beats by the pound 2020
When Ice Cube left N.W.A in a huff in 1989, he was considered by many to be dead in the water. 2, and Est in 1989 2.5—in 2012. ),” the lead single from JAY-Z’s The Blueprint. A week later, El dropped his solo effort, Cancer 4 Cure, which was dedicated to his late friend Camu Tao. A turn-of-the-century tip of the cap is also in order for Alchemist, who linked up with Prodigy on H.N.I.C., a disc that caused incidents of people being assaulted with TVs to skyrocket. You can’t talk about 2002 without mentioning the tear Just Blaze was on. That sound colored much of Baker’s other work at the time. See Bose. So, for that matter, was the blip that was snap music. Her 1980 track “Vicious Rap” was one of the first notable examples of rap getting political, with Tanya decrying high taxes and police repression. —Angel Diaz. their first Grammy for Best Solo Rap Performance. In the nearly 20 years that followed, ‘Ye’s production would morph into something his early ‘00s self might not recognize. HONORABLE MENTIONS: Dr. Dre, J Dilla, The Alchemist, Dr. Dre's 2001 (confusingly released in 1999) was so massive that its singles “Forgot About Dre” and “The Next Episode” hung around for a significant portion of 2000. By the late 2000s, trap music had a firm grip on hip-hop, with its early adopters getting plenty of work. 1.” He also had a hand in Pablo’s “Waves,” “FML,” and “Facts (Charlie Heat Version).” He followed those bangers up by playing Dre to 21’s Snoop on Savage Mode and, of course, blessing us with Migos’ “Bad and Boujee.” Released in October 2016, the smash single (co-produced by G Koop) took over the first of half of 2017, reaching No. That included Tennessee-born, Atlanta-bred Drumma Boy, whose 2008 credits looked like an all-star Rolodex of the South. 1” (Kanye West); “Bad and Boujee” (Migos). I didn't think I could be like how Drumma Boy and them were. Bandana possesses a staggering variety of sounds and moods—a fact that comes across even more clearly when you listen to the instrumental version of the album. The Philly spitter opened The Reason with “Nothing Like It,” which relied on a sample from the Dynamic Superiors’ “Ain’t Nothing Like the Real Thing.” Deeper in the tracklist, ‘Ye was credited on “Gangsta, Gangsta,” a song that tipped its hat to the West Coast in title and hook, which featured Kurupt. Within just a few years, Pumpkin would sign a $12,000 contract with Profile. He contributed eight beats to the 12-track project, including a boom-bap salute on “The Game,” raw production for “Southside,” and a soulful nod to J Dilla with “The People.” All told, Kanye’s production in 2007 led to nine nominations and four awards (for Graduation, “Stronger,” “Southside,” and “Good Life”) at the following year’s Grammys. There’s no wrong way to blow up and no preconceived quota on the grinding period. He showed up on Best Rapper Alive Lil Baby’s My Turn with “We Should,” got beats on both Eternal Atake (“Urgency”) and LUV vs. the World 2 (“Strawberry Peels), and connected with artists like Gunna, Young Thug, Playboi Carti, Future, and DaBaby. It also helped him define the year in hip-hop. The 45 King had a prolific year, producing the majority of All Hail the Queen, Queen Latifah’s debut, as well as tracks for Gang Starr, Chill Rob G, and more. How poetically fitting is it that, when JAY-Z set out to create a statement album on elder statesmen hip-hop black maturity, it was a fellow legend in search of new frontiers to conquer who helped him do it? Rap lyrics pop into our heads at inappropriate times, end up as our yearbook quotes, and work their way into our everyday conversations. And Graham el Khaleel, aka Kurtis Mantronik, was creating his own electro-funk sounds and releasing Mantronix: The Album. —Frazier Tharpe. A lot of that was courtesy of the album’s executive producer Rick Rubin, who worked with Kanye and his host of collaborators to ensure that Yeezus was cohesive. The result was a song that moved like a soul record but hit hard enough to make you screw your face up every time you hear it. Let me wait for the Ruff Ryders Chronicles. “I knew that he actually did the whole instrumentation behind it.”. The disses weren’t particularly distressing (“Stompin' on the Eazy-est streets that you can walk on”), but the production was pulverizing. In 2015, Metro was on fire, and his closest competitors were miles away. The easy narrative was that West was once again taking from the youth, but what he did on Yeezus was much more thoroughly realized than the thought exercises Scott worked through. The foundation of that shift is 40, whose production simultaneously pays homage to a lifetime love of classic R&B while moving those sounds forward and into hip-hop spaces. Bandana saw near-universal critical acclaim for a reason. With DS2—produced almost entirely by Metro Boomin—Future was launched to the center of rap on both a surface and underground level. It arrived only after the legendary producer made three EPs with Freddie Gibbs, and when the two decided to do a full-length, they took three years to perfect it. The record reached double-platinum status and earned a Grammy nomination, not to mention remixes from the likes of Lil Wayne, Ludacris, and Rick Ross. Dre was now free to be Dre, and in December 1992 Death Row Records released his masterpiece solo debut, The Chronic. HONORABLE MENTIONS: Q-Tip/A Tribe Called Quest, DJ Premier, Dr. Dre The critically acclaimed multi-platinum production team that was the engine of the No Limit Records "Tank" (circa 1995-99). As mentioned above, Southside tag-teamed with Metro Boomin and forged his own path on Future’s DS2 (“Stick Talk”) and What a Time to Be Alive (“I’m the Plug”). By the end, the album transforms into another sound entirely—darker, richer, and more contemplative, but still largely helmed by Metro. With its mystery screech and two-note bopping beat, the song was inescapable during the summer of ‘94, especially after the release of a remix that included bars from Biggie, LL Cool J, Busta Rhymes, and Rampage. Meanwhile, after existing on the fringe of hip-hop for years, Three 6 Mafia finally cracked through in ‘05 with the release of Most Known Unknown. ); “I Luv It” (Jeezy). - Beat. Singing pop songs was more his thing, went the narrative. Me Too.” As if that weren’t enough, they also dabbled in the R&B/pop world with Beyoncé’s “Green Light” and “Kitty Kat,” both standout tracks on the singer’s B’Day album. Pumpkin spent 1982 producing songs for groups like Masterdon Committee and Fearless Four. They’d dropped the N*E*R*D album, In Search Of..., in the spring of 2002, with hits like “Rockstar,” which served as an anthem for fans of a more alternative hip-hop sound. So, we as a collective said we not gonna do it.”. When you add JAY-Z’s “Money, Cash, Hoes” and N.O.R.E.’s “Banned From TV” on top of that, things just get ridiculous. It’s not because they’re not great. HONORABLE MENTIONS: Havoc/Mobb Deep, Da Beatminerz, Easy Mo Bee Mike Will’s 2012 beats also played a major role in the rebranding efforts of two veteran MCs from the South. They included material that was both comic (“Way Out West”) and serious (“Hard Times”)—even convincing Kurtis to croon a ballad and rock his way through a cover of “Takin’ Care of Business.”. So, I’ve been getting phone calls about [the discrepancies].”. Aaron Fuchs is a controversial figure, respected and hated in near equal measure, mostly for his music publishing moves. “We already knew that. The record would go on to sell approximately a zillion copies and win a Grammy for Best Rap Album. His prospects already look brighter than producers on this list who had a whirlwind year, only to lose steam. “I can only say the Most High, just be honest with you, put us together. People argue to this day about whether “Rapper’s Delight” really was the first rap record. After all, why make a record if you can just go to a party? HONORABLE MENTIONS: Bobby Robinson, Rocky Ford and J.B. Moore, Fatback Band, There weren’t many songs released in the first year of recorded rap’s existence, so it’s amazing that there was so much variety. Meanwhile, Large Professor’s nascent career was starting with a bang via his work on Eric B. On a mission to let his music communicate an unbothered, non-reply reply, he was quick to call Keith. HONORABLE MENTIONS: Sounwave, Southside, Boi-1da, Sounwave ushered in the unconstrained era of Kendrick Lamar, with heavy hands on To Pimp a Butterfly. HONORABLE MENTIONS: Kay Gee/Naughty by Nature; Above the Law/Cold 187um; Ant Banks With such a glaring absence in the series, HipHopDX caught up with the entire crew to discuss why they weren’t involved in No Limit Chronicles and their perception of the show. Even with no tags, guessing Murda was on the beat in 2017 was a safe bet. The binary code we’d so intricately arranged to prop us out of the primordial ooze was to betray us, the clock was ticking, and there was nothing we could do about it. Ford and Moore would go on to work with Full Force and even teach Rodney Dangerfield and Tom Hanks how to rap. On the less psychotic end of the spectrum, Dilla gave Common new life (no Resurrection) by holding down production duties on Like Water for Chocolate. Each component of the track is a crucial one, but amid a sprawling number of cooks in the kitchen, Tay Keith’s ingredients ring out the clearest. Thus, they are equally subject to hip-hop’s sixth element: making lists. Bringing a sorely needed sense of urgency and aggression out of Drake is on Keith’s list of macro achievements last year, but, of course, it started with BlocBoy JB. That’s debatable. Wyclef Jean, Lauryn Hill, and Pras—better known as the Fugees—joined forces with Clef’s cousin Jerry “Wonda” Duplessis in 1996 to create the group’s final full-length album, The Score. Paul—who also produced songs including 3rd Bass’ “The Gas Face” and Big Daddy Kane’s “It’s a Big Daddy Thing” that year—helmed the album alongside De La. soundtrack, “Party and Bullshit.” Its modest success led to Easy being invited to work on his debut album, Ready to Die. It’s the rock/rap pairing to begin and end all rock/rap pairings, with the oft-played video featuring Aerosmith lead singer Steven Tyler literally breaking down the wall separating the two groups. Sylvia Robinson’s story is improbable. In 2010, Tyler, the Creator was in the nascent stages of honing a sound that would hit the mainstream in full force one year later. had long been beefing with over the King of the South title. It was a stark contrast to the way most of the world—fans, haters, critics, casual observers—viewed him. Among 2014’s runners-up is DJ Mustard, who finger-snapped his way into contention with hits on YG’s My Krazy Life and Jeremih’s “Don’t Tell ‘Em,” as well as co-production credit on Big Sean’s “IDFWU.” London on Da Track and Madlib deserve mentions, too. “I made that specifically for Jeezy, literally in my kitchen,” Drumma Boy told Complex in 2010. “So, I was like, ‘I know Mia know that she brought me there.’ So, this had to be an edit. As if every accomplishment above weren’t enough, Mike Will also found time to produce 10 tracks on Gucci Mane’s underrated 2012 mixtapes Trap Back and I’m Up. The duo would go on to sell millions, establish Em’s Shady Records, and venture into businesses outside of rap, including films, clothing, and headphones. Not only did “Planet Rock” solidify Bambaataa’s move from tastemaking DJ to legit star (which lasted until sexual abuse allegations became public in 2016) and ensure the survival of what would become one of hip-hop’s most influential independent labels, it also set the stage for everything that came afterwards. The variation of If You’re Reading This It’s Too Late’s “Energy,” “10 Bands,” and “Know Yourself” is enough to let you know the man was in his zone that year. Raymond Emile Poole (born July 4, 1965) better known by his stage name Mo B. Dick is an American rapper, singer, and music producer. “It has the full tone of reality TV because we know reality TV is scripted. It was for the purpose of getting views and entertaining people. that commanded attention throughout the summer. Just try to escape “Pure Water” or “Ballin,” the latter of which earned the distinction from many as the best song of 2019. ), and run in reverse. Taking the lead on production duties for A Tribe Called Quest’s Midnight Marauders, Q-Tip was responsible for shaping the project’s brilliant soundscapes. Once Dre met Eminem and played him the beat for “My Name Is,” they knew they were right for each other. From radio play on a single station in St. Louis, the song took off to the point that the label was pressing around 50,000 copies a day. He kept on playing, though, and died in 1992, shortly after finishing some gigs in Japan. It may seem inconsequential when looking back, but for Kanye to completely switch gears after finding such grand success with a certain style was his riskiest artistic endeavor since he gave up rapping for an entire album in 2008. Another co-worker, Mickey Addy, had written some Christmas songs several years earlier, and his young compatriots liked the idea of a yearly royalty check. Less than two weeks after “Mercy” dropped, the producer contributed to Future’s debut studio album, Pluto. RZA didn’t produce the lead single, “Brooklyn Zoo,” but he did provide the infectious piano twinkle and understated groove of standout “Shimmy Shimmy Ya.” From the subversive melodies of “Raw Hide” to the playful throwback hip-hop of “Cuttin’ Headz,” the RZA got the best out of the Wu’s biggest character. One of the first voices listeners hear on the album’s opening track is that of RZA on the hook, yelling, “Bring da muthafuckin’ ruckus!” And that’s exactly what he did with 36 Chambers. The other three albums Quik worked on that year—AMG’s Bitch Betta Have My Money, Hi-C’s Skanless, and 2nd II None’s eponymous debut—fit in that same vein. CREDENTIALS: The Slim Shady LP (Eminem); 2001 (Dr. Dre) © Complex Media, Inc. All Rights Reserved. I think it was successful in that aspect.”, He continued, “But the people who know documentaries, the people who associate with us knew something wasn’t right. Also in 1988, Dana Owens, renamed Queen Latifah, teamed up with the 45 King to release her first single, “Wrath of My Madness,” thus sparking the career of one of the genre’s biggest stars. “We already knew that’s how that was going to go,” Craig said. What he lacks in quantity, he makes up for in quality, turning obscure samples into soulful, captivating compositions commanding your favorite spitters’ best efforts. He then connected with T.I. On the eve of an unparalleled run, ‘Ye displayed a tattoo listing songs he’d produced in the video for “Izzo (H.O.V.A. “I knew it was a wrap, the way the boom drops. While Dre and Muggs were forging the apocalyptic West Coast sound, Pete Rock was perfecting the peaceable East Coast alternative, reaching an early high-water mark in his career with the jazz-harvesting Mecca and the Soul Brother that he released with collaborator CL Smooth (an album that contains one of the greatest beats of all time). A series of unlikely samples, meticulously chosen and carefully placed, appeared through 3 Feet’s 24 tracks, as the trio rapped about their prowess on the mic, social ills, heartbreak, and the perils of putting on dookie-rope chains without first showering in the morning. Every emerging producer needs an equally hungry artist to pair their work with, and Lex found a kindred spirit in Flocka, who used the teenage producer’s beats to help shepherd his mainstream takeover as the life of the rowdiest party. The beat is apocalyptic in the most ebullient way, which describes all of Lex’s beats—give or take a “That Way.”. Beat Saber Modding Dicord, is a dicord for modding beatsaber. Produced entirely by the RZA (save for the CD-only bonus track), the album used sounds plucked from a wide variety of sources, including New Edition, Three Dog Night, and Cannonball Adderley. Their initial collaboration produced Biggie’s debut song, placed on the Who’s the Man? In November, the Beastie Boys released their debut, Licensed to Ill. And while the oft-misogynistic frat boy lyrics wouldn’t age particularly well, Rubin’s production—which swiped huge chunks of riffage from the likes of Led Zeppelin, Black Sabbath, and AC/DC—certainly has. The crew also discussed their departure from No Limit, rebranding as the Medicine Men and their upcoming projects, among other topics. The Slim Shady LP and 2001 sold a combined 10 million albums by the end of 2000. Says Tory Lanez Is Being A Good Sport About Bald Jokes - While Adding A Few Of His Own, Summer Walker Publicly Showers London On Da Track With Praise Following Previous Condemnation, Dr. Dre's Estranged Wife Accuses Him Of Letting Alleged Side-Chicks Rock Her Red Bottoms & Furs, $424M Up for Grabs as Apple Music & Spotify Fill MLC’s Black Box With Unmatched Royalty Payments, $NOT & Denzel Curry Pinkout The Pandemic In 'Sangria' Video, Nipsey Hussle Wanted To Redo dead prez's Classic 'Let's Get Free' Album Before His Murder, Jeezy Mourns Mother’s Death: ‘My SUPER HERO’, Lauryn Hill Makes History As She Joins Eminem, 2Pac, Biggie & Beastie Boys In Diamond Album Club, DJ Quik & Def Jam Affiliate Bo$$ In Desperate Need Of Kidney Transplant - Asking For Hip Hop's Help, Tory Lanez's Bald Spot Provides Joey Fatts An Opportunity To Plug 'G Way 2' Album — No Pun Intended, Onyx Asserts Hip Hop Dominance In 'Coming Outside' Video From Forthcoming 'Onyx 4 Life' LP, Boosie Badazz Uses His Trending Name To Slam Lori Harvey Fans Even Further: 'FUCK Y'ALL I SAID WHAT I SAID", ‘Toronto’s Most Hated Rapper’ Top5 Reportedly Arrested In Connection To Murder, Hit & Run Driver Who Allegedly Killed Nicki Minaj's Father Surrenders To Police, Meek Mill & 6ix9ine Nearly Come To Blows In Heated Parking Lot Confrontation, Dr. Dre's 'Mystery Woman' Identified As Omarion's Baby's Mother Apryl Jones, Run The Jewels & Wu-Tang Clan Lyrics Make Cameos During Donald Trump Impeachment Trial, Wack 100 Drags Meek Mill For Not Fighting 6ix9ine During Parking Lot Confrontation: 'The Rat's Up 1', Juicy J Crowns Himself ‘Rap Game Tom Brady’ While Charlamagne Tha God Has An Analogy For JAY-Z, Dr. Dre Accused Of Threatening 'Love & Hip Hop' Star Over Apryl Jones, Yella Beezy Claims Police Setup After He's Reportedly Arrested In Dallas, Dr. Dre Spotted With Bra-Baring Mystery Woman Amid $1B Divorce, DMX Reveals Lil Wayne, Snoop Dogg, The LOX, Alicia Keys, Usher & 'That U2 N-gga' Bono Are On His Forthcoming LP, Meek Mill Has Already Recorded A 6ix9ine Diss, JAY-Z & Meek Mill Targeted By Funk Flex & Akademiks Over Roc Nation CEO’s Presidential Pardon, Kanye West Reportedly Facing $30M Lawsuit From Nearly 1,000 Sunday Service Members, Migos & Moneybagg Yo Follows 50 Cent’s Lead In What Florida Mayor Calls ‘Stupid’ Super Spreader Super Bowl Concerts, Snoop Dogg Reunites With Death Row Records Co-Founder In The Studio Following Trump Pardon, Method Man Says Eminem’s Lack Of 'Thick Skin' Contributed To Snoop Dogg Rift, Lil Wayne & Kodak Black Reportedly Granted Donald Trump Pardons, Lil Wayne Expected To Be Pardoned By Donald Trump This Week, Master P Fumes Over $1B Clubhouse Valuation: 'We Making Another One Of Them A Billionaire! (The idea would come back to bite her when the guys who wrote that song heard their music, didn’t see their name on the record, and promptly sued). Also of note: “Slow Jamz” first appeared in late 2003 as a single for Twista’s Kamikaze before popping up as a single from The College Dropout in 2004. “We were reached out to, but we just didn’t want to do the interviews because based on our history, we had our suspicions,” Mo told DX. While there was less traditional-sounding hip-hop on Graduation, Kanye had that real shit locked and loaded for Common’s Finding Forever. Full of murky, mechanical beats and soulful samples, spliced with sound bites from classic kung fu flicks, the album was like nothing rap fans had heard before. With almost two dozen projects released in one year, including the critical failure but commercial success that was Death Row escapee Snoop Dogg’s Da Game Is to Be Sold, Not to Be Told, Beats by the Pound were the engine that kept the No Limit tank pressing forward. The other candidate? He served as executive producer on three well-regarded projects: Nas’ King’s Disease, Big Sean’s Detroit 2, and Benny the Butcher’s Burden of Proof. So you really had to—if you wasn't going to do it, if you wasn't going to be over here, you was gonna be over there.” And do it Marley definitely did. All-time greats like DJ Premier, Diamond D, Just Blaze, and Pete Rock—GOAT-level producers by any measure—don’t win a single year. StudiolinkedVST - Beats By The Pound VST Plugin PC & MAC DOESN'T WORK ON CATALINA & BIG SUR! —Kiana Fitzgerald, CREDENTIALS: King of Rock (Run-DMC); Radio (LL Cool J). Dot Da Genius’ psychedelic production on Cudi’s breakout hit—initially released in 2008—reverberated throughout the next year, serving as the lead single for his debut album in 2009. While Dr. Dre was visiting Iovine’s house, the then-Interscope CEO played it for him. Credit is due to both Robinson for securing studio time, finding rappers, and trusting in a then-teenage Pumpkin, and to Pumpkin himself for helping lead rap in a new sonic direction. Producers are, in the words of the old Maoist slogan, holding up half the sky—giving rappers a sonic canvas on which to paint their pictures. Nonetheless, Dre damn sure perfected the subgenre, with The Chronic’s savvy use of George Clinton samples and the Ohio Players’ high-pitched “Funky Worm” sound. He also produced the criminally underrated “Faded” off Mariah Carey’s Me. After contributing to The Blueprint and establishing himself as one of Roc-A-Fella’s in-house producers, he crafted massive moments like Freeway’s JAY-Z and Beanie Sigel-featuring “What We Do,” as well as a slew of other classics from the R-O-C, including Cam’ron’s “Oh Boy” and the iconic Beanie/Freeway duet “Roc the Mic.” In a similar bag was Kanye West, who spent 2002 working with Scarface (“Guess Who’s Back”), JAY-Z (“A Dream,” “03 Bonnie & Clyde”), and Talib Kweli (“Get By”), as well as Trina, the polymath then known as Mos Def, and more. Timbaland was cultivating his left-field rhythms with a string of hits for the likes of Aaliyah and SWV while also producing Missy Elliott’s white-hot debut album Supa Dupa Fly, as well as his Welcome to Our World album with Magoo. Russell Simmons (who in more recent years faced accusations of sexual misconduct) knew what Smith was capable of, having seen him tear up the bass on “Christmas Rappin’” for Simmons’ college pal and management client Kurtis Blow. Charlotte, NC. That amount may seem paltry now, but in 1983 it surely bought him plenty of his beloved monogrammed shirts. Led by Sadler, they proceeded to dissect the LPs he’d chosen. The race was so close for one simple reason: His work on Pusha-T’s DAYTONA. One major problem was that he had no one to produce his solo debut. Future had long been established in hip-hop and was seen as the next to carry the Atlanta rap baton, but he had never graced the mainstream stage on a full-project level. Eminem was also building himself up to be more than just your favorite rapper, producing everything from Obie Trice’s “Rap Name” and Nas’ “The Cross” to the bulk of his now-diamond-selling fourth album, The Eminem Show. He started off his year-long run with contributions to Future’s EVOL tape and Kanye West’s The Life of Pablo, officially making his producer tags, “If Young Metro don’t trust you, Imma shoot ya” and “Metro Boomin want some more,” ubiquitous parts of the culture. Rubin, who produced it, refined their sound even further, stripping it down to its basest elements and producing what was essentially a speed metal suite, one song blending into the next in a relentless assault from the opening of “Angel of Death” to the conclusion of “Raining Blood.” By removing all that was unnecessary, Rubin reduced Slayer to their purest form and clearest sound, creating a metal classic that, 30 years on, remains the signature accomplishment of the genre. If those noteworthy accomplishments weren’t enough, he achieved another producer bucket list goal with Detroit 2. The updated sound—chipmunk samples swapped with loops that sounded as if they were being suffocated in a million-dollar fish tank—became the sound of G.O.O.D. Instead, he crystalized his talents, focused on creating something classic, and left his mark on the year by producing the very best version of what he’d been doing for decades. But unlike many inventors, he actually managed to harness the power of his creation and use it to its fullest potential. Such is the tale of Lexis Lewis, who stormed onto the scene with thunderous beats that hit just as hard the professional WWF wrestler he takes his moniker from. Marci project, was impressive enough to land him on the list. No production team seemed more ubiquitous than the Neptunes in 2001. The three strangers, one using lyrics from a rapper he managed—not even bothering to change the name—stepped in the booth. 47 Followers. The last of these adjustments proved to be the most commercially cunning one, with “Ms. He also shepherded 21’s full-length debut and added to his list of hits with Future’s “Mask Off.” 2017 was also the year Murda Beatz arrived, putting a fresh spin on trap music archetypes and riding them to the top of the charts. But no matter the reason, the impact was historic. He also helped launch Young Thug’s career with “Lifestyle” and six tracks on Rich Gang: Tha Tour Pt. With singles like “Get at Me Dog” and unforgettable concept songs like “Damien,” Grease displayed an ability to lock in with one artist and successfully pull them into a diverse range of soundscapes. That elevation started in ‘85, with the singles “She’s on It” and “Slow and Low”—the former kicking off with a raw guitar riff that gives way to booming drums. While the COVID-19 pandemic disrupted their plans, the crew still intends to proceed with the project. His beats on their Escape album were complex enough to stand alone during breaks between verses, yet straightforward enough that vocals were never overpowered. They were at peak powers in 1990: Fear of a Black Planet featured Cube on “Burn Hollywood Burn,” as well as another hour’s worth of chaotic, sample-laden, pastiche rap music that sounds as urgent now as it did then. He would forge an outline with an expertly chopped loop and then enlist the help of instrumentalists to color in the lines and add a layer of complexity that many hadn’t heard since the days the Bomb Squad was running rap. Madlib tailored his approach to the vocalist—a vocalist who in turn demanded more from his composer. Because we have people that we’re associated with and were actually witness to some magnitude of our experience, including our families, our friends. Meanwhile, Gregory “Big Hutch”/“Cold 187um” Hutchinson was busy inventing the next wave. His versatility as a producer was reflected in credits with artists like Jimmy Spicer (“Money [Dollar Bill Y’all]”) and Lovebug Starski (“You’ve Gotta Believe”)—while his work on Rodney Dangerfield’s hit “Rappin’ Rodney” highlighted just how in demand he was during those 12 months. Throughout the year, the Memphis producer provided a much-needed burst of nonchalant energy to some of the game’s solidified A-listers, as well as local peers on a parallel upwards trajectory. With all due respect to Mr. Luger, you wouldn’t know a person in the throes of despondency made “MC Hammer” while listening to it. If 40 was playing around with minimalism, Clams spent the year perfecting a dreamy, drugged-out spin on that wave, as evidenced by Live.Love.A$AP. Most successful producers looking to solidify a budding rap career would save the best beats for themselves. Bambaataa has since had his legacy tarnished by horrific sexual abuse allegations, but Arthur Baker’s contributions to “Jazzy Sensation” still ring out as strong as ever. The Elusive Chanteuse. Eazy-E sued, and as a result no labels (including Sony Records, which released “Deep Cover”) would touch Dre. There is no shortage of hard-to-find 1970s obscurities that had somehow eluded every other crate digger until now, and there are also mixtape interludes from just a few years ago interspersed with musical ideas from contemporary producers like Frank Dukes and Caponelli. —Shawn Setaro, CREDENTIALS: “Feel the Heartbeat” (Treacherous Three)' “Do It, Do It” (Disco Four); and every other release from Bobby Robinson’s Enjoy Records that year, Funky drummer/musician/arranger/bandleader Errol “Pumpkin” Bedward was Enjoy Records’ not-so-secret weapon, crowned King of the Beat before anyone saw Kurtis Mantronik’s name on wax. I’ve got fraternity brothers and stuff like that who were there and witnessed some of the stuff that we endured. The second golden age of hip-hop is often pegged to 1994, but truthfully it started a year earlier, when the world was introduced to the game-changing sounds of the RZA. It didn’t matter whether he pinched an ad-lib grunt, hits from a brass section, or the beloved “Impeach the President”—the loan would eventually support the soundbed of a classic. The project—comprised mostly of original beats with no DJ tags, throwaway songs, or radio freestyles—helped shift the way rappers built mixtapes thereafter. It’s true to the weirdness of 2020 that the excellence of Hit-Boy’s year wasn’t defined by a smash hit like a “Niggas in Paris” or “Clique.” Hit-Boy’s impact came through sustained greatness and the kind of curatorial eye over high-profile projects that separates super-producers from beatmakers.
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