What's in Your Hip-Hop Canon?
Last week WNYC's Soundcheck had a conversation about the validity of a hip-hop canon, no doubt inspired by Brian Coleman's fine new addition to the field of hip-hop studies. Personally I'm not a big fan of canons, since the very premise of one elicits a form of elitism. That said, as folk ranging from Paula Zahn to your local high school social studies teacher feel compelled to bring themselves up to speed on things, it may be tactically useful to present folk with a list that some of us think of as most reflective of what this thing is. I regularly stand in front of classrooms filled with 18-21 year olds (as many of them Black as they are White, Latino/a and Asian) who stare blankly into space when I mention folk like Whodini, A Tribe Called Quest and Gangstarr. Jazz scholars and critics often talk about this concept known as the "common practice" period--that period in jazz history, where most of the elements that make Jazz, Jazz, are present. If I had to identify a "common practice" period for hip-hop, it would be from 1987- 1992. With that in mind, I'd like to offer my own hip-hop canon.
Just a few things about my choices. I was a fully grown man when It Takes A Nation of Millions was released, so my taste in hip-hop reflects that of a fully grown man, who's been married for 16 years, has two daughters under the age of 10 and who drives a minivan. Also, because of my vocation, I heard hip-hop, particularly in the 1990s with cats like Habermas, Baudrillard, Michael Eric Dyson, Skip Gates, Patricia Hill-Collins and Greg Tate whispering in my other ear. Finally, this is not meant to be some comprehensive list--there are folk like Em, Mr. Fiddy and T.I., for example--who I simply don't be checking for. That said this list is biased--premised on an east coast, quite frankly, New York bias, that I'm proud of.
It Takes a Nation of Millions to Hold us Back (1988)--Public Enemy
As important for the Bomb Squad's singular production as it was for Chuck's post-Black Power rage.
Edutainment (1990)--KRS-One (Boogie Down Productions)
KRS-one on firm footing intellectually and musically, before he started taking himself too seriously.
Follow the Leader (1988)--Eric B and Rakim
The title track alone where Rakim meets Baudrillard should be enshrined, but the album proved that Rakim was just hip-hop's first poet laureate.
The Chronic (1992)--Dr. Dre
The G-Funk uncut and before all of the Death Row drama. And yeah the violence, gratuitous references to weed and the misogyny are a bit much, but musically speaking...
Buhloone Mind State (1993)--De La Soul
3 Feet High and Rising was such a force, but Buhloone State--the first after De La killed themselves--perhaps captures them at their peak and still playful.
Raising Hell (1986)--Run DMC
Arguably the first hip-hop album, as opposed to a collection of 12-inch singles. On a commercial level, this recording changed the game while helping to build the branding power of hip-hop with tracks like "Peter Piper" and, of course, "My Adidas."
The Predator (1992)--Ice Cube
Amerikka's Most Wanted was a singular achievement because of Ice Cube's youth and the big break he made from NWA. There's also an argument here for Death Certificate, but in my mind Ice Cube didn't become Ice Cube until his vision was writ large on the world as the drama of May '92 was unfolding to the world. The Predator was his--and hip-hop's--"I Told You So Moment"
Mecca and the Soul Brother (1992)--Pete Rock & CL Smooth
Pete Rock's post-bop production style at its finest and maybe one of the most underrated recordings in the mix. "They Reminisce Over You" is simply timeless.
Illmatic (1994)--Nas
A recording that is emblematic of what I call hip-hop's hard-bop minimalism--the spiritual progeny of Miles Davis's Kind of Blue.
Black On Both Sides (1999)--Mos Def
One of those moments--Voodoo, Mama's Gun, and Like Water for Chocolate were a year away, and Black on Both Sides set the tone. Mos Def will never be as important as a recording artist as he was here.
Paul's Boutique (1989)--The Beastie Boys
Often takes a back seat in our memory to It Takes a Millions, but this recording simply took sample-based hip-hop production to another level. The group graduates from its frat-party debut and begin a cycle of provocative and compelling art.
Ready to Die (1994)--The Notorious B.I.G.
Bless his soul, but Biggie was never gonna be better than this.
The Blueprint (2001)--Jay Z
The truest emblem of 30 being the new 20, Shawn was still hungry and still cocky, but feeling more comfortable with the striking introspection that has become his hallmark. Moved nearly 500,000 units the week of 9/11. Enough said.
Enta Da Stage (1993)--Black Moon
Black Moon was the personification of East Coast hardcore in the mid-1990. "I Gotcha Opin?" Hell yeah.
The Low End Theory (1991)--A Tribe Called Quest
There is of course an argument for Midnight Marauders, but the leaps and bounds that Phife made from their debut People's Instinctive Travels...made this special.
Mama Said Knock You Out (1990)--LL Cool J
With three discs already in the can, LL was already a star, but had been brought down to size by the uninspired Walking with a Panther. Marley Marl got him focused musically and of course, James Todd Smith always had his eye on bigger prizes.
Very Necessary (1993)--Salt N' Pepa
Fact is, there are great singles by female MCs, but few have been allowed to implement fully blown conceptual visions. Salt N' Pepa were at the height of the popularity and delivered a true gem.
Aquemini (1998)--Outkast
It's hard to argue against Stankonia, which could arguably be one of the greatest hip-hop recordings of all time, but in my mind the deep crevices of modern Southern culture are so palpable on Aquemini--it really is the best representation of their artistry.
Like Water for Chocolate (2000)--Common
"6th Sense" proved that Common could be relevant beyond Chicago and in many ways Like Water for Chocolate is an East Coast recording. This wins out over the rest of Common's oeuvre because it holds together as conceptual art. Yes, Electric Circus was more daring, but Like Water for Chocolate was better music.
Late Registration (2005)--Kanye West
Kanye had a lifetime to do College Dropout and only a year or two to do Late Registration. The latter was better art and functioned seamlessly in the world of straight pop music.
Things Fall Apart (1999)--The Roots
Perhaps the most striking cover art in hip-hop and the Achebe reference was simply brilliant. The Roots had something to prove here and the music reflects that.
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Comments
1.
craig says:
Great list. Finally I feel vindicated about Black Moon's Enta da Stage. I always had that one up there as one of the best during that time period, Enta da Stage is like a time capsule for 1990's east coast hip hop. I also think that its difficult to find a more "hip hop" album than Enta Da Stage; it feels like a mixtape that your man's and them from around the corner just recorded in their grandmother's basement, you know?
07/17/2007 at 11:32 PM
2.
Jay Smooth says:
Jeff is correct, citing Very Necessary instead of Hot Cool and Vicious is morally repugnant. :)
Otherwise, great list!
07/15/2007 at 2:30 AM