10. Get By- Talib Kweli
It's been said that if talent translated directly into cash, Kweli would be the richest man in the world. And it's hard to argue when he's got tracks like "Get By." He'll get your head rocking even while he's telling you the horrors of the street life. The snapping percussion backs up his breath taking flow as he drops double take inducing internal rhymes. It's the sort of anthemic track that will get you pumped up to change the world.
9. Memory Loss- Deltron 3030
Del was already an underground legend when he teamed up with Dan the Automator and Kid Kola for the 2000’s most batshit album. Deltron 3030 was a rap opera where Del literally destroyed other MCs with his psychic rap powers and fought an evil bank that took over the universe (as played by Damon Albarn). And yet, it all was still gold. Del might have rhymed about killing Martians, but his flow was undeniable and, on “Memory Loss,” (with a little help from Sean Lennon), the chorus was impossibly catchy thanks to cartoonish horns. It was a dystopian party to be heard.
8. Paper Planes- MIA
Can we acknowledge how weird “Paper Planes” was? And still is? M.I.A’s British by way of Shri Lanka flow was a shocking break from the Lil Wayne impersonators that dominated the charts at the time and she still sounded more gangsta than any Tha Carter bandwagon jumper. Diplo’s Clash biting production is so catchy that you won’t even notice that M.I.A is threatening to rob everyone listening and raging against a “Third world democracy.” From those starting notes to the final screeching guitar, “Paper Plans” was the weirdest arena ready anthem of the 2000s. Rebellion that’s impossibly danceable is hard to deny.
Can we acknowledge how weird “Paper Planes” was? And still is? M.I.A’s British by way of Shri Lanka flow was a shocking break from the Lil Wayne impersonators that dominated the charts at the time and she still sounded more gangsta than any Tha Carter bandwagon jumper. Diplo’s Clash biting production is so catchy that you won’t even notice that M.I.A is threatening to rob everyone listening and raging against a “Third world democracy.” From those starting notes to the final screeching guitar, “Paper Plans” was the weirdest arena ready anthem of the 2000s. Rebellion that’s impossibly danceable is hard to deny.
7. Feather- Nujabes
Now this was a sign of the times. In the mid-2000s the most respected producers were J-Dilla, Madlib, El-P, and Nujabes. A Detroit based soul obsessed virtuoso, a gritty white dude from Brooklyn, an LA recluse, and a mad genius from Tokyo. Nujabes’ jazzy beats were part call back to A Tribe Called Quest and part future shock. The rolling piano of “Feather” moves like a Mobius Strip, mesmerizing and seemingly never ending. Florida based Cise Star brought a philosophical and positive flow to Nujabes’ tranquil beat. “The best laid plans of Mice and Men are never right/I'm just a Vagabond with Flowers for Algernon…/Fly like an arrow of God until I'm gone.” Along with Akin’s musings on race relations, “Feather” proved that the sound of hip-hop could overcome all barriers.
Now this was a sign of the times. In the mid-2000s the most respected producers were J-Dilla, Madlib, El-P, and Nujabes. A Detroit based soul obsessed virtuoso, a gritty white dude from Brooklyn, an LA recluse, and a mad genius from Tokyo. Nujabes’ jazzy beats were part call back to A Tribe Called Quest and part future shock. The rolling piano of “Feather” moves like a Mobius Strip, mesmerizing and seemingly never ending. Florida based Cise Star brought a philosophical and positive flow to Nujabes’ tranquil beat. “The best laid plans of Mice and Men are never right/I'm just a Vagabond with Flowers for Algernon…/Fly like an arrow of God until I'm gone.” Along with Akin’s musings on race relations, “Feather” proved that the sound of hip-hop could overcome all barriers.
6. B.O.B.- Outkast
“This will be the year we won’t forget!” Shouted Andre 3000 at the start of the nuclear bomb that was “B.O.B.” and damn was it true. Thanks to a slew of stunning songs Outkast took over the world, but no song in their discography was as manically grand as “B.O.B.” Screaming at the horrors of war while singing the praises of life, Outkast blended funk, rock, and sizzling verses into one brain frying song that left nearly everything else in the dust. 3000 and Big Boi both showcased their superhuman rhyming abilities as a choir sang “POWER MUSIC! ELECTRIC REVIVAL!” It still sounds like it was made in the year 2200 and, while it might turn your party apocalyptic; the dance value can’t be ignored.
“This will be the year we won’t forget!” Shouted Andre 3000 at the start of the nuclear bomb that was “B.O.B.” and damn was it true. Thanks to a slew of stunning songs Outkast took over the world, but no song in their discography was as manically grand as “B.O.B.” Screaming at the horrors of war while singing the praises of life, Outkast blended funk, rock, and sizzling verses into one brain frying song that left nearly everything else in the dust. 3000 and Big Boi both showcased their superhuman rhyming abilities as a choir sang “POWER MUSIC! ELECTRIC REVIVAL!” It still sounds like it was made in the year 2200 and, while it might turn your party apocalyptic; the dance value can’t be ignored.
5. Clint Eastwood- Gorillaz
Oh hi Del. Didn’t see you there. Yup, Tha Funkee Homosapien
is the only MC to make this list twice, and with good reason. For Gorillaz’s
first smash hit Del rose to another level. Damon Albarn threw down a stark,
scary, and spaghetti western influenced background all while winking that he
had “sunshine in a bag.” Each time those cymbal crashes came in, you held your
breath, because Del was about to come through with another mindblowing verse.
This was the opening rush of Gorillaz’s pop world dominance and there was no
better way to start. As Albarn predicted “the future is coming on.”
4. ALL CAPS- Madvillian
Now this was some proper villainy. Both of these mystery men were growing in respect and acclaim, then Madvilliany burst into the scene and, to quote Drake, “Nothing was ever the same.” Madlib’s twitching beat paid tribute to 60s TV shows and MF Doom, in his own strange way, called out weak rappers. Doom was laid back as he unspooled hypnotizing verses and rode Madlib’s delicious beat in a way that no other could. This was two supervillians at their mind boggling finest. Remember to call Doom “your majesty” and ALL CAPS when you spell the man’s name.
Now this was some proper villainy. Both of these mystery men were growing in respect and acclaim, then Madvilliany burst into the scene and, to quote Drake, “Nothing was ever the same.” Madlib’s twitching beat paid tribute to 60s TV shows and MF Doom, in his own strange way, called out weak rappers. Doom was laid back as he unspooled hypnotizing verses and rode Madlib’s delicious beat in a way that no other could. This was two supervillians at their mind boggling finest. Remember to call Doom “your majesty” and ALL CAPS when you spell the man’s name.
3. Deep Space 9mm- El-P
Give or take Aesop Rock’s “None Shall Pass,” no song in the 2000s captured the Bush era paranoia quite like “Deep Space 9mm.” Paired with one of the most thought provoking music videos of its time, El proved to be the most dangerous double threat in the game. The coldness of his flow was only matched by his chilly and industrial beat. He called out the apathy of people who turned a blind eye to injustices perpetrated by the government, pondering if he should live “existence on the fringes and such” or join in. “My generation just sit like ducks.” He also takes shots at his old record label: “Sign to Rawkus? I'd rather be mouth fucked by Nazis unconscious.” “9mm” claws at its restraints, refusing to be dumbed down by the idiot box and watch the ideas of privacy washed away. With the harrowing issue of Drone Warfare hanging over our heads El released “Drones over Bklyn,” but “Deep Space 9mm” still stands as a harrowing exercise in creeping terror. It’s rare to seek out discomfort, but you’ll crave it after “9mm.”
Give or take Aesop Rock’s “None Shall Pass,” no song in the 2000s captured the Bush era paranoia quite like “Deep Space 9mm.” Paired with one of the most thought provoking music videos of its time, El proved to be the most dangerous double threat in the game. The coldness of his flow was only matched by his chilly and industrial beat. He called out the apathy of people who turned a blind eye to injustices perpetrated by the government, pondering if he should live “existence on the fringes and such” or join in. “My generation just sit like ducks.” He also takes shots at his old record label: “Sign to Rawkus? I'd rather be mouth fucked by Nazis unconscious.” “9mm” claws at its restraints, refusing to be dumbed down by the idiot box and watch the ideas of privacy washed away. With the harrowing issue of Drone Warfare hanging over our heads El released “Drones over Bklyn,” but “Deep Space 9mm” still stands as a harrowing exercise in creeping terror. It’s rare to seek out discomfort, but you’ll crave it after “9mm.”
2. Turn the Page- The Streets
Here in ‘murica, U.K. based hip-hop doesn’t get much respect, but it was even worse in the early 2000s. It was a joke, or worse, no one knew about it. Enter Mike Skinner; London based producer and rapper who recorded the entirety of his debut LP in his closet with a mattress as his soundproofing. To put it mildly, Original Pirate Material dominated. According to Metacritic it was the best reviewed album of 2002 and made dozens of end of the year lists. And “Turn the Page” was the cinematic opener. Inspired by Gladiator, Skinner compared his own budding career and balancing the 9 to 5 life to battles in Rome. Over that truly epic string section, Skinner made one of the most compelling sounds of the 2000s, stringing complex rhymes that weaved and ducked, dodging lesser rapper’s quips. It rose above, not just above other hip-hop tracks, but most other tracks of the 2000s into some sort of musical paradise that could make any situation into a stately quest. Not bad for a genre that most people across the pond hadn’t even heard.
Here in ‘murica, U.K. based hip-hop doesn’t get much respect, but it was even worse in the early 2000s. It was a joke, or worse, no one knew about it. Enter Mike Skinner; London based producer and rapper who recorded the entirety of his debut LP in his closet with a mattress as his soundproofing. To put it mildly, Original Pirate Material dominated. According to Metacritic it was the best reviewed album of 2002 and made dozens of end of the year lists. And “Turn the Page” was the cinematic opener. Inspired by Gladiator, Skinner compared his own budding career and balancing the 9 to 5 life to battles in Rome. Over that truly epic string section, Skinner made one of the most compelling sounds of the 2000s, stringing complex rhymes that weaved and ducked, dodging lesser rapper’s quips. It rose above, not just above other hip-hop tracks, but most other tracks of the 2000s into some sort of musical paradise that could make any situation into a stately quest. Not bad for a genre that most people across the pond hadn’t even heard.
1. Save Yourself- Aesop Rock
Hip-hop is in a perpetual state of being saved. Now a days, people are claiming that Kendrick will sweep the major label slog under the rug, but there’s a new savior every few years. At the beginning of the 2000s Aesop had some sage advice for the rap purists trying to resuscitate hip-hop. “Next time you wanna be a hero, try saving something other than hip-hop/And maybe hip-hop'll save you from the pitstop!” Ace has always been a paradox, he doesn’t care about the state of hip-hop and yet he’s one of the best in the game. He made an album about the draining life that is the cubical week while twisting rhymes and words like a Brooklyn based James Joyce. Really, about half a dozen Aesop songs could have topped this list: “We’re Famous,” “9-5er’s Anthem,” “Daylight,” “None Shall Pass,” I could go on. But “Save Yourself” stands as his most complete song, and perhaps the most complete hip-hop song of the 2000s. For classic Ace fans “Save Yourself” is full of brain warping flows (“Who am I? Jabberwoky Superfly!”) and he proves that he doesn’t have to sacrifice speed with his jaw dropping second verse that makes Aesop both the best lyrical rapper in the game and a speed demon. It’s weird as all hell, but it sums up the strange factured world of 2000s hip-hop.
Hip-hop is in a perpetual state of being saved. Now a days, people are claiming that Kendrick will sweep the major label slog under the rug, but there’s a new savior every few years. At the beginning of the 2000s Aesop had some sage advice for the rap purists trying to resuscitate hip-hop. “Next time you wanna be a hero, try saving something other than hip-hop/And maybe hip-hop'll save you from the pitstop!” Ace has always been a paradox, he doesn’t care about the state of hip-hop and yet he’s one of the best in the game. He made an album about the draining life that is the cubical week while twisting rhymes and words like a Brooklyn based James Joyce. Really, about half a dozen Aesop songs could have topped this list: “We’re Famous,” “9-5er’s Anthem,” “Daylight,” “None Shall Pass,” I could go on. But “Save Yourself” stands as his most complete song, and perhaps the most complete hip-hop song of the 2000s. For classic Ace fans “Save Yourself” is full of brain warping flows (“Who am I? Jabberwoky Superfly!”) and he proves that he doesn’t have to sacrifice speed with his jaw dropping second verse that makes Aesop both the best lyrical rapper in the game and a speed demon. It’s weird as all hell, but it sums up the strange factured world of 2000s hip-hop.
