3rd Bass

Alternative Rap refers to hip-hop groups that refuse to conform to any of the traditional stereotypes of rap, such as gangsta, funk, bass, hardcore, and party rap. Instead, they blur genres, drawing equally from funk and pop/rock, as well as jazz, soul, reggae, and even folk. Though Arrested Development and the Fugees managed to cross over into the mainstream, most alternative rap groups are embraced primarily by alternative rock fans, not hip-hop or pop audiences.

Alternative Rap refers to hip-hop groups that refuse to conform to any of the traditional stereotypes of rap, such as gangsta, funk, bass, hardcore, and party rap. Instead, they blur genres, drawing equally from funk and pop/rock, as well as jazz, soul, reggae, and even folk. Though Arrested Development and the Fugees managed to cross over into the mainstream, most alternative rap groups are embraced primarily by alternative rock fans, not hip-hop or pop audiences. [-] Hide

Boyz from the Bottom

Springing from the fertile dance scenes in Miami (freestyle) and Detroit (electro) during the mid-'80s, Bass Music brought the funky-breaks aesthetic of the '70s into the digital age with drum-machine frequencies capable of pulverizing the vast majority of unsuspecting car or club speakers. Early Miami pioneers like 2 Live Crew and DJ Magic Mike pushed the style into its distinctive booty obsession, and Detroit figures like DJ Assault, DJ Godfather, and DJ Bone melded it with techno to create... [+] Read More

Springing from the fertile dance scenes in Miami (freestyle) and Detroit (electro) during the mid-'80s, Bass Music brought the funky-breaks aesthetic of the '70s into the digital age with drum-machine frequencies capable of pulverizing the vast majority of unsuspecting car or club speakers. Early Miami pioneers like 2 Live Crew and DJ Magic Mike pushed the style into its distinctive booty obsession, and Detroit figures like DJ Assault, DJ Godfather, and DJ Bone melded it with techno to create an increasingly fast-paced music. Bass music even flirted with the charts during the early '90s, as 95 South's "Whoot (There It Is)" and 69 Boyz' "Tootsee Roll" both hit the charts and went multi-platinum. [-] Hide

Camp Lo

Although it is rarely heard outside of the U.K. and Europe, British Rap has its own traditions and is a style onto itself. Though it doesn't have quite the heritage of American hip-hop, many British rappers grew up within the fertile Caribbean ragga tradition and introduced patois into hip-hop styles. British rap began in the late '80s, and it used the sonic collage of Public Enemy as a launching pad. Soon, many U.K. rappers were adding acid-house flourishes to their sound, resulting in a... [+] Read More

Although it is rarely heard outside of the U.K. and Europe, British Rap has its own traditions and is a style onto itself. Though it doesn't have quite the heritage of American hip-hop, many British rappers grew up within the fertile Caribbean ragga tradition and introduced patois into hip-hop styles. British rap began in the late '80s, and it used the sonic collage of Public Enemy as a launching pad. Soon, many U.K. rappers were adding acid-house flourishes to their sound, resulting in a music style that was darker than its American counterpart. There were poor facsimiles of American rappers, but the best British hip-hop fell into three different camps. There were groups like the Prodigy, which fused hip-hop with rave. There were groups like Leftfield that went for a dance-club style of hip-hop. And there was Massive Attack, who slowed hip-hop beats down and added acid-jazz textures, resulting in trip-hop. By the end of the '90s, a generation of rap fans had assumed control of the scene, resulting in excellent work from the Herbaliser, Roots Manuva, New Flesh, and many others. [-] Hide

Poison Clan

Dirty Rap is hip-hop that is focused solely on sex. The fathers of the genre, 2 Live Crew, were one of the leading groups of the groove-heavy Miami bass sound, and that bass-driven groove remained at the foundation of dirty rap. Most dirty rap was simply blue party rap, designed to keep the party rolling, and it rarely had much musical or lyrical depth.

Dirty Rap is hip-hop that is focused solely on sex. The fathers of the genre, 2 Live Crew, were one of the leading groups of the groove-heavy Miami bass sound, and that bass-driven groove remained at the foundation of dirty rap. Most dirty rap was simply blue party rap, designed to keep the party rolling, and it rarely had much musical or lyrical depth. [-] Hide

Juvenile

Dirty South popped up in the latter half of the '90s, after gangsta rap became the standard currency of hip-hop. Dirty South drew from The Chronic and 2 Live Crew's filthy traditions in equal measure, arriving at a stoned, violent, sex-obsessed and (naturally) profane brand of modern hip-hop. The style drew its name from Goodie Mob's 1995 song of the same name and they, along with Outkast, were the best the genre had to offer, since both their lyrics and music were sharper than such...

Dirty South popped up in the latter half of the '90s, after gangsta rap became the standard currency of hip-hop. Dirty South drew from The Chronic and 2 Live Crew's filthy traditions in equal measure, arriving at a stoned, violent, sex-obsessed and (naturally) profane brand of modern hip-hop. The style drew its name from Goodie Mob's 1995 song of the same name and they, along with Outkast, were the best the genre had to offer, since both their lyrics and music were sharper than such contemporaries as the No Limit posse. [-] Hide

Eric B. & Rakim

At the dawn of the ip-hop era, all ap was ast Coast rap. All of ap's most important early artists were based in the New York City area -- old-school legends like DJ Kool Herc, Grandmaster Flash, Afrika Bambaataa, the Sugarhill Gang, Kurtis Blow, and Run-D.M.C. As ap grew and became more diverse over the course of the '80s, productive scenes began to spring up in other locations around the country; nonetheless, ast Coast rap dominated through most of the '80s. Although the sound of ast Coast... [+] Read More

At the dawn of the ip-hop era, all ap was ast Coast rap. All of ap's most important early artists were based in the New York City area -- old-school legends like DJ Kool Herc, Grandmaster Flash, Afrika Bambaataa, the Sugarhill Gang, Kurtis Blow, and Run-D.M.C. As ap grew and became more diverse over the course of the '80s, productive scenes began to spring up in other locations around the country; nonetheless, ast Coast rap dominated through most of the '80s. Although the sound of ast Coast rap wasn't completely uniform, from the mid- to late '80s it tended to gravitate to more aggressive beats and sample collages, and many MCs prided themselves on their technical dexterity in crafting lyrics. In other words, with some exceptions ast Coast rap became a music intended more for intense listening than for the dancefloor, helping develop the genre into a respected art form as it grew more elaborate and complex. Typifying this golden era of the East Coast sound were artists like Eric B. & Rakim, Boogie Down Productions, and Slick Rick, all of whom boasted immense lyrical skill rooted in old-school style, as well as the harder-hitting sounds of EPMD and Public Enemy. Also based on the East Coast were the Native Tongues, a collective of positive, Afrocentric artists assembled by Afrika Bambaataa; while De La Soul, A Tribe Called Quest, the Jungle Brothers, and other, mostly New York-based groups had a major impact on ip-hop in the late '80s, they were more readily identified with their musical eclecticism than any specific geographic location. N.W.A's 1989 album Straight Outta Compton served notice that the West Coast had toughened its sound to go along with its already gritty, street-level subject matter; combined with est Coast rap's ability to retain its primary function as party music, this helped make it the dominant force in ip-hop during the '90s. The rise of outhern rap further ensured that ast Coast rap could no longer dominate as it once had, but the '90s were hardly a wash for the region. In addition to Puff Daddy's hugely lucrative, op-accessible Bad Boy label, the East Coast produced its share of varied, highly acclaimed artists, including lyrical virtuoso Nas, the eclectic Fugees and Roots, and the hugely influential ardcore unit Wu-Tang Clan. [-] Hide

MC Solaar

Foreign Language Rap is hip-hop that is rapped in a language that is not English or Spanish. Generally, foreign language rap is European in origin and the music resembles Euro dance as much as it does American hip-hop. It isn't as hard as American or British hip-hop and often follows trends instead of blazing new paths. The notable exception to that rule is jazz-rap, as European hip-hop acts were heavily influenced by England's acid house and acid jazz, and these ideas later spilled over to...

Foreign Language Rap is hip-hop that is rapped in a language that is not English or Spanish. Generally, foreign language rap is European in origin and the music resembles Euro dance as much as it does American hip-hop. It isn't as hard as American or British hip-hop and often follows trends instead of blazing new paths. The notable exception to that rule is jazz-rap, as European hip-hop acts were heavily influenced by England's acid house and acid jazz, and these ideas later spilled over to the hip-hop that was made in Europe. [-] Hide

Ice Cube

G-Funk is the laid-back, Parliament/Funkadelic-inspired variation of gangsta rap developed by Dr. Dre in the early '90s. Distinguished by its whiny, cheap synthesizers, slow grooves, deep bass, and, occasionally, faceless female backing vocals, G-funk became the most popular genre of hip-hop in the early '90s. After the success of Dr. Dre's 1992 album The Chronic -- the album where he invented and named the genre -- many new rap artists and producers followed his musical techniques, making...

G-Funk is the laid-back, Parliament/Funkadelic-inspired variation of gangsta rap developed by Dr. Dre in the early '90s. Distinguished by its whiny, cheap synthesizers, slow grooves, deep bass, and, occasionally, faceless female backing vocals, G-funk became the most popular genre of hip-hop in the early '90s. After the success of Dr. Dre's 1992 album The Chronic -- the album where he invented and named the genre -- many new rap artists and producers followed his musical techniques, making it the most recognizable sound in rap for most of the early '90s. [-] Hide

angsta rap developed in the late '80s. Evolving out of ardcore rap, angsta rap had an edgy, noisy sound. Lyrically, it was just as abrasive, as the rappers spun profane, gritty tales about urban crime. Sometimes the lyrics were an accurate reflection of reality; other times, they were exaggerated comic book stories. Either way, it became the most commercially successful form of ip-hop in the late '80s and early '90s. In the process, angsta rap caused considerable controversy, as conservative... [+] Read More

angsta rap developed in the late '80s. Evolving out of ardcore rap, angsta rap had an edgy, noisy sound. Lyrically, it was just as abrasive, as the rappers spun profane, gritty tales about urban crime. Sometimes the lyrics were an accurate reflection of reality; other times, they were exaggerated comic book stories. Either way, it became the most commercially successful form of ip-hop in the late '80s and early '90s. In the process, angsta rap caused considerable controversy, as conservative organizations tried to get the albums banned. Even when the activist groups forced certain bands off major labels, the groups continued to make their music uncensored. [-] Hide

Trouble Funk

Go-Go was a bass-heavy, funky variation of hip-hop that was designed for house parties. Lyrically, there was little of substance in go-go, but the main message was the beat, not the words. During the mid-'80s, go-go was quite popular within the rap and R&B underground, particularly around the DC area where it originated, but it never became a pop success; the closest it came to a crossover hit was in 1988, when EU -- along with Trouble Funk, the definitive go-go band -- had a moderate hit... [+] Read More

Go-Go was a bass-heavy, funky variation of hip-hop that was designed for house parties. Lyrically, there was little of substance in go-go, but the main message was the beat, not the words. During the mid-'80s, go-go was quite popular within the rap and R&B underground, particularly around the DC area where it originated, but it never became a pop success; the closest it came to a crossover hit was in 1988, when EU -- along with Trouble Funk, the definitive go-go band -- had a moderate hit with "Da Butt," taken from Spike Lee's School Daze. During the late '80s and early '90s, go-go was supplanted by Miami bass music, which took the groove-oriented aesthetic of go-go, turned up the bass, and de-emphasized the already-slim lyrics. [-] Hide

Eric B. & Rakim

ip-hop's olden age is bookended by the commercial breakthrough of Run-D.M.C. in 1986 and the explosion of angsta rap with 1993's The Chronic by Dr. Dre. Those six years witnessed the best recordings from some of the biggest rappers -- LL Cool J, Public Enemy, EPMD, Big Daddy Kane, Eric B. & Rakim, N.W.A, Boogie Down Productions, Biz Markie -- in the genre's history. Overwhelmingly based in New York City, olden age ap is characterized by skeletal beats, samples cribbed from ard rock or oul... [+] Read More

ip-hop's olden age is bookended by the commercial breakthrough of Run-D.M.C. in 1986 and the explosion of angsta rap with 1993's The Chronic by Dr. Dre. Those six years witnessed the best recordings from some of the biggest rappers -- LL Cool J, Public Enemy, EPMD, Big Daddy Kane, Eric B. & Rakim, N.W.A, Boogie Down Productions, Biz Markie -- in the genre's history. Overwhelmingly based in New York City, olden age ap is characterized by skeletal beats, samples cribbed from ard rock or oul tracks, and tough dis raps. Rhymers like PE's Chuck D., Big Daddy Kane, KRS-One, and Rakim basically invented the complex wordplay and lyrical kung-fu of later ip-hop. The Def Jam label became the first big independent in ip-hop, while Cold Chillin', Jive, and Tommy Boy also made strides. [-] Hide

Ice Cube

While the term can refer to several different musical sensibilities, Hardcore Rap is marked by confrontation and aggression, whether in the lyrical subject matter, the hard, driving beats, the noisy sampling and production, or any combination thereof. Hardcore rap is tough, streetwise, intense, and often menacing (although the latter isn't always the case; there is room for humor and exuberance as well). Gangsta rap is the style most commonly associated with hardcore rap, but not all hardcore... [+] Read More

While the term can refer to several different musical sensibilities, Hardcore Rap is marked by confrontation and aggression, whether in the lyrical subject matter, the hard, driving beats, the noisy sampling and production, or any combination thereof. Hardcore rap is tough, streetwise, intense, and often menacing (although the latter isn't always the case; there is room for humor and exuberance as well). Gangsta rap is the style most commonly associated with hardcore rap, but not all hardcore rap revolves around gangsta themes, even though there is a great deal of overlap, especially among hardcore rappers of the '90s. The first hardcore rap came from the East Coast during the late '80s, when artists began to move away from party rhymes and bragging about their microphone skills; their music and language began to reflect the gritty, often harsh urban surroundings in which it was usually created and enjoyed. Before any specific formula for gangsta rap had been invented, artists like New York's Boogie Down Productions and L.A.'s Ice-T were committing detailed observations of street life to tape; plus, Public Enemy's chaotic sound collages were setting new standards for production power, and N.W.A. celebrated the bleakness of the ghetto and the gangsta lifestyle with an over-the-top machismo. In the early '90s, hardcore rap was essentially synonymous with West Coast gangsta rap until the 1993 emergence of the Wu-Tang Clan, whose spare, minimalistic beats and haunting string and piano samples became a widely imitated style. With its slamming, hard-hitting grooves and street-tough urban grit, hardcore rap became hip-hop's most popular crossover style during the latter half of the '90s, its subject matter now a mix of party anthems, gangsta's money/sex/violence obsessions, and occasional social commentary. Artists like the Notorious B.I.G., DMX, and Jay-Z became platinum-selling superstars, and Master P's brand of gangsta-oriented Southern hardcore also became a lucrative commercial force, even if it didn't produce crossover hit singles on the same level. [-] Hide

Guru

Jazz-Rap was an attempt to fuse African-American music of the past with a newly dominant form of the present, paying tribute to and reinvigorating the former while expanding the horizons of the latter. While the rhythms of jazz-rap came entirely from hip-hop, the samples and sonic textures were drawn mainly from cool jazz, soul-jazz, and hard bop. It was cooler and more cerebral than other styles of hip-hop, and many of its artists displayed an Afrocentric political consciousness,... [+] Read More

Jazz-Rap was an attempt to fuse African-American music of the past with a newly dominant form of the present, paying tribute to and reinvigorating the former while expanding the horizons of the latter. While the rhythms of jazz-rap came entirely from hip-hop, the samples and sonic textures were drawn mainly from cool jazz, soul-jazz, and hard bop. It was cooler and more cerebral than other styles of hip-hop, and many of its artists displayed an Afrocentric political consciousness, complementing the style's historical awareness. Given its more intellectual bent, it's not surprising that jazz-rap never really caught on as a street favorite, but then it wasn't meant to. Jazz-rap styled itself as a more positive alternative to the hardcore/gangsta movement taking over rap's mainstream at the dawn of the '90s, and concerned itself with spreading hip-hop to listeners unable to embrace or identify with the music's increasing inner-city aggression. As such, jazz-rap found its main audiences in places like college campuses, and was also embraced by a number of critics and white alternative rock fans. Afrika Bambaataa's Native Tongues posse -- a loose collective of New York-based, Afrocentric rap groups -- was the most important force in jazz-rap, including groups like A Tribe Called Quest, De La Soul and the Jungle Brothers; Digable Planets and Gang Starr were other notable early artists. During the mid- to late '90s, as alternative rap moved into a wider-ranging eclecticism, jazz-rap was not often pursued as an exclusive end, although the Roots frequently incorporated it in their live-instrumentation hip-hop. [-] Hide

Cypress Hill

Latin Rap refers to hip-hop and rap performed by Latino performers. They may rap in either English or Spanish, and the music often demonstrates the influence of percolating Latin rhythms.

Latin Rap refers to hip-hop and rap performed by Latino performers. They may rap in either English or Spanish, and the music often demonstrates the influence of percolating Latin rhythms. [-] Hide

The World Class Wreckin' Cru

Old School Rap is the style of the very first rap artists who emerged from New York City in the late '70s and early '80s. Old school is easily identified by its relatively simple raps -- most lines take up approximately equal amounts of time, and the rhythms of the language rarely twisted around the beats of the song. The cadences usually fell squarely on the beat, and when they didn't, they wouldn't stray for long, returning to the original pattern for quick resolution. The emphasis was not... [+] Read More

Old School Rap is the style of the very first rap artists who emerged from New York City in the late '70s and early '80s. Old school is easily identified by its relatively simple raps -- most lines take up approximately equal amounts of time, and the rhythms of the language rarely twisted around the beats of the song. The cadences usually fell squarely on the beat, and when they didn't, they wouldn't stray for long, returning to the original pattern for quick resolution. The emphasis was not on lyrical technique, but simply on good times -- aside from the socially conscious material of Grandmaster Flash, which greatly expanded rap's horizons, most old school rap had the fun, playful flavor of the block parties and dances at which it was born. In keeping with the laid-back, communal good vibes, old school rap seemed to have more room and appreciation for female MCs, although none achieved the higher profile of Grandmaster Flash & the Furious Five or the Sugarhill Gang. Some old school songs were performed over disco or funk-style tracks, while others featured synthesized backing (this latter type of music, either with or without raps, was known as electro). Old school rap's recorded history begins with two 1979 singles, Fatback's "King Tim III" and the Sugarhill Gang's "Rapper's Delight," although the movement had been taking shape for almost a decade prior. Sugarhill Records quickly became the center for old school rap, dominating the market until Run-D.M.C. upped the ante for technique and hardcore urban toughness in 1983-84. Their sound and style soon took over the rap world, making old school's party orientation and '70s funk influences seem outdated. When compared with the more complex rhythms and rhyme schemes of modern-day rap -- or even the hip-hop that was being produced less than ten years after "Rapper's Delight" -- old school rap can sound dated and a little unadventurous. However, the best old school tracks retain their liveliness as great party music no matter what the era, holding up surprisingly well considering all that's happened since. [-] Hide

Ill Al Skratch

Party Rap is bass-driven, block-rockin' hip-hop that only has one thing on its mind -- to keep the groove going. The lyrics are all inconsequential, with none of the political overtones of hardcore rap and only a fraction of the cleverness of old school rap. Instead, it's all about the music, with the bass and drums taking precedence. It's closely related to Miami bass music, but there is usually one vocal hook -- such as "Da Dip" or the chorus of "Rump Shaker" -- that makes the record...

Party Rap is bass-driven, block-rockin' hip-hop that only has one thing on its mind -- to keep the groove going. The lyrics are all inconsequential, with none of the political overtones of hardcore rap and only a fraction of the cleverness of old school rap. Instead, it's all about the music, with the bass and drums taking precedence. It's closely related to Miami bass music, but there is usually one vocal hook -- such as "Da Dip" or the chorus of "Rump Shaker" -- that makes the record memorable. [-] Hide

Boogie Down Productions

Looking to move on from the block-party atmosphere of ld school rap and eager to vent their frustrations with the '80s version of the inner-city blues, a select few ip-hop groups merged deft rhymes with political philosophy to create a new style of ap. Inspired by '70s political preachers from the Last Poets to Gil Scott-Heron, Public Enemy were the first and best of the olitical rap groups. Frontman Chuck D. twisted rhymes better than any other rapper to date, all the while taking to task... [+] Read More

Looking to move on from the block-party atmosphere of ld school rap and eager to vent their frustrations with the '80s version of the inner-city blues, a select few ip-hop groups merged deft rhymes with political philosophy to create a new style of ap. Inspired by '70s political preachers from the Last Poets to Gil Scott-Heron, Public Enemy were the first and best of the olitical rap groups. Frontman Chuck D. twisted rhymes better than any other rapper to date, all the while taking to task the government ("Black Steel in the Hour of Chaos," "Fight the Power"), the culture of white America ("Rebel Without a Pause," "Burn Hollywood Burn"), and all sorts of specific sociopolitical issues ("911 Is a Joke," "Night of the Living Baseheads") over the sonic terrorism of PE's production crew, the Bomb Squad. KRS-One and his group, Boogie Down Productions, began speaking out as well, with brutal broadsides like "Illegal Business" and "Stop the Violence" that spoke to the black community as well as the leaders of the free world. What looked to be a fertile new ground for exploration, however, proved remarkably short-lived. Public Enemy trailed off after 1991, and despite great recordings from a new generation of political rappers (Poor Righteous Teachers, Paris, X-Clan, Disposable Heroes of Hiphoprisy), the commercial explosion of a new ip-hop sound -- angsta rap or -funk -- made record labels less adventurous about nonestablishment messages. [-] Hide

Salt-N-Pepa

Pop-Rap is a marriage of hip-hop beats and raps with strong melodic hooks, which are usually featured as part of the chorus section in a standard pop-song structure. Pop-rap tends to be less aggressive and lyrically complex than most street-level hip-hop, although during the mid- to late '90s, some artists infused the style with a more hardcore attitude in an attempt to defuse backlash over their accessibility. Pop-rap got its start in the late '80s, when artists like Run-D.M.C., L.L. Cool J,... [+] Read More

Pop-Rap is a marriage of hip-hop beats and raps with strong melodic hooks, which are usually featured as part of the chorus section in a standard pop-song structure. Pop-rap tends to be less aggressive and lyrically complex than most street-level hip-hop, although during the mid- to late '90s, some artists infused the style with a more hardcore attitude in an attempt to defuse backlash over their accessibility. Pop-rap got its start in the late '80s, when artists like Run-D.M.C., L.L. Cool J, and the Beastie Boys began to cross over into the mainstream. Shortly thereafter, rappers like Tone Loc, Young MC, and DJ Jazzy Jeff and the Fresh Prince recorded singles emphasizing their good-humored storytelling abilities, to massive chart success; a number of other, mostly singles-oriented acts followed in their wake with similarly good-natured party tunes and novelties. With the possibility of popular acceptance very real, other artists -- around the same time -- began to play up rap's connection to R&B and dance music. This latter group often relied on samples to supply their melodies, and with the 1990 explosion of MC Hammer and Vanilla Ice, pop-rap was often derided (and, occasionally, taken to court) for its willingness to borrow hooks from well-known hit songs without altering those appropriations very much, if at all. This gave the style a not entirely deserved bad reputation, since many '90s artists continued to score big pop hits while developing their own distinctive sounds (PM Dawn, Naughty by Nature, House of Pain, Arrested Development, Coolio, Salt-N-Pepa, Sir Mix-a-Lot, etc.). Meanwhile, Dr. Dre's catchy G-funk and Puff Daddy's Hammer-esque plundering of '80s pop hits helped bring gangsta and hardcore themes to the top of the charts; by the end of the '90s, pop-rap was dominated by artists they had influenced and/or mentored, as well as artists who blended rap with urban soul. [-] Hide

Goodie Mob

Long a third wheel to the East Coast and West Coast hip-hop scenes, Southern Rap emerged in the '90s as a fertile scene unto itself, particularly in Miami, New Orleans, and Atlanta. In the late '80s, Southern rap was primarily associated with Miami bass music, also popularly known as "booty rap" both for its rump-shaking grooves and the central preoccupation of its lyrics. Chief among its artists was Luther Campbell's 2 Live Crew, which took the sexual content of its lyrics to a hard-partying... [+] Read More

Long a third wheel to the East Coast and West Coast hip-hop scenes, Southern Rap emerged in the '90s as a fertile scene unto itself, particularly in Miami, New Orleans, and Atlanta. In the late '80s, Southern rap was primarily associated with Miami bass music, also popularly known as "booty rap" both for its rump-shaking grooves and the central preoccupation of its lyrics. Chief among its artists was Luther Campbell's 2 Live Crew, which took the sexual content of its lyrics to a hard-partying extreme, provoking outcries from pro-censorship forces across the country. The sound of Miami bass spread through the rest of the South and remained a national dance-floor staple through the '90s, with artists like Tag Team, 95 South, the 69 Boyz, Quad City DJ's, and Freak Nasty all scoring huge hit singles (albeit with lyrics far less explicit than Campbell's). Atlanta had its share of bass-heavy party rap artists, but also offered a quirkier, more distinctive (and critically acclaimed) style incorporating the funk of classic Southern soul. The cerebral Arrested Development was the first to hit the national scene in 1992, and they were followed a few years later by protégés of the harder-edged Organized Noize production squad, most notably OutKast and Goodie Mob. If Atlanta was the creative center of Southern rap, New Orleans was surely its commercial center. Master P built a lucrative empire with No Limit record label, and even if he and his roster didn't really push the envelope artistically -- most No Limit albums stuck to West Coast G-funk, Wu-Tang-style hardcore, and nothing but straight-up gangsta lyrics -- No Limit pumped out product with assembly-line efficiency and became a constant presence on the national album charts during the late '90s. Toward the end of the decade, fellow New Orleans label Cash Money and its house producer Mannie Fresh -- whose distinctive approach reworked the Southern bass sound -- scored a national breakout with Juvenile, establishing them as a legitimate rival force. [-] Hide

Live Human

Even though DJs like Grandmaster Flash, Afrika Bambaataa, and Grand Wizard Theodore were the leading figures of hip-hop during the 1970s, by the time rap hit the mainstream in the mid-'80s, the MC had begun taking over the stage. After all, to have any chance at radio airplay and commercial crossover, tracks obviously needed a vocal focus. Inevitably, the mixers responsible for the first hip-hop street jams were inevitably pushed to the back. Though the balance will probably never be righted,... [+] Read More

Even though DJs like Grandmaster Flash, Afrika Bambaataa, and Grand Wizard Theodore were the leading figures of hip-hop during the 1970s, by the time rap hit the mainstream in the mid-'80s, the MC had begun taking over the stage. After all, to have any chance at radio airplay and commercial crossover, tracks obviously needed a vocal focus. Inevitably, the mixers responsible for the first hip-hop street jams were inevitably pushed to the back. Though the balance will probably never be righted, the increasing focus on all aspects of rap culture during the mid-'90s resulted in the emergence of Turntablism as a separate style. The stars here were the DJs, and instead of tight rhymes and smooth flow in their repertoire, they had scratching, spinbacks, phasing, and two-turntable acrobatics (or beat juggling). Some of the most popular mixers (DJ Shadow, most notably) constructed their mixes with literally thousands of records at their disposal, and the more obscure the better. Most were either drum breaks from rare jazz, soul, or funk records (instructional and educational records were also popular, given the nonsensical vocal samples). The avant-garde figure Christian Marclay began constructing turntable symphonies in the early '80s, using material from a variety of musical sources. In 1987, a relic of the disco era named the Disco Mix Club (later just DMC) held its first mixing championship. The contest soon became the stage for turntablists to flaunt their talents and earn the respect of their peers. Excellent second-generation DJs like QBert, Mixmaster Mike, DJ Apollo, and Rob Swift became leading figures of the emerging turntablism, some as individuals and some as part of new turntablist collectives like Invisibl Skratch Piklz, the X-Men (later the X-Ecutioners), and the Beat Junkies. Though albums by turntablists never quite crossed over to rock audiences, a new breed of mixer -- exemplified by DJ Shadow -- earned acclaim in critical quarters by downplaying the role of live performance and physical skills in favor of full-length studio works of art. [-] Hide

The X-Ecutioners

Underground Rap falls into two categories. It is either hardcore hip-hop that pushes musical boundaries and has lyrics that are more inventive than gangsta clichés, or it is hardcore gangsta rap that wallows in all of the musical and lyrical cliches of the genre. What the two styles have in common is that they have little regard for mainstream conventions, and they celebrate their independent status. Underground rap also tends to be produced for less than hip-hop on major labels, and it often...

Underground Rap falls into two categories. It is either hardcore hip-hop that pushes musical boundaries and has lyrics that are more inventive than gangsta clichés, or it is hardcore gangsta rap that wallows in all of the musical and lyrical cliches of the genre. What the two styles have in common is that they have little regard for mainstream conventions, and they celebrate their independent status. Underground rap also tends to be produced for less than hip-hop on major labels, and it often sounds like it. [-] Hide

Dr. Dre

West Coast Rap dominated the hip-hop scene for the middle section of the '90s, making gangsta rap into a popular phenomenon and establishing Dr. Dre as one of the most influential figures in rap history. Still, even if Dre's patented G-funk defined the West Coast sound and style for many, California's rap scene was a great deal more diverse. Up until the mid- to late '80s, West Coast rap mostly imitated East Coast party rap, already considered old-school in its place of origin; however, both... [+] Read More

West Coast Rap dominated the hip-hop scene for the middle section of the '90s, making gangsta rap into a popular phenomenon and establishing Dr. Dre as one of the most influential figures in rap history. Still, even if Dre's patented G-funk defined the West Coast sound and style for many, California's rap scene was a great deal more diverse. Up until the mid- to late '80s, West Coast rap mostly imitated East Coast party rap, already considered old-school in its place of origin; however, both Los Angeles and the Bay Area soon proved to be fertile pastures. The former produced the landmark proto-gangsta recordings of Ice-T, the hugely influential, Latino-tinged stoner funk of Cypress Hill, and the warped comedy of the Pharcyde; the Bay Area countered with the pimp-obsessed rhymes of Too $hort, the P-Funk-inspired, good-humored Digital Underground, and the pop breakthrough of MC Hammer. In short, West Coast rap became as eclectic and difficult to pigeonhole as East Coast rap. However, N.W.A.'s 1989 gangsta-rap landmark Straight Outta Compton set the stage for a more identifiable West Coast style -- its sound was hard-hitting and minimalistic, its lyrics alternating between violent hedonism and righteously angry social commentary. Upon leaving N.W.A., Ice Cube made solo records which maintained that lyrical tone while employing noisy, Public Enemy-style production; his bandmate Dr. Dre discovered Snoop Doggy Dogg, signed to Death Row Records, and at the end of 1992 released The Chronic, the album that defined G-funk and spawned legions of imitators. The Chronic's gangsta hedonism and production style -- whiny synthesizers, rolling P-Funk beats, and deep, slow grooves -- provided the blueprint that made Death Row the biggest hip-hop label of the early '90s, scoring hits by Snoop, Warren G., Tha Dogg Pound, and more. Controversial gangsta star 2Pac joined the label in late 1995 and became a crossover superstar with the Dre duet "California Love," and Coolio had taken a more pop-oriented version of the West Coast sound to the top of the charts earlier in the year with "Gangsta's Paradise." However, West Coast dominance soon crumbled -- 2Pac was murdered in 1996, Dre jumped ship, and Death Row CEO Suge Knight was jailed over business practices. By the end of the '90s, hip-hop's focus had turned back to the East Coast and to the emerging South. [-] Hide