super-imposed, inside the credits, on their bared boxer shorts. ~ John Bush, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing O.G. Original Gangster
Artist: Ice-T
Released: 1991

One of gangsta rap's defining albums, O.G. Original Gangster is a sprawling masterpiece that stands far and away as Ice-T's finest hour. Taken track by track, O.G. might not seem at first like the product of a unified vision; perspective-wise, it's all over the map. There's perceptive social analysis, chilling violence, psychological... [+] Read More

One of gangsta rap's defining albums, O.G. Original Gangster is a sprawling masterpiece that stands far and away as Ice-T's finest hour. Taken track by track, O.G. might not seem at first like the product of a unified vision; perspective-wise, it's all over the map. There's perceptive social analysis, chilling violence, psychological storytelling, hair-trigger rage, pleas for solutions to ghetto misery, cautionary morality tales, and cheerfully crude humor in the depictions of sex and defenses of street language. But with a few listens, it's possible to assimilate everything into a complex, detailed portrait of Ice-T's South Central L.A. roots -- the album's contradictions reflect the complexities of real life. That's why the more intelligent, nuanced material isn't negated by the violence and sexism -- both of which, incidentally, are held relatively in check, with the former having been reshaped into a terrifying but inescapable fact of life. That isn't to say that O.G. Original Gangster is designed to appeal to delicate intellectual sensibilities; it's still full of raw, street-level aggression that makes no apologies or concessions. That goes for the music as well as the lyrics. The beats are a little too hard-driving and jittery to really breathe like funk, which only adds to the dark, claustrophobic feel of the production. Ice smoothly keeps up with the music's furious pace and also debuts his soon-to-be-notorious metal band Body Count on one track. That kind of artistic ambition is all over the album, whether in the lean musical attack or the urgent rhymes. O.G. Original Gangster is a certifiable gangsta-rap classic, and arguably the most realistic, unvarnished representation of a world Ice-T was the first to chronicle on record. ~ Steve Huey, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Death Certificate
Artist: Ice Cube
Released: 1991

Death Certificate is even harder and angrier than AmeriKKKa's Most Wanted, which is both a good and a bad thing, depending on your politics. If you're inclined to see Ice Cube as a spokesman and social commentator, Death Certificate will support your claims -- it continues the sharp insights and unflinching looks at contemporary urban lifestyles... [+] Read More

Death Certificate is even harder and angrier than AmeriKKKa's Most Wanted, which is both a good and a bad thing, depending on your politics. If you're inclined to see Ice Cube as a spokesman and social commentator, Death Certificate will support your claims -- it continues the sharp insights and unflinching looks at contemporary urban lifestyles that his solo debut only hinted at; in short, it's hardcore without any gangsta posturing. If you're inclined to see Ice Cube as a bigoted, misogynist rabble-rouser, Death Certificate will also support your claims -- "No Vaseline" contains explicit anti-Semitic taunts directed at his former manager, there are homophobic slurs scattered throughout the album, and women are frequently either bitches or whores. However, if you look beyond the surface -- no matter what political viewpoint you happen to have -- you will find that Cube's rhymes do promote self-awareness and education. In short, they are some of the most incisive raps about life as a young black man since the advent of Public Enemy. Considering this, it's not surprising that Death Certificate bears the mark of Public Enemy's dense, abrasive soundscapes -- it's a funkier, noisier, and more musically effective album than AmeriKKKa's Most Wanted. Ice Cube had never before created a statement of purpose as coherent and incendiary as Death Certificate and, sadly, he never did again. ~ Leo Stanley, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Midnight Marauders
Artist: A Tribe Called Quest
Released: 1993

Though the abstract rappers finally betrayed a few commercial ambitions for Midnight Marauders, the happy result was a smart, hooky record that may not have furthered the jazz-rap fusions of The Low End Theory, but did merge Tribe-style intelligence and reflection with some of the most inviting grooves heard on any early-'90s rap record. The... [+] Read More

Though the abstract rappers finally betrayed a few commercial ambitions for Midnight Marauders, the happy result was a smart, hooky record that may not have furthered the jazz-rap fusions of The Low End Theory, but did merge Tribe-style intelligence and reflection with some of the most inviting grooves heard on any early-'90s rap record. The productions, more funky than jazzy, were tighter overall -- but the big improvement, four years after their debut, came with Q-Tip's and Phife Dawg's raps. Focused yet funky, polished but raw, the duo was practically telepathic on "Steve Biko (Stir It Up)" and "The Chase, Pt. 2," though the mammoth track here was the pop hit "Award Tour." A worldwide call-out record with a killer riff and a great pair of individual raps from the pair, it assured that Midnight Marauders would become A Tribe Called Quest's biggest seller. The album didn't feature as many topical tracks as Tribe was known for, though the group did include an excellent, sympathetic commentary on the question of that word ("Sucka Nigga," with a key phrase: "being as we use it as a term of endearment"). Most of the time, A Tribe Called Quest was indulging in impeccably produced, next-generation games of the dozens ("We Can Get Down," "Oh My God," "Lyrics to Go"), but also took the time to illustrate sensitivity and spirituality ("God Lives Through"). A Tribe Called Quest's Midnight Marauders was commercially successful, artistically adept, and lyrically inventive; the album cemented their status as alternative rap's prime sound merchants, authors of the most original style since the Bomb Squad first exploded on wax. ~ John Bush, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Message from Beat Street: The Best of Grandmaster Flash, Melle Mel & the Furious Five
Artist: Grandmaster Flash
Released: 1994

A diplomatically titled Rhino compilation, Message from Beat Street: The Best of Grandmaster Flash, Melle Mel & the Furious Five is a no-brainer collection featuring the absolute best of the group's four years on Sugar Hill -- from the national breakout with 1980's "Freedom" to the beginning of the end, Melle Mel & the Furious Five's rap-on-film... [+] Read More

A diplomatically titled Rhino compilation, Message from Beat Street: The Best of Grandmaster Flash, Melle Mel & the Furious Five is a no-brainer collection featuring the absolute best of the group's four years on Sugar Hill -- from the national breakout with 1980's "Freedom" to the beginning of the end, Melle Mel & the Furious Five's rap-on-film classic, "Beat Street." Backed by the party-pleasing productions of Joey and Sylvia Robinson plus gorgeous grooves courtesy of the Sugar Hill house band (guitarist Skip McDonald, bassist Doug Wimbish, drummer Keith LeBlanc), Grandmaster Flash and company recorded most of rap's popular classics from the early '80s, providing a crucial bridge from the street-party aesthetic of the late '70s to Run-D.M.C.'s mid-'80s breakout. Rappers Melle Mel, Scorpio, Cowboy, Kid Creole, and Raheem were tied to old school delivery (carefully and slowly phrased), but they did it better than all the others and had the DJ as well as the tracks to match. Flash & the Five also had the most diversity of any other early rap group, encompassing the refreshing Furious Five/Sugarhill Gang collaboration "Showdown" (more a posse track than a battle), a gritty street-level snapshot of modern life (rap's all-time classic "The Message"), and the vocoder paranoia of "Scorpio." Rhino could've done a better job without too much trouble (simply swapping an ineffective new Megamix with the DJ landmark "Adventures on the Wheels of Steel" would go a long way), but Message from Beat Street is still the best introduction to the authors of old school's greatest hits. ~ John Bush, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Ghetto Music: The Blueprint of Hip Hop
Artist: Boogie Down Productions
Released: 1989

The second Boogie Down Productions album devoted mostly to consciousness raising, Ghetto Music: The Blueprint of Hip Hop finds KRS-One evolving into a fierce advocate for both his community and his chosen art form. He's particularly concerned about the direction of the latter: he's wary of hip-hop being co-opted by the pop mainstream, and the... [+] Read More

The second Boogie Down Productions album devoted mostly to consciousness raising, Ghetto Music: The Blueprint of Hip Hop finds KRS-One evolving into a fierce advocate for both his community and his chosen art form. He's particularly concerned about the direction of the latter: he's wary of hip-hop being co-opted by the pop mainstream, and the album's title comes from his conviction that real hip-hop is built on the vitality and rebelliousness of the streets. Accordingly, Ghetto Music contains a few more battle rhymes than usual, plus some showcases for pure MC technique, in keeping with the most basic elements of the music. The production, too, is still resolutely minimalist, and even if it's a little more fleshed-out than in the past, it consciously makes no concessions to pop or R&B accessibility. There are more reggae inflections in KRS-One's delivery than ever before, audible in about half the tracks here, and the production starts to echo dancehall more explicitly on a few. Meanwhile, as the Teacher, he's actually put together lesson plans for a couple tracks: "Why Is That?" and "You Must Learn" are basically lectures about biblical and African-American history, respectively. This is where KRS-One starts to fall prey to didacticism, but he has relevant points to make, and the rapping is surprisingly nimble given all the information he's trying to pack in. Elsewhere, "Who Protects Us from You?" is a bouncy anti-police-brutality rap, and KRS closes the album with the point that "World Peace" can only be achieved through a pragmatic, aggressive struggle for equality. Although Ghetto Music has a few signs that KRS is starting to take himself a little too seriously (he dubs himself a metaphysician in the liner notes), overall it's another excellent effort and the last truly great BDP album. ~ Steve Huey, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Walking With a Panther
Artist: LL Cool J
Released: 1989

Released at a time when hip-hop's anxieties about crossover success were at a fever pitch, Walking With a Panther found LL Cool J trying to reinvent his sound while building on the commercial breakthrough of Bigger and Deffer. Even though the album succeeded on both counts, it did so in a way that didn't sit well with hip-hop purists, who began... [+] Read More

Released at a time when hip-hop's anxieties about crossover success were at a fever pitch, Walking With a Panther found LL Cool J trying to reinvent his sound while building on the commercial breakthrough of Bigger and Deffer. Even though the album succeeded on both counts, it did so in a way that didn't sit well with hip-hop purists, who began to call LL's credibility into question. Their fears about commercialism diluting the art form found a focal point in LL, the man who pioneered the rap ballad -- and there are in fact three ballads here, all of them pretty saccharine (and, tellingly, none of them singles). Apart from that, some of the concerns now seem like much ado about nothing, and there are numerous fine moments (and a few great singles) to be found on the album. It is true, though, that Walking With a Panther does end up slightly less than the sum of its parts. For one thing, it's simply too long; moreover, the force of his early recordings is missing, and there's occasionally a sense that his once-peerless technique on the mic is falling behind the times. Nonetheless, Walking With a Panther is still a fine outing on which LL proves himself a more-than-capable self-producer. The fuller, more fleshed-out sound helps keep his familiar B-boy boasts sounding fresh, and force or no force, he was in definite need of an update. On the singles -- "Going Back to Cali," "I'm That Type of Guy" (inexplicably left off All World), "Jingling Baby," and "Big Ole Butt" -- LL exudes an effortless cool; he's sly, assured, and in full command of a newfound sexual presence on record. So despite its flaws, Walking With a Panther still ranks as one of LL's stronger albums -- strong enough to make the weak moments all the more frustrating. ~ Steve Huey, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Long Live the Kane
Artist: Big Daddy Kane
Released: 1988

Even though he spends a good 90% of the album boasting about his skills and abilities on the microphone, and cutting those of other MCs, Big Daddy Kane consistently proves himself a thrilling artist on his debut album, Long Live the Kane, one of the most appealing creations from the original new school of rap. This debut captures the Big Daddy... [+] Read More

Even though he spends a good 90% of the album boasting about his skills and abilities on the microphone, and cutting those of other MCs, Big Daddy Kane consistently proves himself a thrilling artist on his debut album, Long Live the Kane, one of the most appealing creations from the original new school of rap. This debut captures the Big Daddy Kane who rocked the house at hip-hop clubs and verbally cut up any and all comers in the late '80s with his articulate precision and locomotive power -- the Big Daddy Kane who became an underground legend, the Big Daddy Kane who had the sheer verbal facility and razor-clean dexterity to ambush any MC and exhilarate anyone who witnessed or heard him perform. There are missteps here, to be sure -- especially "The Day You're Mine," on which Kane casts himself as a loverman over a stilted drum machine and lackluster, cheesily seductive singing (offering a glimpse of the particular corner into which he would eventually paint himself). But there are also plenty of legitimate early hip-hop classics, none of which have lost an ounce of their power, and all of which serve as reminders of a time and era when hip-hop felt immediate, exciting, fresh, and a little bit dangerous (in the figurative, rather than literal, sense), and when hip-hop spawned commercial tastes of the moment rather than surrendering to them. Although his next album would be nearly the artistic equal of the debut -- and, in many ways, even bettered it -- Big Daddy Kane would never sound as compelling or as fresh as on this first effort. ~ Stanton Swihart, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Paul's Boutique
Artist: Beastie Boys
Released: 1989

Such was the power of Licensed to Ill that everybody, from