
Fuck Compton
Ced-Gee of Ultramagnetic MCs built the track; a Bronx rapper aimed it at Compton and lit the coastal rivalry.

Ced-Gee of Ultramagnetic MCs built the track; a Bronx rapper aimed it at Compton and lit the coastal rivalry.
Marley Marl looped an Eddie Kendricks record; Ace, co-producing his own debut, made Brooklyn sound like a place to watch.

Just Blaze cut it from Supertramp's Crime of the Century, and Fabolous raps it like a man being chased.

Grandmaster Flash's "The Message" under a "Break My Stride" hook, six weeks at number one, and Mase arrives.

DR Period built it on the Commodores' "Easy," and Cam'ron and Juelz Santana rode it to number three.
Premier's beat under Guru facing a gun charge, cut at D&D Studios and delivered as a sermon on perseverance.

Knobody flipped a Brenda Russell record, Joe sang the hook, and Pun became the first solo Latin rapper certified platinum.

Chuck D aimed it at corporations that profit off Black neighborhoods without reinvesting, and Pete Rock's remix outgrew the original.

Just Blaze built the beat for Memphis Bleek, chopped a Rose Royce vocal, and Cam'ron took it to number four.
EPMD signed them off a talent show they lost, and the iggedy style swallowed hip hop for two years.
First record to lift the Synthetic Substitution break, which hip hop never stopped using, with Kool Keith rhyming deliberately off-beat.
A Bobby Bland soul record from 1974, rebuilt by Kanye West, and Jay-Z sounding untouchable and unloved at the top.

RZA's murk, Method Man's first single away from the Wu-Tang, and a title Chris Rock borrowed for his 1996 special.

KRS-One produced it himself over a Stanley Turrentine loop, from the first album made after Scott La Rock's murder.

Nas was twenty and already writing memoir here, over DJ Premier's loop of a Reuben Wilson organ.

A joke about radio playlists, built on Vic Juris's "Horizon Drive," and it became Gang Starr's most recognizable record.
James Brown horns looped, an answer to MC Shan's The Bridge, and hip hop's birthplace claimed for the Bronx.

Chucky Thompson looped Phil Collins, and Nas rises from a murmur to a roar and back, verse after verse.

RZA cut it at Firehouse Studio on almost no budget, Method Man co-produced, and the chorus became the Clan's motto.

DMX turned the beat down for sounding too rock; his uncles talked him into it, and Swizz Beatz arrived.