Series : Complex's 100 Greatest Hip-Hop Beats Of All Time Part 4
Series : Complex's 100 Greatest Hip-Hop Beats Of All Time Part 4
39. Luniz f/ Michael Marshall "I Got 5 On It" (1995)
Based around a loop from fellow Bay Area group Club Nouveau (performing a cover version of a track from a previous incarnation named Timex Social Club), this ode to sharing a bag of ganja was a huge hit that rode off the popularity of weed smoking songs in the mid-90s. Producer Tone Capone added some triangle synth, peppered it with the inescapable "Get Down" sample from "Jungle Boogie," and laced the hook with a sing-a-long chorus that would deliver a stoner theme song for the ages.
38. Three 6 Mafia f/ UGK & Project Pat "Sippin' on Some Syrup" (2000)
Thanks to a surreal, spacey loop from the opening moments of Marvin Gaye's "Is That Enough" that ran alongside bass drops, synths, and crispy drum programming, this dedication to sipping that promethazine codine does a fine job of getting the listener into that leaned-out state of mind.
37. The Pharcyde "Passin' Me By" (1993)
The Pharcyde broke new ground for L.A. rap when they hit the scene, in no small part due to producer J-Swift's energetic and accessible beats on the group's debut album Bizarre Ride II the Pharcyde. Swift's care-free production on "Passin' Me By," combining Quincy Jones' "Summer in the City" with the snap of the Skull Snaps drums and a mournful horn hook, was the perfect backdrop for this ode to failed romantic escapades.
36. Craig Mack "Flava In Ya Ear (Remix)" (1994)
Despite making a little noise as MC EZ and Troup with his "Get Retarded" single in 1988, it wasn't until this 1994 smash that the world took notice of Craig Mack. Easy Mo Bee introduced a brand new funk to the rap game with the "futuristic, George Jetson" sound he gave Craig Mack for his breakout Bad Boy single. Ironically, according to the Trackmasters, Craig wasn't initially feeling the beat and Puffy had to basically drag him into the booth, kicking and screaming. As the all-star remix would later demonstrate, however, it was really this incredible instrumental that everyone was hooked-on, and Mack ironically discovered that he was actually the one who wasn't "around next year" on the Bad Boy roster as Biggie Smalls began his rise to rap supremacy.
35. Run-D.M.C. "Peter Piper" (1986)
Bob James' "Nautilus" may be the greatest break of all time, but "Take Me To The Mardi Gras" is definitely a close second. When Run–D.M.C. rocked it for their mammoth Raising Hell LP, it was the closest a lot of new rap fans would ever get to experiencing the energy of a park jam, as Run and DMC traded verses back-and-forth over Jam Master Jay's precise break-beating. Never again will nursery rhymes sound so fly.
34. Dr. Dre "Still D.R.E." (1999)
It’s difficult to choose a single track from Dr. Dre’s 2001. How do you pick between “Xxplosive”’s unforgettable guitar lick, “The Next Episode”’s clubbing grandeur, or “Fuck You”’s tense restraint? But “Still D.R.E.” is the standout for a reason. It isn’t just because of the Jay-Z-written Dre comeback verse, Mel-Man’s co-production or the piano premiere of a young, post-Roots Scott Storch. The four-times-platinum single truly transcends because with a tight, minimal beat—just a few grace notes, some strings and the hardest drums in rap—Dre was able to redefine the sound of an entire city for the second time. “Still D.R.E.” is a perfect example of what Dre does well, particularly his ear for detail, like the echoing arpeggios during the chorus that grant the song its sunset mystique.
33. LL Cool J "Rock The Bells" (1985)
When asked why there are two versions of this iconic track back in 208, LL responded, "The ‘Peter Piper’ beat was originally gonna be the beat for ‘Rock The Bells,’ but Rick Rubin gave it to Run and them, because I guess Jam-Master Jay had the same idea as me at the time—may he rest in peace. You can see what I mean, if you think about it." Luckily for rap fans, both versions of this track are great. The remake that featured on Cool J's debut LP borrowed a percussion break from Trouble Funk, a guitar stab from AC/DC, a little "Rocket In The Pocket" and a whole lotta 808. Another Rick Rubin sure-shot.
32. The Showboys "Drag Rap (Trigger Man)" (1986)
This mid-80's Profile Records 12" from Queens duo The Showboys somehow became the blueprint for Bounce music, due to its now-iconic intro. The rest of the track is standard 1986 fare—a melody based around a TV theme song ("Inspector Gadget"), loud 808 drums, and Shout Rap. Legend has it that a promoter from Memphis tracked them down years after the song had become a staple. He “acted like he found Elvis alive" as he informed them of the massive popularity of their song, the publishing rights to which they sadly do not own.
31. Lil Wayne "A Milli" (2008)
"A Milli" can best be described as an exercise in hypnotic minimalism, proving that deep bass drops, hand claps, and a pitched-down repetitive vocal loop can provide the ideal canvas for Lil Wayne to pitch us his unique brand of wordplay. "Lollipop" might've been a sell-out record, but even Wayne's harshest critics had to give it up for "A Milli"—one of the few rappity rap songs that actually became a huge hit. So many rappers clogged up the Internet with freestyles over this beat that after it first dropped many of us needed a few years' break before we could listen to it again. It earned a "Best Rap Solo Performance" Grammy for Weezy and producer Shondrae "Bangladesh" Crawford (who subsequently got into a beef with Baby about getting paid for this beat).
30. Method Man & Redman "Da Rockwilder" (1999)
Redman's longtime pal Rockwilder literally made a name for himself via this addictive electronic track, which so impressed the blunted duo that they named the song after him. The hyperkenetic beat evokes the feel of being trapped inside a manic video game cabinet in some abandoned game arcade—on some ol' Tron shit, which suits Red and Meth's microphone mathematics to a tee.
v 29. Jay-Z f/ UGK "Big Pimpin" (2000)
Always one to expand his musical palate, Timbaland blessed Hova, Bun B, and Pimp C with the "Big Pimpin'" beat during his bhangra phase. The rolling percussion and layered melodies made for the ideal Yacht Rap excursion, and one of Timbaland's best beats set off rap's fascination with Indian music. Jigga gets suitably ignorant here (maybe an attempt to keep up with UGK), but later recanted his verse and claimed to "regret" his bars when he read them back for Decoded. "What kind of animal would say this sort of thing?" he wondered. Guess the beat made him do it?
28. The D.O.C. "It's Funky Enough" (1989)
You have to give Dre credit for taking a song called “Misdemeanor” and making a beat that sounds like the soundtrack to catching a felony. Purists sometimes take producers to task for just finding a dope break and looping it up but even Dre's simplest achievements deserve high praise. For one, who would have thought you could make such a hard track using a sample from 11-year-old Foster Sylvers? The song in question is of course Sylver’s best known song, 1973’s “Misdemeanor.” Dre flipped the innocent-sounding R&B pop tune into something for DOC to black out on, unleashing a flurry of rhymes as well as the immortal catchphrase, “Ya’ll ready for this?” The track caught a second life and was introduced to a generation of new fans by being featured in a number of video games such as Grand Theft Auto: San Andreas, True Crime: Streets of LA, and Madden 2005.
27. Souls Of Mischief "93 'til Infinity" (1993)
When Del Tha Funkee Homosapien first entered the rap game as a member of Da Lench Mob, rapping over Brides of Funkadelic samples, few would have predicted that he would go on to spearhead a new musical movement in the Oakland hip-hop scene. His Hieroglyphics crew introduced the kind of complex lyrical techniques and deep-crate beats that were previously the specialty of the East Coast, and "93 'Til Infinity" became the theme song of the new movement. One of the first notable examples of significantly speeding up a sample to rhyme over, the track was punctuated with neck-snapping drums and an echoing horn hits. The resulting track is so full of youthful energy and optimism that it's become almost mandatory for any "lyrical" rapper to take a stab at their own version, including J.Cole, Big K.R.I.T., Freddie Gibbs, and Kidz In The Hall.
26. Raekwon "Ice Cream" (1995)
Only Built 4 Cuban Linx is not only a landmark rap album (one that popularized everything from mafioso themes to sipping Cristal, influencing everyone from Mobb Deep to Biggie to Jay-Z) but also one of the first albums whose production was described as “cinematic.” Some of that had to do with all the samples of kung-fu film dialog, but still—RZA’s soundscapes were incredibile. And “Ice Cream” was no exception. It's a beat that sounds like a hot sunny day in Shaolin where all the kids want to do is chase the ice cream truck while the adults chase tail.
It’s hard to talk about Wu-Tang without discussing their astonishing creative and commercial run from 1992 to 1997 spearheaded by The Abbot’s lo-fi production, but let’s put that aside for a second. Just consider this: According to Method Man, “Ice Cream” and GZA’s “Shadowboxin’” were crafted in the same week. Which essentially means RZA was piecing together Cuban Linx and Liquid Swords—two classics that both featured incredibly distinct production—at the same damn time.
Many rap producers tend to get into that zone where all their beats start to sound the same because they’re all made from the same few elements. Certainly producers like Swizz Beatz and Lex Luger have been accused of this. Although it could be argued that finding your soundkit is the hip-hop producer’s equivalent to any artist finding their voice, you do run the risk of becoming as repetitive as the loops themselves until you reach the point of diminishing returns. But that certainly wasn’t a problem for RZA, who was firing on all cylinders in the mid-'90s.
25. Kanye West "Can't Tell Me Nothing" (2007)
This was Kanye's first foray into "throw your lighters and cell phones up" Stadium Rap, and it stands as a damn fine example of the style. This is largely owed to the clever use of vocals from Australian group Sneaky Sound System's Connie Mitchell, peppered with sparse Young Jeezy ad-libs that support the shimmering synth track and its plodding percussion. 24. Noreaga "Superthug" (1998)
The first time we heard this beat, it was truly one of those “What the fuck is that?” moments in hip-hop. The combination of the song’s jagged synth notes, Kelis’ eerie background vocals, and Nore incessantly shouting, “What? What? What? What? What? What?” had a hypnotic, disorienting effect that made us forgive Nore’s nonsensical rhymes and left us wanting more. Plus the record was a result of Pharrell cooking up a beat specifically for Nore, not just selling a beat that had been shopped around.
Although the song is one of Nore’s biggest hits (he later score an even bigger hit by hooking up Chad and Pharrell again on “Nothin”) it’s actually more significant for The Neptunes since it was their breakout song. “Superthug” made them in-demand producers which led them to work with the likes of Jay-Z, Mystikal, and countless others. The Virginia duo went on to become (arguably) the definitive producers of the aughts for not only rap but also pop music.
23. Slick Rick "Children's Story" (1988)
Sounding like a typical Hurby Luvbug beat from the same era (must be the shakers), Ricky D's interpretation of the melody from Bob James' "Nautilus" is unmistakable. The shuffling, playful drums, plunking piano line, and naive horns are fitting given the storytelling premise, matching Rick's distinctive flow and accent perfectly. Montell Jordan brought the beat back for his breakout hit "This Is How We Do It," around the same time Lil Jon flipped it for a hot remix of Capleton's "Tour."
22. DMX "Ruff Ryders Anthem" (1998)
DMX and the Ruff Ryders crew brought some much needed aggression back to major label New York rap with records like this. Drums, bass, and sitar keys are all that were required for Dark Man X to flex his patented take-no-shorts style and propel this Tunnel banger on to sell 5 million copies. Funny part was, according to Swizz, X was hesitant to get on the track, saying, "Man, that sounds like some rock ‘n’ roll track, I need some hip-hop shit. It’s not hood enough."
Seen as a reaction to the over-produced Bad Boy sound that was dominating the charts at the time, Swizz Beatz's deceptively basic tracks were just what rowdy club types were looking for, providing the soundtrack to numerous brawls and people getting randomly smacked down with bar stools.
21. Schoolly D "P.S.K. What Does It Mean?" (1985)
Some folks are impressed by MCs who hit the recording booth without a single line written down and spit an entire track. That's great, but Schoolly D was on a whole different plane back in 1985, recording his entire debut album by playing the TR-909 drum machine live while he freestyled his rhymes with his DJ, Code Money, providing scratches for extra flavor.
"P.S.K." was pure, unadulterated B-Boy music that spoke to an aspect of Philly street life never before addressed on wax. The everlasting bass drum and relentless hi-hats make for the kind of loud, aggressive beats that your mom and your girlfriend will hate. This is music built for your headphones AND your car—a true timeless classic. Biggie loved it so much he reused the beat—and basically covered the whole song, changing only a few letters—on a Life After Death interlude.
20. Clipse "Grindin'" (2002)
"Grindin'"—not any of their catalog of No. 1 hits—is the Neptunes' signature speaker-smasher, perfect not only for blasting out of your car at ear-splitting volumes but also incredibly easy to imitate on any high school locker. Minimalist yet futuristic, the song captured the hard-hitting sound of a mid-80's rap record but loaded it with modern d-boy lyrics. "Grindin'" proved once again that it's all about the drums—and woodblocks. Pharrell reportedly called Pusha T with the following challenge, "I’ve got this record and if you’re not up here in 15 minutes I’m just giving it to Jay-Z." Push made it to the studio with two minutes to spare, and one the hardest records of the aughts was born.
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Sources : HIP HOP Conglomerate Logo | Original Article
39. Luniz f/ Michael Marshall "I Got 5 On It" (1995)
Based around a loop from fellow Bay Area group Club Nouveau (performing a cover version of a track from a previous incarnation named Timex Social Club), this ode to sharing a bag of ganja was a huge hit that rode off the popularity of weed smoking songs in the mid-90s. Producer Tone Capone added some triangle synth, peppered it with the inescapable "Get Down" sample from "Jungle Boogie," and laced the hook with a sing-a-long chorus that would deliver a stoner theme song for the ages.
38. Three 6 Mafia f/ UGK & Project Pat "Sippin' on Some Syrup" (2000)
Thanks to a surreal, spacey loop from the opening moments of Marvin Gaye's "Is That Enough" that ran alongside bass drops, synths, and crispy drum programming, this dedication to sipping that promethazine codine does a fine job of getting the listener into that leaned-out state of mind.
37. The Pharcyde "Passin' Me By" (1993)
The Pharcyde broke new ground for L.A. rap when they hit the scene, in no small part due to producer J-Swift's energetic and accessible beats on the group's debut album Bizarre Ride II the Pharcyde. Swift's care-free production on "Passin' Me By," combining Quincy Jones' "Summer in the City" with the snap of the Skull Snaps drums and a mournful horn hook, was the perfect backdrop for this ode to failed romantic escapades.
36. Craig Mack "Flava In Ya Ear (Remix)" (1994)
Despite making a little noise as MC EZ and Troup with his "Get Retarded" single in 1988, it wasn't until this 1994 smash that the world took notice of Craig Mack. Easy Mo Bee introduced a brand new funk to the rap game with the "futuristic, George Jetson" sound he gave Craig Mack for his breakout Bad Boy single. Ironically, according to the Trackmasters, Craig wasn't initially feeling the beat and Puffy had to basically drag him into the booth, kicking and screaming. As the all-star remix would later demonstrate, however, it was really this incredible instrumental that everyone was hooked-on, and Mack ironically discovered that he was actually the one who wasn't "around next year" on the Bad Boy roster as Biggie Smalls began his rise to rap supremacy.
35. Run-D.M.C. "Peter Piper" (1986)
Bob James' "Nautilus" may be the greatest break of all time, but "Take Me To The Mardi Gras" is definitely a close second. When Run–D.M.C. rocked it for their mammoth Raising Hell LP, it was the closest a lot of new rap fans would ever get to experiencing the energy of a park jam, as Run and DMC traded verses back-and-forth over Jam Master Jay's precise break-beating. Never again will nursery rhymes sound so fly.
34. Dr. Dre "Still D.R.E." (1999)
It’s difficult to choose a single track from Dr. Dre’s 2001. How do you pick between “Xxplosive”’s unforgettable guitar lick, “The Next Episode”’s clubbing grandeur, or “Fuck You”’s tense restraint? But “Still D.R.E.” is the standout for a reason. It isn’t just because of the Jay-Z-written Dre comeback verse, Mel-Man’s co-production or the piano premiere of a young, post-Roots Scott Storch. The four-times-platinum single truly transcends because with a tight, minimal beat—just a few grace notes, some strings and the hardest drums in rap—Dre was able to redefine the sound of an entire city for the second time. “Still D.R.E.” is a perfect example of what Dre does well, particularly his ear for detail, like the echoing arpeggios during the chorus that grant the song its sunset mystique.
33. LL Cool J "Rock The Bells" (1985)
When asked why there are two versions of this iconic track back in 208, LL responded, "The ‘Peter Piper’ beat was originally gonna be the beat for ‘Rock The Bells,’ but Rick Rubin gave it to Run and them, because I guess Jam-Master Jay had the same idea as me at the time—may he rest in peace. You can see what I mean, if you think about it." Luckily for rap fans, both versions of this track are great. The remake that featured on Cool J's debut LP borrowed a percussion break from Trouble Funk, a guitar stab from AC/DC, a little "Rocket In The Pocket" and a whole lotta 808. Another Rick Rubin sure-shot.
32. The Showboys "Drag Rap (Trigger Man)" (1986)
This mid-80's Profile Records 12" from Queens duo The Showboys somehow became the blueprint for Bounce music, due to its now-iconic intro. The rest of the track is standard 1986 fare—a melody based around a TV theme song ("Inspector Gadget"), loud 808 drums, and Shout Rap. Legend has it that a promoter from Memphis tracked them down years after the song had become a staple. He “acted like he found Elvis alive" as he informed them of the massive popularity of their song, the publishing rights to which they sadly do not own.
31. Lil Wayne "A Milli" (2008)
"A Milli" can best be described as an exercise in hypnotic minimalism, proving that deep bass drops, hand claps, and a pitched-down repetitive vocal loop can provide the ideal canvas for Lil Wayne to pitch us his unique brand of wordplay. "Lollipop" might've been a sell-out record, but even Wayne's harshest critics had to give it up for "A Milli"—one of the few rappity rap songs that actually became a huge hit. So many rappers clogged up the Internet with freestyles over this beat that after it first dropped many of us needed a few years' break before we could listen to it again. It earned a "Best Rap Solo Performance" Grammy for Weezy and producer Shondrae "Bangladesh" Crawford (who subsequently got into a beef with Baby about getting paid for this beat).
30. Method Man & Redman "Da Rockwilder" (1999)
Redman's longtime pal Rockwilder literally made a name for himself via this addictive electronic track, which so impressed the blunted duo that they named the song after him. The hyperkenetic beat evokes the feel of being trapped inside a manic video game cabinet in some abandoned game arcade—on some ol' Tron shit, which suits Red and Meth's microphone mathematics to a tee.
v 29. Jay-Z f/ UGK "Big Pimpin" (2000)
Always one to expand his musical palate, Timbaland blessed Hova, Bun B, and Pimp C with the "Big Pimpin'" beat during his bhangra phase. The rolling percussion and layered melodies made for the ideal Yacht Rap excursion, and one of Timbaland's best beats set off rap's fascination with Indian music. Jigga gets suitably ignorant here (maybe an attempt to keep up with UGK), but later recanted his verse and claimed to "regret" his bars when he read them back for Decoded. "What kind of animal would say this sort of thing?" he wondered. Guess the beat made him do it?
28. The D.O.C. "It's Funky Enough" (1989)
You have to give Dre credit for taking a song called “Misdemeanor” and making a beat that sounds like the soundtrack to catching a felony. Purists sometimes take producers to task for just finding a dope break and looping it up but even Dre's simplest achievements deserve high praise. For one, who would have thought you could make such a hard track using a sample from 11-year-old Foster Sylvers? The song in question is of course Sylver’s best known song, 1973’s “Misdemeanor.” Dre flipped the innocent-sounding R&B pop tune into something for DOC to black out on, unleashing a flurry of rhymes as well as the immortal catchphrase, “Ya’ll ready for this?” The track caught a second life and was introduced to a generation of new fans by being featured in a number of video games such as Grand Theft Auto: San Andreas, True Crime: Streets of LA, and Madden 2005.
27. Souls Of Mischief "93 'til Infinity" (1993)
When Del Tha Funkee Homosapien first entered the rap game as a member of Da Lench Mob, rapping over Brides of Funkadelic samples, few would have predicted that he would go on to spearhead a new musical movement in the Oakland hip-hop scene. His Hieroglyphics crew introduced the kind of complex lyrical techniques and deep-crate beats that were previously the specialty of the East Coast, and "93 'Til Infinity" became the theme song of the new movement. One of the first notable examples of significantly speeding up a sample to rhyme over, the track was punctuated with neck-snapping drums and an echoing horn hits. The resulting track is so full of youthful energy and optimism that it's become almost mandatory for any "lyrical" rapper to take a stab at their own version, including J.Cole, Big K.R.I.T., Freddie Gibbs, and Kidz In The Hall.
26. Raekwon "Ice Cream" (1995)
Only Built 4 Cuban Linx is not only a landmark rap album (one that popularized everything from mafioso themes to sipping Cristal, influencing everyone from Mobb Deep to Biggie to Jay-Z) but also one of the first albums whose production was described as “cinematic.” Some of that had to do with all the samples of kung-fu film dialog, but still—RZA’s soundscapes were incredibile. And “Ice Cream” was no exception. It's a beat that sounds like a hot sunny day in Shaolin where all the kids want to do is chase the ice cream truck while the adults chase tail.
It’s hard to talk about Wu-Tang without discussing their astonishing creative and commercial run from 1992 to 1997 spearheaded by The Abbot’s lo-fi production, but let’s put that aside for a second. Just consider this: According to Method Man, “Ice Cream” and GZA’s “Shadowboxin’” were crafted in the same week. Which essentially means RZA was piecing together Cuban Linx and Liquid Swords—two classics that both featured incredibly distinct production—at the same damn time.
Many rap producers tend to get into that zone where all their beats start to sound the same because they’re all made from the same few elements. Certainly producers like Swizz Beatz and Lex Luger have been accused of this. Although it could be argued that finding your soundkit is the hip-hop producer’s equivalent to any artist finding their voice, you do run the risk of becoming as repetitive as the loops themselves until you reach the point of diminishing returns. But that certainly wasn’t a problem for RZA, who was firing on all cylinders in the mid-'90s.
25. Kanye West "Can't Tell Me Nothing" (2007)
This was Kanye's first foray into "throw your lighters and cell phones up" Stadium Rap, and it stands as a damn fine example of the style. This is largely owed to the clever use of vocals from Australian group Sneaky Sound System's Connie Mitchell, peppered with sparse Young Jeezy ad-libs that support the shimmering synth track and its plodding percussion. 24. Noreaga "Superthug" (1998)
The first time we heard this beat, it was truly one of those “What the fuck is that?” moments in hip-hop. The combination of the song’s jagged synth notes, Kelis’ eerie background vocals, and Nore incessantly shouting, “What? What? What? What? What? What?” had a hypnotic, disorienting effect that made us forgive Nore’s nonsensical rhymes and left us wanting more. Plus the record was a result of Pharrell cooking up a beat specifically for Nore, not just selling a beat that had been shopped around.
Although the song is one of Nore’s biggest hits (he later score an even bigger hit by hooking up Chad and Pharrell again on “Nothin”) it’s actually more significant for The Neptunes since it was their breakout song. “Superthug” made them in-demand producers which led them to work with the likes of Jay-Z, Mystikal, and countless others. The Virginia duo went on to become (arguably) the definitive producers of the aughts for not only rap but also pop music.
23. Slick Rick "Children's Story" (1988)
Sounding like a typical Hurby Luvbug beat from the same era (must be the shakers), Ricky D's interpretation of the melody from Bob James' "Nautilus" is unmistakable. The shuffling, playful drums, plunking piano line, and naive horns are fitting given the storytelling premise, matching Rick's distinctive flow and accent perfectly. Montell Jordan brought the beat back for his breakout hit "This Is How We Do It," around the same time Lil Jon flipped it for a hot remix of Capleton's "Tour."
22. DMX "Ruff Ryders Anthem" (1998)
DMX and the Ruff Ryders crew brought some much needed aggression back to major label New York rap with records like this. Drums, bass, and sitar keys are all that were required for Dark Man X to flex his patented take-no-shorts style and propel this Tunnel banger on to sell 5 million copies. Funny part was, according to Swizz, X was hesitant to get on the track, saying, "Man, that sounds like some rock ‘n’ roll track, I need some hip-hop shit. It’s not hood enough."
Seen as a reaction to the over-produced Bad Boy sound that was dominating the charts at the time, Swizz Beatz's deceptively basic tracks were just what rowdy club types were looking for, providing the soundtrack to numerous brawls and people getting randomly smacked down with bar stools.
21. Schoolly D "P.S.K. What Does It Mean?" (1985)
Some folks are impressed by MCs who hit the recording booth without a single line written down and spit an entire track. That's great, but Schoolly D was on a whole different plane back in 1985, recording his entire debut album by playing the TR-909 drum machine live while he freestyled his rhymes with his DJ, Code Money, providing scratches for extra flavor.
"P.S.K." was pure, unadulterated B-Boy music that spoke to an aspect of Philly street life never before addressed on wax. The everlasting bass drum and relentless hi-hats make for the kind of loud, aggressive beats that your mom and your girlfriend will hate. This is music built for your headphones AND your car—a true timeless classic. Biggie loved it so much he reused the beat—and basically covered the whole song, changing only a few letters—on a Life After Death interlude.
20. Clipse "Grindin'" (2002)
"Grindin'"—not any of their catalog of No. 1 hits—is the Neptunes' signature speaker-smasher, perfect not only for blasting out of your car at ear-splitting volumes but also incredibly easy to imitate on any high school locker. Minimalist yet futuristic, the song captured the hard-hitting sound of a mid-80's rap record but loaded it with modern d-boy lyrics. "Grindin'" proved once again that it's all about the drums—and woodblocks. Pharrell reportedly called Pusha T with the following challenge, "I’ve got this record and if you’re not up here in 15 minutes I’m just giving it to Jay-Z." Push made it to the studio with two minutes to spare, and one the hardest records of the aughts was born.
Contact Complex TV
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Sources : HIP HOP Conglomerate Logo | Original Article
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