50 Best Hip-Hop Songs of All Time
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With this month marking the 50th anniversary of hip-hop, we’re celebrating this culture-defining movement with a month of fresh content. Featuring unique artist interviews to insightful essays and more, we’ll explore the history of rap from a variety of angles. After debuting our list of the 50 Best Hip-Hop Albums of all time, today we’re presenting the 50 Best Hip-Hop Songs.
Keep an eye out for all our Hip-Hop 50 content throughout the month, and check out our exclusive merch featuring our Hip-Hop 50 design at the Consequence Shop.
It always starts with a song. Mine was Atmosphere’s “Trying to Find a Balance,” Cypress Hill’s Sen Dog told us about “Buffalo Gals,” and yours might have been “The Humpty Dance” or “My Name Is” or “WAP” or any banger on Tony Hawk’s Pro Skater 2. But no matter your age, if you love hip-hop, that love was probably sparked by one perfect track.
From the cuts that changed history to the ones that led to new developments in throwing ass, there have been far more than 50 great songs in hip-hop’s 50-year history. We polled our writers, editors, and freelancers, but narrowing such a vast genre down to a manageable list turned out to be a brutal exercise, even once we decided to limit the proceedings to one song per artist.
The results might look strange, or even deranged. Our only defense is that we really and truly love these tunes, and we had a blast spreading that joy. Check out our list of the 50 best hip-hop songs below, and make sure to check out our list of the 50 best hip-hop albums and the rest of our Hip-Hop 50 content.
— Wren Graves
Features Editor
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50. Biz Markie — “Just a Friend”
If this list had been ranked in order of melodic earworms that packed bars are ready to sing along to at a moment’s notice, Biz Markie’s “Just a Friend” would have been a shoo-in for the No. 1 spot. With its humorous tone and iconic interpolation of Freddie Scott’s “(You) Got What I Need,” The Clown Prince of Hip-Hop’s best-known tune remains the perfect encapsulation of what made the artist so unique and irresistible. Nobody pulls off crooning the song’s chorus like Markie did — and, trust us, countless have tried. — Jonah Krueger
49. Migos feat. Lil Uzi Vert — “Bad and Boujee”
Memeability can really take a track from the catacombs of the internet to the wide open spaces of virality. Sure, we had heard Migos before when “Versace” hit streaming along with other tracks, but there was something different about “Bad and Boujee.” From deciphering its meaning in the first place and assigning “rain drop, drop top” to random things across the internet, to its enjoyably uncomplicated production style (127 bpm is pretty mild, considering) and almost comically placed ad-libs, the track quickly became a favorite of fans and other celebs alike. Then Lil Uzi came in switching his flows like his clothes to add in another memorable verse. — Cervanté Pope
48. Trina — “Da Baddest Bitch”
Six years after Queen Latifah shouted, “You’re not a bitch” to all women within ear shot, Trina recontextualized the term and used it as her superpower. Now, let’s be clear, she wasn’t the first woman to flip the disrespect into an endearment, but her brashness and confidence set her apart from the pack. Lil’Kim and Foxy Brown had moved away from raunchiness at this point in their careers, if only slightly; Trina filled that void as the woman who used every inch of her curves to satisfy her expensive taste and ambition. Trina, like a few before her, saw how rappers objectified women and decided what’s good for the goose is incredibly good for the gander. “Da Baddest Bitch” represented one of life’s ultimate truths: Like certain baseball players, men have trouble with curves. — Marcus Shorter
47. Naughty by Nature — “O.P.P.”
Treach is one of the greatest of all time. Let’s establish that off the top. He doesn’t get the props he should for not only his craft but the way he threaded the needle between hardcore rhymes and commercial sensibility. “O.P.P” is the best example of that very thing. Naughty by Nature created an anthem about infidelity backed by a Jackson 5 sample and an infectious hook that took over pop culture; MTV co-opted it, along with movies and TV shows. Escaping this song in ’91 proved impossible. It’s brilliance, besides the sneaky cleverness, rested on those three letters. That last “p” truly meant whatever the listener wanted, which allowed everyone a piece of Naughty by Nature’s biggest song and the reason they became ‘90s stalwarts. — M. Shorter
46. Cardi B — “Bodak Yellow”
Cardi B’s major label debut single ticks off all the boxes you can think of. Its eerie minor-key beat, based off a Kodak Black sample, builds suspense in itself, and the remainder of “Bodak Yellow” yields a high reward. Cardi’s flow feels impossibly natural, interweaving her endlessly-quotable boastful bars with glimpses of her unfiltered sense of humor: “My pussy feel like a lake/ He wanna swim with his face/ I’m like, ‘OK!’” “Bodak Yellow” doesn’t necessarily sound subversive or revolutionary, but it’s a perfectly bottled-up testament of someone who’s honed in on their craft. When Cardi asks, “She gon’ do what to who?/ Let’s find out and see,” it’s a suggestion to buckle up. — A. Jones
45. Too $hort — “Blow the Whistle”
At this point, Too $hort’s made more than 1,000 songs to make us move our asses. Sitting at the top of his massively deep collection of formidable tracks is “Blow the Whistle,” one of his most famed and beloved bangers. An ode to Bay Area pill-popping and overnight excursions, “Blow the Whistle” has got it all, from the call and response qualities of shouting “biiitttchhhh” to the instrumental pings and dings for geeking and thizzing. If for whatever reason, you’re unfamiliar with Too $hort, you likely are familiar with “Blow the Whistle,” even if it’s just because you love screaming out his favorite word. — C. Pope
44. Azaelia Banks — “212”
“212” introduced many to Azealia Banks’s masterful bars over a decade ago, and it remains one of her best tracks. The song also became a blueprint for the upbeat sound heavily influenced by house music which we hear in a lot of modern rap. Her fun verses paired with Lazy Jay’s over-the-top production made for a timeless bop and for some, a gateway to more dance-heavy rap songs. “212” has the characteristics of those songs that never get old, proven still relevant by how a new generation has already latched onto it. — Sun Noor
43. Lupe Fiasco — “Kick, Push”
Lupe Fiasco’s “Kick Push” isn’t just an ode to skateboarding lovers, it’s a dedication to the intersection between skating culture, urban malaise, and misfit identity. The characters in “Kick Push” are just “looking for a place to be,” capitalizing on any place with stairs to jump or an open parking lot to roll around in. You can practically feel the romantic summer heat setting in as he narrates, the concrete jungle of the city becoming a paradise for outcasts, the promise of connection through counterculture being cemented in real time. It may not be one of Lupe Fiasco’s most personal songs, but it’s definitely one of his most specific and evocative ones; the horn-addled beat adds an air of classicality to “Kick Push,” and his portraits depicting the joys of skating are painted with clarity and lightness. — Paolo Ragusa
42. Ice-T — “6 in the Mornin’”
This is hip-hop’s version of “The Dawn of Man” segment from 2001: A Space Odyssey. For most, Ice-T’s “6 in the Mornin’” represents the beginning of what mainstream outlets called Gangsta Rap. Ice-T and his brothers on the West Coast preferred “reality rap,” but here we are. The song showcases Ice-T’s brilliant and, frankly, underrated storytelling skills as he spins a crime tale that spans multiple years with characters moving in and out. Ice-T explains the living conditions that made people in his neighborhood turn into dope dealers, briefly examines the prison industrial complex, and the scarce legitimate opportunities for young Black men in a country all in less than four minutes. He doesn’t glorify the violence or the behavior, just explains it to everyone listening. When media outlets portrayed Black men as animals who didn’t know any better, rappers like Ice-T used their bullhorns to humanize them and tell their stories properly. — M. Shorter
41. Lil’ Kim — “Crush on You”
This song originally just featured Lil’ Cease after Lil’ Kim fell into a bout of depression after getting an abortion. Once she recovered, the rest is hip-hop history. Besides the back and forth between Kim and Cease, the call and response hook make this mandatory for any list, and necessary for any party or roller skate jam back in ’97. Like Hard Core’s first single (“No Time”), “Crush on You” puts Kim firmly in charge and on top. It also helps that she raps circles around her partner and that’s with just one verse. Lil’ Kim is one of the greats and this song represents her apex. — M. Shorter
40. Clipse — “Grindin”
It takes a special something to become a cultural phenomenon. Though Clipse’s “Grindin” wasn’t a social media dance or TikTok sound (thank goodness it’s preserved within the boxes of our brains and not boxes of a post grid), it was its own viral sensation back in the day, sparking at the very least a school-wide trend to drive teachers wild. Anyone who could pick up on that rhythmic production from The Neptunes was able to grind the beat out on their desk, causing several disrupted lessons and student clumps around desks and lunchroom tables. If you happened to have had a knack for keeping up, Pusha T and Malice’s verses were clutch enough they could make even the dorkiest of fools seem tight. — C. Pope
39. Lil Wayne — “A Milli”
There are a million reasons to love Lil Wayne’s “A Milli” — the iconic vocal loop, the hard-as-nails bars, Wayne’s slick flow — but above it all is Dwayne Carter himself. When Wayne’s hot on the mic with something to brag about, few others can match his presence, and on “A Milli,” Wayne is as big and braggadocious as ever. Name-checking greats like JAY-Z, 2Pac, and André 3000 mid-way through the track, it’s songs like this that prove Lil Wayne has all the right in the world to place himself in such legendary company. — J. Krueger
38. Eve feat. Gwen Stefani — “Let Me Blow Ya Mind”
By the time Eve dropped her sophomore album, Scorpion, the “pitbull in a skirt” had already proven she could out rap the men while giving women someone they could aspire to be. By teaming up with the ultimate cool girl Gwen Stefani and rhyming over one of Dr. Dre and Scott Storch’s catchiest beats, the Philly native showed a crossover appeal that brought her to a wider audience without watering down her rhymes. As a matter of fact, Eve actually furthered her beef with Lil’ Kim with some not-to-subtle references on a track that went all the way to No. 2 on the Billboard Hot 100. — Eddie Fu
37. Tupac feat. Dr. Dre and Roger Troutman — “California Love”
Officially the unofficial song of the sunshine state as far as its residents are concerned, “California Love” goes down not just for its unbridled declaration of love from a geographical top to bottom, but also for its glue-like stickiness to the insides of the brain. Whether you’re from Sac-Town, the Bay Area, or back down in Los Angeles, you can share Pac and Dre’s sentiments and adoration. Enough to make the flyover states envious of the sunny sights and sounds, it marked Pac’s return to music after incarceration, on top of being his Death Row Records debut. It was one hell of a comeback. — C. Pope
36. Lil Jon & the East Side Boyz feat. Ying Yang Twins — “Get Low”
“To the window, to the wall!” Just say that amongst like-minded company and watch them finish the sentence. Chris Rock once cited “Get Low” as a song he loved but found hard to defend — completely understandable for obvious reasons. Lil’ Jon & The East Side Boyz solidified hip-hops’ Southern takeover in 2003 with this joint. It made him a star, brought Crunk to the forefront, and made backtracking to the past almost impossible. While rappers in the past beat around the bush about their sexual intentions, or at least saved more raunchier fair for the album cuts, Lil’ Jon and his crew said “nah.” They kept it real and transported everyone to the Atlanta strip clubs for which they made music. The culture changed around this song and we still see its effects 20 years later. — M. Shorter
35. Meg Thee Stallion feat. Beyoncé — “Savage (Remix)”
Remember when pop remixes actually felt like something to write home about? In an era where TikTok was spreading like wildfire and Zoom made the world feel tiny, Beyoncé’s assist on Megan Thee Stallion’s “Savage” was an anomalous example of genuine chemistry. We see Bey’s entire range as she flits seamlessly between meticulous angelic runs and deep husky raps, neither of which feel forced or contrived, or — most importantly — detract from Megan, whose admiration for the singer makes the tune endlessly heartwarming. And now that the rapper has taken Queen Bey’s masterclass, she’s moved into the palace herself. — Abby Jones
34. 50 Cent — “In Da Club”
Even 20 years later, “In Da Club” manages to evoke the same sexy, sweaty vibe as it did in 2003. Much of the track’s longevity is owed to producers Dr. Dre and Mike Elizondo, whose minimalist, string-covered beat is enough to both hypnotize you and bring you straight to the mosh pit. But it’s 50 Cent’s utterly confident delivery that makes “In Da Club” so noteworthy. There’s a vibe that feels both playful and too serious; 50’s persona is poised, direct, and dripping with sex — but, as he assures, he ain’t into making love. It’s a club rap song with an instantly recognizable beat made electrifying by 50’s overwhelmingly cool hook, and a high point within the early 2000s’ lopsided hip-hop output. — P. Ragusa
33. Cypress Hill — “Insane in the Membrane”
Few sounds in hip-hop are as instantly recognizable as the wailing sample that pervades Cypress Hill’s “Insane in the Brain,” and it’s not hard to understand why. DJ Muggs might as well have sculpted the song’s beat out of pure marble, and with B-Real and Sen Dog strutting over it, the tune was destined for all-time-classic status. Decades after its initial release, the song is still used as shorthand for ‘90s West Coast hip-hop writ large, and even those who aren’t familiar with Cypress Hill as a group (never mind the Crip-related origins of the phrase “insane in the membrane”) know the chorus by heart. — J. Krueger
32. Juvenile — “Back That Azz Up”
“Back That Azz Up” is the type of track to turn things up to 400 degrees no matter where you are. Looking past that bad pun, Juvenile’s standout track from his 1998 album 400 Degreez is probably the most rump-shake-worthy song ever released. It’s true to bounce fashion, bringing all of the sound and heat of New Orleans to a national scale. Relentless in its bumping capacity, Juvenile really set the tone for what a relentless beat should sound like. Cash Money really was taking over for the ‘99 and the 2000s with this track, and it still gets the club going up in every way possible… and NPR’s Tiny Desk, too. — C. Pope
31. Run-DMC — “It’s Tricky”
Run-DMC were already well known for their blend of rock sounds and hip-hop flows before their third LP, Raising Hell, dropped in 1987. Although the album’s “Walk This Way” with Aerosmith may be the crossover breakthrough, “It’s Tricky” more successfully showcases this unique styling on its own merits. Sampling the iconic “My Sharona” guitar lick (lawsuit be damned) showed Rick Rubin’s ability to bring commercial appeal to rap records, while Run and D.M.C. demonstrated a pure mastery of cadence that justified the song’s own title. This was the trio calling out any critics skeptical of hip-hop’s merit, and the fact that it’s endured for nearly four decades just further validates their point. — Ben Kaye
30. Queen Latifah — “U.N.I.T.Y.”
When hip-hop leaned further into a harder image during the early ‘90s, the genre’s relationship with women became more than a little contentious. Calling women everything but a child of God became the norm and Queen Latifah, as she often did, spoke her mind with “U.N.I.T.Y.” It’s incredible that against that backdrop, an anthem about women taking a stand against men disrespecting them and preaching for Black men to treat Black women better became her biggest hit and possibly the song most associated with her music career. One can’t say hip-hop treats its women any better today than 30 years ago either, which makes the song relevant for reasons other than Latifah’s skill on the mic. Hopefully, we’ll get there one day. — M. Shorter
29. Mobb Deep — “Shook Ones (Part II)
“Word up, son. Word.” With those four words, Prodigy and Havoc staked their claim. Quoting Prodigy, they “pioneered this violent n*gga rap shit,” with “Shook Ones, Pt II” as the first salvo. Every song on this list is a time machine, but none of evoke a period and a place quite like The Infamous’ first single. Havoc sampled Herbie Hancock and Quincy Jones for what sounds like horror movie theme music, and that’s appropriate for a joint that turns the nicest guys into hard rocks and instantly starts fights. No matter where you are in the world or what year, it’s always ’95 when this song comes through the speakers. — M. Shorter
28. Ice Cube — “It Was a Good Day”
When you grow up in the throes of violence and survival like many rappers do (or claim to), sometimes it only takes the simple aspects of life people typically overlook to make a day a good one. That’s essentially what Ice Cube’s “It Was a Good Day” is all about — pointing out how anything from a good game of pickup to a nice breakfast to no one in your life dying is some of the biggest joys in the world. Those aren’t things that cross the average citizen’s mind, but it ran through Ice Cube’s enough every day to have this big an impact. — C. Pope
27. Coolio feat. L.V. — “Gangsta’s Paradise”
Dangerous Minds birthed more than upset opinions about the stereotypes within the racially based white savior complex of the movie’s plot (though really, we have LouAnne Johnson and her problematically named My Posse Don’t Do Homework to thank for that). It delivered us one of the best movie songs ever in Coolio’s “Gangsta’s Paradise.” The emotionally operatic vocals of L.V. combined with the melodramatic instrumentation carried the song’s conceptually heavy weight, but Coolio’s candid and expressive verses about growing up strapped up and worried about living out the rest of your life made the solemnity of the song hit even harder. It’s the makings of a tear-jerker, and that realness has granted it classic status in the genre. — C. Pope
26. Salt-N-Pepa — “Push It”
Between its suggestive hook and irresistible synth line, “Push It” was destined to be the breakout hit that flashed Salt-N-Pepa’s superstar potential. The track’s production blurred the lines between house and hip-hop, giving a foundation for Salt and Pepa’s energetic rhymes that encouraged listeners to fill the dance floor. By earning the group a Grammy nomination so early in their careers, the song put them on the path to becoming one of the greatest rap acts ever. Salt-N-Pepa would go on to release bigger hits like “Let’s Talk About Sex” and “Shoop,” but “Push It” endures as the one that started it all. — E. Fu
25. Geto Boys — “Mind Playing Tricks on Me”
Paranoia’s a bitch. Even if we don’t fully acknowledge the anxiety that creeps into our minds at the worst times of night, it’s there, and the Geto Boys’ journal entry-like openness is what made “Mind Playing Tricks on Me” a naturally relatable hit. For Scarface, Willie D, and Bushwick Bill, much of that uneasiness came from their neighborhood, their lifestyle, and the cliques they claimed, but that doesn’t mean you can’t find your own fear when reading between the lines. Scarface’s production (which features a sample of Isaac Hayes’ “Hung Up on My Baby”) contrasts the heft of the lyrics, at times triggering the switch of PTSD and suicidal fantasies. Its content is upfront, but validating for many no matter the cause. — C. Pope
24. Busta Rhymes — “Put Your Hands Where My Eyes Can See”
Busta Rhymes showed that going solo presented no problem on The Coming. The following year, with Tupac’s and the Notorious B.I.G.’s deaths looming over everything and leaving a massive vacuum, Busta swan dived into that hole and filled it with one of the best performances of his career. “Put Your Hands Where My Eyes Could See” improved on every single facet of Busta’s game. His refined flow and sharper pen game made it cool to keep the “dungeon dragon” locked up unless the situation called for that energy. Thanks to Puff Daddy and Q-Tip, Bus got that whole “less is more” thing and refashioned his image. Everyone wanted the crown after Biggie and Tupac died; this ’97 joint put Busta in contention. — M. Shorter
23. Sugarhill Gang — “Rapper’s Delight”
He said, “a hip-hop, the hippie, the hippie to the hip, hip-hop” — need we say more? The Sugarhill Gang’s classic is the definition of seminal, helping introduce the novel idea of this thing called “hip-hop” to a grand, unexpectant audience. Though the genre would go on to splinter into endless different directions, developing local scenes and countless micro-genres, it’s not hard to argue that the ground for everything to come was laid within this Chic-sampling, seven-minute long track. Hip-hop surely would have taken over pop culture with or without “Rapper’s Delight,” but aren’t we lucky that we live in the reality where a song this good was the inciting incident? — J. Krueger
22. DMX — “Ruff Ryder’s Anthem”
“Get at Me Dog” showed DMX could make a statement. “Ruff Ryder’s Anthem” proved he could make a hit. And typical of most hardcore rappers who consider themselves hip-hop formalists, X didn’t want to do it. Thankfully for him — and for us — his people convinced him otherwise. This song officially introduced the Ruff Ryder crew and aesthetic into the mainstream: bandanas, Timbs, dirt bikes, and nothing pretty at all. X rode the beat perfectly; menacing enough to keep his sanity but catchy enough for a crowd to join his reindeer games and have some fun. The song made It’s Dark and Hell is Hot into a phenomenon and created a lasting partnership between Swizz Beats and DMX. Nothing after this album is possible without this song that truly changed the game. — M. Shorter
21. Beastie Boys — “Shadrach”
Before Jesus could walk, “Shadrach” ran. Religion as metaphor in hip-hop wasn’t entirely new by the time Beastie Boys released Paul’s Boutique, but boy, did they master it. The story of three Jewish men defying an empire by following their own path to greatness is just too fitting for the Brooklyn trio. Of course, it wouldn’t be so profound if the track weren’t as fire as Nebuchadnezzar’s furnace; while redefining sampling, the Beasties are able to cram references to Robin Hood, J.D. Salinger, boxing, Charles Dickens’ wealth, a sexual boast that bridges Coupes and KFC, Harry S. Truman, and MAD magazine into one 20-second verse. After this, there was no doubt Beastie Boys deserved to stand alongside the kings of hip-hop. — B. Kaye
20. Eric B. & Rakim — “Paid in Full”
Between Eric B.’s instantly recognizable bass line and Rakim’s seemingly endless quotable lines, “Paid in Full” helped define East Coast hip-hop and has influenced multiple generations of rappers. The song sounds just as fresh as it did nearly 40 years ago, something which can’t be said for the majority of music that came out in the late ’80s. In his often-imitated, never duplicated smooth flow, the God MC uses a deceptively complex rhyme scheme to deliver universal lyrics about the struggle to move on from one’s checkered past. While “thinkin’ of a master plan” to make it out of the streets, Rakim gave an example for so many rappers to do the same. — E. Fu
19. Dr. Dre feat. Eminem – “Forgot About Dre”
“You had to be there.” Those words come to mind when thinking about this joint from Dr. Dre’s 2001. On one hand, Dre reminded everyone about his two-mile-long list of accolades. But let’s be real about the other hand: “Forgot About Dre” was the warmup for Eminem’s second LP. Marshal Mathers impressed on his first album in 1999, but his performance here showcased a very different animal than the guy who asked kids if they liked violence with a melodic flow. He displayed the same humor, wit, and unpredictability, but added precision. Em’s verse earned him The Source’s hip hop quotable in their January 2000 issue; readers of a certain age know that’s a big deal. And just a few short months after this, Em delivered on this verse’s promise in ways nobody expected. — M. Shorter
18. MC Lyte feat. Missy Elliott — “Cold Rock a Party”
MC Lyte’s “Cold Rock a Party” is a feel-good track that solidifies her status as one of the best rappers in hip-hop history. Lyte effortlessly switches flows, while maintaining her assertive cadence over a sick beat. The fact that she repeats the same lyrics over and over again also does not interfere with the track’s replayability factor. “Cold Rock a Party” remains a dance floor favorite that will definitely rock your party. — S. Noor
17. JAY-Z — “99 Problems”
Had JAY-Z actually left the game after 2003’s The Black Album, he would have been abdicating the throne as the undisputed king of hip-hop — with “99 Problems” as the crown jewel. The track is so perfectly cut that each facet shines on its own: JAY’s ingenious wordplay delivering complex social commentary that could be taught in law school, Rick Rubin’s hard-hitting beat calling back his classic ’80s sound, an indelible hook that permeated the culture. Credit where it’s due, that memorable refrain is an interpolation of Ice-T and 2 Live Crew’s Brother Marquis’ 1993 track of the same name, but it was JAY-Z who inscribed it into the ledger of hip-hop history. — B. Kaye
16. De La Soul — “Me, Myself, and I”
De La Soul’s fanbase loves them unconditionally; “Me, Myself, and I” tops the long a list of reasons why. When their peers dressed alike and even sounded alike, De La Soul’s third single shook up everything in ’89. They wore black medallions, not gold; they had fun when everyone else mean mugged for the cameras; and they weaved in social commentary without drowning out their considerable rapping skills. Even sampling George Clinton & Parliament strengthened their message, as they built their rep and image through recontextualizing another group who pushed boundaries and hated the status quo. “My, Myself, and I” is timeless and the best thing is that after years of legal drama, any generation today or in the future can hear it whenever they want. — M. Shorter
15. Eminem — “Lose Yourself”
It will always serve as Eminem’s opus. “Lose Yourself” is the Marshall Mathers story, a consolidation of the highs and lows he’d experienced in his long journey to success. You can feel his utter desperation when cries in the third verse, “Success is my only motherfuckin’ option/ Failure’s not,” an example of the breaking point he’d experienced between ambition and reality. Eminem reached similar highs on “Stan” and the more emotionally fraught songs on The Marshall Mathers LP, but “Lose Yourself” became a career-defining lightning bolt that detailed “Eminem the artist” in a much more agreeable fashion. We, the audience, are implicated in “Lose Yourself” — the fervor with which he begs the listener to seize their moment is emotional, rousing, and downright inspirational. It’s Eminem’s most universal hit, while also being one of his most personal — the mark of a truly special work of hip-hop. — P. Ragusa
14. Kanye West feat. Rick Ross, JAY-Z, Nicki Minaj, and Bon Iver — “Monster”
“Monster” is one of those hip-hop songs that sounds so outrageous, it’s hard to believe it’s even real. The list of features is one thing; Bon Iver and Nicki Minaj on the same track as Ye, Jay-Z, and Rick Ross, is already thrilling. But the final product is truly mesmerizing, on par with a summer blockbuster or the NBA finals. While Kanye himself is on an unbridled high in “Monster” (including some hilarious lines, like, “Head of the class and she just won a swallow-ship”), it’s Nicki Minaj’s unforgettable verse that cemented her as one of the most talented rappers around. The way she shifts her melodies, flow, and cadence throughout the extensive verse signals a a fresh and unabashed freedom, and the amount of jaw-dropping bars is astounding. Minaj often inhabits outlandish characters, but her appearance on “Monster” is so prolific and bewildering that the grey area of where these characters end and Nicki begins is enormous. — P. Ragusa
13. Fugees – “Ready or Not”
Fugees’ “Ready or Not” consists of a perfect blend of hip-hop and R&B, characterized by smooth yet simplistic production. Lauryn Hill’s prominent vocals carry the track, weaving together her bars with those of Pras and Wyclef Jean as they paint the picture of the scene. Dare I say the song also has one of most notable choruses in hip-hop, one part threat, one part seduction: “Ready or not, here I come/ Gonna find you, and make you want me.” — S. Noor
12. N.W.A. — “Fuck tha Police”
You don’t need us to tell you that N.W.A.’s “Fuck tha Police” is one of the earliest and finest examples of hip-hop taking on rampant police brutality and racial profiling. The justified anger of the song – perfectly represented by the aggressive beat and embodied by the performances of Ice Cube, MC Ren, and Eazy-E – is defiant, violent, and unmistakable. Throw in a cracked sense of humor in the form of mid-song skits, and it becomes pretty damn clear why “Fuck tha Police” remains a go-to protest anthem to this day. — J. Krueger
11. Outkast – “Ms. Jackson”
While everyone was distracted by the East vs. West rap wars in the ‘90s, somewhere at the turn of the millennium André 3000 and Big Boi took the throne for the South. They didn’t do it by appealing to traditional standards of masculinity, or by playing into the theatrics of gangsta rap that artists like 50 Cent double-downed on. They did it by being original, completely out-of-the-box, and most importantly, vulnerable. “Ms. Jackson” captures the contours of a man full of love, regret, rage, and sorrow, promising the grandmother of his child that he will support the baby despite not being together with the mother. It cherishes the “puppy love” that resulted in the child, while in the same breath threatening to cut the lights out of her house. It pleads for forgiveness from Ms. Jackson in the song’s legendary hook, while also telling her that he’s sick and tired of the “same song” she sings. It’s just so messy and so human. — André Heizer
10. UGK feat. OutKast — “Int’l Players Anthem (I Choose You)”
Leave it up to André 3000 to usher us down the aisle to the altar of “Int’l Players Anthem.” Each breath he takes is like poetry, and his opening verse flowed from his lungs as swiftly breezy as a zephyr. Everything about this track is smooth, from the Willie Hutch sample to Pimp C’s unforgettable take on “top notch hoes,” to asking life’s eternal question of “what’s a hoe with no pimp, and what’s a pimp with no hoe?” Even if you don’t know the answer, it doesn’t matter, because the soulful vocal accompaniment of “I choose you” is enough to ease any confusion you may have on what it takes to be a player. — C. Pope
09. Kendrick Lamar — “Alright”
Every generation deserves their protest song. For anyone of a certain age, this is ours. Kendrick Lamar visited South Africa, saw their problems, and realized despite everything happening in America, we’ll be all right. While a song like “Fight the Power” bottles outward anger, “Alright” combines inner turmoil with external justifiable anger and pines for optimism in a cynical world. South Africa inspired him, but Lamar kept an eye to his backyard as the song references police brutality that sadly never goes out of style. After Michael Brown and Trayvon Martin saw their lives cut short due to law enforcement and someone doing their best Judge Dredd impression, respectively, Kendrick’s words struck a chord.
“Alright” became a unifying message about hope and perseverance for people who mistakenly thought the days of marching and demonstrating were extinct. We said fuck the police, we fought the power. But now we just wanted to be “alright.” The message changed but the strength and aim remained the same. — M. Shorter
08. Missy Elliott — “Work It”
Songs in which an artist describes what they are going to do to you are almost always fun, and Missy Elliott makes “Work It” twice as enjoyable by rapping both forward and backward about how she’s going to switch positions. Not the least bit shy about turning the male gaze on its head, Elliott came on strong and didn’t back off with instructions about how she liked to be pleased in the bedroom.
Elliott and Timbaland’s one-of-a-kind production brought the song to another level with a trumpeting elephant. By the third verse, her sexual rhymes gave way to increasingly ludicrous scenarios (“Picture Lil’ Kim dating a pastor”) that demonstrated fame wasn’t going to change her. Indeed, Missy never compromised her sound, and thanks to songs like “Work It,” she remains one of the most innovative rappers and producers of all time. — E. Fu
07. Nas — “N.Y. State of Mind”
The first track on any album is the most important song; it creates a lasting first impression. In hip-hop history, no first track announces itself and its artist like Nas’ “N.Y State of Mind.” The song goes for almost five minutes, but Nas uses most of that runtime for a 40-bar opening verse that weaves in and out of corners throughout his Queensbridge projects. Throughout the imagery and storytelling, he finds time to chin-check other rappers, as if his rapping itself didn’t leave their pens shaking in a cold sweat.
“N.Y. State of Mind” set the tone for a now-mythological album. With D.J. Premier’s help, Nasty Nas explained his hopes, dreams, fears, and related to everyone who felt the same despair he felt growing up in a place with not many avenues out. It’s on this list because no rapper before, or since, matched what Nas did that day in the studio. And that’s after trying for almost 30 years. Even with another 30 years, they still wouldn’t come close. — M. Shorter
06. Grandmaster Flash and the Furious Five — “The Message”
It’s hard to talk about the rise of hip-hop without this iconic song. The instantly recognizable synth riff, the fat bassline, techno flourishes — it’s a reeled-down funk groove with hints of electronic and disco that in 1982 displayed the dynamism of this up-and-coming genre. And of course, how can we forget the actual message itself?
Often regarded as the seminal moment in hip-hop when emcees were brought into the limelight, “The Message” moved rap away from the party scene and into the streets. It captured the spirit of revolt in hip-hop not only in form, but in content. Chronicling the plight of Black Americans and their day-to-day struggles with racism, it struck a nerve in a country still reconciling its violent past, blind to the institutions perpetuating that violence in the present.
Produced by Sylvia Robinson, the woman behind “Rapper’s Delight” and other early hits, this song took the genre to a new stratum, paving the way for the boom that was yet to come. But it’s not all conscious: “The Message” is a true pleasure to listen to and catchy in the best ways, which probably explains why it’s been sampled from Ice Cube all the way to Coi Leray. — A. Heizer
05. The Notorious B.I.G. — “Juicy”
B.I.G. wasn’t playing around with “Juicy.” The lead single off his debut album, Ready to Die, that Mtume sample (though lyrically remixed to fit the context of this particular juiciness) was the perfect backdrop for Biggie’s deep and enveloping voice, making it seem bombastic amidst the track’s inherent sexiness. His story personified in four minutes, the tale of comeuppance is one that many have told, but Biggie’s was something special.
Or, at least, it felt that way. The things he mentioned going from wanting to having were things that others at the time could more than relate to — Super Nintendos and Segas, champagne, and expensive phone bills. It’s the little things that people take advantage of that others spend their days longing for, but you can tell just how going “from negative to positive” is all good. — C. Pope
04. A Tribe Called Quest feat. Leaders of the New School — “Scenario”
“Scenario” reinvented the posse cut. A Tribe Called Quest and Leaders of the New School didn’t do anything new, but it became such a cultural force that a song with this many voices, flows, and personalities felt necessary on every album after The Low End Theory. The track is a symphony where verses overlap, play off each other, and voices appear or disappear at the drop of a dime. But let’s be real here and talk about the biggest reason the song endures: Busta Rhymes.
Leaders of the New School’s debut album dropped a few months after Busta’s verse dropped jaws and started a bidding war for his solo talents. Ironically, this song and that verse ended the group before they even got out of the starting blocks. Their brightest moment signaled their demise but gave birth to Busta’s legendary career that continues today. Busta became king of the posse cut in 1991. More impressively, that crown remains on his head even after three decades. — M. Shorter
03. Lauryn Hill — “Doo Wop (That Thing)”
The music video for “Doo Wop (That Thing)” stars two Lauryn Hills side-by-side — one set in 1967, and the other in 1998, the same year she broke free from Fugees with her debut solo album, The Miseducation of Lauryn Hill. Written and produced by Hill alone, “Doo Wop” harkens back to her pioneering forebears without ever feeling dated or kitschy; a sleek, rap-pop number that warns of soul-sucking duplicity across the gender spectrum.
It’s all fun and games until it isn’t. On the final verse, Hill ditches the pep talk for lines that stop you in your tracks: “Money-taking, heart-breaking, now you wonder why women hate men/ The sneaky silent men, the punk domestic violence men/ The quick to shoot the semen, stop acting like boys and be men,” she spits. “How you gon’ win when you ain’t right within?” It’s a grenade of a concept that’s just as timeless as doo-wop itself. — A. Jones
02. Wu-Tang Clan — “C.R.E.A.M.”
After kicking in the door with the guttural “Protect Ya Neck,” Wu-Tang Clan sanded down their rough edges with a head-nodding piano riff expertly chopped up by the RZA from The Charmels’ “As Long As I’ve Got You” and a smooth hook from Method Man. However, the track’s more polished production didn’t mean the group softened their rhymes. Raekwon and Inspectah Deck focused on storytelling instead of boasting about their lyrical superiority, detailing the somber realities of their upbringing in vivid detail.
When the Chef raps, “I grew up on the crime side, the New York Times side/ Stayin’ alive was no jive,” it’s not hard to imagine his hardscrabble Staten Island background. Meanwhile, the Inspectah shows why he’s still one of the most underrated members of the group with perceptive lines like, “But as the world turned, I learned life is hell/ Livin’ in the world no different from a cell.”
A stone-cold classic, nothing else needs to be said to make a case for “C.R.E.A.M.” being one of the best songs in the history of music — let alone hip-hop itself. — E. Fu
01. Public Enemy — “Fight the Power”
Do the Right Thing and Rosie Perez immortalized it, but “Fight the Power” was powerful even before one of the greatest movies of all time wrestled with its themes and ideas. Chuck D’s voice. Flava Flav’s personality. The Bomb Squad’s controlled chaos. And not to mention the broadsides against Elvis and John Wayne.
Chuck, always attuned to the world around him, knew Hip Hop’s power and saw its influence growing. And for his era, Chuck was the “old man,” as he turned 29 the year this song dropped. But with age came wisdom that made him adept at combining the present with the past for one holistic message. “Fight the Power,” with its call-to-action hook and civil rights activist Thomas Todd’s words, never hides its mission or ambition. Chuck D rapped about injustices committed against Black people, directly and indirectly, and he wanted a revolution.
But that’s hip-hop. At its best, it’s revolutionary music that challenges the status quo and revels in rebellion. Public Enemy were the biggest rebels in the genre in 1989 and to some, their status remains unchanged today. They created an often imitated but never duplicated blueprint that every single rapper since them studied, in one way or another. — M. Shorter
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50 Best Hip-Hop Songs of All Time
Consequence Staff
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