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GloRilla “GLORIOUS”: The 7 Best Beats

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2024 is the year of GloRilla. The Memphis rapper’s stock has been on the rise, thanks to a series of high-profile singles (“Yeah Glo!” and “TGIF”) and collaborations (“Wanna Be” with Megan Thee Stallion and its Cardi B-assisted remix). Her mix of self-empowerment and street bars quickly made her a fan favorite. When she made herself known in 2022 after signing with Yo Gotti’s Collective Music Group, she developed a base of women and men alike, signaling a universal appeal that not every rapper in the mainstream today can say they have. In April, she released her second mixtape, Ehhthang Ehhthang, twelve tracks that show the MC staying true to her roots en route to what would become a banner year for the 25-year-old. 

GloRilla’s 2024 takeover culminated with the release of her debut album, GLORIOUS. In true GloRilla fashion, GLORIOUS features a number of hard-hitting beats, in line with the sound of modern Memphis hip-hop. But, she also expands her palette with some more gospel-inspired sounds that fall out of her typical crunk and trap comfort zones. The result is a unique soundscape that often complements GloRilla and the extensive list of featured artists very well. Here are the seven best beats on GLORIOUS.

Read More: GloRilla Reveals How She Used A Mean Tweet As Motivation

7. “RAIN DOWN ON ME” (feat. Kirk Franklin, Chandler Moore, Kierra Sheard & Maverick City Music)

GloRilla was born Gloria Hallelujah Woods. Perhaps it is unsurprising that a woman with Hallelujah as her middle name would make such a gospel-inspired track, but that is exactly what “RAIN DOWN ON ME” is. The track features gospel titan Kirk Franklin, Chandler Moore, Kierra Sheard, and Maverick City Music. It is a unique track on GLORIOUS, pulling off an effective gospel/trap mixture. The piano and choral adlibs sound like something one would hear at a Black church. It retains the spirit of GloRilla’s typical flair with an 808 pattern that gives her an actual beat to rap to.

The final minute sees the track go from a somewhat standard hip-hop song to a full-on “take us to church” moment. Franklin shifts the spotlight onto the choir, who sing over what has become a full gospel track, complete with hand clapping and an organ. The complete product is something that is not what GloRilla normally brings to the table. It is an admirable tonal shift after the line of party bangers and Trap & B that precedes it.

6. “DON’T DESERVE” (feat. Muni Long)

“DON’T DESERVE,” the seventh track on GLORIOUS, is a much softer cut. Produced by Hawky, Drumdummie, Fraxille, and Max Hummel, it is a song about valuing oneself and wanting friends to value themselves. The beat is sentimental, with a piano loop that makes it reminiscent of an early Polo G ballad–808s, piano. The bass will still sound good in the car. But, the beat’s sparseness is what makes it effective. It does not overwhelm and gives space for an impassioned performance by R&B star Muni Long, who steals the show vocally. “DON’T DESERVE” is not as high-energy of a song as “TGIF” or “HOW I LOOK.” However, it is a welcome entry on the tracklist. Its laidback beat and subdued delivery (by GloRilla’s standards) makes it a lowkey high point on GLORIOUS.

5. “HOLLON”

“HOLLON,” the album’s second track, is another one that revisits the crunk well. Horns, an ominous bell, and some more big bass make the track (produced by SkipOnDaBeat and FnZ) go. It’s another track that has a darker feel to it. If a DJ played this song at a party, it would probably be in everyone’s best interest to move out of the way.

It’s an early hit on the tracklist that sets the tone for what to expect across the rest of GloRilla’s debut album: a series of loud, banging beats, and for Glo’s confident flow to match the energy of those loud, banging, beats. “HOLLON” is another high point on the production side of the album. It’s one that longtime fans of GloRilla will surely gravitate toward, as it sounds like something that would have been right at home on both Ehhthang Ehhthang and the preceding Anyway, Life’s Great… mixtapes.

Read More: GloRilla Sparks JT Diss Theories With New Track Featuring Sexyy Red

4. “LET HER COOK”

“LET HER COOK” is the thirteenth track on GLORIOUS, and it is an appropriately named one. Produced by London Jae, Pooh Beatz, Squat, and Coupe, this track is another banger. The horn returns, and the particular loop on this track has a similar pattern to Pharoahe Monch’s “Simon Says,” though it is not quite as in-your-face as that track is. There is a dinging sound deep in the mix that emphasizes her bars like the “ayy” adlib does on “TGIF.” Of course, the bass is once again at the top of mind. It feels like Glo’s intention on every song is to create a track that’ll bump regardless of where it’s being played. Like so many of the production choices on GLORIOUS, this is another great one. Even towards the end of the album, GloRilla wants to keep the energy high, something that she excels at doing.

3. “TGIF”

“It’s 7 P.M. Friday, it’s 95 degrees / I ain’t got no n***a, and no n***a ain’t got me” has become an oft-repeated opening line for many this year. Those bars represent a level of freedom that comes with being out of a relationship. They also would not hit as hard if they were said over any other beat. “TGIF” remains a 2024 highlight for Glo.

Produced by Zenjikozen, Brophy, and Jess Jackson, “TGIF” is a downtempo track with a persistent horn and thumping bass, as well as a repeated “ayy” adlib that punctuates many of the bars on the song. No one could have predicted “TGIF” was going to dominate the rap game in 2024 as much as it has. It is one of the only hip-hop songs to consistently be in the top 40 on the Billboard Hot 100 since its June release. That is a particularly impressive feat as the charts have favored pop and country the most this year. It’s easy to see why, as like much of GLORIOUS, “TGIF” is radio and party-ready. It is a 2024 banger and even on an album full of new material, a standout, anthemic track.

2. “STEP” (feat. Bossman Dlow)

“STEP,” the album’s twelfth track features another rising star, Tallahassee rapper and recent XXL Freshman, Bossman Dlow. The bass-heavy beat sounds like GloRilla taking a trip into Dlow’s world. The track has a type of bounce that can really only be found on a Florida rapper’s song. In that regard, it takes Glo a bit out of her comfort zone. But in the nascent years of her career, she has shown the ability to flow over just about anything you ask her to.

Her and Dlow sound at home over the bass, piano, and bell (which underscores the entire track). It is another track that, like “HOW I LOOK,” and like much of the tracklist, is immediately ready to make its way into DJ sets at most parties. The beat doubles as an opportunity for both Glo and Dlow to showcase their talents, and those who may have been previously unfamiliar with Dlow can get a good feel for exactly what he brings to his own music on “STEP.”

Read More: Megan Thee Stallion & GloRilla Claim They’re The First Big Southern Femcees Of Their Generation

1. “HOW I LOOK” (feat. Megan Thee Stallion)

“HOW I LOOK” is the tenth track on GLORIOUS and the latest collaboration between GloRilla and Megan Thee Stallion. It is also the hardest song on the album. The production, handled by Yo Gotti (who has thirteen credits across the album’s fifteen tracks), Go Grizzly, B100, and London Jae, is the type of trunk-rattling sound fans have come to expect from those in the Memphis scene. It’s dark but still energetic, with some heavy bass and an eerie whistling sound buried in the mix. It feels like something that Duke Deuce, a Memphis contemporary, would rap over, and it is the most that Glo dips into the Memphis crunk sound on the album.

“HOW I LOOK” has a party-ready feel, thanks in part to the self-assured bars put forth by the two artists on the song, but also because the beat is one that could send even the most reserved person to the dance floor. It’s the standout moment on Glo’s debut and more than ready to be the next big single from this part of her career.

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Chief Keef “Almighty So 2”: The 7 Best Beats

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Since Chief Keef released Almighty So in 2013, fans have wanted more. While the rapper has dropped many projects since then, they just weren’t a continuation of the beloved mixtape. However, in May 2024, over a decade after Almighty So, he finally released the highly anticipated Almighty So 2. The album contains lots of sick beats, and stellar performances from Chief Keef, so it’s no surprise fans are loving it.

It’s been a long time coming, and now that it’s finally here — with a tour on the way, as well — it’s an almost surreal experience for many listeners. Chief Keef, with the help of his collaborators, has delivered a memorable album that lives up to high expectations. Almighty So 2 is filled with fire tracks that are brought to life by Keef’s performance, and impeccable production handled by the Chicago star himself. Here are the seven best beats on the new studio album by Chief Keef.

Read More: Chief Keef Previews “Almighty So 2” With A New Banger “Drifting Away”

7. “Too Trim”

Track 6 on Almighty So 2, “Too Trim” is easily among the songs with the best beats on the album. The track was produced by Chief Keef and Young Malcolm and sees both producers leaving nothing on the floor. It has all the elements of a great drill record, and then some. Undoubtedly, it is one of the most menacing beats on the project. All its many elements come together nicely to evoke an unsettling, yet exciting feeling. To his credit, Chief Keef rarely ever misses on tough beats and that’s certainly the case on “Too Trim.”

6. “I’m Tryna Sleep”

Almighty So 2 is a 16-track album, and “I’m Tryna Sleep” is the very last song on the body of work. Although it’s the album’s closing track, it certainly packs one of the hardest punches on Almighty So 2. The track is solely produced by Chief Keef, who equally delivers a grand performance on what is undoubtedly one of the album’s hardest beats. The rapper cooked with the beat, and then, ate it up with his bars and aggressive delivery. “I’m Tryna Sleep” opens with soothing keys. However, do not be fooled, because just a few seconds in, it switches up and catches you off guard. It is a masterclass in drill.

Read More: Travis Scott, Playboi Carti, Chief Keef & More On Summer Smash 2024 Lineup: Details

5. “Jesus” (ft. Lil Gnar)

Another track that starts off misleadingly, “Jesus” has a hypnotic guitar melody that’s the center of attention within the first minute. However, a few seconds before the one-minute mark, it transitions into a dramatic drill beat. This track was produced by Chief Keef, Mike WiLL Made It, and Shawn Ferrari. Without a doubt, it is one of the best beats Chief Keef raps on throughout Almighty So 2. Both Keef and Lil Gnar bring the heat on this track, especially after that sick beat switch.

4. “Banded Up” (Ft. Tierra Whack)

“Banded Up” is the eighth song on the tracklist of Almighty So 2. Featuring the eclectic Tierra Whack, it is one of the standout tracks in a sea of great songs. Both performers deliver excellently, aided by production that fits snugly around their bars. Solely produced by Chief Keef, “Banded Up” easily ranks among the absolute best beats on Almighty So 2.

3. “1,2,3”

This track contains one of eight beats solely produced by Chief Keef on Almighty So 2. It is also definitely among the hardest of them all. Chief Keef did his thing on this song, with both the rapping and the production. All the original elements he put together while cooking the beat come together very nicely. However, what makes the beat even better is the sampled tracks it incorporates. “1,2,3” contains samples from two tracks, “And I Love Her” by Bobby Womack, and “Land of a Thousand Dances” by Wilson Pickett. Altogether, these elements, original and borrowed, make one of the standout tracks on the album.

2. “Neph Nem” (ft. Ballout & G Herbo)

From the very first second of “Neph Nem,” you can already tell it’ll be a banger. The cinematic quality of the keys and drums that open the song prepares listeners for the rest of the beat. When the remaining elements of the beat come in before the 30-second mark, it’s glorious. This is another one of the eight beats Chief Keef produces solely by himself on the album. On “Neph Nem,” he lays it all out on the floor, and unsurprisingly, the performers don’t disappoint either. Ballout and G Herbo’s contributions to the song help make it an undisputed highlight on Almighty So 2.

1. “Runner”

Opening with the soulful voice of Nancy Wilson, this track leaves an immediate impression on listeners. It enchants and disarms you, leaving you totally unprepared for the heavy beat drop that follows. This is arguably the best of all the beats Chief Keef produced on this album. From the 808s to the sublime keys, to the hi-hats, this beat has a lot going on. However, it all melds together without a problem. Additionally, it samples “Streetrunner” by Nancy Wilson. Her vocals are laced throughout the track at specific points, giving the song some extra sauce.

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Gunna “One Of Wun”: The Best Beats

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On May 10, Gunna released his fifth studio album, One of Wun. The rapper’s latest body of work is a symphony of trap rhythms and melodic flows. It is also a testament to his evolution as one of contemporary Hip Hop’s most influential voices right now. With each new release, he attempts to push the boundaries of the genre, and this album is no exception. This is why it comes as no surprise that the project is aiming for a Top 10 debut.

Before One of Wun dropped, Gunna released two singles, giving listeners a taste of what was to come. Now that the album has finally arrived, many fans can’t get enough of it. Although it may not be regarded as the rapper’s magnum opus, it is certainly a worthy addition to his catalog. While Gunna delivers excellently, the production throughout this project equally stands out. From the first track to the last, the beats on One of Wun form the backbone of its sonic landscape. Here’s a list of the best ones on the album.

5. “Prada Dem” (ft. Offset)

Released as the lead single from the album, “Prada Dem” undeniably has one of the hardest beats on One of Wun. The track was co-produced by Aviator Keyyz, Evrgrn, and Fritz. It contains hard-hitting drums, a sick bassline, a hypnotic flute melody, snappy hi-hats, and everything good in between. Altogether, it has a very laidback vibe, but in an expensive way. Besides, whatever energy the beat may lack, Gunna and Offset more than make up for it with their verses. Both rappers slide effortlessly on the beat, spitting cold bars and delivering just what was needed. It’s no surprise this song was selected to be the lead single, considering just how hard it is.

4. “$$$” (ft. Normani)

One of the best things One of Wun gave us was another Gunna and Normani collab following “1:59.” Without a doubt, “$$$” is among the standout tracks on the album. The chemistry between the two performers is palpable, and they should certainly work together more. However, that’s not the only notable thing about this track. The production on “$$$” certainly stands out as well, and this is courtesy of Dunk Rock, Jacobsen, and Kenny Stuntin. These three producers combined their talents to create an earworm of a beat. It blends trap and R&B beautifully, and as expected, Normani and Gunna absolutely eat it up.

3. “One Of Wun”

Being the title track, there’s certainly a level of excellence expected from “One of Wun” and Gunna delivered. The rapper isn’t the only one who brought his A-game on the track, though. Que, Byrd, and Kenny Stuntin, the producers, turned up the heat with this one and left no prisoners. From the drums to the snaps, to the trippy background melody that plays throughout, this beat oozes minimalist trap excellence. Admittedly, there are not exactly any high points in the production as it is mostly looped. However, what the beat does, it does very well. It serves as the perfect sonic backdrop for Gunna to drop his lines, and it gives exactly what it’s meant to give.

2. “Let It Breathe” (ft. Roddy Ricch)

Gunna only featured four artists on One of Wun, and Roddy Ricch is one of the acts who makes a guest appearance. Fans of Ricch have been thirsty for a track from the rapper for quite some time. With “Let It Breathe,” he has finally given the people what they want, and he did it with style. Both Roddy Ricch and Gunna tear up the beat of “Let It Breathe,” which was produced by Evrgrn, Harrison Song, and Kenny Stuntin. Featuring melancholic keys, punchy drums, and an evocative bass, the trap beat is one of the best on this album.

1. “Time Reveals, Be Careful What You Wish For”

On One of Wun, it can be argued that Gunna saved the best for last. “Time Reveals, Be Careful What You Wish For” has one of the best performances by the rapper on the album. Additionally, the track has arguably the best beat on One of Wun, as well. The poignant trap song has the longest production credits on the album, with eight producers contributing. Aviator Keyyz, Gabe Lucas, Gray Toomey, Kristian Rose, LukasBL, Omar Grand, Segrate Martell Price, and Turbo all have production credits. The mellow production was tailored perfectly for Gunna to glide on and is an excellent closer to One of Wun.

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“Shook Ones, Pt. II” By Mobb Deep Is The Best-Ever Beat, Rock The Bells Proclaims

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“Dirty Feet” by Daly-Wilson Big Band, “Kitty With The Bent Frame” by Quincy Jones, “Jessica” by Herbie Hancock, and “Shook Ones” by Mobb Deep all walk into a bar. The result? One of the greatest rap songs of all time. Moreover, “Shook Ones, Pt. II” by the legendary duo sampled all these cuts and became one of the genre’s most iconic songs ever, especially for the East Coast scene. It’s a legacy that continues to endure to this day, as the LL Cool J-founded rap organization Rock The Bells recently crowned it the best beat of all time. Other competitors in the top five are A Tr*be Called Quest’s “Electric Relaxation,” Craig Mack’s “Flava In Ya Ear,” “Still D.R.E.” by Dr. Dre, and “N.Y. State Of Mind” by Nas.

That’s one heck of a New York bias, right? Jokes aside, this writer can’t help but agree: few tracks encompass the energy, technique, aesthetic, and cultural impact of East Coast rap and hip-hop at large as well as “Shook Ones, Pt. II.” Whether it’s the crisp drum pattern, the wailing sirens, or the most ominous key line you’ll ever hear, this song is legendary for a reason. One half of the Mobb, Havoc, produced this cut, and for those curious, the panel that judged these top 50 beats had DJ Epps, Cool of Cool & Dre, DJ Scratch, and Torae as its make-up. Funnily enough, RapCaviar‘s same list last year had RTB‘s No. 2, “Still D.R.E.,” as No. 1, whereas “Shook Ones, Pt. II,” RTB‘s No. 1, was their second pick. Watch the panel debate the list down below.

Read More: What Is Mobb Deep’s Best-Selling Album?

Rock The Bells Panel Discusses “Shook Ones, Pt. II” As The Best Hip-Hop Beat Of All Time: Watch

“I just want to say how honored I am to have ‘Shook Ones, Pt. II’ by Mobb Deep produced by myself, voted number one hip-hop beat of all time,” Havoc expressed about the praise. “I remember being in the projects in Queensbridge. Me and Prodigy just being there trying to make something for the world to hear our voice. And here we are this many years later, being saluted and held as the number one beat and hip-hop greatest of all time. But I just want to say thank you to all the hip-hop fans, rest in peace to my brother Prodigy. He would be just excited— as excited as I am, and I just want to thank all y’all fans, man. Salute.”

Meanwhile, the MC and producer recently debunked a myth about this classic. “You know when a myth [takes] a life of its own?” Havoc said on SiriusXM’s WkndWork. “You just be like, f**k it, you don’t wanna hurt nobody’s feelings, so you just agree with the myth? I be like, ‘Alright, f**k it. Yeah, [the hi-hat on ‘Shook Ones, Pt. II’ is] from the stove.’ The truth of the matter is that the hi-hat that I used on the actual track of ‘Shook Ones’ sounds similar to a project stove.” For more news and the latest updates on Mobb Deep, stay logged into HNHH.

Read More: Remembering Prodigy Of Mobb Deep

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Just Blaze’s 7 Best Beats

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Just Blaze is undoubtedly one of hip-hop’s most skilled producers. Throughout his prolific career, the New Jersey-based beatmaker has crafted tracks for some of the biggest names in hip-hop. Just Blaze’s grandiose style of production mixed with intricate musicality has resulted in some of hip-hop’s most iconic songs. He specifically dominated the 2000s with his easily identifiable sound that has never staled. 

Just Blaze has produced many major hit singles, including T.I.’s “Live Your Life,” and Joe Budden’s “Pump It Up.” He also produced numerous tracks on Eminem’s Recovery. Blaze is also the man behind some of hip hop’s most culturally impactful moments like Jay Electronica’s “Exhibit C” and “Exhibit A,” Fabolous’s “Breathe,” and Freeway’s “What We Do.” Beyond hip-hop, Blaze has collaborated with the likes of Beyoncé, Usher, and Mariah Carey. Today, we are ranking Just Blaze’s 7 greatest productions from least to greatest. Take a look at the list below.

Read More: Just Blaze Teases Unreleased Music From Jay-Z, Ghostface Killah & More

7. “Oh Boy” – Cam’ron Ft. Juelz Santana (2002)

“Oh Boy” is a classic among the many songs that Just Blaze produced on Cam’ron’s Come Home With Me. Just’s name may be the song’s first words, but one can instantly recognize the producer’s signature sound on the track. He flips Rose Royce’s “I’m Going Down” into a simple loop, around which Cam’ron and Juelz Santana base their verses. A brilliant chipmunk soul sample, “Oh Boy” made for easily one of Cam’ron’s best songs. Just Blaze and The Diplomats reprised “Oh Boy” on Mariah Carey’s “Boy (I Need You).” They would eventually recreate their magic again on “I Really Mean It.”

6. “Compton” – Kendrick Lamar Ft. Dr. Dre (2012)

Kendrick Lamar’s good kid, m.A.A.d. city plays like a short film, and its closing track is certainly cinematic. “Compton” ends the hip-hop classic on an extremely high note as Just Blaze supplies a triumphant beat for Kendrick Lamar and Dr. Dre to exchange bars. He takes the song to greater heights towards the end, adding extra flourishes to the production. The addition of the talk box also makes the song feel distinctively West Coast. Ultimately, “Compton” is one of the album’s pinnacle moments, thanks to Just Blaze’s production.

Read More: Just Blaze & Katty Customs Talk “Fresh Pair,” The Evolution Of Sneaker Culture, & Creating One-Of-A-Kind Kicks For Hitmakers

5. “Touch The Sky”- Kanye West Ft. Lupe Fiasco (2005)

Many of Kanye West’s greatest hits are self-produced, but the Just Blaze-produced “Touch the Sky” sees him fully focusing on his bars. The song prominently samples Curtis Mayfield’s “Move On Up,” slowing the song down with additional percussion. Just Blaze does not manipulate the sample much at all. He allows it to become the main backdrop for Kanye and Lupe Fiasco’s rhymes. While Just’s best beats are often composed very intricately, the sample on “Touch the Sky” did not need much modification. The use of “Move On Up” drives the track for a phenomenally produced instrumental.

4. “Show Me What You Got” – JAY-Z (2006)

Just Blaze has given many of his best productions to JAY-Z, a few of which are included on this list. “Show Me What You Got” is easily the best of the multiple standout tracks that he produced on Kingdom Come. If “Touch the Sky” is Just Blaze at his most simplistic, then “Show Me What You Got” is one of his most intricate beats. A combination of multiple samples, drum programming, and live instrumentation; the song is powerfully jazzy in its production. 

Just Blaze sampled “Darkest Light” by the Lafayette Afro Rock Band for its main backing track and Johnny Pate’s “Shaft of Africa” for the lead melody. He explained the process for the song’s creation in an episode of NPR Music’s The Formula, where he continued to build on top of the samples. He and 1500 Or Nothin’ “jumped on keys, guitar, bass, and organs” for one masterful composition. Just Blaze served as the main orchestrator in the production while the instrumentation from 1500 Or Nothin’ brought it to greater heights. With an excellent beat from Just Blaze, “Show Me What You Got” served as JAY-Z’s perfect comeback single.

3. “Lord Knows” – Drake Ft. Rick Ross (2011)

The instrumental for “Lord Knows” has Just Blaze written all over it. From its stunning gospel sample to the scattered percussion, it contains the maximalist elements of production that Just Blaze is known for. Arguably one of hip hop’s greatest gospel flips, “Lord Knows” samples “Lord, Lord” by Andrew Brown and the National Baptist Convention Choir. The combined samples were flipped into a hard-hitting beat drop. It serves as the perfect soundtrack for Drake to spit some of his most legendary bars. Just Blaze strips the production back during Rick Ross’s verse, adding another lively element to the beat. Possibly Drake and Ross’s most legendary collaboration, “Lord Knows” captivates listeners, not only with its lyrics but with its remarkable production.

2. “Public Service Announcement (Interlude)” – JAY-Z (2003)

Starting with perhaps the most famous bassline in both of their catalogs, JAY-Z commands the Just Blaze production as he re-introduces himself on “Public Service Announcement.” While Jay drops some of his most impressive bars on the track, the iconic album interlude is unmistakable with its Just Blaze-produced beat. Sampling “Seed Of Love” by The Little Boy Blues, the organ and drums crash over the famous bassline. One of JAY-Z’s most iconic tracks and one of Just Blaze’s best productions, “Public Service Announcement” is a hip-hop staple. What is even more impressive about the song is that Just Blaze made the beat in about ten minutes.

1. “U Don’t Know” – JAY-Z (2001)

Just Blaze has produced instrumentals for many of JAY-Z’s greatest songs, but his best beat is one of their earliest collaborations. Producing on The Blueprint was a breakout moment for Blaze, handling three different tracks. But, “U Don’t Know” stands out, immediately grabbing listeners with its energetic production and Hov’s commanding presence. The fiery beat puts all attention on Jay to spit some of his toughest rhymes. “U Don’t Know” is a quintessential Just Blaze, production marking the Roc-a-Fella sound of the 2000s. A high-energy track, the song also includes flourishes of soul with its chipmunk samples and vocal screams. The aggressive rapping from M.O.P. on the song’s remix also adds to the intensity of the instrumental. “U Don’t Know” displays JAY-Z and Just Blaze’s musical chemistry as one of Hov’s best lyrical moments and Blaze’s greatest production.

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