More Reasons Why Being Deaf Sucks/Rocks

So in last week’s Bootleg Nick made a comment about the response to his review of The Minstrel Show. Basically Nick took the stance that one would be hard pressed to find a classic Hip Hop album produced in the past decade.

Well I got to thinking about that. And then I thought back to a couple of columns I wrote two years ago. These were the columns where I made a list of twenty skip proof Hip Hop albums. I’ve meant to do a follow up column including albums that I missed or that have been released since then. I’m hoping that the column you are reading will either paint me in a corner where I have to do the follow up or provide the impetus for creating such a follow up. Either way here are my thoughts from a couple of years ago;

Now I know you are wondering; “who is this guy?” I’m really nobody. I’m that guy across from you on the bus with his hat pulled over his eyes, nodding his head to the music pumping from his headphones to his ears. I’m that guy you sit next to on the airplane who gives you the look of death as you attempt to strike up a conversation while I’m changing my discs. I’m that dude you pass on the street who is mouthing the words to a song you can’t hear. I’m that stranger who comes up to you in the local record store, gives you a look of disgust and asks, “Are you seriously considering buying that?” I’m that friend who tells you that your taste in music sucks and explains why, in detail. I’m the type of guy who sees nothing wrong with purchasing an album based on the strength of one song. I have 716 full length CDs and 286 CD singles. Basically I’m just a guy who loves music. Back to our regularly scheduled column.

Once upon a time you had to listen to an entire album, every song. There was no fast forward button. If you wanted to skip a song you had to actually pick up the needle, literally skip over the song and place the needle down before the next song. Cassettes made this process easier, but it was still far from perfect. That is until the advent of the Compact Disc. Yes the CD was the death knell for an artist releasing his or her vision to the masses, and the masses digesting that vision the way it was intended. That’s right the skip button is the bane of artistic vision. However in fairness there aren’t too many “skip proof” albums out there. But I have decided to compose a list of twenty Hip Hop albums that are entirely skip proof.

But before I begin I have to clarify. All of these albums are skip proof, but not every album is a classic. Just as not every classic album is skip proof. Y’see Diamond D’s Stunts, Blunts, and Hip Hop is a classic but it’s not skip proof. By the same token Deltron 3030 is skip proof but not classic. I hope that alleviates any confusion. And now on with my opinion.

The BeatnutsStreet Level
While it wasn’t their first release, it was their last as a trio. Psycho Les, Juju and Fashion (who became Al’ Tariq when he left the group) have an undeniable chemistry and cohesion on this album. The Beatnuts are perhaps Hip Hop’s most underrated producers and “Street Level” is a sonic tour de force. While not lyrical heavyweights, the ‘Nuts sprinkle the album with clever bars and witty one-liners. Just put this album in and enjoy a trip back to Hip Hop’s Golden Age.

Common SenseResurrection
Once upon a time, before Ms Badu, before he was dressing interestingly, Common was Common Sense and Resurrection was his love letter to Hip Hop. Produced entirely by No I.D. and Ynot, this album provided an alternative to the sound of the time. Their use of soulful samples paved the way for the success of Just Blaze and Kanye West. On this album Common evolved from Chicago B-boy to Hip Hop royalty. Resurrection begins with a track by the same name and ends with words of wisdom from Common’s father. In between we are treated to Common’s thoughts on race, his peerless flow, and of course his live for H.E.R.

Deltron 3030
This collaboration between Del (tha Funkee Homosapien) Dan the Automator is a work of genius. Hip Hop concept albums are normally limited to trite concepts like 50 Cent’s “I got shot nine times, therefore Ja Rule is a punk,” or Dr Dre’s slice of life in Cali’s inner city. But the concept of Deltron trapped in a bleak distant future is pulled off, due mostly between the synergy between the two primary collaborators. Dan comes at the beat making process from leftfield thus creating sounds that attract the ear. Del’s imagination knows no bounds thus creating lyrics that perfectly describe the world that surrounds him. Together they combine to form a sort of Hip Hop Matrix.

De La SoulStakes is High
While Buhloon Mind State was a tad too deep for the record buying public, De La Soul followed up with Stakes is High. This more digestible album is both an indictment against the themes of the times, and a throwback to simpler times in Hip Hop. The group, which produced the bulk of the album themselves, is in elder statesman mode, as they rhyme about the industry and life. Plus Common and Mos Def pop in for a visit. At times happy and light, at others foreboding this album ranks right up with the best.

Digable PlanetsBlowout Comb
Digable Planets last album was undoubtedly their best. Definitely too political for it’s time, this cast Butterfly, Ladybug and Doodle Bug as revolutionaries, which may have alienated those in their fan base who viewed them as Bohemians. Entirely self-produced, Blowout Comb is perhaps darker in tone than their debut, but just as jazzy. This album is like a week of rain after a summer drought, it may be dark and brooding but deep inside you know that it is just what you needed. Of course it’s also bittersweet given that you wonder what other sonic masterpieces they could have created.

GangstarrHard to Earn
Guru is gifted with both a talent for rhyming and one of Hip Hop’s most distinct voices. DJ Premier is blessed with the gift for constructing pure beats. When you place the two together you have an unrivaled chemistry, in which the sum is greater then the total of the two parts. This album will have your head nodding through its entirety. Perhaps the most amazing thing about the album is that it is still surprisingly relevant today. That says something for an album that was released almost a decade ago. But it also says something about a stagnant society.

Ghostface KillahSupreme Clientele
Tony Starks’ second album was a departure from the Wu Tang norm, because it was predominately produced by Wu outsiders. But the influx of fresh beats does Ghostface well has he is allowed to run wild on the tracks, which compliment his stream of consciousness flow. We get another glimpse into Tony’s childhood, and what might be the first intentional Wu club song. Yes there are skits here, but don’t skip over them. They work because they are cast with characters, they are hilarious, and they deal with deep far reaching questions. I mean Leah or Halle is perhaps one of the most difficult quandaries man has found himself faced with in the last couple of hundred years.

GzaLiquid Swords
Providing a counter point to Ghostface is this album, which is produced entirely by Rza, save for one track by Wu affiliate 4th Disciple. The beats are some of the best crafted by Rza and Gza spills his lyrics on the stark soundscapes to create songs that capture a time when Wu ruled everything around me. Rza’s sparse sound is particularly refreshing to hear compared to the overly produced slick sound that is found in abundance today. Gza makes his complex rhymes, about everything from battling MC’s to the politics of the record industry, seem effortless, as though he were throwing away a gum wrapper. Gza even manages to give Killah Priest a solo song on the album. Listen to this album and go back to a time before TRL and 106 and Park.

Jay-ZThe Blueprint
Hov’s most introspective work to date; it’s also his best. Whereas now Jay is just bragging, on this album (despite the first tracks title) he was attempting to prove that he was the rightful heir to the title King of New York (which for all intents and purposes means King of Hip Hop.) Jigga silences his critics, attacks his rivals, makes you dance, and pours his heart out. The albums primary producers Kanye West and Just Blaze create a deeply soulful sound that perfectly matches Jay’s mood. The title “The Blueprint” is appropriate since the album is flawless. Well almost, the albums sole guest, Eminem, out rhymes Hovi on his own song. And if there were any question, yeah Shawn you are the closest one.

Jeru the DamajaThe Sun Rises in the East
Hip Hop fans rarely mention Jeru when speaking on great lyricists. This is odd considering these debates invariably devolve into yelling matches about past accomplishments, or great debuts. This album falls into the latter category, and showcases Jeru’s ability to craft great rhymes. Jeru’s vocabulary is perhaps his most potent asset, but he has a pretty decent flow too. It is almost as though he were just speaking to you, not rapping. But he is almost outshined by his producer. Respect to Dre but DJ Premier is Hip Hop’s greatest producer. Dre is good, but nothing says Hip Hop like a Premier beat. This is one of Premier’s many masterpieces.

Well that does it for this week’s column. I know you’re thinking, “that lying no goodnik, he said twenty albums.” What can I say I’m sadistic. Anyway my list stops at “J”(I really did alphabetize my CDs) so next time we’ll get through the rest of the alphabet. I’ll give you a hint; I completely skip the letter “L.” See you next week, and feel free to give me your feedback, I imagine y’all have opinions too.

(During this intermission, I’d like to point out that the original version of these columns were devoid of any HTML goodness and were riddled with even more typos. Y’all in the present don’t know you good you’ve got it.)

Sorry for the interruption last week. I know that you loyal readers really wanted to find out what albums comprised the second half of my skip proof Hip Hop albums list, but I had to try to ruin Father’s Day for my pop. Plus I met the one and only Method Man, in a story that is too bizarre to be anything but true. But I digress; let’s get on with the list.

Mobb DeepThe Infamous
This album was part of the East Coasts return to prominence, after Death Rows reign of dominance over Hip Hop. Havoc and Prodigy mined some gritty street gems from their ‘hood. They repped Queensbridge and made is sound like it was the cruddiest place in NYC. Fellow Queens natives Nas, fresh from Illmatic, and Q tip, showing his prowess for producing, stopped by for cameos. Raekwon and Ghostface Killah also make some memorable appearances. Of course Jay Z outed Mobb Deep as studio gangsters, but that doesn’t take away from what they created on this LP.

NasIllmatic
Universally recognized as one of Hip Hop’s genuine classics, Nas’ debut was the birth of a star. The best producers of the era, LES, DJ Premier, Pete Rock, Large Professor, and Q Tip, provided the canvases that Nas created his masterpieces on. While some complain that at only ten tracks the album is too short, it doesn’t feel like brevity. It is like a perfect meal; you’re satisfied yet you don’t feel bloated. Nas rhymes about life on the streets, his days growing up, and even pens a poignant song to his man locked up. His flow conjures up images of his surrounding. Perhaps the best aspect of his rhymes is the fact that every cloud has a silver lining. Real, yet optimistic. Every song is a classic. Is it any wonder that until recently Nas has failed to live up to the expectations set by his debut?

Ol’ Dirty BastardReturn to the 36 Chambers: The Dirty Version
People have postulated the link between genius and madness. That link has never been more evident than in Ol’ Dirty’s debut. The songs, which range from clever to hilarious to crude are backed with ODB’s signature flow, which is comparable to Robins Williams comedic style. Produced for the most part by ODB and Rza the album’s beats perfectly compliment ODB’s flow. If you skip a track you miss out on experience that is Ol’ Dirty Bastard. There are plenty of guests, but none can match the star of the show. On this album we learn about ODB’s std history, life in the Brooklyn Zoo, how he likes “it” “raw”, and that he can carry a tune. We also learn that Wu Tang has funny bone.

The PharcydeBizarre Ride II the Pharcyde
Giving the left coast the depth it deserves The Pharcyde showed us that while Cali was full of gangsters from Compton it also had it’s fair share of B-Boys. And they could rock the mike. The album goes from social commentary to “your mama” jokes to stories of lost loves to proclaiming the joys of herb, and taints each with the crews unique sense of humor. This album will have you laughing. It is juvenile in the best possible way. The beats, by J Swift, are ahead of the their time and suit the various members of The Pharcyde flows like a sock. And even then you could tell Fat Lip was the star.

Public EnemyIt Takes a Nation of Millions to Hold Us Back
In 1988 Public Enemy masterpiece that was the perfect example of Black Nationalism in Hip Hop. It Takes a Nation of Millions is full of anger and frustration, warnings and parables, Chuck D’s flow and Bomb Squad beats. This album defined an era. As close to heavy metal as Hip Hop has come, this album bangs and throbs with the intensity of a migraine (or a hangover I suppose.) Black Steel in the Hour of Chaos, Night of the Living Baseheads and Bring the Noise the list of classic songs on this album could go on. But even while kicking knowledge PE found time for some “Cold Lampin’ with” Flavor Flav, the original ODB. The perfect balance of entertainment and knowledge, this album is referenced by rappers to this day.

Public EnemyFear of a Black Planet
This album begins with cacophony and ends with an anthem. Two years and numerous media maelstroms after It Takes a Nation of Millions Public Enemy returned and unleashed their second masterpiece (and third album) in a row. The song topics range from interracial relationships to Chuck’s battles with the media to the expediency of 911 to the Black experience in Hollywood. Flav’s cartoon flow is there; Chuck’s insightful thought provoking lyrics are there as well. The Bomb Squad even brings their beats to a new level in terms of intensity. This album blew many minds, including that of one young Mathan Erhardt.

The RootsDo You Want More?!!!??!
Sure Philly had Hip Hop acts before the Roots, but none had the impact on the genre that they had. On this their major label debut (but second overall record) The Roots expanded the genre by using live instrumentation and by being a band. “Do You Want More” is one of the mellowest, chillest albums ever. At the time of its release many cast this album off as a fad, because of all of the other Hip Hop Jazz amalgamations that were prevalent at the time. Black Thought and Malik B (whose flows were nearly identically then) were the perfect match for the incredible rhythms created by the band. This album showcases spoken word, beat boxing and freestyling. This is a true Hip Hop album. And The Roots are still more Hip Hop than many acts on the market, then or now. “Do You Want More” was like a summer rain shower, it was incredibly refreshing and it hit the spot.

Slum VillageFantastic, vol. 2
While coming at a time when regional acts were proving why most Hip Hop fans musical tastes rarely venture out of the tri-state, Slum Village did the impossible twice. They proved the Motown could produce great music again, and they managed to upstage Eminem. Slum Village is the true sound of Detroit. Fantastic is not an exaggeration it is an accurate description. Slum Village’s lyrics will catch you off guard with their cleverness. Busta Rhymes and Common drop by to show some support, and Kurrupt and Jazzy Jeff strike gold on their guest appearances. Slum Village makes a fun Hip Hop record. The beats by Jay Dee are the real stars of the album. They will have you nodding you head for days. Trust me after this you will search for his solo album. “Fantastic” is like that easy class you took in school; you don’t have to think too hard, you just sit there, relax and enjoy the hour.

A Tribe Called QuestThe Low End Theory
While Tribe’s first release was kind of jazzy, the group’s second attempt hit the nail on the head. Seeped in jazz this is a real cool out record. Q-tip rides the beats with his flow like a veteran, and Phife as always has some witty lines. Ali does an amazing job of creating a mood that lasts the entire album. Tribe was still a young group who were having fun making music and it shows. The whole album has a very free unforced vibe. Mellow at times engaging at others. We learn all about the record industry, date rape, and pagers. We also meet an embryonic form of the Busta Rhymes we now know and love. Low End Theory also foreshadows Q-tip’s evolution into Kamal the Abstract (which should have been released.)

Wu-Tang ClanEnter the Wu-Tang 36 Chambers
This is the album that launched a dynasty. This album introduced us to the Wu-Tang style and to it’s nine original MC’s; Rza, Method Man, U God, Inspector Deck, Raekwon, Ghostface Killah, Ol’ Dirty Bastard, Gza and Master Killah. The raw and unpolished sound of this album added to the power of this debut. You could sense how hungry these MC’s were. Plus you had such a variety of styles. They were like a Hip Hop boy band; everyone had their favorite member. This groundbreaking album is a standing example of underground tenacity. Rza showed the world his brilliant producing style. The man is a genius. He sampled Underdog for goodness sakes.

So there you have it. My list of twenty completely skip proof Hip Hop albums. I know y’all are wondering “why isn’t (fill in the blank) on the list? That album was bangin’!” Well I want your feedback. Do you agree or disagree? I got a lot of feedback from the first half of the list. I’m sure that my omissions are making the blood in some of you boil. Write it down and email it to me. Hopefully I’ll get enough and make a column out of it. Well that is going to do it for me. I eagerly await the hate mail. Oh yeah I want to give a shout to Tom Cocozza for the kind words in his column. Good looking out. Peace.

Yeah, so that’s how the list broke down back then. Looking back I wouldn’t take anything off. However I do think that I missed some albums and other “skip proof” discs have been released in the meantime (this year even!) Sure, I could tell you which ones, but then I wouldn’t have a column on the backburner, and I’m not the type who is really looking forward to exhausting all of my ideas.

Rest assured I’d have a follow up before 2006 (probably). I know, I know it’s not really instilling you with faith, but it’s truthful. Plus if I hadn’t clued you into my intentions you’d be completely oblivious, so you should be thanking me.

Heck, I may even give you a rundown of albums that I consider “classic.”

I’ll catch y’all later.

A Classic

Aaron also rehashes the past in an incident when he was attacked by a mouse. Let me tell you, back in Baltimore mice were either “pets” or “roommates” because there was no getting rid of them.

Jeff has horrible news about D’angelo, who appears to be enrolled in the Kanye West Institute of Pre Album Hype.

Shawn is either early or late. Either way he’s still injured. Read him and help him out, will ya?

KDP shares the joys of gay bars!

Gloomchen got screwed by the Internets.

Tom shares some pretty cool memories with us. Read of the Week!

A “10

Ian had a tough go last week (I hope everything it cool) but manages to produced a fact and opinion filled column, like he usually does.

Phil hooks y’all up with Gangstarr 101. This is a must read for fans of Hip Hop.

Five Other Topics This Column Could Have Been About

1. “Ageism in Hip Hop?”
2. “Leaked Extraordinary Machine vs Released Extraordinary Machine
3. “Why Hip Hop is a Lot Deeper Than Critics Give it Credit For.”
4. “Classic Hip Hop Albums”
5. “The Joys of Mixtapes”