
Rapper's Delight
Big Bank Hank auditioned outside the pizzeria where he worked, rapping lines borrowed from Grandmaster Caz's notebook.

Big Bank Hank auditioned outside the pizzeria where he worked, rapping lines borrowed from Grandmaster Caz's notebook.

Dre built G-funk on a Leon Haywood sample, handed Snoop the mic, and gangsta rap reached number two.
Cut May 3, 1968 with an ABC film crew rolling, and it became Hendrix's only British number one, posthumously.

Timbaland flipped Ann Peebles into stuttering space, and Hype Williams shot Elliott in an inflated suit through a fisheye.

Eight MCs, a beat RZA scrapped and rebuilt, and a 12-inch the group pressed themselves before any label would.

Five MCs passing the microphone, and Busta Rhymes at nineteen turning a guest verse into an entire career.

An Oberheim drum machine, a few scratches, and two voices. Everything before it suddenly sounded old school.

Dre stacked Atomic Dog over Parliament and Funkadelic, and Snoop's debut single walked straight into the top ten.

Jerome Green's maracas, a tremolo guitar shaking like heat haze, and the beat that took Bo Diddley's name.

The Neptunes built it from tongue clicks and almost nothing else, and it gave Snoop his first number one.

Six studios, eighty-two takes at the guitar part, Ronson collapsing in the studio, and fourteen weeks at number one.

Scorsese shot eighteen minutes in a Brooklyn subway station, and the brass hits point straight back at James Brown.

Timbaland looped a flute from a 1957 Egyptian record, and Pimp C nearly turned the beat down for sounding pop.

Large Professor looped Human Nature into a hush, and Nas closed Illmatic with his most dazzling stretch of technique.
One chord cut at Chess in March 1955, and Muddy Waters answered it with Mannish Boy by May.

By Eric B.'s account he paid Marley Marl to engineer it in Queensbridge; Rakim arrived rapping like nobody before.

A borrowed Lou Reed bassline that reportedly took all the royalties, and a call-and-response hook the crowd finishes.
A Jackson 5 chop, an arena chant, and Jay-Z's first solo top ten, courtesy of a young Kanye West.

A diss aimed at Chubb Rock, by B-Real's account, over a squealing hook DJ Muggs still won't explain.

Andre 3000's stepfather, Reverend Robert Hodo, plays the harmonica breakdown; the woman in the title sued.

Angus called it a little guitar trick; Malcolm added the rhythm underneath, and it lands before Johnson sings a word.

Butler built it from an Art Blakey bassline in his father's jazz records, three voices making cool sound effortless.

Q-Tip flipped a Weldon Irvine bassline, Trugoy took the hook, and the chorus name-checks cities from New York to Tokyo.

Timbaland's beat is all snap and space, and in 2008 a presidential candidate borrowed the shoulder-brush on a Raleigh stage.
A Bobby Byrd loop that sent every producer digging for James Brown, and Rakim rhyming coolly off the beat.

Eminem wrote the verses as a reference for Snoop Dogg, by Dre's account, and Dre kept the guide vocal.
Jerome Green's maracas, Jody Williams on lead guitar, graveyard imagery, and a shuffle that skips the Bo Diddley beat.

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

Wheeler got the idea from Who's Afraid of Virginia Woolf, and Cash and Carter trade the taunts like they mean them.

RZA cut it at Firehouse Studio on almost no budget, Method Man co-produced, and the chorus became the Clan's motto.
Ernie Maresca offered it to Nino and the Ebb Tides first; buried as a B-side, it went to number two.

A Mothership Connection sample, RBX writing Dre's verses, and the Grammy win that turned it into a hit.

The Think break from a 1972 Lyn Collins single, and two Harlem kids made the party record of 1988.

Uncleared, the Enya sample nearly brought a lawsuit; she heard the finished record and chose to settle instead.
Cypress Hill could not write to Muggs's beat and Ice Cube passed on it; it reached number three anyway.

OutKast were booed at the 1995 Source Awards and answered with a title splicing Atlanta and aliens over echo-heavy dub.
Dixon's title was blues code for adultery, cut by Wolf at Chess and reopened by the Doors in 1967.

A joke about radio playlists, built on Vic Juris's "Horizon Drive," and it became Gang Starr's most recognizable record.