INTRODUCTION TO OUR ENCYCLOPEDIA!

Our encyclopedia focused on Hip - Hop, we decided to develop this part of northamerican music, because it is strongly related with the concept of multiculturalism,it is important to mention that througout the course we came across important issues related to this topic, like how different cultures from other countries influenced  the northamerican lifestyle and way of perceving life, this concept is horizontal to all aspects of this mattter.

Hip hop is mainly related to African- american art, it has different aspects that are covered through our work like paint, dance, music and evolution of this sub-culture that nowadays is one of the most important musical expressions that is spread all over the globe.

Authors:

Victor Lopez

Nicol Peiret

Macarena Torres

Camila Soazo

Subject: Northamerican Civilization and Culture

Head Teacher: Mr. Mauricio Cataldo

The Biggest Hip-Hop Records

This list provides a guide to the most important hip hop albums, as determined by their presence on compiled lists of significant albums: see the "Lists consulted" section for full details. Inclusion on a list is indicated by numbering after each release. The brief accompanying notes offer an explanation as to why each album has been considered important. The organization of the list is by date of release, ranging from Run-D.M.C.'s eponymous debut in 1984 to Jay-Z's 2001 album, The Blueprint.

Breakbeats:

Since for the period of 1979–1983, hip hop was a music for 12" singles rather than albums, the absence of old school hip hop from the list has been compensated for by providing it with its own section of notable releases. Notable compilations of songs which contain important hip hop breaks (short percussive interludes used as the rhythmic basis for a hip hop song) are also included.

The break, the instrumental portion of a record (of any genre, though perhaps most often funk or rock) that emphasizes the percussive pattern, has been the fundamental unit of much of hip hop music. The collections below collect the original songs that contain some of the most popular breaks in hip hop.

§  Super Disco Brakes (Winley)  Vol. 1 was released in 1979, making it one of the first releases connected to hip hop culture, and almost certainly the first breakbeat record.

§  Ultimate Breaks And Beats Vols. 1–25 (Street Beat, 1985–1990)  This comprehensive and influential series began just as the sampler was taking a central role in hip hop music.

§  Kurtis Blow Presents The History Of Hip Hop Vol. 1 (Rhino, 1997) ⁵ One of the few breakbeat collections not of dubious legality.

Old school hip hop records:

§  Live Convention '82 (Disco Wax, 1982)  This is a bootleg of a live event at T Connection on which one can hear various extracts and breaks, and Grand Wizard Theodorecutting up "Do the Funky Penguin" with rap over the top.

§  Wild Style (Animal, 1983)  The soundtrack to the movie Wild Style has historical weight and yet "still feels like now", in the words of Jeff Chang.

§  Go-Go Crankin' (4th & B'way, 1985)  Go-Go Crankin' is a hard-to-find early compilation of the related genre go-go. See also Meet Me At The Go-Go (Sanctuary, 2003).

§  The Best of Enjoy Records (Hot Productions, 1989)  Enjoy were responsible for some of the most essential old school recordings; some contained here are "Superrappin'", "The New Rap Language" and "Feel the Heartbeat".

§  The Sugar Hill Story - Old School Rap To The Beat Y'all (Sequel, 1992)  This is the definitive collection pertaining to the earliest hip hop label, compiled for Sequel byDavid Toop.

§  Street Jams: Electric Funk Vols. 1–4 (Rhino, 1992)  These are compilations of the sub-genre electro.

§  Cold Crush Brothers: All The Way Live in '82 (Tuff City, 1994)  The Cold Crush Brothers were a direct inspiration for The Sugarhill Gang. This live 1982 recording obviously does not contain their 1984 single "Fresh, Wild, Fly and Bold", but it is an essential old school document. See also Cold Crush Brothers Vs. The Fantastic Romantic 5 (Tuff City, 1998).

§  Pumpkin: The Tuff City Sessions (Old School Flava, 1995)  Pumpkin was the musician, percussionist and band leader behind many old school tracks for the Profile, Enjoy, and Tuff City record companies. This collection does not have his own "King of the Beat" (Profile, 1983) and suffers from poor sound quality, but captures some of his performances for Grandmaster Caz, Spoonie Gee and others.

§  Spoonie Gee: The Godfather of Hip Hop (Tuff City, 1997)  Almost all of the best releases by "perhaps the first great MC" are compiled here. Not to be confused withThe Godfather of Rap (BCM, 1988).

§  Afrika Bambaataa: Looking for the Perfect Beat: 1980-1985 (Tommy Boy, 2001)  Bambaataa is one of hip hop's most important figures; this collection best preserves his legacy.^[14]

§  Harlem World: The Sound Of The Big Apple Rappin' (Heroes & Villains, 2001)  MC and producer Spyder D's disco rap "Big Apple Rappin' (National Rappin' Anthem)", released on his own Newtroit Records in 1980, gives its title to this collection of early hip hop. See also Big Apple Rappin': The Early Days of Hip-Hop Culture in New York City 1979-1982 (Rhino, 2006).

§  Mantronix: That's My Beat (Soul Jazz, 2002)  This compilation is notable for containing "Adventures of Super Rhymes" (Dazz, 1980) by the influential early MC Jimmy Spicer. It also contains the early Bambaataa Zulu Nation party favorite "Computer Games" by Yellow Magic Orchestra, and the important T La Rock single "It's Yours".

§  The Third Unheard: Connecticut Hip Hop 1979-1983 (Stones Throw, 2004)  Writer Peter Shapiro describes The Third Unheard as an "impeccable" collection of "irrepressible" early music.

List of important albums:

1984

§  Run-D.M.C.: Run-D.M.C. (Profile, 1984)  Containing the early singles that saw off the old school, this is considered a superior rap album to any that preceded it.

1985

§  LL Cool J: Radio (Def Jam, 1985)  Hard, minimalist, self-assertive, and funky, this was a new school blueprint.

1986

§  Run-D.M.C.: Raising Hell (Profile, 1986)  Crossover hits like "Walk This Way" co-exist with the quintessential hip hop of tracks like "Peter Piper", "Perfection", "It's Tricky" and "My Adidas".

§  Beastie Boys: Licensed to Ill (Def Jam, 1986)  Licensed to Ill was responsible, along with Run D.M.C.'s Raising Hell, for establishing the hip hop album as a fixture of the mainstream.

1987

§  Boogie Down Productions: Criminal Minded (B-Boy, 1987)  Minimalist and tribalist, this album contains the material that won The Bridge Wars.

§  Eric B & Rakim: Paid in Full (4th & B'way, 1987)  Paid in Full is minimalist hip hop, with DJ tracks complimenting the precise, logical and influential style of Rakim's raps.

1988

§  Biz Markie: Goin' Off (Cold Chillin', 1988)  Biz Markie, in singular comedic style, beatboxes, holds forth on the topic of "Picking Boogers", and describes a certain kind of fair-weather friend phenomenon on "The Vapors". Production is by Marley Marl.

§  Slick Rick: The Great Adventures of Slick Rick (Def Jam, 1988)  Slick Rick's roguish tales are noted early narratives in hip hop.

§  EPMD: Strictly Business(album) (Fresh, 1988)  The slow-moving funk of Strictly Business, with its loud bass and laid-back rapping, was a new sound in hip hop.

§  Big Daddy Kane: Long Live the Kane (Cold Chillin', 1988)  Kane's exemplary boasting is backed by Marley Marl's excellent production.

§  Public Enemy: It Takes a Nation of Millions to Hold Us Back (Def Jam, 1988)  Droning feedback, occasional shards of rock guitar, and James Brown horn samples distorted into discordant shrieks back the political rhetoric of lead rapper Chuck D and the surreality of Flavor Flav.

§  N.W.A: Straight Outta Compton (Ruthless, 1988)  Powerful and uncompromising, both lyrically and sonically, Straight Outta Compton's first-hand representations ofCompton, California life would set the tone for much of future hip hop.

§  MC Lyte: Lyte as a Rock (First Priority, 1988)  The treatments Lyte gives rap competitors and ex-boyfriends in tracks like "10% Dis", "I Cram to Understand U" and "Paper Thin" make this debut one of the best albums of the era.

§  Ultramagnetic MC's: Critical Beatdown (Next Plateau, 1988)  Critical Beatdown's abstract rhymes in strange syncopations laid on top of sampling experiments proved widely influential, from Public Enemy to gangsta rap to several generations of underground hip hop artists.

§  Jungle Brothers: Straight out the Jungle (Idlers, 1988)  This debut was an original album containing fluid grooves and nods towards sexual and political egalitarianism.

1989

§  De La Soul: 3 Feet High & Rising (Tommy Boy, 1989)  An eclectic yet inclusive collage of samples, a benevolent sensibility and an enormous sense of fun made this record a hip hop landmark.

§  Beastie Boys: Paul's Boutique (Capitol, 1989)  one of the high watermarks of the sampling era".^[20]

§  Queen Latifah: All Hail the Queen (Tommy Boy, 1989)  Latifah's Afrocentric, charismatic, regal mien projected a new and original persona onto the world of hip hop.

§  Jungle Brothers: Done by the Forces of Nature (Warner Bros. Records, 1989)  The second album by the Jungle Brothers is an inclusive outing: "the most all-embracing hip-hop ever made".

1990

§  Public Enemy: Fear of a Black Planet (Def Jam, 1990)  Fear of a Black Planet, containing the singles "Fight the Power" and "Welcome to the Terrordome", was the similarly incendiary follow-up to It Takes a Nation of Millions to Hold Us Back.

§  A Tribe Called Quest: People's Instinctive Travels and the Paths of Rhythm (Jive, 1990)  Rich and infectious, this debut wore the worthy intent of its morality plays, allegories and explorations of ambiguity lightly.

§  X-Clan: To the East, Blackwards (4th & B'Way, 1990)  X-Clan mixed a brand of Egyptology with their Islamic teachings, creating catchphrases still resonant in hip hop today in the process.^[38]

§  Ice Cube: AmeriKKKa's Most Wanted (Priority, 1990)  The music keeps pace with the raps on Ice Cube's album of alienation and rage.

§  Poor Righteous Teachers: Holy Intellect (Profile, 1990)  Mystic Islam offshoot The Nation of Gods and Earths had a strong presence in hip hop at this time; Holy Intellect had bouncing funk and ragga influences to sugar the pill of the messages.

§  Brand Nubian: One for All (Elektra, 1990)  As above, this was another Five Percenter album that was an impressive work of sound.

1991

§  Gang Starr: Step in the Arena (Chrysalis, 1991)  Gang Starr was one of the most consistent groups in hip hop, and one of the greatest. DJ Premier's production here was a leap forward in hip hop techniques

§  De La Soul: De La Soul Is Dead (Tommy Boy, 1991) Following the success of their debut, De La Soul killed off their hippy image, producing this sometimes frustrated, sometimes uplifting album with rich grooves in both moods.

§  Main Source: Breaking Atoms (Wild Pitch, 1991)  Breaking Atoms is noted for introducing both Nas and Akinyele, for its clever production (by Large Professor) and for its sophisticated storytelling in tracks like "Peace Is Not the Word to Play" and the metaphor for racism that was "Just a Friendly Game of Baseball".

§  Cypress Hill: Cypress Hill (Ruffhouse/Columbia, 1991)  Sardonic and menacing, marijuana-toking Cypress Hill's debut had B-Real's unmistakable nasal-whine delivery and extraordinary beats on this commercially successful record.

§  A Tribe Called Quest: The Low End Theory (Jive, 1991)  "The album demonstrated that hip-hop was an aesthetic every bit as deep, serious and worth cherishing as any in a century-plus of African-American music".

§  Scarface: Mr. Scarface Is Back (Rap-A-Lot, 1991)  Scarface's skillful rapping about the thug and hustler lifestyles includes reflecting on their consequences.

1992

§  Redman: Whut? Thee Album (Def Jam, 1992)  Zapp and P-funk form the basis of beats that are tough, raucous fun, much like Redman's raps.^[47]

§  The Pharcyde: Bizarre Ride II the Pharcyde (Delicious Vinyl, 1992)  L.A.'s The Pharcyde made an album that was a carnival of fun and inventiveness that still made time for some disarmingly honest introspection.

§  Dr. Dre: The Chronic (Death Row, 1992)  The era of wide-scale sampling would draw to a close in the wake of this hugely successful and hugely influential record, which used live band "interpolations" to create a slow, laid-back music, forming the background to raps of chilling violence.

1993

§  Souls of Mischief: 93 'til Infinity (Jive, 1993)  There were hazy jazz samples, a bohemian air and a torrent of rhymes on the classic debut record from Souls of Mischief of East Oakland, California.

§  Wu-Tang Clan: Enter the Wu-Tang (36 Chambers) (Loud, 1993)  One of hip hop's true landmarks, this ferocious, startling album rescued New York hip hop in a time dominated by the relaxed sounds of the West Coast.

§  Snoop Doggy Dogg: Doggystyle (Death Row, 1993)  The star of The Chronic, with his laid-back drawl, made the best-selling debut album ever.

1994

§  Nas: Illmatic (Columbia, 1994)  As writer Peter Shapiro frames it, Illmatic demonstrated a fitting of production to lyrics worthy of It Takes a Nation of Millions to Hold Us Back, an analytical evocation of street life that matched the power of N.W.A., and a command of the microphone not heard since Rakim.

§  Organized Konfusion: Stress: The Extinction Agenda (Hollywood BASIC, 1994)  Challenging but occasionally joyful music that demonstrates virtuosity even at its most difficult, this is noted not least for a gruesome narrative told from the perspective of a titular "Stray Bullet".

§  Notorious B.I.G.: Ready to Die (Bad Boy, 1994)  This album's platinum sales, rap skills, and bleak vision mitigated by humor and funk, completed the revitalization of New York hip hop begun with the success of the Wu-Tang's debut a year before.

§  Common Sense: Resurrection (Relativity, 1994)  "I Used To Love H.E.R." is an extended metaphor for hip hop that attracted much attention, while on tracks like "Resurrection" and "Watermelon" Common's style is warm and witty, the tracks full of wordplay and assured jazzy production.

1995

§  Mobb Deep: The Infamous (Loud, 1995)  “a bone-chilling classic of Rotten Apple hardcore".^[57]

§  Raekwon: Only Built 4 Cuban Linx... (Loud, 1995)  Raekwon's grim street tales made for one of the best Wu-Tang solo records.

§  GZA: Liquid Swords (Geffen, 1995) GZA's hard MCing and metaphoric martial arts terms made this another one of the best Wu-Tang solo records.

1996

§  The Fugees: The Score (Ruffhouse/Columbia, 1996)  Massive singles aside, this was a dark, downtempo album; it sold over 18 million copies worldwide and was widely respected.^[59]

§  Jay-Z: Reasonable Doubt (Roc-A-Fella, 1996)  Jay-Z combined elements of the New York underground with a mainstream sensibility on his debut, proving himself a strong presence on the mic in the process.

1998

§  Lauryn Hill: The Miseducation of Lauryn Hill (Ruffhouse/Columbia, 1998)  Soaring music and Hill's voice, rapping or singing, made this among the most successful crossover albums of the hip hop era.

§  Outkast: Aquemini (LaFace, 1998)  Critical, analytical and emotionally intelligent, Aquemini was ambitious and successful both musically and lyrically.

1999

§  Eminem: The Slim Shady LP (Aftermath/Interscope, 1999)  This contains some Dr. Dre productions and Eminem deliberately offensive wordplay; the huge single "My Name Is" is an example of both

2000

§  Quasimoto: The Unseen (Stones Throw, 2000)  Madlib one of the greatest producers, formally of Lootpack, who created this album full of haze and chilled out beats, one of the creators of alternative hip hop.

2001

§  Jay-Z: The Blueprint (Roc-A-Fella, 2001)  Jay-Z was at the height of his talents here, over production by Kanye West, Just Blaze and others.

§  Nas: Stillmatic (Columbia, 2001)

§  Dr.Dree (2001)