like the song affected the way people dressed, rhymed/flowed, slang, ushered in a new era and all that

Biggie Smalls- Biggie give me one more chance.

I thinkt hat song and video single handedly ushered in the glossy era of hip hop. the pop bottles, coogie sweaters, etc.

i know there are a lot more.

so..go.

you know what the hell i meant.

1. (85) The Show/La Di Dodi

2. (86) My Melody/Eric B 4 Prez

3. (86) 6 In The Morn/Doggin The Wax

4. (87) Boyz N The Hood/Dopeman

5. (86) Ego Trippin

6. (92) G Thang

7. (93) 93 Til Infinity

This song signaled the beginning of the end of the "old school, Sugarhill/Enjoy, use a band and rock for over 5 to 15 minutes" style of making songs. The drum machine and turntable (and sometimes human beat boxing) took front and center. Cats also started to adopt the Hollis crew's fashion sense of rockin' regular street gear instead of "costumes" on stage...

>This song signaled the beginning of the end of the "old
>school, Sugarhill/Enjoy, use a band and rock for over 5 to 15
>minutes" style of making songs. The drum machine and
>turntable (and sometimes human beat boxing) took front and
>center. Cats also started to adopt the Hollis crew's fashion
>sense of rockin' regular street gear instead of "costumes" on
>stage...

.

It was the equivalent to when Dylan when broke the 3 minute song structure rule w/Like A Rolling Stone.

"I keep pretending/with memories never ending." © Michael Jackson



R.I.P.

Everything changed after that.

That has to be one of the most important songs in Hip-Hop.


"I keep pretending/with memories never ending." © Michael Jackson



R.I.P.

because there's no hooks/chorus?

the beat...the grimey sound...the crazy rhyming styles they each had...i mean if you believe wu-tang was an influencial force in hiphop (which you should) then you have to credit that song as being the catalyst of that movement.

Only because it was the single that was nationwide...Protect ya neck had impact, but not on the same scale

No doubt it's the biggest song of their career chart wise, but impact?

Protect Ya Neck had more impact. It made people take notice.



"I keep pretending/with memories never ending." © Michael Jackson



R.I.P.

Granted, CREAM was the single that knocked it out of the park, but "Mystery" preceded it and turned our attention to CREAM when it was released. The song (and video) summed up everything culturally about the Wu. Most, if not all, members are featured and have memorable verses, thrown in with the "kung-fu" sound (and imagery) mixed with everything hood; that shit really blew the mind.

Personally, it was the sound of ODB on that made me check back for Wu; didn't find him on the CREAM track, but that didn't matter anymore...

8 niggas on the same track with skills (well, we'll cut U-God a break) was unheard of. Combine that with them financing the shit themselves and all the buzz surrounding them, be it from the industry or from the kung fu shit and you had a monster, plain and simple.

CREAM may have been the national breakout joint (I still remember them performing on Arsenio) but the shift began with Proteck Ya Neck.

I think I still have that cassette single around the house

How did WuTang change anything?

They carved out their niche...granted.

But that didn't change how others were doing anything. I respect them for their lane....but I'd like to know how they influenced anyone outside their circle. IMO, they didn't.

It's funny...seems to me that the influence of Wu tang is never acknowledged by anyone who was over 16 when they came out. I think alot of people first got into hip hop through Wu and that's why they get these types of props.

It didn't really change anyone's style and flow, but as much shit as people talk about his assholistic bravado, it was a gutsy ass song for its time. And yes...that song was everywhere.

It really just goes to show how bitchmade most MC's/cats that dissed him really were cause neither one of them woulda made a song like that AND suceeded.



"I keep pretending/with memories never ending." © Michael Jackson



R.I.P.

The song that officially introduced G-Funk to the masses....a sound that would be imitated for about 4 years.



"I keep pretending/with memories never ending." © Michael Jackson



R.I.P.

it was longer than 4 years, really.

Nothing really needs to be said about this.

This song gave birth to the 'Conscious MC'.


"I keep pretending/with memories never ending." © Michael Jackson



R.I.P.

just asking..

which really took over the underground for a number of years

>which really took over the underground for a number of years

but i still dont think UM got play like definition did.
it didnt even have a video did it?

began the mainstreaming of country ass black folx aka southern hiphop

if you listen CLOSELY to the lyrics

for the record i love southern hiphop

i almost said Juvenile's 'Ha' but Bout it is what really ushered all that stuff in...'least for an outsider such as myself

bout it sent southern music up north and outwest

first time i heard it was one of the few times that i really felt like i just heard something completely foreign to me. that beat was so crazy...i didnt even know hiphop could sound like that.

looking back now it sounded alot like west coast hiphop from the early 90s but for some reason, my initial reaction to it was "what da hell is this?!". i liked it immediately.

possibly catalyst for Pac and Biggie's murder

really changed the way diss records were made too

>really changed the way diss records were made too

And not in a good way. LOL


"I keep pretending/with memories never ending." © Michael Jackson



R.I.P.

.

Thuggish Ruggish Bone was their first single, and the first commercial song that had that double time rap style. When Notorious thugs dropped, and people heard Biggie do it, it felt like EEEEEEEEVERYBODY figured it was cool to try that style. By 1999-2000, everybody was tryin to Rap double time...most of the South, along with people like Nas who tried on "Big dreams."

Aside from the flows on there, that triple cadence bounce had the same impact that went along with the songs that followed....every single rapper and R&B artist had songs that had this bounce. The first time I heard this style was on Scarface's album from 94 or so, but it became mainstream because of "Notorious thugs" and Timbaland's sound that came around the same time.

yeah Bone really did change rhyming with their harmonic singing flows. initially its the double time that catches you but when you think of how many MCs harmonize their rhymes even today, its crazy...thats why i love that Khaled song they did on we global.

that has to be one of the top 2 biggest game changing songs in hip hop history....on a multitude of levels...

maybe the WU

for anyone around at that time knows both of them changed the game of not only hip hop,but music in general.....

Me So Horny was not a game changing joint.




"I keep pretending/with memories never ending." © Michael Jackson



R.I.P.

that song lead the way for an entirely different style in hip hop that's still relevant today....on top of the fact that it changed music overall with how it is sold,and what you can say in it....

If you're referring to dirty lyrics and what you can say on songs, Too Short beat Luke and them by a year or two.

"I keep pretending/with memories never ending." © Michael Jackson



R.I.P.

"I keep pretending/with memories never ending." © Michael Jackson



R.I.P.

and filtered out to other areas...that are still relevant today...i thought that was a rhetorical question you were asking...



either way i answered the THREAD QUESTION...which was what SONG changed the game in hip hop....and if me so horny isn't in the top 5...please list me the too short song that should replace it...

"I keep pretending/with memories never ending." © Michael Jackson



R.I.P.

"I keep pretending/with memories never ending." © Michael Jackson



R.I.P.

First major song that had the New Orleans Bounce sound to it, and this is responsible for 95 - 105 BPM style of booty shaking music that ran last decade...before that, the booty shakers were all of the 130+ BPM Luke/2 Live Crew Miami Bass style. "Wobble wobble" from 504 Boyz also had the bounce feel, but at a slower pace and it wasn't as big of a hit.

The sound and elements of N.O. bounce are directly responsible for Ying Yang Twins sound, and you can see the influence in Lil Jon's uptempo club tracks such as "Get low" and "Shake that monkey."

I listed those three, but I'm really asking....which one of these songs, or was it another, that was in that 87-88 BPM range, had the biggest influence on that late 80's 808 type sound? This is one of the signature sounds of the 80's, and it seems like it was more of a West Coast trademark, but songs like "Knowledge me" also had a similar feel.

If it wasn't for this song, Weezy, Baby and them wouldn't have a career and Mannie Fresh wouldn't have a sound.

"I keep pretending/with memories never ending." © Michael Jackson



R.I.P.

'Nuff Said.


"I keep pretending/with memories never ending." © Michael Jackson



R.I.P.

The birth of Gangsta Rap starts here.

Even though some people say it was Ice-T's '6 In Tha Morning'.



"I keep pretending/with memories never ending." © Michael Jackson



R.I.P.

The flow and a lot of elements in the song are nearly identical to me.

"I keep pretending/with memories never ending." © Michael Jackson



R.I.P.

The similariites are glaringly obvious.

-

He's totally given credit where credit is do. When everyone was saying Jay-z ripped him off with "99 problems" he explained how Brother Marquis came up with the concept.

You can argue that a lot of Neptunes beats changed the style of production, but I'd just like to point out the drum break down on the 7th and 8th bars of this track...almost EVERY damn song you hear that's at a similar tempo has this damn breakdown now...from "Blame it" to "You're a jerk" to "God in me" to "Regret"...and along with "Grindin," this track had everybody spittin over drums only beats...BEP "I'mma be" is one of those that came five years later that still sounds very similar.

most tracks that have that same type of feel/tempo now you can predict a little fill/break down to come in around the 8th bar..that all started with "Drop It..." for the most part.

both landmark cases for the use of sampling...

for ushering nerd/suburban/middle-class rap

but is this the song that triggered the cycle of "club" songs, meaning songs about "club culture" and all the exciting things that can happen in the club if you were hanging out with that person in such a setting?


http://funkmass.com

Funny thing is to me, most "At the club" songs are forced as hell...and this was just one that worked. But as a club DJ, 95% of the best club songs don't say "club" in the hook, even though they refer to all of the elements. I almost feel like saying "club" in the hook curses the chance of it bein a club hit.

Message
La Di Da Di
Self Destruction
I need love
G - Thang
me myself and I
Can't Touch This
Protect Your Neck
Juicy
Stan





lurkin since 1999. word.

Message - first rap song to speak about real urban street issues

La Di Da Di - this is where many were introduced to beat boxing via the radio

Self Destruction - Posse cut where unity and positive re-inforcing message was encouraged. Let's get together and rap for a cause type thing

I need love - LL ushering in the style of really talking about his emotions, ie. LOVE.

G - Thang - One of the most well received cross-over (west /east) songs I can remember ... save for fuck the police (NWA)

me myself and I - The first time we were introduced to the falsely labeled - hippie rap. Love peace and all that. intro to Zulu nation, etc.


Can't Touch This - Hammer pretty much re-invented what a top 40 hip hop song was

Protect Your Neck - Raw posse cut with a sound that was new and then later to be over dublicated by many

Juicy - My introduction to Biggie. His influence on rap is simply history


Stan - next to slick rick, this story told in rap pretty much was not only ingeniously written, but showed us the nature of the hip hop fan as never seen before.

hell anything produced by marley marl durin' that time frame

++++++++++++++++++++++++++++
+++last man standing takes a seat+++
++++++++++++++++++++++++++++

james brown loop, offbeat flow and expanded topic
new school rap

-

used funkadelic sample
ushered in eclectic sample source choices, soon to be used by dela and tribe, hence the native tongue
along with ultramagnetic and bdp, rocked under the down with red alert umbrella...known for makin' progressive hip hop
envelope pushers

-

helped usher in the keyboard beat- no samples, synth heavy, sixteenth hi hat

http://www.youtube.com/watch?v=Y5qKNlcUwKs

I'm not sure this is going to be a popular choice however, I remember the time when this song debuted, and I was working at an amusement park in Westchester, NY and all day every day that was the song that would play over the speakers at the rides. I had never listened to anything southern at the time. I lived in the Bronx and I don't believe many people there at the time thought about the South having rappers. At the time for us rap consisted West, Chicago, and NY with the occassional odd song from the south(back that ass up, bling bling) however Country Grammar and the hits that came after it; EI, Ride wit Me really put an identity on southern rap.

I think this song really lead to a crush of rappers from the south becoming popular in NY. After the sucess of Country Grammar the album, there were a whole slew of pop-southern rappers started bubbling up, Ludacris, Petey Pablo, T.I. and Mystikal to name a few (I know Mystikal was around before but he didn't get popular in NY until Shake ya Ass)

and will receive immense hate

This post is great and all, except Nelly is from St Louis which is in the Midwest. Yall brainiacs should know that

Nelly' was not from the South.

A lot of them make that mistake.

A lot of people outside the south associate "country" with southern and the sound Nelly had is similar to the sound that eventually became popular from the south. So even though it was somebody from the midwest that had this sound, it really did a lot for southern MCs.

WELL before nelly got big....on top of the fact that nelly ain't from the south...

he may not be from the south but I can't think of a better tipping point for that style of delivery....made it big worldwide.

rap was forever changed after that record.

Tht was the definitive "oh shit, so he's NOT a cornball?" song

In my eyes the first group to be truly unapologically Southern..
Many groups came before and had major success, but none embraced their Southern identity the way Kast did...

Get Low

Started that Crunk call & response style.

Get low did break some ground.

>Started that Crunk call & response style.
>
>Get low did break some ground.

This song ushered in the Native Tongue movement and made posses almost necessary for the next 10 or so years.

de la..

.

I couldn't choose a single song to do off College Dropout that was more important than the other so I chose the first song. The reason I chose We Don't Care is because I still remember vividly the first time I heard this song and it just blew me away. The wit, the beat, and the heart was unlike any thing that I heard. Once you heard this song you knew that hip-hop history was changed. Kanye may not be the best lyricist, but he still finds ways to connect.
We Don't Care (and College Dropout) ushered in a mammoth shift in hip hop that increased the appeal of hip hop and paved the way for guys like Lupe, Cudi, and Drake.

http://www.youtube.com/watch?v=4WezusURMbY

Seems like everyone wanted to make a "tough" joint for the ladies after that.

It effectively stopped the movement of less talented fools from attempting the autotune route, and left only those completely talentless fools who's entire career is based on Autotune still using it