The title of HIP HOP has changed over the years . It is watered down to a mumble and a beat these days.... CrunkAtlanta
#50 Outkast "B.O.B." Stankonia, 2000
Outkast greeted the 21st century with a single that'll probably sound ahead of its time in the 22nd. Big Boi and André 3000 were inspired by hearing the hard, double-time rhythms of drum-and-bass music at a London party. "There wasn't anything in hip-hop that was killing me at the time," André said. "But that shit was tough … I thought about how to Americanize it." With an insane beat, Hendrix-at-Monterey guitar and massed voices chanting like a gospel choir conducted by Afrika Bambaataa, "B.O.B." became one of the greatest left-field hits of all time.
#40 Kurtis Blow "The Breaks" Non-album single, 1980
The first rap hit on a major label, peaking at Number 87 on Billboard's Hot 100, was a no-frills joint: a loping bass line and jumping beat with the Harlem-born Blow presiding over playground-party noises and percussion breakdowns. Blow toured extensively behind "The Breaks," introducing America to B-boy culture – "something I'm sure few people outside New York have ever seen," he said in 1981 – while blazing a trail for rappers like Run of Run-DMC, who started out calling himself "The Son of Kurtis Blow."
#30 The Notorious B.I.G. "Hypnotize" Life After Death, 1997
Notorious B.I.G's first Hot 100 chart-topper, which hit Number One just weeks after his March 1997 murder, is his supreme pop-rap moment: a litany of boasts and threats, delivered with cool sangfroid over Puff Daddy's Herb Alpert-sampling candy-corn beat. It was a fitting epitaph, a testament to Biggie's inimitable flow, matchless wordplay and knack for leavening gangsta sex and violence with punch lines even a toddler could cuddle up to. "Such a likable guy," said Jay Z. "He's forever loved by hip-hop."
#20 50 Cent "In da Club" Get Rich or Die Tryin', 2003
"We just made some shit we wanted to hear," producer Dr. Dre said. "As soon as 50 walked in the studio, he picked up a pen and we were done in an hour." Queens native Curtis Jackson had it all: an almost mythic backstory (he was a talented thug who'd once taken nine bullets), the backing of Dr. Dre and Eminem and a lush, languid flow. All he needed was a monster beat; over clinically precise handclaps and synths, he sent America hurtling toward the dance floor while threatening to "put the rap game in a choke hold." By the time this hit Number One, he had.
#10 Eric B. and Rakim "Paid in Full" Paid in Full, 1987
Exhibit A in the case for Rakim as hip-hop's John Coltrane. His incandescent thought-bubble rap on "Paid in Full" is all iced flow and sly beat-dodging, a good-versus-evil meditation that calmly frames thug life inside real-life economics (an appetite for "a nice big plate of fish/Which is my favorite dish") and a novelist's eye for detail ("Ain't nothin' but sweat inside my hand"). In an era when most hip-hop songs exploded with loud, over-the-top boasting, Rakim's relatable, low-key flow was game-changing. "I always wanted to kind of make the listener feel like it was them that I was talking about, or to the point that I could say the rhyme and feel like it's them saying it," he said years later. Eric B.'s beat, looped from a break on "Ashley's Roachclip" by the Soul Searchers, is just as groundbreaking; it inspired the British DJ team Coldcut to craft "Paid in Full (Seven Minutes of Madness)," which soon became the song's definitive version, and arguably the dopest remix in hip-hop history.
"The Message" was a total knock out of the park," says Chuck D of Public Enemy. "It was the first dominant rap group with the most dominant MC saying something that meant something." It was the first song to tell, with hip-hop's rhythmic and vocal force, the truth about modern life in inner-city America. Over seven minutes, atop a Seventies P-Funk jam, rapper Melle Mel and co-writer Duke Bootee, a member of the Sugar Hill Records house band, traded lines and scenes of struggle and decay, with a warning at the end of each verse: "Don't push me 'cause I'm close to the edge/I'm trying not to lose my head." The Furious Five's pioneering DJ Grandmaster Flash later said that "The Message" proved their music could "speak things that have social significance and truth." Yet, when they first heard Bootee's demo (originally titled "The Jungle"), they were worried that hip-hop clubgoers would not dig the subject matter and slowed-down beat. As Melle Mel recalled, he was the member who "caved in" and agreed to record it. Sugar Hill Records head Sylvia Robinson got him to write and rap more lyrics, and Sugar Hill studio player Reggie Griffin added the indelible synthesizer lick. Despite being credited on the record, Flash and the Five appeared only in a closing skit, in which they're harassed and arrested by police. "The Message" was a hit, but its messy birth was fatal to the Five, who soon split up. Their most notable reunion was in 2007, when they were the first rap group inducted into the Rock and Roll Hall of Fame.
FULL LIST AT : RollingStones