100 Mandatory Golden Era Hip Hop Tracks or Be Declared Excommunicate Traitorus: #31-40

We dig in the Emperor’s crates and our word is law.

Below: Writeups for tracks 31-40.

31. Black Moon, “Who Got Da Props?”

This was an instant underground classic that put Buckshot Shorty and Evil Dee on the map. Black Moon were aligned with the Boot Camp Clik (like Heltah Skeltah, Smif-N-Wessun — who became the Cocoa Brovaz after the gun manufacturer lodged a strong legal objection for obvious reasons). I remember going to a show in 2006 featuring Denver indie rappers and one of the Radio Bums dropped this beat and you looked around the room and everybody’s lip syncing it word for word.

32. Lords of the Underground, “Chief Rocka”

DoItAll and Mr. Funke, New Jersey cats with roots in the black frat scene, tear it down over a beat produced by somebody I don’t know, but engineered by Marley Marl. Sexy-as-all-get-out bassline with an echoed snare and OMIGOD HERE COMES THE CHORUS AGAIN
THE LORD CHIEF ROCKA #1 CHIEF ROCKA
THE LORD CHIEF ROCKA #1 CHIEF ROCKA
THE LORD CHIEF ROCKA #1 CHIEF ROCKA
If you got beef, you can sleep with Jimmy Hoffa.

33. Fu-Schnickens feat. Shaquille O’Neal, “What's Up Doc? (K-Cut's Fat Trac Remix)

Technically, this is Shaq featuring the Schnicks because it came off of the lumbering center’s debut rap album, Shaq Diesel, in 1993. Shaq loved these guys, although their work doesn’t seem to have aged as well as many of their peers (especially after the Schnicks’ Nervous Breakdown LP, where Chip Fu, the Caribbean speed rhymer on the squad, basically decides that he’s Mel Blanc). Nonetheless, this is a must-have party cut in my household, owing largely to the rework by K-Cut, whose horns, drums and car alarm manipulation elevates the Schnicks’ cadence to insane degrees. (Also a tasty time capsule: Fun to hear Shaq brag, “Who’s the first pick, me, word is born an’...not Christian Laettner, not Alonzo Mourning”)

34. Mad Lion, “Carpenter”

He of the gravelly, booming Jamaican style flew under the Boogie Down Productions banner for a while, getting more mileage out of gun checks, death threats and unapologetically badly sung hooks than he had a right to. His album Real Ting made more of a splash, but this banger off of Ghetto Gold & Platinum Respect flies off an absolutely monstrous beat and grimly hilarious George Michael lyric substitution in the second verse. 

35. DJ Quik, “Dollaz + Sense”

In one of the best diss tracks of all time, Quik serves up Compton’s Most Wanted’s MC Eiht on a silky slab of G-funk. You can hear the flush and gurgle of Eiht’s street cred going right down the john. The coup de grace: “E-I-H-T, should I continue?/Yeah, you left out the G ‘cause the G ain’t in you.” Toe tag.

36. Frankie Cutlass, “Puerto Rico”

Fuck you if you’re still in you’re seat when this drops and fuck you if you’re not feeling this list.

37. Wu-Tang Clan, “Extreme Punishment”

In my opinion, the best track off Wu-Tang Forever, in which the Most Iconic Big Crew in Rap stumbles after a string of legendary solo efforts like Tical and Only Built 4 Cuban Linx. The RZA raids a lot of Kung Fu flicks, but these kickoff samples take the cake; it’s menacing and driving and ominous and somehow makes every other track on this huge album look meandering and off the mark.

38. Sadat X, “The Lump Lump”

Nobody I’ve heard rhymes quite like Derek Murphy. You look at the hordes of awesome MCs across the Golden Era, how many were just lucky enough to drop the right bars on the right track because there were at least 20 dudes from their borough who were just as nice, and you appreciate more and more this true American microphone original: hard-edged, cajoling, conversational and chippy, unanswerable to common rhyme schemes. He comes off like the guy in the barber shop who could smack the shit out of you without fear of reprise and has read more books than you. “The Lump Lump” is the leadoff on the otherwise so-so Wild Cowboys, but 20 years later, this extended cautionary about the perils of catting still shines from every facet.

39. Da Bush Babees, “Wax”

One of the final golden puffs of Natives Tongues-style production and rhyming, where your weapons were linguistic and metaphorical. The producer makes a lot of atmosphere and joy, with a tiny squeak augmenting the snare, a beautiful two-note keyboard and a snippet of King Ad Rock from “The New Style.” Beautiful track where lyricists dress down the would-be microphone gangsters of the time.

40. Funkdoobiest, “XXX Funk”

Part of the Soul Assassins flotilla in the early ‘90s with Cypress Hill and House of Pain, the Doobiest’s sophomore slab made a step change in sophistication. It’s easy to get a fast start off of Muggs beats, but what happens here is remarkable, especially if you remember the cadence of Son Doobie’s rhyme patterns on Which Doobie UB?, which were sometimes so basic, they were infuriating. Not here, where he mellows his delivery while upping the complexity of his imagery and flow. While a West Coast act, this album draws heavy production inspiration from the previous four years of East Coast sound. Irresistible beat.

Hey Chuck Linart Here’s a Blog Post for You

Chuck Linart of ChuckLinart.com was listening to our episodes and was all YOU KNOW WHAT YOU NEED TO DO IS MORE WRITING like imagine if you’re a band that slaved away on an album for 18 months and you get it the way you want it and some asshole thrusts their head inside the recording booth and is all THIS ALBUM WOULD BE A LOT COOLER IF IT WAS A BOOK.

But in a quieter moment, I came to realize Chuck wasn’t exactly wrong.

So here’s a blog post for you: Suck my dick.

What do you think of that blog post?

100 Mandatory Golden Era Hip Hop Tracks or We Declare Exterminatus: #21-30

The catalog of The Most Holy grows. Kneel or know oblivion.

Below: Writeups for tracks 21-30. (Xtra thanks to Glyxphagor the Executioner)

21. Eazy-E, “No More ?’s”

The ultimate testament to the power of production in making a rapper’s name. As outlined in the biopic, Eric Wright was a crack dealer who couldn’t rap worth a shit when N.W.A. formed. Get him in crime reporting/advocacy mode, give it some storytelling structure with a novelty interview format over one of the best Dre tracks of all time? Voila. Masterpiece.

22. Intelligent Hoodlum, “Arrest the President”

This kid (later known as Tragedy Khadafi) was talking about George Herbert Walker Bush, but the sentiment still applies. In boxing they talk about “selling out” in the ring: Taking a risk to land a big blow. Marley Marl crafts a pulse-pounding, stripped-down breakbeat and siren capped by a sample stab; Hoodlum goes for it with all the oxygen, piss and vinegar in his young body: “Al Islam, read the Kuran/Grab the mic and drop bombs.”

23. A Tribe Called Quest, “We Can Get Down”

Based on the Midnight Marauders tracks that they did videos for and what the algorithms push you to, “Award Tour,” “Oh My God,” and “Electric Relaxation” are all the star efforts of this disc. The algorithms are WRONG. DJs who play these are WRONG. I mean, they’re all fine tracks, but none of them hold a candle to “We Can Get Down.” No, I will not be taking questions.

24. Nice and Smooth, “Hip Hop Junkies”

Stop thinking. Don’t listen at the fucking thing. Shut up and party. Greg Nice and Smooth B are in the house and they brought a Partridge Family sample. I love the way Smooth just purrs through his bars and Greg Nice did whatever rhymed to get the party up, producing dependably entertaining non sequiturs every verse: “I’ll be damned, gag me with a spoon/Who loves Popeye? Alice the Goon.” (I was once at a throwback hipster party in 2008 and requested that the DJ play this and he made a funny little scrunchy face because he was a fucking bitch. You’ll also want “Sometimes I Rhyme Slow” off this platter. As my old rapper friend D.O. once said, 1991 literally wouldn’t exist without these tracks.)

25. Big Daddy Kane, “It’s Hard Being the Kane”

Highly in demand after making his name during his work with Stet and De La, Prince Paul shows up to guest produce tracks for everybody, almost singlehandedly saving the crappy Taste of Chocolate LP with this undeniable party in a can. Kane’s bag of tricks were getting a little shopworn by the early ‘90s, but he hits classic form one more time over Prince Paul’s brilliant companion hooks, buildups and breakdowns. Every few measures there’s some minor, flawless new transfer of energy to subtly higher levels of excitement. What a touch he had.

26. King Tee feat. Tha Alkaholiks, “Bus Dat Ass”

The Chronic eclipsed almost everything released about this time. Sure, Dre broke Snoop and defined the West Coast sound for years. But King Tee and DJ Pooh were no slouches, giving Tha Alkaholiks an introductory bow on Tha Triflin’ Album: When a gangster legend gives you a couple guest verses on his LP, you throw lyrical haymakers on every second of mic time and leave it all in the ring, which is precisely what J-Ro, Tash and E-Swift did.

27. KMD, “Peach Fuzz”

There were a handful of Golden Era underground MCs who managed to hang in there and find even more fame as their peers were forgotten. Here, taste the humor and lyrical dynamism of KMD’s Zev Love X, riffing about how girls laugh at him because he can’t grow a real beard. Nobody’s laughing in the 2000s when he dons his supervillain mask and hits second-stage glory as MF Doom. (RIP DJ Subroc and MF Doom. Now both dudes from this group are dead. I hate this century.)

28. Yaggfu Front, “Busted Loop”

One of the more welcome developments of the early ‘90s was the pure-MCing, big-crew, call-and-response style that came out of the East. Major practitioners: Onyx, Leaders of the New School, Fu-Schnickens. Hyperactive and wholly focused on the art of “show, don’t tell” verbal ping pong with razor-sharp hype-men interjections from your squad. “Busted Loop” is one of the better specimens of this delirious little trend. Also has a video where they make a carjacking look as wholesome as a Buster Keaton reel.

29. Kwame, “The Rhythm”

I’m a sucker for when a producer uses that raspy “gasp” effect to pep up a beat. (Although nobody did it like Stet on “Sally.” God, what a beat.) Here the dapper Kwame, he of the flawless high-top fade, shows he has style to burn with heaps of clever, clever bars.

30. Black Moon, “Who Got Da Props?”

This was an instant underground classic that put Buckshot Shorty and Evil Dee on the map. Black Moon were with the Boot Camp Clik (including Heltah Skeltah, Smif-N-Wessun — who became the Cocoa Brovaz after the gun manufacturer lodged a strong objection). I remember going to a show in 2006 featuring Denver indie rappers and one of the Radio Bums dropped this beat and I looked around the room and everybody was lip syncing it word for word, and that was one of the happiest nights of my life.

100 Mandatory Golden Era Hip Hop Tracks By Order of the Inquisition: #11-20

Your tired, obvious throwback playlist has been purged from Imperial records.

Below: Writeups for tracks 11-20. (Xtra thanks to Glyxphagor the Executioner)

11. Super Cat, “Ghetto Red Hot (Hip Hop Mix)”

You can play around with the original dancehall version if you want, but this is the joint. Full of well-traveled samples, but whoever remixed this made it feel more like a hot, hair-trigger night in the Kingston slums than the original producer did. One of my fave head-bobbers and most hypnotic city driving songs.

12. 2 Live Crew, “Move Somethin’”

Miami Bass still rules. Rudy Ray Moore samples and scratches, filthy rhymes and possibly the hottest bridge in hip hop outside of Public Enemy’s “Night of the Living Baseheads.” RIP Fresh Kid Ice, who, with the possible exception of MC Hammer, had one of the weakest pen games and lamest delivery of any major US rapper ever. Pour one out for him anyway.

13. Heavy D feat. Absolutely Fucking Everybody, “Don’t Curse”

Still the #1 crew joint of all time: Pete Rock, CL Smooth, Heavy D (RIP), Grand Puba, Big Daddy Kane, Kool G. Rap, Phife Dawg (RIP) and Q-Tip, all putting their own twist on the theme of making a big party record without dropping any cusswords in their bars. Cue Booker T and the MGs sample and go. A great day in hip hop.

14. Ultramagnetic MCs, “Break North”

Frankly, this whole album (Critical Beatdown) is break-out-the-beers-and-just-play-it-all worthy. I came to it in 2008 and it still gets better every time I hear it. Rapper/producer Ced Gee allegedly apprenticed with BDP’s Scott LaRock (RIP) and applied his newfound chops to...this hyperactive, hard-hitting tableau of freewheeling creative violence. I love “Break North” because the beat is SO DAMN TOUGH. Ced Gee’s verses always get overshadowed by Kool Keith and the way he patiently laces his bizarre rhymes over Ced’s big, big tracks. This album never hit it big, but it’s baked into hip hop’s DNA and everybody knows it.

15. Roxanne Shante, “Go On Girl”

A blistering challenge to the world from the Queen of MCs, propelled by a properly minimal and catchy track. That voice and cadence make it feel like you picked the wrong one to jaw at on the subway platform and now you’re getting roasted in front of your whole squad. Before all the perfunctory, inflatable gun molls du jour, there was Shante. After they are all forgotten, there will be Shante. (She was aligned with the Juice Crew during the Bridge Wars and did a pretty killer diss track of KRS-ONE, too.)

16. Digital Underground, “The Way We Swing”

“The Humpty Dance” will forever brand them as a novelty act to the filthy casual, but these dudes were hella fun on the mic and absolute monsters in the studio. Sex Packets was the chief piece of evidence that the West Coast wasn’t all Jheri curls and Uzis; a deep, rich soundscape heavily propelled by Funkadelic samples and a hedonistic, witty spirit. “The Way We Swing” lets Humpty’s alter ego, Shock G, do his (somewhat goofy) warning shot to MCs who don’t take them seriously, all built on licks from “Who Knows” off Jimi Hendrix’s Band of Gypsys. If you’re not wide open by the time DJ Fuze’s scratch solo hits, you’re beyond help.

17. Gang Starr, “Code of the Streets”

Sometimes an MC can project invincible authority and intelligence on the mic without being lyrically flashy. That was Guru (RIP). One of your finer Golden Age duos here. Production and turntable legend DJ Premier pairs a catchy string sample with a snapping beat and some entertaining frisson in the form of a high-pitched scratch on the chorus. Like almost everything Guru and Premier did, it’s pure, studiously uncomplicated and wildly effective.

18. Public Enemy, “Shut Em Down (Pete Rock Remix)”

Apocalypse ‘91...The Enemy Strikes Black was the last of a four-album run that had kept PE front of mind, but it’s still PE, so we’re talking degrees of awesome here. Not sure if the Bomb Squad was still producing them by the time this platter came out, but whoever shelved their ego and let Pete Rock have a go at reinterpreting “Shut Em Down” deserves a fucking medal. “Pete Rock Remix,” roughly translated, means “Way hotter than your original.”

19. Original Concept, “Charlie Sez”

Despite being on the white-hot Dej Jam imprint and having some built-in star power from Dr. Dre (the East Coast one from Yo! MTV Raps), Original Concept never made much of a splash. But, as they will remind you on this track, they did have two DJs. An accent cut or a scratch on the chorus? Fuck that. How about we let both of them go off for the WHOLE SONG? The results speak for themselves.

20. The D.O.C., “Lend Me an Ear”

Dr. Dre (the West Coast one) discovered The D.O.C. in Texas and produced his solo album, No One Can Do It Better, in ‘89. He crushed his vocal chords in a drunk driving accident not long after (and is relegated to croaking over skits in The Chronic), but he can always point to the day that Dre put his vocals over a stack of dynamite, wrapped them in C4, put them on a nuclear warhead, stuffed it all in the trunk of a ‘64 Impala and suicide-bombed it right down your earhole. Dre must have woke up mad the day he mixed this. It’s incredible.

100 Mandatory Golden Era Hip Hop Tracks or Face the Excruciator: #1-10

Inquisitor Cinnamon Apple Cheesedick declares that this is the only Imperially compliant throwback playlist.

Below: Writeups for tracks 1-10. (Xtra thanks to Glyxphagor the Executioner)

1. Public Enemy, “Miuzi Weighs a Ton” 

All the kiddies go around citing Nation of Millions and Fear of a Black Planet because that’s what they read on Pitchfork. Which is a shame, because PE’s debut album was A TOWERING MASTERPIECE OF SONIC AGGRESSION that stood alone in that year’s crop of incredible early Golden Era wax. Also see from same album: “Public Enemy No. 1” and, yes, that’s Terminator X scratching on Mike Muir’s opening cackle from the Suicidal Tendencies’ first album on “Raise the Roof.” This album is hip hop’s Nevermind the Bollocks...

2. Steady B, “Rockin’ Music” 

Used to be that it was de rigueur to let the DJ flex on at least one whole track of every album. Here DJ Tat Money puts in a workout with irresistible soul/disco hooks and a big, meaty drum machine track. (Fun fact: Steady B’s doing a life bid because when his career went south, his crew tried to rob a bank and sparked a shootout in which they achieved an ignominious first: First woman cop in Pennsylvania to die in line of duty.)

3. Run-DMC, “They Call us Run-DMC”

MCing styles evolved so rapidly from ‘86-’88 that by the time Run-D.M.C. followed up their mega-smash Raising Hell LP with Tougher Than Leather, they’d already been lyrically lapped by Chuck D, Rakim, Big Daddy Kane, et al. Nonetheless, I return to tracks from this album over and over because they’re still fun and the production kicks ass.

4. Audio Two, “Make it Funky”

Gizmo and Milk D will never be in the canon of microphone masters. They were more mixboard dudes who wanted to rap on their own beats (they were also producing stuff for MC Lyte at the time). Here they throw one of the best parties in hip hop with razor-sharp sampling, fun breaks and a few bars of shouted call-and-response crew raps. Daddy-O from Stetsasonic helped out on this one.

5. Big Daddy Kane and Kool G Rap, “Five Minutes of Death”

Extremely poor sound quality that I can only find on YouTube, but it’s like holding the superheated mother seed of the early Golden Era in your quaking hands. Superproducer Marley Marl eventually uses this beat on Big Daddy Kane’s classic, “Raw,” but at some point in the studio he must have just let these drums run and told BDK and Kool G to go for it. No chorus. No pauses. No mercy. All fire.

6. DJ Jazzy Jeff and The Fresh Prince, “The Magnificent Jazzy Jeff”

Legend has it that DJ Cash Money (of Cash Money & Marvelous Marv, another Philly duo) came up with the vaunted “Transformer scratch,” but accounts vary. Here Jazzy Jeff commits the technique to wax along with a cavalcade of ace turntable tricks. If there’s a better “DJ brag” track recorded during this time, I’ve never heard it.

7. Cash Money and Marvelous Marv, “Ugly People Be Quiet”

As long as we’re in Philly and talking DJ Cash Money, let’s throw this early banger in, too. Pulse-pounding tempo and texture. Produced by Hurby “Luv Bug” Azor, who also discovered and produced Salt-n-Pepa. This is also the best Tears for Fears have ever sounded.

8. 3rd Bass, “Product of the Environment (Remix)”

Don’t fuck with the original album version. You want the remix off The Cactus Revisited. They replace the original’s puny funk bassline and tappity-tap drums with this stomper and rewrite a lot of the bars, which flow better to these drums as MC Serch and Pete Nice tell their tales of white boy come-up. This is the version they did when they came on In Living Color and gave Keenen Ivory Wayans some custom airbrushed shirts. Classy!

9. Poor Righteous Teachers, “Rock Dis Funky Joint”

One of the most astonishingly original microphone performances of all time from Wise Intelligent. Over an unconventional time signature and a bombproof sample, Wise floats, flows, stalls and stutters over seemingly endless verses, keeping all his switched-up rhyme schemes velvety and seamless. Total artistry. These guys were from Trenton.

10. Stetsasonic, “Pen and Paper”

Prince Paul said in interviews he was only 17 and not legally old enough to sign contracts when he joined Stet’s top-tier production team. Like that was stopping him. He gets production credit for this one, which is the sound of a young genius spreading his wings. Also a joyous paean to the act of writing. Not long after this, Paul leaves to produce Three Feet High and Rising and quantum-shifts from apprentice to legend. (Not sure where that bassline is from, but it also shows up in Boogie Down Productions’ electrifying remix of Steady B’s “Serious.”)