I team up with another one of 411’s music writers to create one hell of a list… featuring 12 of the greatest MCs of all time, and then some.
For this very special edition I will be doing something a little bit different. It’s pretty much the same idea as the regular Dirty Dozen, but instead of picking all 12 myself, I’ve recruited 411’s own Mathan Erhardt, who is one of a few columnists here that knows what the hell is up in the rap/hip-hop world. Read this if you haven’t already. Beforehand, Mathan and I each wrote up a list of 12 of what we believe to be the greatest MCs. We then alternated, picking 6 each, and wrote out a description of each respective MC. We then wrote commentary on the other’s decisions. That takes care of the full dozen. Then, after picking 6 each, we revealed our remaining candidates (if any, that the other didn’t pick) that were on our list of 12.
Before we get down to business, here’s the…
FEEDBAG!
Tim Byrne writes: Re songs for strip bars - in the liner notes of one of Alice Cooper's Greatest Hits albums, he mentions that his band keep telling him that Poison is a song which every stripper they've ever known has danced to...
I got about 15 requests for this one. It really never happened upon me, but come to think of it, it’s a pretty damn good song for the environment.
NB to Fixxer315: I was thinking about Type O Negative too, if anything because they’re one of my favorite bands. There’s only one girl that I’ve seen dance really well to this, though. I would have liked to put them in the honorable mentions, but since it’s a reader picks lists, and you and Nick Renaldez were the only ones who cited Type O (I thought there’d be more), I had to leave it out. Good looking out, though.
Chris Ingersoll writes: Man, I didn't think it was possible to compile a list of "Stripper Songs" without including at least one from Bob Seger and the Silver Bullet Band ("Turn the Page", "Night Moves", etc.).
I was pretty close to putting in “Turn the Page,” but it fell out at the end. Then again, I just saw this song in action last week and am having second thoughts.
NB to Mike Hall: I was torn between “Erotic City,” “Let’s Go Crazy,” “U Got the Look,” and “When Doves Cry.” A lot of people wanted to see “U Got the Look,” as Le Purple has one of the best stables of available strip club music in all of music.
HONORABLE MENTIONS
And HEEERRRRRRRRE’S the Top 5 strip club picks that I left out, because apparently I’m an idiot:
Mötley Crüe “Girls, Girls, Girls”
David Lee Roth “California Girls”
Prince “U Got the Look”
Alice Cooper “Poison”
Rick James “Superfreak”
Now that that’s taken care of, let us start the DUEL!
THE DIRTY DOZEN [DUEL!]
Since Mathan is my guest, I’ll let him go first. So, in no particular order…
Big Pun Mathan: Writing this breaks my heart, because listening to my Pun mix makes me realized how much I really miss him. Pun had that “It” factor. Very few people have it. BIG had it, Jay has it. “It” is the ability to craft detailed tongue twisting rhymes, gutter street tales and songs with pop sensibility, and never lose credibility. Pun could make ladies run to the dance floor on one track and go toe to toe with M.O.P. on the next. Pun’s imagination allowed him to spit vivid, descriptive rhymes. He was also funny. The intro to “Yeah Baby” perfectly describes Big Pun.
Jeff:Big Pun was the first large (no pun intended… hey, neither was that one!) hip-hop show I saw live back (an amazing show)in 1997, so I have a special place in my heart for the guy. Who knows what kind of amazing alliances he could have formed if he were still alive. I thought that Big Pun was fucking in his time, although I tend to prefer Fat Joe a little bit more…
Rakim Jeff: Greatest…MC…Ever. There’s no doubt about it. He should be called The Only MC That Matters, but I don’t the Clash would like that too much. Rakim some of his greatest work rhyming alongside Eric B. in the 80s. Rakim’s flow can be fast or slow, but either way it sounds completely natural and unrehearsed. The duo’s biggest hit, “Eric B. is President,” is a perfect example of how much of a cunning linguist Rakim really is. Along with KRS-One and Chuck D, he was one of the very first MCs who brought more to the table than anyone else. Apparently, Rakim’s still got it, acting as a nice element in last year’s big Truth Hurts hit, “Addictive.” Most of us in the hip-hop world are eagerly awaiting his upcoming Dr. Dre-produced album, which should, by all means, fucking rule.
Mathan:The man was nice. His style influenced an entire generation of MC’s. Every MC’s out right now lists Rakim as one of their favorites. But I don’t know if he still has it. He has quite a reputation to live up to, and I think the stress is getting to him. That coupled with being on a label with one of the most talented MC’s today is probably the reason why his aborted Aftermath sessions will never see the light of day. But nothing can tarnish is legacy.
Tash Mathan: Tash doesn’t get the respect he deserves, because for the most part he’s deemed a West Coast MC. But Tash one of the cleverest guys on the mic. Tash rhymes like he’s narrating a Dr. Seuss. His punch lines will make you laugh aloud and miss the next line. Tash can outshine Q-tip, Mos Def, and Raekwon, and that is a feat. Tash is so nice he can make you forget about the Neptune track that he rhymes on. Yeah Tash has rhymed about alcohol for decade, but it’s a testament to his skills that you still listen and he never sounds stale.
Jeff:Mathan, mad props for citing CaTashTrophe… as he slipped under my radar for some reason. I have been a fan of Tha Alkaholiks for years, and Tash is most definitely the best in the group. This group has been highly overlooked, which is a damn shame. His high, nasally voice can make him even more entertaining as he says things like “If you get me drunk enough I’ll eat that pussy like a kiwi.” Wonderful stuff, and I definitely can’t wait for his next solo album.
KRS-One Jeff: Kris started his illustrious career back in the late mid 80s with the legendary Boogie Down Productions, which featured the groundbreaking beat styling of one Scott La Rock. However, KRS-One soon proved that he was the vanguard of the group. KRS’s flow was faster than anything else, plus his impeccable enunciation was spiced with a little reggae feel that made him even more of an individual than he already was. On “I’m Still #1,” KRS shows a tenacity in which he casts doubts on anyone who can think of a better emcee. That’s one of the things that have made KRS so successful for so long. As hip-hop activist Harry Allen said, “I’ve thought it through, mulled it over, and I believe that above all else, it comes down to this: never, as an artist or as an individual, [has he] ever shown a moment of public self-doubt.” On top of being of the best emcees lyric-wise, Kris is also very versatile, lending his vocals to the drum and bass cause, on Goldie’s “Digital.”
Mathan:KRS opened my ears a dozen years ago. He blew my mind. His storytelling was amazing. And he kicked knowledge. Rumor has it he writes a battle rhyme for every new MC to make it big. What was Nelly thinking? Nelly may have plaques, but he will never have respect. KRS is the reason Hip Hop is capitalized.
Eminem Mathan:Misogynist, homophobe, schizophrenic, Elvis of Hip Hop, and Oscar winner have all been used to describe Eminem. But first and foremost he is a talented lyricist. While I prefer Em when he isn’t whining about his problems, one of his best moments was with Jay-Z on “Renegade.” Again one of his greatest assets is his imagination. He can also battle, which is a definite skill that many of his contemporaries lack. Check out “Murder, Murder” and “Any Man” to hear some Em gems.
Jeff: I wholeheartedly agree. I don’t want to sound like one of those pretentious back-packers or anything, but I’ve been listening to Eminem since 1997. He technically has three albums that predate the major-label debut, The Slim Shady LP. I thought he was destined to fame when I first heard “Infinite,” the title track from his debut LP under the “Eminem” moniker (in Soul Intent, he was called M&M… hah!). Some of his best material includes “Scary Movies” (with Royce da 5’9”), “3hree6ix5ive” (with Skam), “We Shine” (with Da Ruckus) and “Brain Damage.” His lyrics are profoundly deep, yet equally as entertaining. I think that his contribution on “Renegade” was amazing, as he lashed out at all of his conservative critics. Classic stuff. If you’d like to buy mixes with his pre-Shady LP material on it, as well as copies of the aforementioned Soul Intent, Infinite, and Slim Shady EP, you can e-mail my friend DJ Risky Bizness to request them.
Big Daddy Kane Jeff: Kane was probably the very first emcee that I really loved, no matter what it was that he did. Kane met Biz Markie in Brooklyn in 1984, and after a nice freestyle the session, the two immediately bonded. It was through Biz that Kane met Marley Marl, who produced some of his first hits. Kane’s voice is deep and throaty, and his lyrics flow out with unmitigated smoothness, which is why he’s been referred to as the Barry White (with whom he’s actually collaborated) of hip-hop. He’s rapped alongside Public Enemy, Kool G Rap, and Heavy D, as he brings something to a track that very few do. His track, “Nuff Respect,” was one of the best on the now-legendary soundtrack for Juice. He has most recently reunited with Marley Marl for “Three’s Company,” off of his Re-Entry album, on which Kane lends vocals for what is an excellent collaboration.
Mathan:Kane did his thing. He was that smooth cat, who could still demolish a mic. After Kane it was acceptable to be hardcore and smooth. It was no longer such a jarring dichotomy. Again his influence is seen today all over the Hip Hop. To me at least he is an underrated talent.
Posdnuos Mathan: Pos is the reason why the rewind button exists. To the uninitiated he may be intimidating. His lyrics are dense and layered (and sometimes filled with jargon.) The reason why Pos makes my list is because he isn’t afraid of flexing his vocabulary. Pos uses polysyllabic words the way some rappers use name brands. He’s like the anti-Hemingway; very verbose. Whether rhyming about Hip Hop, molestation by the industry or molestation in general Pos never slacks, and makes you listen.
Jeff:I love De La Soul. They’ve been one of the more resilient hip-hop groups throughout the late 80s, 90s, and even into this century. That said, Posdnuos is the vanguard of that resilience. He’s one of the smartest emcees there is, and it’s reflected in his lyrics. He can still hang with guys Freddie Foxxx, B-Real, and Devin the Dude after all these years, and that alone is remarkable.
Jay-Z Jeff: In the last 5 years, Jay-Z has blown up. His songs are so catchy that they’re almost always a definite at any college bar or hip-hop club alike. However, the widespread pop exposure that Jay-Z gets often tends to overshadow the real talent that he has. His 1996 debut, Reasonable Doubt, remains as one of the most legendary albums in underground hip-hop, with tracks produced by the almighty DJ Premier. Jay-Z has one of the most unique styles of all emcees, with sporadic dips and turns that go with any beat. These days he’s reached the status of Perpetually Over, as anything he puts out as almost guaranteed gold, if not platinum.
Mathan:Unstoppable Hov with unstoppable flow. No one is killing it like Jay. He is on arguably the three hottest joints of the summer (Crazy in Love, Frontin, and La La La) and his Black Album is sure to be another classic. Nobody is perfect (Blueprint 2.0) but nobody is more consistent than Jigga. Yep S. Carter is living the dream, and he has more aliases this side of the Wu.
Chuck D Mathan: Chuck brought politics and consciousness to Hip Hop, and made learning fun. It is hard to be political and yet still captivate an audience, yet Chuck made it look easy. While other MC’s rhymed about St. Ides, Chuck was doing songs exposing the practices of liquor companies. While other MC’s tried to make you dance, chuck tried to make you think and march. Chuck detailed the slave trade, the media’s portrayal of Hip Hop, the drug scourge, and radio politics. It was like Racism 101 (if I hadn’t already been Black.)
Jeff:Chuck D is one of the cornerstones of hip-hop. His voice is loud and domineering, and therefore grabs your attention primarily, and the deepness of his lyrics are what keep your attention. Public Enemy was one of the first hip-hop groups to really buck the system, and that alone makes Chuck D one of the most influential and memorable emcees in history. His abysmal skill just cements their place in the books.
Tupac Jeff: Before becoming an icon for many thugs and thug wannabes out there, a young man by the name of Tupac Shakur hit the scene in the early 90s. He followed in path of many late 80s/early 90s MCs by mostly rapping about racism, urban struggle and the government. His standout performance in Juice cemented him as a hip-hop staple. Tupac went from rhyming about these things to being a “thug” and fighting the system. However, despite an image and content change, one thing did not change—Tupac’s skill. While his flow may have deviated a bit (although not as much as some, coughEminemcough), he is still one of the best. The majority of his songs are highly danceable, even though he has a definite dramatic element to his flow. Most of the time his flow is more of a self-assured ballad.
Mathan:I never really felt Pac. I respect him as an artist, but his schizophrenic personality on the mic (prophet, activist, party guy, thug, poet) left me cold. It is hard for me to reconcile the Pac from “Dear Mama” with the Pac from his various dis records, with the Pac from I get around. But he gave a voice to the unheard.
Notorious B.I.G. Mathan: What can I say about B.I.G. that hasn’t been said dozens of times before? B.I.G. was the greatest. His street stories were gritty, and filled with the detail and hunger that only a person who lived through it could deliver. He was not the most attractive guy in the world, yet you believed him when he rhymed about being a player. B.I.G. could craft a tale that would make you laugh, or slay you in eight bars. He could outrhyme BONE, in their own style! Biggie Smalls is the illest.
Jeff:Biggie was without a doubt one of the greatest. The reason he could ball was that he had mad skills. He didn’t need looks. He knew it, you knew it, and Faith Evans knew it. If it weren’t for Biggie, there would be no Bad Boy and no Puff Diddy. Biggie has influenced just about every great rapper today. He could out-rhyme the best, and often did.
Nas Jeff: Despite the fact that Nas experienced a minor dip in his career, he came roaring back on 2001’s Stillmatic. Even if most of the post-Illmatic material was a bit lacking, I would be remiss to mention that his rhyming skills are impeccable. Nas rhymes about street life and growing up in an urban environment. His gravelly voice makes for a flow that is smooth and flawless. Lately he seems to have found his X-Factor once again, as most hip-hop heads who had soured on his late 90s work have admitted that Stillmatic may actually be better than his like-titled debut. I would disagree.
Mathan:Nas will never top Illmatic. But that shouldn’t stop him from trying. Nas’ verse from “Verbal Intercourse” is one of Hip Hop’s greatest verses. It speaks to me like no verse from anyone else on this list. It is pure, simple and complex all at the same time. That together with Illmatic guarantee Nas’ appearance on any list of the greatest MC’s. Anything he does that approaches the greatness achieved on those records are just more notches on his belt.
Mathan’s Bench
Big L
Busta Rhymes
Common
Del the Funkee Homosapien
GZA/Genius
Jeff’s Bench
Masta Ace
Guru
Q-Tip
That’s it. Let us know what you think about this different format, as I might decide to make it a semi-regular thing. Sorry this one took so long… You can contact Mathan Erhardt here, and my e-mail is below. Have a good one.
