11: "Grindin'" - Clipse
Before this song was released, we knew The Neptunes could make great pop music. Their two biggest hits before this were Jay-Z's "I Just Wanna Love U (Give It 2 Me)" and Britney's "I'm A Slave 4 U", both bouncy hits that had that signature Neptunes sound. It was with "Grindin'", however, that they expanded on that sound, showing us their stark yet powerful approach to hardcore Hip-Hop production. It was a world apart from the industry R&B and pop they had been churning out, a raw electronic backed kind of Hip-Hop that married beautifully with hardcore street rap. This song is the reason The Neptunes went on to dominate rap radio in the 2000's, and why everyone from Snoop Dogg to Common was clamoring to work with them.
12: "Hip-Hop" - Dead Prez
As you may have gleaned from the previous posts, protest and social consciousness have little place in today's corporate homogenized Hip-Hop. It's hard to imagine anyone getting signed to a major label now who's "down for running up on them crackers in they city hall". This song managed to get some people's attention when it was released in 2000, mostly due to its forward-thinking bass-driven beat that would become mainstream eight years later with songs like "A Milli", but it may have drawn people's focus away from the lyrics and the overall message. What we're doing is bigger than Hip-Hop, yet so many contemporary MCs work so within the style that they can't rise above the genre and reflect on it. It's hard to be bigger than Hip-Hop when Hip-Hop is the biggest thing in the world.
13: "Get Ur Freak On" - Missy Elliott
If there's one thing Timbaland is very good at, its taking disparate musical elements and molding them into a cohesive beat. World music, like the Asian strings here or the Middle Eastern samples in "Big Pimpin'", are one of his specialties. They don't sound foreign, rather they sound perfectly contextualized, like you've been hearing them on the radio for years. Its a testament to Timbaland and Missy's artistic relationship that this weird song with Indian strings, African drums, random Chinese chattering, and hawked loogies made it the Billboard Top 10. We've all heard this song a hundred times to the point where it seems commonplace, yet it couldn't be further from ordinary.
14: "The Light" - Common
Things looked pretty different at the beginning of the 2000's then where we are now. Coming off the 90s, the identity of the decade was up for grabs, and for a brief moment that identity had more to do with a politically correct swanky new bohemian lifestyle than the paranoia and frustration of the post-911 era. Artists like Common appealed to the dotcom boomers who wanted their rap smooth and non-confrontational. When things were good we got beautiful Hip-Hop ballads about love. When things got bad, shit got real.
15: "Stay High" - Three 6 Mafia feat. Young Buck, 8 Ball & MJG
If there was an unlikely story of the decade in Hip-Hop, it has to be to comeback of Three 6 Mafia. These Memphis horror-core rappers rose to prominance in the 90s feuding with Bone Thugs N Harmony and rapping about body parts in trunks. Years in the game have only solidified the production heart of the click, DJ Paul and Juicy J. The beat on this song is ridiculous, so much more polished and refined than the brutish beats of their early albums. Three 6 managed to parlay the sucess of this song into featuring on and producing big name chart hits, and set them up to produce one of the songs in the top ten.
16: "The Way I Am" - Eminem
Eminem existed between decades, and in many ways was the transition point from the pop music scene of the 90s into the Hip-Hop dominated one we see today. If it weren't for the millions of new white rap fans created overnight by Eminem's popularity we would not see anywhere near the amount of rap in our everyday popular culture. Eminem primed a generation of white teenagers to become the rap consumers of the 2000s. Without his impact this list might not be half as long, and "The Way I Am" is pure unadulterated Hip-Hop from an MC at his zenith.
17: "Southern Hospitality" - Ludacris
Despite what this list says, this has to be my favorite Neptunes production. This is the song where we knew Ludacris was here to stay,and the song that cemented the Neptunes sound as the sound of the years to come. Years before Snoop Dogg and Justin Timberlake got the Pharrell makover, a little southern rapper with a big mouth was making gold with a perfect marriage of Star Trak funk and Ludacris crunk.
18: "Flashing Lights" - Kanye West
Kanye West is a famous man. The 2000s had to give up on some things, most notably our pop stars. With internet music sharing and more and more musical options, it's unlikely we'll ever get a larger-than-life star like Michael Jackson ever again. That said, Kanye comes pretty damn close, at least in his own mind. From calling Bush a racist to award-show antics (I'ma let you finish...), Kanye wants to be our King of Pop. And if Kanye is Michael Jackson, then "Flashing Lights" is grandiose pop poetry, genetically engineered for the dancefloor and near perfect in its craftsmanship.
19: "Get By" - Talib Kweli
Jay-Z once said "If skills sold, truth be told I'd probably be, lyrically, Talib Kweli", to which Talib replied: "If lyrics sold then truth be told I'd probably be just as rich and famous as Jay-Z." Why critically-acclaimed MCs have such trouble making the crossover to mainstream auidences is probably similar to why bands like Deerhunter and Animal Collective aren't wildly famous while considered to be the best. When these artists try to make the leap to the Billboard 100 they rarely stay there, but their pop aspirations are often excellent, like "Get By". Produced by Kanye West, here Talib really does play the Jay-Z role to awesome results.
20: "Izzo (H.O.V.A.)" - Jay-Z
I've talked up the Neptunes a lot over the course of this list, but here the top twenty kicks off with three songs in row produced by none other than Kanye West. The element that Kanye added to early 21st century Hip-Hop is hard to define, but its centered around his masterful use of soul-based samples. "Izzo" was the first national platform for the young Mr. West, and after America heard this, we needed more.
Showing posts with label Missy Elliott. Show all posts
Showing posts with label Missy Elliott. Show all posts
Saturday, January 30, 2010
Saturday, January 23, 2010
The 100 greatest Hip-Hop songs of the 2000's: 31-40
31: "Don't Say Nuthin'" - The Roots
Making a more commercial sounding album isn't necessarily a cop-out, especially if it gets you working with Scott Storch. No one delivers inner-city anxiety like Black Thought, and here his murmurs and threats seem sinister, but the beat calms us back down, reminding us that for the moment its only a song, not the truth.
32: "Ridin'" - Chamillionaire feat. Krayzie Bone
A hit song has always had the ability to become larger than life, but in the 2000's there were so many more venues and outlets. Because of this song Chamillionaire was recognized by the RIAA as the first multi-platinum ringtone artist ever. Sometimes these things just happen; release a catchy hip-hop classic right when ringtones are at their zenith and reap success. Listening to "Ridin'", its pretty clear luck had little to do with it.
33: "Work It" - Missy Elliot
Missy's 2002 album Under Construction set the stage for the rest of the decade in many ways. Timbaland's beats had always sounded great paired with Ms. Elliot's raps, but the new pseudo-dancefloor grooves were prime for the big time. Timbaland's cache would only increase over the next years, his success tied to this song and his longest collaborator.
34: "Lose Yourself" - Eminem
If I had to categorize Marshall Mathers's musical output during the last decade, the word I would use is "disappointing". After exploding into American consciousness with 1999's The Slim Shady LP and The Marshall Mathers LP released a year later, Em retreated more and more from the limelight as his work's quality decreased. By the time he released Encore in 2004 he was panned and ignored, after many music magazine's declared him the next Elvis. His shining moment of the 2000's was certainly this song, a companion to his auto-biographical film but more an ode to his humble beginnings and love of Hip-Hop. There have been some recent indications that perhaps Eminem has more to offer us. This song is a reminder that once he offered us greatness.
35: "Welcome to Jamrock" - Damian "Jr. Gong" Marley
Dancehall was another style that was supposed to take over America last decade, yet apart from some infectious Sean Paul we didn't really get too close. Jamaican elements definitely found their way into our pop, just listen to Rihanna's "Pon De Replay". "Welcome to Jamrock" is not really dancehall, though, and bears little similarity to relentless danceability of Beenie Man. Rather, Damian Marley is doing American Hip-Hop filtered through the Jamaican soundsystem, and the result is intoxicating. It's slow, syrupy, easy-going and evil all at the same time. Art is all about contradictions.
36: "Blinded By The Lights" - The Streets
Personal emotion statements are infrequent in modern Hip-Hop, hidden behind a near-impenetrable wall of machismo. Mike Skinner's 2005 album under The Streets name was full of them. Told as a first person narative from track to track, Skinner loses money, gets a girl, loses said girl, and finds said money. We see the MC through the whole album with no facade or persona, Mike Skinner as Mike Skinner. The highlight, both musically and emotionally, is this song, a horrid night of drugs and revelation set to pounding nightclub synths. Its incredibly haunting and touching, and it's sense of helplessness stays with you.
37: "Kick, Push" - Lupe Fiasco
"The Rapper" has become a trope, a stereotype to conform to. Those that do can achieve a lot, simply by association with the culture. When an MC comes along that makes a point of avoiding the type we listen a little keener. When unknown talent Lupe Fiasco made a song about a skateboard instead of a Maybach, he made it clear his voice would be easily deciferable from the herd. The song refuses to be complacent, reveling in its uniqueness.
38: "Ante Up" - M.O.P.
Hardcore New York Hip-Hop was the 90's forte; artists like Wu-Tang and Busta Rhymes made in-your-face rap music that didn't make any concessions for the dancefloor. We can't say the same for the 2000's, but at least we have "Ante Up". Sneaking out in 2000, this song is so hard it might loosen your bowels. The fervor with which the Mash Out Posse scream out their rhymes is infectious; you literally want to hit the streets and jack some jewelery. Get up off your goddamn diamonds.
39: "Testify" - Common
Common wasn't really poised to make a big impact in the last decade. He was a remnant from the Soulquarians, a neo-soul based collective that included Erykah Badu and Talib Kweli. They were the self-conscious rappers that were supposed to change the game, but they were done by 2001. Luckily for Common, a young fellow Chicagoan by the name of Kanye West was willing to resurrect his career, and 2005's Be did just that. Built entirely from West's beats, the album was just what Common needed, and this song of deceit and betrayal is its best track.
40: "Cherchez LaGhost" - Ghostface Killah feat. U-God
As any douchey college professor will tell you, great art is all about contrast. Contrast like taking a nerdy disco hit and pairing it with Ghostface's free association raps. Contrast like soft singing and U-God's condom-breaking dick. Imbue something sweet with something sinister.
Making a more commercial sounding album isn't necessarily a cop-out, especially if it gets you working with Scott Storch. No one delivers inner-city anxiety like Black Thought, and here his murmurs and threats seem sinister, but the beat calms us back down, reminding us that for the moment its only a song, not the truth.
32: "Ridin'" - Chamillionaire feat. Krayzie Bone
A hit song has always had the ability to become larger than life, but in the 2000's there were so many more venues and outlets. Because of this song Chamillionaire was recognized by the RIAA as the first multi-platinum ringtone artist ever. Sometimes these things just happen; release a catchy hip-hop classic right when ringtones are at their zenith and reap success. Listening to "Ridin'", its pretty clear luck had little to do with it.
33: "Work It" - Missy Elliot
Missy's 2002 album Under Construction set the stage for the rest of the decade in many ways. Timbaland's beats had always sounded great paired with Ms. Elliot's raps, but the new pseudo-dancefloor grooves were prime for the big time. Timbaland's cache would only increase over the next years, his success tied to this song and his longest collaborator.
34: "Lose Yourself" - Eminem
If I had to categorize Marshall Mathers's musical output during the last decade, the word I would use is "disappointing". After exploding into American consciousness with 1999's The Slim Shady LP and The Marshall Mathers LP released a year later, Em retreated more and more from the limelight as his work's quality decreased. By the time he released Encore in 2004 he was panned and ignored, after many music magazine's declared him the next Elvis. His shining moment of the 2000's was certainly this song, a companion to his auto-biographical film but more an ode to his humble beginnings and love of Hip-Hop. There have been some recent indications that perhaps Eminem has more to offer us. This song is a reminder that once he offered us greatness.
35: "Welcome to Jamrock" - Damian "Jr. Gong" Marley
Dancehall was another style that was supposed to take over America last decade, yet apart from some infectious Sean Paul we didn't really get too close. Jamaican elements definitely found their way into our pop, just listen to Rihanna's "Pon De Replay". "Welcome to Jamrock" is not really dancehall, though, and bears little similarity to relentless danceability of Beenie Man. Rather, Damian Marley is doing American Hip-Hop filtered through the Jamaican soundsystem, and the result is intoxicating. It's slow, syrupy, easy-going and evil all at the same time. Art is all about contradictions.
36: "Blinded By The Lights" - The Streets
Personal emotion statements are infrequent in modern Hip-Hop, hidden behind a near-impenetrable wall of machismo. Mike Skinner's 2005 album under The Streets name was full of them. Told as a first person narative from track to track, Skinner loses money, gets a girl, loses said girl, and finds said money. We see the MC through the whole album with no facade or persona, Mike Skinner as Mike Skinner. The highlight, both musically and emotionally, is this song, a horrid night of drugs and revelation set to pounding nightclub synths. Its incredibly haunting and touching, and it's sense of helplessness stays with you.
37: "Kick, Push" - Lupe Fiasco
"The Rapper" has become a trope, a stereotype to conform to. Those that do can achieve a lot, simply by association with the culture. When an MC comes along that makes a point of avoiding the type we listen a little keener. When unknown talent Lupe Fiasco made a song about a skateboard instead of a Maybach, he made it clear his voice would be easily deciferable from the herd. The song refuses to be complacent, reveling in its uniqueness.
38: "Ante Up" - M.O.P.
Hardcore New York Hip-Hop was the 90's forte; artists like Wu-Tang and Busta Rhymes made in-your-face rap music that didn't make any concessions for the dancefloor. We can't say the same for the 2000's, but at least we have "Ante Up". Sneaking out in 2000, this song is so hard it might loosen your bowels. The fervor with which the Mash Out Posse scream out their rhymes is infectious; you literally want to hit the streets and jack some jewelery. Get up off your goddamn diamonds.
39: "Testify" - Common
Common wasn't really poised to make a big impact in the last decade. He was a remnant from the Soulquarians, a neo-soul based collective that included Erykah Badu and Talib Kweli. They were the self-conscious rappers that were supposed to change the game, but they were done by 2001. Luckily for Common, a young fellow Chicagoan by the name of Kanye West was willing to resurrect his career, and 2005's Be did just that. Built entirely from West's beats, the album was just what Common needed, and this song of deceit and betrayal is its best track.
40: "Cherchez LaGhost" - Ghostface Killah feat. U-God
As any douchey college professor will tell you, great art is all about contrast. Contrast like taking a nerdy disco hit and pairing it with Ghostface's free association raps. Contrast like soft singing and U-God's condom-breaking dick. Imbue something sweet with something sinister.
Monday, January 4, 2010
The 100 greatest Hip-Hop songs of the 2000's: 81-90
81: "Break Ya Neck" - Busta Rhymes
This was Busta's last explosive moment, his last song that oozed exuberance and frenetic energy. Over a rollicking Dr. Dre beat the madcap MC dizzies us with a gale-force attack of lyrical excellence from one of Hip-Hop's last elder statesmen.
82: "What Happened To That Boy" - Birdman feat. Clipse
The Neptunes sound is easily identifiable and was omnipresent during the 2000's. Yet every song had its own style, and here again Birdman and Clipse make the track their own. Over a New Wave synth and handclaps Clipse makes the track drip like syrup, all while imparting it with a venomous villainy.
83: "Drivin' Me Wild" - Common feat. Lily Allen
Rap in the 2000's definitely calmed down. Gone were the days of Puffy's shiny suits, the braggadocio of DMX's screaming. Displays of raw emotion had no place in the 2 cool 4 school mentality of 2000's Hip-Hop. Cool was all that mattered, and Common was definitely cool.
84: "Lose Control" - Missy Elliot feat. Ciara & Fat Man Scoop
Missy Elliot is a shining light in music, someone who never compromised or changed who she was just to be more commercially viable. On this self-produced track, Missy thumps and bumps her way into dance-rap ecstasy. Pure Missy.
85: "What's Your Fantasy" - Ludacris feat. Shawnna
World, meet Ludacris. The year was 2000, and labels were desperate for regional rap. It was hard to imagine upon first hearing this song that Luda would go on to be one of rap's biggest stars, but it was impossible to ignore the energy and humor he gave his flow.
86: "Go DJ" - Lil' Wayne
It was on the back of Mannie Fresh that the Cash Money Records empire was built. His sparse electronic beats provided a playground for the young southern MCs at the label. "Go DJ" was his last hurrah, his last hit with a developing Lil' Wayne. 2004's Tha Carter was almost exclusively produced by Mannie Fresh. By the time Tha Carter II was released a year later, he wasn't featured on the album at all.
87: "Swagga Like Us" - T.I. feat. Jay-Z, Kanye West & Lil' Wayne
It seems like a no brainer. Get Kanye West to craft a beat around one of the most electrifying songs of the decade, then get the four most popular MCs in the world to rap over it. It wasn't much of a gamble, but it still payed off big. When a pregnant M.I.A. joined the four on stage at the VMAs, it became clear what this was: a meeting of titans.
88: "Through the Wire" - Kanye West
Who would have thought that a car accident, Ensure, and Chaka Khan would be the perfect formula to launch the biggest new name in rap of the decade? Kanye West, apparently, who turned tragedy into triumph. Kanye's journey from backpack rap to stadium status begins here.
89: "Let Me Blow Ya Mind" - Eve feat. Gwen Stefani
A leftover of the late nineties, this track has all the hallmarks of corporate rap. Beat by Dr. Dre and Scott Storch, Gwen on the hook, the lavish music video. But the song rides smooth and stays with you, the coolness reminding you where you are.
90: "Upgrade" - Lil' Wayne
Lil' Wayne is at his best when he's on the attack, and it's for this reason that Da Drought 3 is his most accomplished album. Over two discs Wayne tackles the biggest beats and makes them his, his freestyles outshining the originals in almost every instance. Over this Beyonce track and on the rest of the album Weezy makes his best case for being the best rapper alive.
This was Busta's last explosive moment, his last song that oozed exuberance and frenetic energy. Over a rollicking Dr. Dre beat the madcap MC dizzies us with a gale-force attack of lyrical excellence from one of Hip-Hop's last elder statesmen.
82: "What Happened To That Boy" - Birdman feat. Clipse
The Neptunes sound is easily identifiable and was omnipresent during the 2000's. Yet every song had its own style, and here again Birdman and Clipse make the track their own. Over a New Wave synth and handclaps Clipse makes the track drip like syrup, all while imparting it with a venomous villainy.
83: "Drivin' Me Wild" - Common feat. Lily Allen
Rap in the 2000's definitely calmed down. Gone were the days of Puffy's shiny suits, the braggadocio of DMX's screaming. Displays of raw emotion had no place in the 2 cool 4 school mentality of 2000's Hip-Hop. Cool was all that mattered, and Common was definitely cool.
84: "Lose Control" - Missy Elliot feat. Ciara & Fat Man Scoop
Missy Elliot is a shining light in music, someone who never compromised or changed who she was just to be more commercially viable. On this self-produced track, Missy thumps and bumps her way into dance-rap ecstasy. Pure Missy.
85: "What's Your Fantasy" - Ludacris feat. Shawnna
World, meet Ludacris. The year was 2000, and labels were desperate for regional rap. It was hard to imagine upon first hearing this song that Luda would go on to be one of rap's biggest stars, but it was impossible to ignore the energy and humor he gave his flow.
86: "Go DJ" - Lil' Wayne
It was on the back of Mannie Fresh that the Cash Money Records empire was built. His sparse electronic beats provided a playground for the young southern MCs at the label. "Go DJ" was his last hurrah, his last hit with a developing Lil' Wayne. 2004's Tha Carter was almost exclusively produced by Mannie Fresh. By the time Tha Carter II was released a year later, he wasn't featured on the album at all.
87: "Swagga Like Us" - T.I. feat. Jay-Z, Kanye West & Lil' Wayne
It seems like a no brainer. Get Kanye West to craft a beat around one of the most electrifying songs of the decade, then get the four most popular MCs in the world to rap over it. It wasn't much of a gamble, but it still payed off big. When a pregnant M.I.A. joined the four on stage at the VMAs, it became clear what this was: a meeting of titans.
88: "Through the Wire" - Kanye West
Who would have thought that a car accident, Ensure, and Chaka Khan would be the perfect formula to launch the biggest new name in rap of the decade? Kanye West, apparently, who turned tragedy into triumph. Kanye's journey from backpack rap to stadium status begins here.
89: "Let Me Blow Ya Mind" - Eve feat. Gwen Stefani
A leftover of the late nineties, this track has all the hallmarks of corporate rap. Beat by Dr. Dre and Scott Storch, Gwen on the hook, the lavish music video. But the song rides smooth and stays with you, the coolness reminding you where you are.
90: "Upgrade" - Lil' Wayne
Lil' Wayne is at his best when he's on the attack, and it's for this reason that Da Drought 3 is his most accomplished album. Over two discs Wayne tackles the biggest beats and makes them his, his freestyles outshining the originals in almost every instance. Over this Beyonce track and on the rest of the album Weezy makes his best case for being the best rapper alive.
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