The Definitive Hip-Hop Collection 2007 (Part 1)

The idea behind this blog is to define the 30 must own Hip-Hop albums up to today in 6 posts. The concept is that if you had no Hop-Hop in your collection, you could buy these albums and you would have a full concept of what Hip-Hop is and was. Also, if you had some friends over who were in the know, you would look like you had a clue.

Many will argue that some of the more typical artists should be included like Run DMC and Sugar Hill Gang. I'll argue that the work of those artists are rolled into the work of more modern artists, and having those albums will not help you understand the current state of Hip-Hop. It has progressed beyond that, and is becoming less relevant to the current situation. Much in that while we respect what the Greeks did, we do not attempt to live as they did, their reality was different than ours is today.

For the sake of brevity, I will only go into detail on the first couple of albums as far as tracks are concerned.

With no further ado. The list, ranked in order of importance:

1. Paid in Full - Eric B. and Rakim

The inclusion of Paid In Full can not be disputed, however I would bet that its position would. For all those KRS-ONE lovers out there, I did indeed think about placing Criminal Minded at the top, but when I looked at the strength of the album as a whole, and the amount of influence it had on Hip-Hop, the influence of Paid In Full can still be felt today. The album had six seminal tracks, and four average to poor tracks. Rakim's vocals displayed an easy mastery of rhyme, basically when he came out, no one questioned his supremacy. It took years for anyone to be able to credibly echo his technique, and most would argue that no one ever has.

Rakim can also be credited with bringing awareness of Islam to much of the Hip-Hop culture. Prior to him, I can't think of anyone else who had accomplished that. Not that it is terribly important, however it is interesting that here, 21 years later, that influence is still felt.

Some may point to the album having weak tracks and argue that four not outstanding tracks out of ten makes it impossible for this album to attain such a high rank, but I would argue that the norm in 1986 when this album was released was for a Hip-Hop album to have perhaps 2 solid tracks, and 8 awful ones.

It is hard to select a best track on the album, but I believe that the number one track, and I know one may think this means that it is the number one track in all of Hip-Hop, but this isn't a singles list, so it just adds to the weight of the album.

1. Anyway, number one is number one: I Ain't no Joke.


2. A very close second is My Melody with its huge beat, smooth tempo, and easy delivery.


3. Obviously the next has to be I Know You Got Soul, which was the party anthem of the 80's, with its slick sampling of James Brown, and Eric. B's cuts. We know however, that Rakim could have done it solo.


4. Paid in Full, the title track was very strong, and also had much main stream success. It could have been number one, but I think it was a little too radio friendly.


5. Eric B Is President needs no description, it probably had the best remix of the 80's and most memorable rhymes. At this point, when you get to this song, most Hip-Hop afficianado's heads were about to explode, because they couldn't believe it could get any better.


6. While Eric B Is On The Cut was an instrumental, it showed off some of Eric B's meanest cuts. Its a shame that later he thought he could rap.

2. Midnight Marauders - A Tribe Called Quest

This album could easily have been number one. From beginning to end, this is definitely the highest quality Hip-Hop album ever produced, It is like the perfect storm for Hip-Hop. Shaheed and Q-Tip were at their peak, Phife was probably at his best, in that he wasn't a glaring weakness like he was in the other albums. In fact, the only reason Butter was good was because he was on what could be the best Hip-Hop beat ever created. Midnight Marauders is the only Hip-Hop album that when listened to from beginning to end, you wish it could go on, no matter what else you have to do that day.

The only track, that could be argued to be weak, would have to be Sucka Nigga. The reason I'd argue that it is weak is because the content feels contrived, and the beat is only good. Definately one of Shaheed-Ali Muhummad's off days.

Track Ordering:

1. Electric Relaxation would make it onto any singles list that I would ever consider compiling. Being influenced mostly through the late 90's by Hip-Hop, I have a soft spot for the jazzy, Jungle Brothers style beats that were a staple of the times. I know it dates me, but I think this is the strongest song on the Album. I think this is probably Tip's best lyrical performance. The beat's tempo is perfectly matched to his pace, he doesn't feel like he is rushing as he sometimes does, and the tones are singing backup to his lead. Phife could even be called decent on this track, he compliments Tip instead of trying to carry too much on his own. He was definately a 16 bar type rapper, someone who shouldn't have his own song, but instead only be given no more than 16 bars at a time.


2. Lyrics to Go is solidly number 2. Unfortunatly this track came toward the end of the album so is often forgotten. The composition was outstanding, with Tip coming at you from the left and the right. The flute tone that continues throughout the song is not obnoxious as it is in some of Dre's early productions.


3. Steve Biko (Stir it Up) could be interchanged with the next track, Keep it Rollin', it only falls to number four because the beat is a little slow for Phife, who can't keep himself under control. Anyway, Steve Biko is better, I remember when I heard it, I was wondering if this was going to be the best song on the album, and I rushed through it to find out, later I was able to take the track on its own merit.


4. Keep it Rollin' As I said above, it could almost overtake Steve Biko, but Phife gets a little out of control. It is interesting, without Phife, Tribe would have been too good, and as a consequence the albums would all have seemed like they were too formulaic.


5. Award Tour would have to come next. The lyrics are outstanding, and I am sure some people will not understand why it falls so far on the album. I felt that while it was radio friendly, the reprise coming asynchronously with the chorus was a little distracting.


6. We Can Get Down, if this song were on a hyphy album, it would have been called a "Bay Slapper." However it isn't, its a group from New York, still, the beat slaps, and the Rakim sample doesn't hurt.


7. Clap Your HandsI like leading into the song with Phife, it sets the pace for this track. Again, a predecessor to the hyphy movement, in that it has that slap, that knock, you know what I'm saying.


8. Oh My God...... "I like my beats hard like 2 day old shit" .... Now how can anyone argue with a metaphor like that. Busta on the track, with the tinkling, insane...

3. Enter The Wu-Tang (36 Chambers

Again, this album could probably have been number one. This album had a strong impact on Hip-Hop, and started the idea of Gimmick rappers. So many took Wu's style at the beginning, it prompted Raekwon to create a song called Shark Niggaz. Almost every Wu album after Enter the Wu-Tang, started with a warning to other rappers not to bite their style. The album listens like a journey through the five boroughs of New York. You've got smooth flows coming from method, over RZA's crazy abrasive beats. I think part of what caused problems for Wu was when RZA got decent equipment. This album features drop-outs, uneven levels, unbalanced vocals, static, noise, you name it. All of this makes this album sound like a demo tape, and it is all the more brilliant for it.

It is really hard to pick out individual tracks especially since they all run into each other, Method Man was obviously a different type of track. Every track seemed to features yet another talent, it kept everyone wondering how many people were in Wu-Tang. I'm not sure we ever came to a definitive conclusion.


4. The Great Adventures of Slick Rick - Slick Rick

This album was different. I can only imagine a very young Eminem listening to this album and having this plus Rakim help him formulate his style. I can remember listening to this and having never heard anything so incredibly dirty. On the plus side, the beats were revolutionary, and Rick's delivery was incredible. Children's Story definately changed the game, it was an actual story, with a beat that just wouldn't quit. Rick was the master of the story rap. It would be another four years until anyone came along to rival him, in Jay-Z. I don't know if Jay would have been as big a hit if Rick hadn't gone to prison.

5. Illmatic

So this album was like the second coming of Rakim. Nas came with a style that was reminiscent of Rakim, but his own all the same. When I heard this album, I remember thinking of Scarface. Nas got better and worse as time went on, and Illmatic was far from being perfect, but it was true and real, much in the way Wu-Tang was.

I truly believe that success corrupts, and it is fitting that Nas didn't really come back until Stillmatic, as he was off doing some, who-knows-what. Still, until Big came out a few years later, nothing out of New York could touch Illmatic. Its effect upon Hip-Hop, in general, and Jay-Z in particular, although he is probably loathe to admit it, has been profound.