Greetings and salutations everyone,

I have returned with another edition of T.Q.D’s Corner.  For those of you unfamiliar, this blog is about me waxing nostalgia about Hip Hop days gone by.  This month we will celebrate the power of numbers by going of what I believe are the greatest posse cuts in the history of Hip Hop.  I will not rank them, but I will share my two cents.

For those of you unaware, a posse cut is a collaboration between the main act of a song and at least two other guests and must have at least 3 total emcees.  For example, N.W.A.’s “Straight Outta Compton” is not a posse cut.  A Tribe Called Quest/Leaders of the New School’s “Scenario” is.

Now that we have established our parameters, let’s get in to it.

“Don’t Curse” by Heavy D featuring Kool G Rap, Big Daddy Kane, Q-Tip, Grand Puba, CL Smooth and Pete Rock

While I’m not really ranking these, I am going to declare this as my favorite posse cut of all time.  Pete Rock produced the beat.  The only weak part of the song is that he gets on the mic too, but I’m willing to write that off since he probably held the beat for ransom until they let him rap.  Regardless, the concept reflects the title.  There is a lot of self-editing going on and for the most part is done in a clever way.  Big Daddy Kane and Kool G Rap, as expected, rule this track.  Those who may remember the video (search youtube) may remember Kane wearing a hideous purple outfit, but he made up for it with his verse.

“The Grand Finale” by Lil Jon & The Eastside Boyz featuring Ice Cube, Bun B, Nas, Jadakiss, and T.I.

The year was 2004.  I was on long trip around Minneapolis with a buddy being forced to listen the Lil Jon album called Crunk Juice.  I was waiting for the album to end.  Thankfully the terrible album was ended on a high note.  This posse cut is heat.  The beat bangs and everyone brings their A-game.  I am still genuinely shocked by how good it is.  I was getting ready to crown Nas the best on the track, then he is followed by Ice Cube who absolutely shuts the game down…but he is Ice Cube, that’s what he should do.

“Got My Mind Made Up” by 2Pac featuring Tha Dogg Pound, Redman, and Method Man

My brother used to drive around bumping the All Eyez On Me album all the time.  I was never a big fan of the record, but this song always stood out to me.  The beat is basically one long loop, but the is hardly any dead time, so you barely notice it.  In terms of who owns this track, I will give the nod to the host, though the props can be evenly distributed.

“Westside Slaughterhouse” by Mack 10 featuring Ice Cube and WC

The beat bangs.  That must be said first.  Secondly, the rapping is on point all around, which is was shocking to me (not a big Mack 10 fan).  Besides setting the table for what would become Westside Connection, the song is also known for Ice Cube taking a shot at a then moderately known Common.  Common eventually defended himself impressively, but that doesn’t take away from this song.  There isn’t much to say about it other than nod your head and enjoy the punch lines.

“The Symphony” by Marley Marl featuring Kool G Rap, Big Daddy Kane, Masta Ace, and Craig G

Most older Hip Hop press members would probably declare this to be the best Hip Hop posse cut.  I’m not sure I agree, but the argument is very easy to make.  Not to mention, no posse cut before this could even compare.  Marley Marl used a familiar Otis Redding sample for the beat and each emcee steps to the mic and sounds more impressive than the one before them, setting the stage for Big Daddy Kane to end the song on the highest note.

“Scenario” by A Tribe Called Quest featuring Leaders Of The New School

Sometimes you know certain things will blow up before they do.  When I first heard “Bad Romance”, I know I’d probably hear about Lady Gaga more than I had ever wanted to.  I remember having a similar feeling when hearing this song, but in different way.  For starters, “scenario” is actually a good song.  The song was a moderate hit, but what set it apart was the appearance of Busta Rhymes (then a member of Leaders Of The New School).  He appears on the song twice and the second time he appears, it was one of those moments, you just knew he was going to be a star.

“The Corner (Remix)” by Common featuring Scarface and Mos Def

The original version of this song appeared on Common’s comeback album Be.  While the original is nice, I’ve always been partial to the remix.  Scarface is my opinion should’ve owned this track, since I’d argue he’s the best of the 3, but the host is allowed to shine, while he and Mos Def play the complimentary role. 

“Self Destruction” by The Stop The Violence Movement (KRS-One, D-Nice, Ms. Melodie, Kool Moe Dee, Chuck D, Flavor Flav, MC Lyte, Doug E. Fresh, Stetsasonic, Heavy D, and Just-Ice)

After a fan was killed during a Public Enemy/Boogie Down Productions concert, KRS-One decided to form an organization and get some of the biggest names in the East Coast Hip Hop scene at the time to make people more aware of the influx of violence going on.  The result was this great song.  It’s catchy and informative without being preachy.  Some of the biggest names in the West at the time also gathered for what I always thought was a much weaker song called “We’re All In the Same Gang”, but nonetheless the message was the same.  Unfortunately the issue is every bit as relevant now as it was then.

“Black Ice” by Goodie Mob featuring Outkast

Goodie Mob made sure to set off their second album with this gem.  Everything about this one works.  No one tries to heard to take first place.  Many posse cuts suffer when that occurs.  This is probably one of the purest songs on this list.  Andre 3000 ends out the track and rightfully so.  It was pretty much over after him anyways

…and that concludes this month’s edition of T.Q.D’s Corner.  I know I left out some great posse cuts, but I can’t name them all.  Feel free to respond with your favorite posse cuts.  And of course, if you are unfamiliar with any of the songs above, I’m sure you can find them on YouTube.  Until next month, take care.

His influence on Hip Hop can be plainly seen in folks like Big Pun, Biggie, Jay-Z, Nas, Treach, Raekwon, Mobb Deep, Pharoahe Monch, Eminem, Scarface, among many others.  Besides rhyme technique, he also specializes in story telling.  I’ve often argued that very few can touch him in that department. 

Even with his obvious and vast influence on Hip Hop as we know it, he decades later remains without even single gold plaque.  If ever there was an argument that respect and influence don’t equal sales, he would be exhibit A.

On July 20^th, Kool G Rap turned 42.  In honor of his belated birthday, here is a look back at his discography up to this point. 

Kool G Rap & DJ Polo – Road To Riches (1989)

This album was the debut and only scratches the surface of what was to come.  The topics range from bragging, Mafioso, street tales, and simply delivery showcasing.  Most people I know dig this record a little more than I do, but I think it’s a solid debut.  This album is pretty much the blueprint for ‘90s east coast street Hip Hop.  The beats are provided exclusively by Marley Marl. 

The hit songs (“Road To Riches”, “It’s A Demo”, and “Truly Yours”) were all nice, but I was more a fan of a couple deep album cuts.  “Men At Work” in my opinion is easily one of the top 5 Hip Hop jams of the ‘80s.  “Poison” is the other jam I always had a special affinity for.  It should be noted that it is this “Poison” song that contains the vocal sample for the Bell Biv Devoe hit of the same name.

Kool G Rap & DJ Polo – Wanted: Dead Or Alive (1990)

Whatever freshman mistakes Kool G Rap made on Road To Riches were fixed up just a year later.  The production took a step up.  Large Professor, Eric B, along with G Rap and Polo themselves shared production duty.   

Subject-wise, this album could be considered a sequel to Road To Riches.  However, that is in no way a detriment.  The formula was the same, but it was improved upon very much.  G Rap even tries out some new rhyme techniques (still bitten to this day) very successfully.

My favorite tune on this album is “Bad To Bone” hands down.  This album plays nicely all the way through, but that one stands out majorly.  The only really weak jam would be “Erase Racism”, which features Big Daddy Kane and Biz Markie.  Kane and G Rap together in 1990 had no excuse for making such a wack tune, but they made up for it on the next album.  Nonetheless, if you can only cite one song as weak, that’s a success.

Kool G Rap & DJ Polo – Live And Let Die (1992)

Due to label cold feet from the Body Count “Cop Killer” controversy at the time, this album was delayed by roughly a year.  Regardless, it eventually came out and thankfully so.  This album is damn good.  On the first two albums, Kool G Rap was a pretty varied rapper.  There was some street rap, battle rap, social commentary, and a few other things mixed in between.  This album saw a departure, as he focuses more on the streets this go round.  That is not a bad thing.  Of the first three albums, this one is easily the best.

The production this go-round is pretty much co-produced by Sir Jinx (see: Death Certificate and The Predator by Ice Cube) and Kool G Rap.  There are also a few tunes produced by a young TrackMasters.

Out of 17 tracks, there are really only a few soft spots.  I’d call that a success.  This album contains what I think is easily the best G Rap song, as well as a top 5 Hip Hop song from the ‘90s: “Ill Street Blues”.  That song is pure perfection.

The other notable tracks are “On The Run” (though I prefer the remix) and “Operation C.B.”, a song about the frustrations of cock blocking: genius.

G Rap and DJ Polo would amicably go their separate ways after this record to go solo.

Kool G Rap – 4, 5, 6 (1995)

I feel the same way about this album, as I do about Temples Of Boom by Cypress Hill.  4,5,6 is far from Kool G Rap’s most innovative or popular, but I personally believe it to be his crown jewel.  I’m willing to hear the argument for Live And Let Die, but otherwise no. 

This album is uncut, raw, street Hip Hop.  There are certainly a few average songs, but nothing that I’d qualify as wack.  G Rap goes real hard on this one and receives some pretty nice production as well.  I was always a fan of “It’s A Shame”, as well as the title track.  Those were the strongest in my view.  The album also contains a duet with a young Nas, called “Fast Life”.  It’s a good song, in my opinion is in the middle of the pack.  A young pre-wheelchair confined MF Grimm also makes a couple guest appearances as well.

The low sales of this album led to G Rap being dropped from his label.  He would never again sign to a major.

Kool G Rap – Roots Of Evil (1998)

This album, while not the best in the G Rap catalog, is highly underrated.  Some of the songs get bogged down by subpar guests, but that happens sometimes when trying to put people on.  One of the guests, Papoose, has become one of the better known mixtape rappers in the New York scene.

This album pretty much plays like a crime novel.  “Foul Cats”, “Mafioso”, and “Mobsta’s” were the strongest tunes in my view.  Another notable jam was “A Thugs Love Story”.  That song spans nine and a half minutes and is separated in to three parts within the same track, all the while remaining interesting.

Kool G Rap – The Giacana Story (2002)

This album was long delayed due to label woes.  However, that didn’t seem to matter one way or the other.  This album is simply bad.  The production is pretty nice, but there are simply way too many guests.  The guests are also subpar to the host.  Sure, the host shouldn’t be outshined, but the guests should also be able to hold their own.  Oh well, there are still some nice tunes, but it’s nothing really special sticks out.

Kool G Rap & The 5 Family Click – Click Of Respect (2003)

This album suffers the same issues as The Giacana Story.  G Rap holds his own, but his attempt to put on some friends backfires.  The students are okay, but are light years behind their teacher.

Kool G Rap – Half A Klip (2008)

Clocking in at a modest 9 songs, this record is not a classic by any stretch, but showed a return to form.  There is one weak song called “Turn It Out”: an embarrassing club track.  However, that’s about it.  The rest of the record is solid.

“100 Rounds”, “The Life”, and “On The Rise Again” were the notable jams.  He’s made better records, but not everything can be a classic.  I still give this album a thumbs up.

…and so, that is the Kool G Rap catalog thus far.  It’s been a couple years since Half A Klip, so I definitely look forward to his next record, which I hear is in the works.  Nonetheless, Kool G Rap is a certified legend with an undeniably legendary and influential career, but thankfully it will continue on.

Usually T.Q.D’s Corner is a chance for me to wax nostalgia about Hip Hop days gone by.  While I certainly will resume that next month, this month I am taking a moment to talk about The Appetizer EP Vol.2.  Basically, this is a series of “lost tapes” songs that won’t find a home on a full length, but are deemed worthy of sharing anyways.

The first volume of The Appetizer EP series were simply the songs that didn’t make the cut when I was recording my album Clench, Grit Breathe.  Volume 2 is composed of songs that were created during a 5 month period immediately after the album was finished.  I planned on having this EP focus on rapping with new delivery techniques and not so much emphasis on personal stories.  Life had other plans, so my subject matter changed as well.

Without further ado, I’d like to break down The Appetizer EP Vol.2

“Roll The Dice”:  I have a strange feeling this relationship is on the way out, based on certain behavior, but I can’t prove it.  If I’m right, that’s probably not a bad thing.

“Rookie Season”: I can’t believe it.  She dumped me.  This is some bullshit.  Oh well, peace out.

“Curtain Call”: She wants me back, but I want no part of it.

“Seinfeld (feat. A.Po)”:  Like the hit TV show, this song doesn’t stay on topic.  Me and A.Po just rap about whatever for a few minutes.

“Donovan McNabb”: There’s a moment after a situation has soured when you have an epiphany and realize exactly how and why everything really happened the way it did and that just makes you more angry.

“Go To Die (feat. EZRA)”: My amigo EZRA and I wax poetic about dive bars and their charm.

“Back Burner”: In the midst of intense female drama and a good friend passing away, I needed to make a “tough it out” song.

…and there you have it.  That is a simple breakdown of the tunes.  If you haven’t already listen, the link is below.  T.Q.D’s Corner will return to the usual format next month.  Until then, enjoy the EP.

http://thequietdude.com/publicfiles/T_Q_D_-_The_Appetizer_EP_Vol_2.zip

For the uninitiated, Tim Dog is a rapper from the South Bronx, who began his career in the late 80s and debuted in 1991 with the album I'm discussing: Penicillin On Wax.  Once upon a time, he was given the nickname "the 5th member of Ultramagnetic MCs", because he performed live with them on many occasions and has collaborated with members from time to time over the years.  Now that we got that out of the way, let's get in to the album.

Penicillin On Wax documents Tim Dog's disdain for certain elements that were going on in the world of Hip Hop at that time (some of which still exist today).  More specifically, he was a New York rapper unhappy with the influx of generic gangsta rap (specifically he calls out the post-Ice Cube version of N.W.A. and DJ Quik a lot) coming from the West Coast having lots of commercial success, while many other rappers from the East went unnoticed.  And of course, he had a problem with Pop Rap.  Not to mention, he just has some straight up battle rap and a few other things mixed in between.

As hinted above, much like people forget Talib Kweli declared Hip Hop dead years before Nas (see: Reflection Eternal's Train Of Thought), people forget that Tim Dog technically threw the first stone in the now infamous East vs. West craziness of the 90s.  It's just that the messenger wasn't famous enough for as many people to care just yet.

This album, as noted in the subject line, is in my humble opinion: the dopest wack Hip Hop album of all time.  Tim Dog was never known as a dope rapper.  Everyone (myself included) knew he was wack/average at best.  But why do I talk about him 19 years later?  Well, because this album is just that entertaining anyways.  The rhetoric is so over the top, but what makes it entertaining was that he was dead serious.

There are good rappers who make boring albums.  How many skilled rappers make snooze-worthy albums because they think their skill is so vast that beat quality and song structure are ignored?  Wack rappers who make intolerable music are in abundance more than ever, but there are bad rappers who occasionally make an otherwise bad song entertaining anyways.  However, never before or since has it been sustained for a whole album.  Livin' Proof by Group Home is the only one that comes close.  The beats on this album are amazing to say the least.  A better rapper could've rhymed over these beats, but I honestly wonder if the album would be as entertaining.

Without further ado, I present the song by song commentary of Tim Dog's Penicillin On Wax...

1. "Intro"

Tim Dog jacks the beat from "Kamurshol" by N.W.A. (see: 100 Miles And Runnin') for the sole purpose of telling us how much he hates them.  He also references, the first of what seems to be a million times, Dr. Dre's assaulting of Dee Barnes (then host of Fox's 'Pump It Up' tv show and member of the now defunct duo Body & Soul)...but hey, assaulting a woman is certainly a good reason to dislike someone, so whatever.

2. "Low Down N----"

The beat is crazy.  I love it.  Tim Dog's delivery...well, that's questionable.  He tries to go all Big Daddy Kane on us in the way he tries to twist some lines, but is only semi-successful.  This song finds him talking smack about the industry and of course names N.W.A.

3. "Robin Harris Skit"

A sample of the late comedian Robin Harris talking about why he doesn't like Compton is used.  This leads us to...

4. "Fuck Compton"

The song, as the title may suggest, is not actually dissing the city...just rappers from it.  This is by far, the most memorable song on the album.  For all of Tim Dog's lack of mic skill, this is by far one of the best diss tracks in Hip Hop history: highly entertaining.  The line about Michel'le is priceless.  Not to mention, one of the great bad lines ever "I'm so bad I'll whip Superman's ass!".  I laughed out loud when I first heard it (still do), mainly because you know Tim was dead serious in his delivery of the line.  Regardless, N.W.A. and DJ Quik were the named targets (no one names names in Hip Hop anymore).   Tim Dog also makes sure to let us know the Ice Cube and Ice-T are the two rappers that he thinks are dope, thus are exempt from his anger.

Dr. Dre, MC Eiht, DJ Quik, and a few others responded to this one: the most famous being "Fuck Wit Dre Day".

5 "DJ Quik Beat Down"

This skit plays exactly like it reads.  We hear a DJ Quik impostor getting beat for 20 seconds and it's over.  So pointless, yet that's what makes it so funny.

6. "Step To Me" 

This could easily be called "Fuck Compton Part 2", because it walks along the same territory.  The beats is crazy and features a Talking Heads sample ("Once In A Lifetime").  If you analyze the rhymes literally, we're led to believe that the real beef he has is with Eazy-E, Dr. Dre and DJ Quik.  He claims to have no beef with MC Ren, but still says his rhymes are whatever and once again exempts Ice-T and Ice Cube from any criticism.  Like "Fuck Compton", this is one of the best (or at least most entertaining) battle raps of all time.  Not to mention, Tim Dog, in terms of mic skills, actually turns in some quality lines on this one.

7. "Phone Conversation w/ Reporter"

Like the DJ Quk skit, this one is short and pointless...however this one is just lame.  Skip.

8. "Bronx N----"

Tim Dog takes a break from bashing N.W.A, to attempt a story telling rap.  The actually events depicted, rival the realism of a B-action movie, but who said all stories have to be real.  The hook is lame, but the verses from a skill point of view aren't too bad. 

And like damn near every beat on the album, this one bangs.  Can we get an instrumental full length of Penicillin On Wax please?

9. "You Aint Shit"

This song is talking smack about non-deserving unskilled pop rappers making it big.  Funny, many indie rappers to this day, build their careers on making countless tunes from that same "original" premise many years later...but I digress.  Young MC, Kid N Play, Kwame are called out specifically.  For whatever reason, MC Hammer is only halfway dissed.  He calls him a "wack ass rapper, but a dope ass dancer".  Come on Tim, it's MC Hammer.  Go all in.

10. "I Aint Takin' No Shorts"

Tim takes break to do a subpar Chuck D impression and comment on the ills of society.  Oh well, this beat bangs and sounds in the vein of The Bomb Squad.

11. "NFL Shit"

A sportscaster sound bite telling us that the NY Giants beat the SF 49ers in a football game...sounds like a subtle (and hilariously lame) West Coast diss.

12.  "I'll Wax Anybody"

As the title suggests, Tim Dog really does attempt to wax anybody.  Disses are thrown at just about everything and everybody.  Eddie Murphy and Monie Love are called out by name...and of course N.W.A.  "Nautilus" by Bob James is sampled for the millionth time in Hip Hop (look it up), but is sampled nicely here too.  Tim Dog doesn't sound bad or good, just entertaining.

13. "Michel'le Conversation"

A Michel'le impostor interrupts Tim Dog in studio to let him know she didn't appreciate the reference on "Fuck Compton".  He then proceeds to use the Dee Barnes incident to do some "I can treat you better than him" macking.  The skit is lame, but is memorable for the fact that I wasn't sure anyone else had the chipmunk/mouse voice that Michel'le had.  I know it was an impostor, but I'd prefer to believe otherwise.

14. "Can't Fuck Around"

This is the first dud beat of the album.  The sample is the same and used the same way as "Warm It Up Kane" by Big Daddy Kane.  This can't help, but make me compare Tim Dog's rapping to that of Kane's...which Kane easily wins.

15.  "Dog's Gonna Getcha"

Oh My God!  First off, this beat bangs.  Secondly, this is hands down the FUNNIEST song in the history of Hip Hop.  However, why I find this funny is probably not for reasons Tim Dog would like.  This song is macho posturing at it's most cartoon-ish.  The barrage of threats and rhyme skills are just downright laughable.  It's basically 3 minutes of grunts and threats.  I can't really describe it further.  You have to just hear this one for yourself: http://www.youtube.com/watch?v=STJLbUpGZpw

16. "Going Wild In The Penile"

Tim Dog takes a break from the West bashing to attempt another story rap about time in prison.  The beat is a dud.  The rhymes obviously are a dud (though he has a couple nice lines) too.  Skip.

17. "Get Off The Dick"

This song was the obligatory gold diggers jam that was all the rage (popularized by EPMD's "Gold Digger") in the early 90s.  The beat is dope once again.  The rapping on "Fuck Compton" is bad, but entertaining.  The rapping on "Get Off The Dick" is just bad...although the message is great and timeless.

18. "I Aint Havin' It"

Tim Dog gets away from the serious messages and gets back to battle rap.  Kool Keith joins in and outshines Tim Dog, which wasn't tough to do.  Tim Dog, once again, stays entertaining even though he's not that good.  And I've said like a broken record, the beat is damn good.

19. "Patriotic Pimp"

The title itself is intriguing.  I'd argue this is one of the great song titles in history.  The beat bangs once again.  Tim Dog is hella basic, but once again comes with some unintentionally funny rhymes.  He attempts to twist a few lines in the Big Daddy Kane style which is so-so in excutuion, but the effort is there.

20. "Secret Fantasies (feat. Kool Keith)."

I'm convinced the studio engineer must have burst a blood vessel trying to withhold laughter when this song was recorded.  This song is just bad all around.  The corniness of this song gets me to laugh profusely, but I highly doubt too many people could make it all the way through this one.  How this song was created with a straight face puzzles me. 

...and there you have it.  Did Tim Dog have mic skills?  Once in a while, but not really.  Could he entertain?  Absolutely.  My main gripe is that we've never been treated to an instrumental version of this album.  These beats are amazing.  I will argue with a straight face that Penicillin On Wax is one of Hip Hop's top 10 best produced albums, if we're just talking strictly beats. 

As a rapper, Tim Dog was and remained over the years, rather basic.  Oh well, even though he was dead serious, that's what actually makes it funny and entertaining.  Let this be a lesson to you wack rappers.  Just because you aren't very good doesn't give you an excuse not to entertain.  And let's be real, good rappers can be boring (see dime-a-dozen skilled mixtape rapper who thinks beats and hooks don't matter).  If Tim Dog can be entertaining, so can you.

Before we get started, let me say that I don't necessarily think these albums are weak (though in some cases, yes).  Their placement on this list means they are highly regarded by critics and the masses as classics, which I believe to be far from the truth.  And of course as always, I'm not afraid to have an opinion, so feel free to disagree.  Let's get it started (no MC Hammer). 

1. Public Enemy - Yo! Bum Rush The Show

People seem to have this strange obligation to hold an artist's (whom they respect) first album in high regard, no matter what comes later.  The unwillingness to accept that an artist can get better seems to be given to some and not others.  This album fits the bill.  Yo! Bum Rush The Show is absolutely not one of the best Hip Hop albums of all time.  It isn't even one of the best Public Enemy albums of all time.  It Takes A Nations Of Millions To hold Us Back, Fear Of A Black Planet, Apocalypse '91, Muse Sick N Hour Mess Age, He Got Game, There's A Poison Goin On..., and Rebirth of A Nation are all better.  I'm not sure how anyone can listen to the Public Enemy catalog and disagree.

What we are dealing with is an album that is simply okay.  Public Enemy was just getting their feet wet.  Yes, "Public Enemy Number 1" is a certified classic song, but that's about it.  The rest of the album was a collection of just okay songs.  It should also be noted that Red Hot Chili Peppers fans may recognized the first song, "You're Gonna Get Yours", which the band covers in many of their live shows...but I digress.

By all accounts, Public Enemy's live show was like nothing that had ever come before.  However, their studio sound feature beats rather generic for for the time and Chuck D, simply hadn't found his voice yet.  On album number 2 and beyond, he grew to become the living legend that he is today.  On Bum Rush he might as well have called himself "Chuck DMC".  That's no shot at DMC (underrated in his own right), but Chuck simply hadn't become his own man yet.  As a result, the album was nice, but nothing special. 

In interviews with members of the group, they attribute the initial lukewarm sales (though in later years it eventually went gold) to the masses simply "not getting it yet".  I'd argue the slow sales were a result of the group not being great just yet.

2. 2Pac - All Eyez On Me

Anyone who remembers the time, knows that this album was going to be an absolute smash hit.  A recently bailed out of jail 2Pac, was set to follow up his classic Me Against The World album on the label to finally to dethrone Def Jam as Hip Hop's king of the hill: Death Row Records.  The stage was set to sell a ton of records and he did...and of course there was the beef with Biggie, but that situation is much too deep (and lame, if you ask me) to get in to.

I don't remember going anywhere in the summer of 1996 without hearing someone bumping this album.  I remember my brother, driving me around bumping this album non-stop.  The common opinion of this album is that you can take or leave disc 2, but that it's a classic based on disc 1 alone.  Me Against The World is a classic.  I'll argue that logic in itself is flawed if you think about it for more than 5 seconds.  All Eyez On Me is a bloated dud with a few classic songs and not much more.

So you don't think I'm a total spoil sport, let me tell you what I do like about this album.  "Ambitionz Of A Ridah" was the perfect way to set it off.  The beat is killer, and the rhyme pattern used is top 5 when it comes to 2Pac songs.  "Mind Made Up" featuring Tha Dogg Pound, Method Man, and Redman, is arguably one of the top 10 (easily top 20) Hip Hop posse cuts of all time.  "No More Pain" also holds a special distinction to me as one of the shortest 6 minute songs I've ever heard.  There are a few other jamsI thought were okay on this one, but a lot of it, especially when I look back now: doesn't stick to the ribs.  It sounds like he just made a ton of songs, and everything made the final cut.  Considering what we know of his output (see plethora of posthumous material), I'm going to guess that was the case.

Also, this album fits the mold for what I hate most about a lot of Hip Hop records: too many damn guests.  2Pac doesn't spend  a lot of time flying solo on the mic.  I don't care who you are, that lose points with me...especially when most of your guests are wack.

3. Notorious B.I.G. - Life After Death

I am going to declare this one of Hip Hop's most influential albums, but not for reasons that most people might think.  In fact, this album's influential legacy is the very reason I like maybe half the songs and find the other half to be garbage...and I'm going to blame this more on Puffy than anyone else.  It has become common knowledge that Puffy loves the radio hit and Biggie was never a fan and preferred the raw street jams.  Nonetheless, Puffy's fingerprints are all over this album.

This album is the moment we saw many mainstream rappers (to this very day) try and make albums with "a song for everyone".  On this particular album, there is a song for everyone.  There are introspective jams, club jams, storyteller jams, raunchy sex jams, pop hits, grimy street jams, posse cuts, and damn near everything else you can think of.  As a result, an album by an otherwise gifted emcee only sounds half as good as it should.  There's too much filler trying to pander to each potential listener.  As a result, we are left with no cohesion at all.  This is not really an album.  It's a collection songs.  However, like pretty much every double album, it could be condensed in to something much greater than what we got.

That's not to say there aren't good songs, because when the album is on, it's on.  However, for every "Kick In The Door" and "What's Beef", we have to sit through "Fuckin You Tonight" and "Nasty Boy".  I like exactly half of this album and ignore the other.  The reverberations from this album can still be heard to this day.  How many albums have you heard in the past 10 years where the record could been much better, but wasn't because the cohesion of an album was forgone in order to please everyone? 

There's also the issue of B.I.G. being immediately catapulted from "dope" to "great" or "greatest" in the eyes of many having died a couple weeks before the album was due to be released.  Regardless of your opinion on this record, let's be real.  Unless he laid a complete egg of Vanilla Ice proportions, this was bound to be called a classic by the masses and critics, whether people truly believed it or not.

4. EPMD  - Strictly Business and Unfinished Business

People familiar with my fondness for late 80's-early 90's Hip Hop might be surprised by this one, but it's very simple.  Erick and Parrish just weren't that good yet.  The EPMD catalog doesn't begin until Business As Usual.

The beats on both of these albums are good for there time and could certainly be considered groundbreaking for their time.  However, the mic skills and more importantly their mic presence was severely lacking.  The rhymes didn't really stand out much to me.  They weren't bad, but when you're albums come out at the same time as Big Daddy Kane, Kool G Rap, Rakim, Public Enemy, Slick Rick, and many more at their most groundbreaking points, there just wasn't anything special.  However, the masses don't share my opinion, since of these albums went gold.

Mic delivery on the first two albums straight up doesn't exist.  The vocals are dull and contain no feeling/passion whatsoever.  These albums froma delivery stand point sound like they were reading off the paper trying to get the words right before the real take, then just decided to record the practice run.  If an amateur raper came along rapping like Big Daddy Kane's first album, they'd be called a promising up and comer.  An amateur who came along imitating EPMD's style from their first two albums would be laugh off the mic and told never to rap again.

I'm not saying EPMD was weak, but I am saying their first two albums are, at least when it comes to mic stance.  When Business As Usual come around, they became the dope duo that people give them credit for.  Their next two albums Business Never Personal and Back In Business (yes, they loved business) were also quality as well.

Their first two albums are certainly influential, since one can hear many lines bitten from them through the past couple decades.  However, much like with choice number one this list (though Yo! Bum Rush is better than these two put together), EPMD simply hadn't found their groove yet.

5. N.W.A. - Straight Outta Compton

Yeah, I said it.  This album is overrated.  Influential?  Yes.  Often imitated?  Yes.  All that memorable?  No. 

This album to me, just doesn't stick to the ribs.  Even in my young days of enjoying anyone who said motherfucker more than twice, I found myself, listening to the title track, "Gangsta, Gangsta", then skipping to "Dopeman", then turning off the album.

It's no secret that Ice Cube was light years ahead of the group in the skills department (also see: Scarface vs. the other Geto Boys).  All one has to do is listen to this album and look at his accomplished solo career.  He was the giant, carrying the load with comrades who simply weren't in his league.  MC Ren was a solid rapper, but he couldn't touch Ice Cube and didn't really hit his stride until he went solo.  Dr. Dre was a beast on the beats, but we all know he has no emcee skills of his own.  And Eazy-E, just like Dre, had a good voice, but depended on Ice Cube writing for him.

Beyond those three classic songs I previously mentioned, there's a lot of macho posturing that simply never did it for me and to a certain extent sounds pretty corny now.  And I the only one who found it laughable to tack "Something 2 Dance 2" at the end of such a hardcore record?  I'm all for variety, but come on... 

...and that about sums up my list.  I'm sure some people disagree with me, which is fine.  I have a feeling people would disagree even more with the one's I left out.  And that's all for this month's addition of T.Q.D's Corner.  What will we chat about in April?  Stay tuned.

Young Black Teenagers were an early ‘90s New York Hip Hop crew who sound very much their time period.  The best description of their style would be equal parts Leaders Of The New School, Das Efx, and Fu-Schnickens.  They were discovered and signed by Hank and Keith Shocklee from The Bomb Squad (see: Public Enemy).  The group members were Kamron (who you may remember as Jamal from House Party 2), First Born, DJ Skribble (who is probably better known for his days at MTV), ATA, and Tommy Never (who left after the first record). 

The story sounds normal so far, but what's the big deal?  Well…all of the members of Young Black Teenagers were white.  I recall an interview back in the day suggesting the name was a tribute the influence black culture had on them.  While that actually makes sense, most people (myself included) thought the name was corny.  Since it was known that they were a Hank and Keith Shocklee discovery, the ridicule their name received was much less then it could’ve been.

Their first album was the self titled Young Black Teenagers.  The combination of people laughing at their name and the fact that their rapping was generic for it’s time led to mediocre sales and minimal critical praise.  However, they fared slightly better next time around.

Their second and final album Dead End Kidz Doin Lifetime Bidz sold poorly as well, but they did manage to score a hit single with “Tap The Bottle”.  Those of us who watched Yo! MTV Raps back in the day saw that video in regular rotation.  With Hank and Keith Shocklee as well as Terminator X once again handling the beats, they were safe on that front and the rapping was much better this go round.  While they kept their name, they thankfully started calling themselves YBT at every opportunity, but everyone still remembered what the acronym meant.

They ended up breaking up after the second album for reasons I’m not aware of.  Looking back, they were not the greatest group in the world, but it’s hard not to assume they might have had a much better commercial career had they not been too clever their own good.  Oh well, hindsight is 20/20.  And hey, they still can say they had a top 10 Rap single. 

 Watch the “Tap The Bottle” video here: http://www.youtube.com/watch?v=_E5JNYoDT48

1. Public Enemy - Muse Sick N Hour Mess Age

I always thought it was strange that the masses decided they were tired of Public Enemy, when they at the same time happily embraced a then, new Rage Against The Machine.

Many album in the Public Enemy catalog could make this list.  There seems to be an opinion among a segment of the Hip Hop community that thinks the Public Enemy catalog is crazy up until Apocalypse '91 and that anything afterward is nothing special.  Well, whatever those people are smoking: I don't want it. 

Muse Sick is thought of by a lot as the moment Public Enemy fell off.  Commercially, that is correct.  This album went good, but 16 years after this albums release, Public Enemy hasn't scored a RIAA plaque since.  Creatively speaking though, I strongly disagree with the notion that they'd fallen off.  In fact, I this is one of the best Public Enemy records and is WAY better than one of their earlier albums...but we'll talk about that in part 2.

In some respects, it's easy to understand why this received a lukewarm response.  First off, fans get tired of everyone eventually.  Secondly, in 1994 gangster rap was fresh, hip new and exciting, making politically oriented records the exception, rather than the rule.  Third and perhaps the least talked about reason was that this album simply sounded different than any Public Enemy at that point (production-wise that is).  Gone were the days of free-for-all sampling without litigation, so the sample collages of of their previous albums couldn't happen without deep pockets.  There was still sampling, but the beats incorporated a lot of live instrumentation, which threw a lot of people off...but for some of us, that was a welcome change of pace.

Lyrically, Chuck D (full disclosure, I think he's the GOAT) sounded as sharp as ever.  Not to mention, he had balls.  Songs like "Give It Up" and "So Whatcha Gonna Do Now" criticized gangster rap for that fact that it quickly became and would become an even bigger caricature (well, was he wrong?), a message not well received by fans and press who preferred to go with what was hot at the time.

Songs like "Live & Undrugged" and "What Side You On" have also stuck with me over the years.  Besides the contact, the live instrumentation and lyrical flow is crazy.  The only duds (like ever PE record) are when Flavor Flav gets on the mic for a couple solo cuts.  Oh well, if I had a guy who played 12 instruments and could help make beats: let him him a couple moments.

2. Cypress Hill - III: Temples Of Boom

The self-titled debut was their most groundbreaking.  The follow up Black Sunday was their highest selling.  However, I've always been a firm believer that the third Cypress Hill album is their best and it's not even close.  DJ Muggs pretty much stuck to his strengths on the beats (dark), but I believe the formula was perfect on this record.

Lyrically, B-Real and Sen Dog have never been overly profound content wise, but they, especially B-Real who got most of the mic time: went a little deeper then usual.  Sure there were the usual weed songs ("Spark Another Owl") and the generic street content (most of the album), but is was presented in a way we hasn't heard yet: chilled out.  Not to mention, B-Real had some deep tunes (notably "Illusions") and dissed Ice Cube ("No Rest For The Wicked") in what I have previously argued is one of the best dis tracks we've ever had. in Hip Hop.

This album still went platinum, but critics and fans, as evidenced by their later sales, weren't as in to Cypress Hill as they used to be.  I'm not sure why.  To me their first album, while dope, has plenty of rookie mistakes and their second album is also dope, but doesn't quite bring it all home like they do an Temples Of Boom. 

3. Kool G Rap - 4,5,6 and Roots Of Evil

For reasons that puzzle me, Kool G Rap has never scored so much as even a single gold plaque.  This is further proof that sales are good for the wallet, but certainly don't indicate skill, because it's not even up for debate that Kool G Rap is one of the best to ever pick up a mic.  Many of people's favorite rappers agree, otherwise they would still be using many of his rhyme techniques many years after the fact.

In any case, save for Slick Rick it doesn't really get much better than G Rap when it comes to story telling.  These albums simply add to his legacy.  Many believe once he parted ways with DJ Polo, Kool G Rap just wasn't the same guy.  I'll agree that he later showed signs of ware and tear (see: Giacana Story), but I will confidently argue that 4,5,6 and Roots Of Evil are by far the best Kool G Rap albums.  He may have better songs elsewhere, but I'm talking about albums.  His rhyme patterns were as sharp as ever on 4,5,6 and Roots Of Evil has a crazy storyline that plays out every bit as entertaining as a novel.  The average gangster rapper wishes he could make records like Kool G Rap.  I could certainly pin point special songs, but these albums are just that: albums.  

4. Slick Rick - Behind Bars

Slick Rick is absolutely one of the all-time greats, but it's still hard not to wonder what could have been.  In 1990, he went to jail for reasons you can read about elsewhere.  He was released in 1996.  As the story supposedly goes, Slick Rick scored a one week work release.  During this week before returning to jail he wrote and recorded what became the album Behind Bars.

At the time, this album received lukewarm reviews and sales for reasons I'm not aware of.  Whoever didn't like this record must have heard something different from what I did.  This album is vintage Slick Rick lyricism and was a definite step up from The Ruler's Back in the beats department.  Lyrically, I'd argue it's as good as anything he's done.  At 11 songs (9 new ones, 2 remixes), it's an easy listen.  The title track and "All Alone" are the songs that stuck out to me.  There's even a remix of the title track produced by and featuring Warren G, which was pleasantly surprising.

The only frustrating thing about Behind Bars is that it was put together in such a hurry.  The Ruler's Back was actually put together under similar circumstances.  If Slick Rick could create an album this dope in one week: who knows what he could have made had he actually been free and able to take his time. 

5. MC Lyte - Act Like You Know

I'm of the opinion that Eyes On This is the crown jewel of the MC Lyte catalog, which I don't think too many Hip Hop heads would disagree with.  However, I seem to disagree with many when I declare her third album Act Like You Know as second best.  

This album is a classic example of an artist changing up there sound with half of their fans welcoming a shift (me included) and the other half wishing they remake the previous record.  Some artists can remake the same records and sound fresh, while other need to change up to stay fresh.  Lyrically, the album is about what one would expect from MC Lyte in 1991.  The problem many had with this record were the beats.  It is semi-understandable, given that her raw beats from previous records were ditched (somewhat) for a still uptempo, but more softer and melodic sound.

The beats definitely weren't the best beats MC Lyte has ever rapped over, but she rapped over beats that fit well.  I'd argue that sometimes it's not about how good the beats are, but how well the complement the words being said.  In that respect, Act Like You Know is a big success.

...and that concludes the first installment of "What were people thinking?" when I talk about 5 albums by Hip Hop legends that are, in my opinion, overrated.  Until then, take care.

Regardless of your opinion on the quality or lack thereof, in the past decade of Hip Hop, it wasn’t tough to walk away with some personal favorites.  Here are my personal favorites when it comes to top albums of the decade.

1. J-Live – 'All Of The Above’

As an admitted Public Enemy fanatic, I always wondered if I’d ever enjoy an album more than ‘Fear Of A Black Planet’ (yes, I think it’s better than ‘It Takes A Nation Of Millions To Hold Us Back’…way better).  In 2002, I found it from someone I’d never thought I’d hear it from: J-Live.  This is hands down, my favorite record in Hip Hop.

The songs are sequenced perfectly and the subject matter is varied enough to keep me interested throughout.  The only slip up in my opinion comes courtesy of the lone song with guests, “3 out of 7”.   Oh well, every album has at least one dud.  I could discuss most of the tunes, so I’ll spare you the long essay, although I will say the title track is my personal favorite. 

2. Scarface - 'The Fix'

Contrary to what a certain Atlanta emcee self-proclaims, the true king of the South is from Houston, TX.  When I heard this album back in 2002, I was sure this would be the album of the decade…until I heard J-Live a couple months later.

Scarface is one of the all time greats in my opinion and while his catalog is legendary, this is head and shoulders above anything he’s done before or since.  Even the interludes are worth listening to.  Scarface dug real deep on this one.  “In Between Us” feat. Nas is my personal favorite.  However, “Someday” feat Faith Evans and and “Heaven” are also highly noteworthy.  The only weak link was "I Aint The One" feat. WC.  Even the CD digi-pack design is crazy.  For those who only have a digital version, they are missing out.

I remember Scarface announced what ended up being a short-lived retirement due to believing he “couldn’t make a record better than this”.  He was absolutely right.  If you add up the solo records and Geto Boys albums that led up to this, he already made plenty of music.  To me, that makes this album even more impressive as proof that age doesn’t have to mean a decline.

3. Micranots - 'Obelisk Movements'

Unlike the rest of the albums on the list, I was totally unfamiliar with Micranots when I first heard this album, so I had no expectation either way  This album totally blew me away and still does.  Kool Akiem's beats on the surface, seem a tad basic, but I'm a firm believer that lyrics or beats alone don't make a song.  The question is do they compliment each other?  The answer on this album is yes.

This is not an album for those who just want to nod their head.  I Self Divine, who happens to be a local main stay (and a somewhat underrated one here in Minnesota) doesn't waste a single song.  Every song is deep.  There are personal songs, political songs, and everything in between. 

This album is the thinking Hip Hop fan's dream.  And I must say, it's thoughtful music that you can wrap your head around.  You may or may not agree with all of the views and opinions, but they are expressed in an artful way: not too simplistic/bumper sticker, but also not so tough to understand.

At first I thought it was good, but with each listen over the years, it gets better.

4. Q-Tip - 'The Renaissance'

Like most Hip Hop fans who wax nostalgia about A Tribe Called Quest, I was dumbfounded when I heard the embarrassment known as ‘Amplified’.  Well, many years and record label politics later, Q-Tip released the solo album we expected 'Amplified' to be.

With the exception of one J Dilla beat, Q-Tip does all the production himself.  It is nothing short of great.  Q-Tip also regained his touch with the pen.  There are some fun tracks, social commentary tracks, and relationship tracks among other things.  It's very well balanced.  It’s truly an album, which in these days and times becomes harder and harder to find.

The standout tracks to me would be “Johnny Is Dead”, “You” (one of the best break up songs ever), and the lead single “Gettin Up”.  There isn’t much more I can say about this record.  It’s is simply great.

5. De La Soul - 'AOI: Bionix'

I beg to differ with many folk, and will confidently argue that the best De La Soul music (save for my favorite ‘Stakes Is High’) was made in the 00’s.  I believe De La Soul really stepped it up on this album.  After the solid, but nothing special ‘Art Official Intelligence: Mosiac Thump’, I wasn’t sure what would come next.

AOI: Bionix is a certified classic.  The balance between fun and serious tracks is done very well.  Some unexpected guests in Devin The Dude and B-Real, among others joined in to help make some memorable tracks.

The standout tracks to me would be “Peer Pressure” feat. B-Real (perhaps the most creative weed song ever) and “Held Down” feat. Cee-Lo.  Other than some skits (never a fan of them), this one is pretty hard to complain about.

6. The Roots - 'Game Theory'

This decade brought us a more serious version of The Roots.  For years, they were a funky Hip Hop band fronted by Black Thought who made fun raps: nothing too deep, just good.  Perhaps, it was due to inner group strife (see Malik B) or the changing political times, but he Black Thought actually started living up to his name.  The Roots kicked off this decade with 'Phrenology': more serious, but Black Thought lost his edge and even the band wasn't up to par.  However, they soon bounced back.

The Roots got signed by Def Jam and put out 'Game Theory'.  At the time, this was the darkest record put out by The Roots.  The beats are funky , but very dark (which I’m a sucker for) and Black Thought further moved himself away from the rap about rap songs and made message oriented tunes the rule, rather than the exception. 

What we end up with a is a record striking the balance between entertaining and personal.  “Clock With No Arms” is my personal favorite on this one (a top 5 all time Roots tune to me), among others.  The album also has a guest appearance from Peedi Crakk, which other than being from Philadelphia, puzzled me, but he turned in a good appearance.  It can also be argued that Quest Love to this day, did his best production job.

7. Reflection Eternal - 'Train Of Thought'

Back in the Rawkus infant days, a debate among indie Hip Hop fans was which Black Star member was the better rapper.  To the contrary of most folk, I always argued Talib Kweli and I think this album helped me make the argument more convincingly.

Hi Tek provides, what are probably still his best beats, that compliment Talib Kweli perfectly.  There are a lot or memorable songs.  My personal favorites were always “Love Language” and “Memories Live”.  Kool G Rap also makes a guest appearance among others, which is always top notch.  My only complaint was “Move Somethin”, which to me sounded like the obligatory single, but there isn’t much else to complain about.

I hear Talib Kweli and Hi Tek are finally back in the studio working on a new album together.  Regardless of how it turns out, it can’t tarnish legacy of this highly influential classic.

8. Pete Rock - 'Petestrumentals'

Pete Rock is my all time favorite Hip Hop producer (I can hear the "Primo!" and "Dre!" shouting already already).  I had been waiting for an instrumental record from him for a while, but like all highly anticipated records, I was expecting be let down.  To my surprise I was not. 

This to me is what an instrumental album should be.  It carries a vibe and stays on point all the way though.  I can’t ask for anymore than that.

9. Sage Francis - 'Personal Journals'

I’ve never been a huge fan before or since, but this album is a winner.  The title pretty much speaks for itself.  It’s a nice collection of solids beats and solid rhymes documenting hard times, whether they are his or someone else’s.  “Inherited Scars” is always the song that stuck out for me on this album.  There are certainly a few songs that are just so-so/skip worthy, but there weren’t any bad songs. 

10. Paris - 'Acid Reflex'

For those of you unaware (or who forgot), Paris is a 20 year seasoned vet with a highly consistent catalog and can be best summed up by simply asking the question: What would Chuck D sound like if he grew up in California?

With ‘Acid Reflex’, Paris came with arguably his best record.  His flow is as sharp as ever and he continues to make his case for best emcee/producer.  There are other emcee/producers who make better beats, but I’m not sure any emcee/producer (save for maybe El-P) sounds as at home over his own beats as Paris.

How much you enjoy the content, will depend on your political beliefs, but then again, most people who like gangsta rap can’t relate to street life, so that “I need to relate” attitude people have is bullshit anyways, but that’s a whole other column… 

The point is, Paris has skills and unlike many rappers who come from his era, he seems to be every bit as good as when he first started and is some ways is even better.  He doesn’t skate around issues and just shout out “revolution” 90 times, like other some other so-called conscious rappers.  He has his opinions and lays out his case.  Whether you agree or not is up to you.  The stand-out tracks in my view are the title track “Acid Reflex” and “Don’t StopThe Movement”.

What once was an enjoyable duel of snaps and direct personal jabs, has become a tired exercise of two guys going back and forth calling each other gay/homo for a few minutes each, with nothing else being brought to the table.  As a tribute to this lost art, I'd like to celebrate my 10 favorite Hip Hop disses.

1. "No Vaseline" by Ice Cube

Ice Cube's skill was light years ahead of the rest of N.W.A. when it comes to mic skills, so it shouldn't have been a shock when his response to a wack (in my opinion) diss track from the remaining members of N.W.A.  There isn't much to say about this song other than it was so thorough, there's no debate as to who won.  Even if N.W.A. hadn't broken up, this battle was over before it began.  If there's a better battle rap in existence, then I have yet to hear it.

2. "Jack The Ripper" by LL Cool J

LL Cool J versus Kool Moe Dee is arguably the most competitive battle in Hip Hop history.  They went back and forth pretty evenly,  except for this one.  Moe Dee held his own, but in my opinion, never came as hard as this.

3. "The Bitch In Yoo" by Common

10.  "Name Callin'" by Queen Latifah feat. Nikki D

Queen Latifah made plenty of dope songs in her day, but this one has always stood out as one her best.  From what I understand, Foxy Brown decided to diss Latifah on a mixtape back in '96.  Considering Foxy never wrote anything herself, it's puzzling why she'd go after Latifah.  Nikki D was also brought along for the festivities and doesn't disappoint. 

Foxy made a rebuttal called "10% Dis" (not to be confused with the MC Lyte classic Antionette diss), which was met with a "Name Callin Pt.II".  However, I'd argue that the battle was already over with the first punch.

**Honorable Mention**

"Dollars & Sense" (dissing MC Eiht) by DJ Quik and "Ether" (dissing Jay-Z) by Nas

We live in a polite society..so polite that folk seem more willing to go along with the crowd or walk away rather than (gasp) disagree.  This is especially true in politics, but I digress.

I'm going to start off with one of most contested debates.  The simple question: who are your top 10 all time emcees?  I guarantee plenty will disagree with many of my selections (and omissions).  That's fine.  I'm not afraid to have an opinion.  Here are my top 10 in order.

Chuck D

-Other emcees (some I list below) have spawned more imitators (though many have tried and failed with him) and plenty have sold more records, but no one has (and still doesn't) feel more important than the entity known as Public  Enemy.  Chuck D at his best, and even now as simply solid strikes the perfect balance between education and entertainment. 

Rakim

-No rapper after Rakim, whether they listened to him or not, like him or not, or may be too young to be familiar with him can claim they aren't under his influence.  He single-handedly changed the way people rap forever.  His lines have been bitten so much that people forget they were his to begin with...oh and by the way, his raps are brilliant.

KRS-One

-Save for a couple missteps, his extensive catalog is one the most consistent in Hip Hop history.  When he's great, he's great.  And even when he's not great, he's still damn good.  He's also highly bitten in terms of delivery and lines.  And I would also argue, perhaps the best live Hip Hop performer we've ever had.

J-Live

-Largely unnoticed, due to being an "indie rapper", J-Live is the dopest rapper  that too few people know about.  'All Of The Above" and "The Best Part" are some of the best Hip Hop records I've ever heard.  He can sometimes have a weak ear for beats (see his album "The Hear After"), but even then, the writing is as good as anyone.

Kool G Rap

-Kool G Rap is another emcee who's highly copied and emulated, but has never really been given his proper due.  His delivery is about as technically sound as anyone to ever pick up the mic and has been bitten many times over.  In my opinion, he's second only to Slick Rick in the story telling department.  Whether the stories are true or not doesn't even matter, because he never really made it an issue.  He just tells a great story and you can't help but listen. 

Slick Rick

-He's the ultimate story teller.  There are those who come close, but to this day, none do it better.  It's hard not to wonder what his career could've been had he not had his legal trouble in the early 90s and put out more records, but when he's put out albums they've been brilliant.  He's one of the few emcees, whom when I listen to and could care less about the beat behind him.

Ice Cube

-In my humble opinion, if you go back and listen to N.W.A. records, it was plain to see that Cube needed to be by himself.  He was just that much better than the group.  Once he decided to fly solo, it was full speed ahead.  He came out with 4 straight classics (I'm partial to 'The Predator') and left a mark on the game that only a select groupo can touch.  Those first four records were followed up with the two okay, but uneven 'War & Peace' discs, but like any true legend, he has since come back to being not necessarily the best, but right up there (see Raw Footage and Smile Now Cry Later)

Posdnuos

-De La Soul is one of those groups that has just managed to fly under the radar.  They never really sold a ton of records.  They just made great ones and left it at that.  While I like both emcees, Posdnuos always stood out to me.  He has a knack for being profound in such away that sometimes you don't even realize what's being said until later.  While he's never flown solo, he's always stood out enough to me to make my top 10.

Nas

-The career of Nas has been an interesting one to observe.  He started out so strong with a classic and followed that up with a dope album...and then things got fishy.  He followed his first two albums with a couple duds to close out the 90s and many folks (myself included) gave up on him.  However, he picked himself back up and spent the 00's decade with a series of quality records that now make his catalog, that of a certified legend.

Big Daddy Kane

-If we're simply talking raw talent/ability, then by far the greatest is Big Daddy Kane.  However, one's catalog must be considered, so he loses points.  'Long Live The Kane' remains a certified classic.  However, those of us who remember, saw him take a dip due to over-indulging on the mack daddy raps, thus making the final product less than it could've been.  He did manage to return and make more consistent records later (see Looks Like A Job For... and Daddy's Home), but that doesn't erase previous uneven material.  However, he's so dope that it doesn't really matter as much as it probably should.  And of course, he's another legend who has been endlessly bitten when it comes to lines and delivery.