Some of the most powerful hip-hop songs are tracks with elements so simple your brain would explode trying to explain their logic: Take the unstoppable two-note guitar stab in Craig Mack’s “Flava in Ya Ear.” (I hounded the producer, Easy Mo Bee, for 17 years for the secret behind it – then wanted to throw someone out the window when I heard how basic it was.) Or the huge sound of the Roland 909 on Schoolly D’s “PSK” – an echo that seemed like it came from a church cathedral eight city blocks wide. “Rapper’s Delight” turned this future high school band geek into a superstar for the month of October 1979. My boy Aantar became my agent that week, scheduling performances of the song in exchange for snacks or hand-holding with girls in gym class. The next night, I was prepared, with a prehistoric tape recorder in hand and a black-and-white composition notebook. I said a hip, hop, the hippy to the hippy/To the hip hip hop, you don’t stop. . . . Me and my sister, Donn, were sneaking a listen of the local soul station while washing dishes when an army of percussion and a syncopated Latin piano line came out of my grandma’s JVC clock radio – what appeared to be Chic’s “Good Times.” How was I to know that my world would come crashing down in a matter of 5, 4, 3, 2 . . . on a Thursday, after a dinner of porgies, string beans and creamed corn. I was eight years old when “Rapper’s Delight” made its world premiere on Philadelphia radio.
HIPHOP REMIX SONG FULL
Click to read the full list of voters.Īn Introduction by Ahmir “Questlove” Thompson Produced by Swizz Beatz, the standout track features a hard-hitting tribal bass and space-age synths – a slick hybrid sound that would come to dominate the best Nicki Minaj songs.Looking for the full list of the 100 greatest hip-hop songs of all time? Check it out right here.Įditor’s note: To make this list, Rolling Stone asked 33 artists and experts – from Rick Rubin to Busta Rhymes – to choose their favorite hip-hop tracks, then crunched the numbers.
A long-time fan favorite, it captures both sides of Minaj’s persona: she comes in all-guns-blazing, but by the time the chorus kicks in, she’s gone into a full R&B diva croon.
“Catch Me” later appeared as a bonus song at the end of her debut album, Pink Friday, and would lay the pinkprint for Minaj’s futuristic sound. This anthemic single best summarizes her success and is crucial to understanding Minaj’s gameplay. With an unapologetic swagger about her dominant reign, the rapper compares herself to the 21-times nominated and three-time Academy Award-winner Meryl Streep, and forewarns, “I’m gonna s_t on my critics some more”. If Minaj needed a topic for her senior thesis, this bonus track from 2014’s The Pinkprint would provide it. Years later, her guest spot on Gotti’s “Rack It Up” would prove how far she’d come. With the last verse, Minaj steals the show, alluding to her Fendi prints, the sex toys that she would eventually bring on stage during tour appearances, and her love for Harajuku girls.
On this track, Minaj is the rookie, but she undoubtedly holds her own alongside Gotti, Gucci Mane, and her veteran inspiration, Trina. “I just had an epiphany, I need to go to Tiffany’s,” is the way that Minaj starts her all-star appearance on the remix of Yo Gotti’s 2009 single. ADVERTISEMENT 20: 5 Star Remix (Yo Gotti, featuring Gucci Mane, Trina, and Nicki Minaj)
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