Series : Complex's 100 Greatest Hip-Hop Beats Of All Time Part 2
Series : Complex's 100 Greatest Hip-Hop Beats Of All Time Part 2
79. Warren G "Regulate" (1994)
When Warren G decided to make his own version of "I Keep Forgetting" by former Doobie Brother and king of "Blue Eyed Soul" Michael McDonald, the totally unconventional sample took G-Funk to new heights and created an international smash in the process. The well-placed Young Guns intro and the outstanding vocal performance of Nate Dogg made this a song that even the staunchest East Coast rap supporter couldn't resist.
79. Warren G "Regulate" (1994)
When Warren G decided to make his own version of "I Keep Forgetting" by former Doobie Brother and king of "Blue Eyed Soul" Michael McDonald, the totally unconventional sample took G-Funk to new heights and created an international smash in the process. The well-placed Young Guns intro and the outstanding vocal performance of Nate Dogg made this a song that even the staunchest East Coast rap supporter couldn't resist.
78. Showbiz and A.G. "Next Level (Nyte Time Mix)" (1995)
Play it here, video was banned. Sorry For the inconvenience.
This is one of those rare situations where both the original and the remix are both dope, although entirely different. Showbiz's original is a breezy effort, while Premier gives it a much darker feel with his pitched-up grab of "Mister Mellow" by Maynard Ferguson and thumping drum programming. As Showbiz himself described it to ego trip, "Both of them, of course, was based on jazz records. But mines was more jazzier. His was more laid back gutter."
77. The Beatnuts f/ Big Punisher & Cuban Link "Off The Books" (1997)
Psycho Les and Ju Ju's inspired use of this flute break from the Electric Company children's TV show is one of their best known records, as it blended a great loop with scratched-in drums and a catchy vocal snippet in classic Beatnuts fashion. The 'Nuts would later accuse the Trackmasterz of biting their "Watch Out Now" beat for Jennifer Lopez's "Jenny On The Block," and resulted in them taking shots at J-Lo on "Confused Rappers." 76. Naughty by Nature "Uptown Anthem" (1991)
Even though we'd already heard the "More Peas" break (The J.B.'s) on Showbiz & A.G.'s "Soul Clap" and Organized Konfusion's "Fudge Pudge," the way Kay Gee flipped it for Treach and Vinnie had the most impact, thanks to the energetic chanted chorus, added piano chords, and organ riffs. 75. Master P "I'm Bout It, Bout It" (1995)
The Beats by the Pound production crew became synonymous with "assembly line" production, lumped together with pen and pixel cover art, colored plastic, and Miller brothers guest verses as a part of what made No Limit’s reign so distinct. KLC is likely the most notable Beats by the Pound producer, and had no small role in forming the core group of artists that would become the No Limit empire. Not only did he produce the underground anthem “Down for my Niggas” for C-Murder, and the ultimate No Limit pop moment with “Make Em Say Uhh,” he was also responsible for Master P’s first true crossover, and one of the greatest hip-hop beats of all time: “Bout It Bout It,” a track that seethes and undulates like the fearsome, grime-textured beat has a life of its own. The production was so good, KLC would go back to the well two more times, remaking the track for Master P’s Ice Cream Man and again for the Diplomats in 2003. 74. De La Soul "Stakes Is High" (1996)
J Dilla is a tricky artist because his best production continually evaded pigeonholing. Sure, there was the typical Dilla beat, but ask any fan and they’ll tell you their favorite was the track that chucked the rulebook out the window, or that pulled a particularly evocative performance from an unexpected artist. “Stakes is High” is a sidestep, at once a mutation of a rugged Havoc-style beat and the perfect fit for a track intended to present once-benevolent Posdnous with the gravitas necessary to critique the very art form that had made him. The beat to “Stakes is High” couldn’t fit its title any better, capturing a cocktail of tense, uncertain concern that granted its MCs the moral authority they needed. 73. Kanye West "Through The Wire"
A prime example of "Chipmunk Soul" at its best, Kanye's mush-mouthed tale of surviving a car crash rides off Chaka Khan's "Through The Wire" to superb effect. The beat itself has the right balance between raw emotion and melodrama, sporting a bouncy bass and hand-claps that support Ye's breakout graduation from accomplished producer to credible rapper dude. Belt-up, kiddies. 72. The Notorious B.I.G. "Unbelievable" (1994)
Hearing Puffy attempt to sing the R. Kelly hook during a live recording of "Unbelievable" was by far the most amusing moment of rap in 1994. The track itself provided a welcome antidote to the radio-friendly aspirations of "Juicy" when it appeared as the B-side to Christopher Wallace's breakout single. DJ Premier could do no wrong in 1994 when he put this together at the last minute for a mere $5,000 as a favor to Biggie, who had "blown the budget" by this stage but desperately wanted some hard-rock music on his album. Honeydrippers drums, eerie strings, and a masterful chop of an obscure organ note are all that's required for this time Brooklyn banger. 71. Snoop Doggy Dogg "Gin & Juice" (1993)
"Nuthin' But A 'G' Thang" may be more well-known and "Deep Cover" is a lot grittier, but in terms of classic Snoop and Dre team-ups, this strikes just the right balance between catchy and hardcore. Dre perfected the G-Funk sound he'd introduced on The Chronic for Snoop's debut album, with "Gin and Juice" displaying an excellent example of that formula—a masterful blending of popular samples (George McCrae's "I Get Lifted"), live bass, high-pitched synths, and hooks that update old funk staples with hedonistic new lyrics. 70. Black Moon "I Got Cha Opin (Remix)" (1994)
While certainly not the first record to ride off the dream-like, wafting strings and horns of Barry White's "Playing The Game, Baby," Black Moon holds the title for the most effective use of this popular loop. Mr. Walt and DJ Evil Dee laced Buckshot with the precise platform to showcase his commanding post-LP vocabulary spill. This and the "Buck 'Em Down" remix set the standard for 12" releases at the time—complete remakes of album tracks with brand new B-side exclusives. 69. Jay-Z f/ DMX "Money, Cash, Hoes" (1999)
Swizz told us the story behind this beat last year: "That song started as a joke with me sliding my hand across the keyboard, just bugging. Then I did the drums to the joint. I had this pattern where we would follow the beat and follow the lyrics with the melodies. So you would hear the beat playing the song." The final result became a landmark meeting of minds as Jay-Z was in full instigating mode (his "New York been soft ever since Snoop came through and crushed the buildings" line ruffled more than a few feathers) while DMX barked down all naysayers. 68. Digable Planets "Rebirth of Slick (Cool Like Dat)" (1993)
The music press got carried-away in the early 90's when they attempted to pigeonhole groups like Gang Starr as "Jazz Rap." One group who embraced this label was Digable Planets, who landed themselves a Grammy for this breakthrough single. As sampling techniques became more sophisticated, hip-hop beats began to combine multiple drum sounds into one, as evidenced here by the combination of "Impeach The President" with 24-Caret Black's "Foodstamps." Driven by the upright bass loop from Art Blakey and the Jazz Messengers' "Stretching" and a sprinkling of "Blow Your Head," this song is song is, in the words of the late, great Big L, "smoother than velvet." 67. EPMD f/ LL Cool J "Rampage" (1990)
Heralded by the dramatic opening horns and gong of Mandrill's "Lord of the Golden Baboon," the beat launches into a relentless "Tramp" loop (complete with BT Express drums), before those Gladys Knight & the Pips horns announce the chorus. This seemingly simple formula belies the genius of this song, which results in unstoppable bouts of head nodding when listened to repeatedly. Erick Sermon may be the better known producer of the duo, but beats like this were clearly the brainchild of PMD, who was strictly about snapping necks 66. Nas "Halftime" (1992)
A strong argument could be made that Nasty Nas' debut single is the best Brag Rap song of the 90's, but even without his advanced verbal science, "Halftime" is testament to the production genius of Large Professor. Thanks to some brilliant work with the filter on the Akai S-950, Large transforms a portion of the Japanese Cast Recording of Hair into a thumping bassline, supported by the relentless sleigh bells from Average White Band's "Schoolboy Crush" and the majestic horns of Gary Byrd—a fitting musical accompaniment for the arrival of rap's new lyrical royalty. 65. Snoop Dogg "Drop It Like It's Hot" (2004)
One of the most incredible minimalist beats ever, The Neptunes crafted a No. 1 Billboard hit for Snoop Dogg with nothing but tongue clicks, keyboards, and a drum machine beat so simple it sounds like anyone could've thought of it but, of course, no one but The Neptunes actually did. The highlight of the beat was certainly the two seconds when the keyboard (which we’re assuming Pharrell jacked from a spaceship) comes in and lands in stark contrast to the rest of the production. Once again, Chad and Skateboard P showed that when it comes to production, sometimes less is more than you could have ever imagined. 64. Too $hort "Freaky Tales" (1988)
$hort found a winning recipe and stuck with it—slow 808 beats, keys, and extra deep bass, leaving plenty of room for his conversational pimp talk. As an early regional rap pioneer, $hort catered to his audience who needed music to drive to rather than beats for the boombox or Walkman. "Freaky Tales" became such an iconic track for $hort that he released a sequel soon afterwards and even dropped a remake in 1995 called "Cocktails" with a new beat. 63. Jay-Z and Kanye West "Niggas in Paris" (2011)
The highlight of Watch The Throne was this super-spectacular celebration of international zone coasting, as the two biggest rappers on the planet boast about living that private jet lifestyle. The beat sounds like a cross between chopped and screwed Miami Bass, European techno, and a distorted NES game, somehow delivering a feeling of urgency and euphoria at the same time. Dropping in the Will Farrell as Chazz Michael Michaels dialogue is a fourth-wall breaking moment of genius. 62. Camp Lo "Luchini AKA This Is It" (1997)
Sometimes a sample can do all the hard work by itself—it's just a matter of finding the right part to loop. For "Luchini," Ski grabbed the opening of Dynasty's "Adventures in the Land of Music," pitched-it up a notch, programmed some thumping drums, and threw extra keys over the hook, allowing the cascading horns to drive the show. Sonny Cheeba and Geechi Suede mesh their suave Uptown delivery with the lush track, creating an unmistakable sound that built off the buzz of "Coolie High" and set Camp Lo apart from the pack in 1997. 61. Compton's Most Wanted "Hood Took Me Under" (1992)
Expanding on the LP version's Isaac Hayes "Walk On By" loop, the single release saw MC Eiht bolstered by the same section of Gwen McCrae's "90% Of Me Is You," which had previously been mined for Main Source's "Just Hangin' Out," adding a whole new level of atmosphere to the track. Eiht would later move away from sample-based production, but for his first three CMW albums with DJ Slip, they boasted some of the best loop-based beats in L.A. 60. Mobb Deep "Quiet Storm" (1999)
Yet another example of Havoc's often underrated production skills, as he emancipates the bass line from "White Lines," (which appropriated it from Liquid Liquid's "Cavern" anyway) and smacks an ominous piano into the mix, creating a merciless, paranoid groove that makes the hairs on the back of your neck stand-up when played at maximum volume.
Contact Complex TV
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Sources : HIP HOP Conglomerate Logo | Original Article
Play it here, video was banned. Sorry For the inconvenience.
This is one of those rare situations where both the original and the remix are both dope, although entirely different. Showbiz's original is a breezy effort, while Premier gives it a much darker feel with his pitched-up grab of "Mister Mellow" by Maynard Ferguson and thumping drum programming. As Showbiz himself described it to ego trip, "Both of them, of course, was based on jazz records. But mines was more jazzier. His was more laid back gutter."
77. The Beatnuts f/ Big Punisher & Cuban Link "Off The Books" (1997)
Psycho Les and Ju Ju's inspired use of this flute break from the Electric Company children's TV show is one of their best known records, as it blended a great loop with scratched-in drums and a catchy vocal snippet in classic Beatnuts fashion. The 'Nuts would later accuse the Trackmasterz of biting their "Watch Out Now" beat for Jennifer Lopez's "Jenny On The Block," and resulted in them taking shots at J-Lo on "Confused Rappers." 76. Naughty by Nature "Uptown Anthem" (1991)
Even though we'd already heard the "More Peas" break (The J.B.'s) on Showbiz & A.G.'s "Soul Clap" and Organized Konfusion's "Fudge Pudge," the way Kay Gee flipped it for Treach and Vinnie had the most impact, thanks to the energetic chanted chorus, added piano chords, and organ riffs. 75. Master P "I'm Bout It, Bout It" (1995)
The Beats by the Pound production crew became synonymous with "assembly line" production, lumped together with pen and pixel cover art, colored plastic, and Miller brothers guest verses as a part of what made No Limit’s reign so distinct. KLC is likely the most notable Beats by the Pound producer, and had no small role in forming the core group of artists that would become the No Limit empire. Not only did he produce the underground anthem “Down for my Niggas” for C-Murder, and the ultimate No Limit pop moment with “Make Em Say Uhh,” he was also responsible for Master P’s first true crossover, and one of the greatest hip-hop beats of all time: “Bout It Bout It,” a track that seethes and undulates like the fearsome, grime-textured beat has a life of its own. The production was so good, KLC would go back to the well two more times, remaking the track for Master P’s Ice Cream Man and again for the Diplomats in 2003. 74. De La Soul "Stakes Is High" (1996)
J Dilla is a tricky artist because his best production continually evaded pigeonholing. Sure, there was the typical Dilla beat, but ask any fan and they’ll tell you their favorite was the track that chucked the rulebook out the window, or that pulled a particularly evocative performance from an unexpected artist. “Stakes is High” is a sidestep, at once a mutation of a rugged Havoc-style beat and the perfect fit for a track intended to present once-benevolent Posdnous with the gravitas necessary to critique the very art form that had made him. The beat to “Stakes is High” couldn’t fit its title any better, capturing a cocktail of tense, uncertain concern that granted its MCs the moral authority they needed. 73. Kanye West "Through The Wire"
A prime example of "Chipmunk Soul" at its best, Kanye's mush-mouthed tale of surviving a car crash rides off Chaka Khan's "Through The Wire" to superb effect. The beat itself has the right balance between raw emotion and melodrama, sporting a bouncy bass and hand-claps that support Ye's breakout graduation from accomplished producer to credible rapper dude. Belt-up, kiddies. 72. The Notorious B.I.G. "Unbelievable" (1994)
Hearing Puffy attempt to sing the R. Kelly hook during a live recording of "Unbelievable" was by far the most amusing moment of rap in 1994. The track itself provided a welcome antidote to the radio-friendly aspirations of "Juicy" when it appeared as the B-side to Christopher Wallace's breakout single. DJ Premier could do no wrong in 1994 when he put this together at the last minute for a mere $5,000 as a favor to Biggie, who had "blown the budget" by this stage but desperately wanted some hard-rock music on his album. Honeydrippers drums, eerie strings, and a masterful chop of an obscure organ note are all that's required for this time Brooklyn banger. 71. Snoop Doggy Dogg "Gin & Juice" (1993)
"Nuthin' But A 'G' Thang" may be more well-known and "Deep Cover" is a lot grittier, but in terms of classic Snoop and Dre team-ups, this strikes just the right balance between catchy and hardcore. Dre perfected the G-Funk sound he'd introduced on The Chronic for Snoop's debut album, with "Gin and Juice" displaying an excellent example of that formula—a masterful blending of popular samples (George McCrae's "I Get Lifted"), live bass, high-pitched synths, and hooks that update old funk staples with hedonistic new lyrics. 70. Black Moon "I Got Cha Opin (Remix)" (1994)
While certainly not the first record to ride off the dream-like, wafting strings and horns of Barry White's "Playing The Game, Baby," Black Moon holds the title for the most effective use of this popular loop. Mr. Walt and DJ Evil Dee laced Buckshot with the precise platform to showcase his commanding post-LP vocabulary spill. This and the "Buck 'Em Down" remix set the standard for 12" releases at the time—complete remakes of album tracks with brand new B-side exclusives. 69. Jay-Z f/ DMX "Money, Cash, Hoes" (1999)
Swizz told us the story behind this beat last year: "That song started as a joke with me sliding my hand across the keyboard, just bugging. Then I did the drums to the joint. I had this pattern where we would follow the beat and follow the lyrics with the melodies. So you would hear the beat playing the song." The final result became a landmark meeting of minds as Jay-Z was in full instigating mode (his "New York been soft ever since Snoop came through and crushed the buildings" line ruffled more than a few feathers) while DMX barked down all naysayers. 68. Digable Planets "Rebirth of Slick (Cool Like Dat)" (1993)
The music press got carried-away in the early 90's when they attempted to pigeonhole groups like Gang Starr as "Jazz Rap." One group who embraced this label was Digable Planets, who landed themselves a Grammy for this breakthrough single. As sampling techniques became more sophisticated, hip-hop beats began to combine multiple drum sounds into one, as evidenced here by the combination of "Impeach The President" with 24-Caret Black's "Foodstamps." Driven by the upright bass loop from Art Blakey and the Jazz Messengers' "Stretching" and a sprinkling of "Blow Your Head," this song is song is, in the words of the late, great Big L, "smoother than velvet." 67. EPMD f/ LL Cool J "Rampage" (1990)
Heralded by the dramatic opening horns and gong of Mandrill's "Lord of the Golden Baboon," the beat launches into a relentless "Tramp" loop (complete with BT Express drums), before those Gladys Knight & the Pips horns announce the chorus. This seemingly simple formula belies the genius of this song, which results in unstoppable bouts of head nodding when listened to repeatedly. Erick Sermon may be the better known producer of the duo, but beats like this were clearly the brainchild of PMD, who was strictly about snapping necks 66. Nas "Halftime" (1992)
A strong argument could be made that Nasty Nas' debut single is the best Brag Rap song of the 90's, but even without his advanced verbal science, "Halftime" is testament to the production genius of Large Professor. Thanks to some brilliant work with the filter on the Akai S-950, Large transforms a portion of the Japanese Cast Recording of Hair into a thumping bassline, supported by the relentless sleigh bells from Average White Band's "Schoolboy Crush" and the majestic horns of Gary Byrd—a fitting musical accompaniment for the arrival of rap's new lyrical royalty. 65. Snoop Dogg "Drop It Like It's Hot" (2004)
One of the most incredible minimalist beats ever, The Neptunes crafted a No. 1 Billboard hit for Snoop Dogg with nothing but tongue clicks, keyboards, and a drum machine beat so simple it sounds like anyone could've thought of it but, of course, no one but The Neptunes actually did. The highlight of the beat was certainly the two seconds when the keyboard (which we’re assuming Pharrell jacked from a spaceship) comes in and lands in stark contrast to the rest of the production. Once again, Chad and Skateboard P showed that when it comes to production, sometimes less is more than you could have ever imagined. 64. Too $hort "Freaky Tales" (1988)
$hort found a winning recipe and stuck with it—slow 808 beats, keys, and extra deep bass, leaving plenty of room for his conversational pimp talk. As an early regional rap pioneer, $hort catered to his audience who needed music to drive to rather than beats for the boombox or Walkman. "Freaky Tales" became such an iconic track for $hort that he released a sequel soon afterwards and even dropped a remake in 1995 called "Cocktails" with a new beat. 63. Jay-Z and Kanye West "Niggas in Paris" (2011)
The highlight of Watch The Throne was this super-spectacular celebration of international zone coasting, as the two biggest rappers on the planet boast about living that private jet lifestyle. The beat sounds like a cross between chopped and screwed Miami Bass, European techno, and a distorted NES game, somehow delivering a feeling of urgency and euphoria at the same time. Dropping in the Will Farrell as Chazz Michael Michaels dialogue is a fourth-wall breaking moment of genius. 62. Camp Lo "Luchini AKA This Is It" (1997)
Sometimes a sample can do all the hard work by itself—it's just a matter of finding the right part to loop. For "Luchini," Ski grabbed the opening of Dynasty's "Adventures in the Land of Music," pitched-it up a notch, programmed some thumping drums, and threw extra keys over the hook, allowing the cascading horns to drive the show. Sonny Cheeba and Geechi Suede mesh their suave Uptown delivery with the lush track, creating an unmistakable sound that built off the buzz of "Coolie High" and set Camp Lo apart from the pack in 1997. 61. Compton's Most Wanted "Hood Took Me Under" (1992)
Expanding on the LP version's Isaac Hayes "Walk On By" loop, the single release saw MC Eiht bolstered by the same section of Gwen McCrae's "90% Of Me Is You," which had previously been mined for Main Source's "Just Hangin' Out," adding a whole new level of atmosphere to the track. Eiht would later move away from sample-based production, but for his first three CMW albums with DJ Slip, they boasted some of the best loop-based beats in L.A. 60. Mobb Deep "Quiet Storm" (1999)
Yet another example of Havoc's often underrated production skills, as he emancipates the bass line from "White Lines," (which appropriated it from Liquid Liquid's "Cavern" anyway) and smacks an ominous piano into the mix, creating a merciless, paranoid groove that makes the hairs on the back of your neck stand-up when played at maximum volume.
Contact Complex TV
Website | Facebook | Google+ | Tumblr
Sources : HIP HOP Conglomerate Logo | Original Article
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