As all of these albums turn 17 today, we celebrate the deep cuts that made these projects classics.
September 29, 1998 will forever be known within Hip Hop as a point where three different classics dropped representing various angles of the culture. Before Vol. 2 Hard Knock Lifedropped, Jay Z was still more known as one pivotal player within New York’s reconnaissance. Lead single “Can I Get A…” featuring Amil and Ja Rule was good enough to find additional promotion through its placement on the Rush Hoursoundtrack. However, “Hard Knock Life (Ghetto Anthem)” became a transitional moment for Hov thanks to clever usage of the signature Annie sample. Representing New York’s growing alternative movement was nonother than Rawkus Records. Despite releasing some very under-the-radar albums and compilations, the union of then unknown emcees Talib Kweli and Mos Def as Black Star brought an underground movement to mainstream through Mos Def & Talib Kweli Are Black Star. Below the Mason-Dixon Line in Atlanta, Outkast delivered a groundbreaking follow-up to their sophomore album ATLiens. Steeped in a new live production focused method spearheaded by Organized Noize, Andre 3000 and Big Boi delivered some of the greatest southern fried rhymes ever to be heard. Celebrating the accomplishments of each project, Features Editor Andre Grant and Senior Features Writer Ural Garrett deliver their favorite non-single tracks from the trio of landmark albums.
Jay Z – “Vol. 2 Hard Knock Life”
Andre: “Reservoir Dogs” stands as one of the most phenomenal posse records of all-time. It’s so New York that the roiling theme from Shaft fits right in between the bully bars of Jigga, Beanie Siegel, The Lox and Sauce Money. It immediately inspires visions of the hustle, and takes you back to classic Hip Hop fare like Paid In Full and New Jack City.
Ural: When Bobby Shmurda‘s here-today-gone-tomorrow phenomena in the form of “Hot Nigga” dropped last year, everyone’s favorite line from the Jahlil Beats production was “Mitch caught a body about a week ago.” The root of that line comes from Hov’s Too $hort featured track “A Week Ago.” Alongside displaying Jigga’s willingness to work with artists outside of his home base, it’s one of his most solid drug narratives.
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OutKast – “Aquemini”
Andre: This album is obviously one of the best albums of all-time, and had some mind blowing singles like the literally everywhere in 1998 “Rosa Parks,” but it was obvious once you dug in that the record of all records was “SpottieOttieDopalicious.” It was tough. “Mamacita,” “Chonkyfire” and “Da Art Of Storytellin’ Pt 2” were all incredible beyond measure. But the smooth, buttery “SpottieOttieDopalicious” somehow took a 70s groove and updated it for a 1990s reeling from the deaths of the titans who dominated the East Coast and West Coast landscapes of rap.
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Ural: There isn’t an album that was studied more by me during Jr. high/high school than OutKast’s Aquemini. “SpottieOttieDopalicious” managed to be one of the last songs played as a seasoned Tuba player for my last music recital before college. That track will forever hold a special place in my heart for that reason alone and it’s a perfect counterpoint to music snobs ignorant of real musicianship in Hip Hop. Even lyrically, 3 Stacks and Boi went from reenacting a wild night at the club to explaining what the “trap” is really about.
Blackstar – “Mos Def & Talib Kweli Are Black Star”
Andre: I know every word to both “Respiration” and “Definition,” but the deep cuts that made this album truly special were the likes of “Re:DEFinition” and “Children’s Story.” Still, above those two stood, for me, “Thieves In The Night.” Inspired in part by Toni Morrison’s The Bluest Eye, that deep piano revealed a thumping bass-line and two emcees with so much talent it seemed unbelievable.
Ural: Decadesbefore Kendrick Lamar tackled colorism on To Pimp A Butterfly cut “Complexion,” Kweli and Mighty Mos were years ahead on “Brown Skin Lady.” The opening sample of classic 70s independent film Chameleon Street gave greater context to their message. Plus, a good 90 percent of my game from this track.
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Andre Grant is an NYC native turned L.A. transplant that has contributed to a few different properties on the web and is now the Features Editor for HipHopDX. He’s also trying to live it to the limit and love it a lot. Follow him on Twitter @drejones.
Ural Garrett is a Los Angeles-based journalist and HipHopDX’s Senior Features Writer. When not covering music, video games, films and the community at large, he’s in the kitchen baking like Anita. Follow him on Twitter @Uralg.
