On this date thirty six ago, Hip-Hop’s greatest storyteller Slick Rick dropped his debut LP The Great Adventures Of Slick Rick on the Def Jam imprint.
MC Ricky D came on the scene with the “Original Human Beat Box” Doug E. Fresh in 1985 with the party anthem “The Show” and the X-rated flip side “La Di Da Di”. His highly anticipated debut LP is one of Hip Hop’s iconic projects that presented a concept, maintained a tempo with timeless lyrics and unforgettable beats courtesy of The Bomb Squad and Rick himself.
Being one of the few albums in the history of The Source that received the coveted Five Mics, it’s hard to pinpoint just a handful tracks that made the album stand out, however, there are some all-time favorites that still ring relevant three decades later. Storytelling tracks like “The Moment I Feared,” “Treat Her Like A Prostitute” and “Indian Girl” were reminiscent of his “La Di Da Di” days of X-rated rap. Rick served up some classic songs that are still bangin’ in the clubs to this day, including “Children’s Story”, “Mona Lisa” and the epic “Young World”.
Salute The Ruler, his DJ Vance Wright, Rick Rubin, The Bomb Squad and the entire Def Jam squad from the heyday for this timeless classic!
Central Cee has spent the last few years building one of the biggest profiles in U.K. rap on an international level, whether through hot singles like his most recent effort, “One By One,” and his blockbuster collaborations. But folks still have their skepticisms, given the fact that he doesn’t have a studio album under his belt among his various smaller projects. Well, Cench is going to change all of that very soon. He will drop his debut studio album Can’t Rush Greatness on January 24, which is a fitting title. As such, we know of at least one major hip-hop LP that will kick off the second half of the 2020s decade.
Not much else is known about this new album, other than a presumed cover art and this release date. As far as Central Cee’s sonic direction, amount of tracks, whether or not it will include previous singles, and other questions, we can only guess. Hopefully it’s a solid effort reflective of his skills, effort, and talent. The London native has stayed busy elsewhere throughout his career too, such as a recent Air Max 95 collab. But we’re sure that he’s been just as focused on this new body of work.
Of course, not every corner of the Internet is down to hear this Central Cee project, an impossible feat for any artist. Some fans still remember his viral Bantu knots which caused a lot of controversy earlier this year, or just don’t like the music that he puts out. But regardless of this criticism, the 26-year-old has a lot more greatness to pay attention to and seek motivation through. We’ll have to see what Can’t Rush Greatness provides, and how it resonates with his audience and others worldwide.
Meanwhile, this new album rollout comes with a bit of a recent publicity push, despite this being more of a negative look for some. Fans went wild over cheating allegations involving Ice Spice and Central Cee, though that narrative already died out. Maybe folks will have already forgotten about this by the time Can’t Rush Greatness rolls around. But they certainly won’t forget the album itself if it’s heat, and we’re excited to hear what’s in store.
On this date in Hip-Hop history, Harlem icon Ma$e released his debut album Harlem World on the Bad Boy/Arista imprint.
A millennial piece of uptown Hip Hop history post the shooting death of rap giant Big L, Harlem World helped usher in a new era of Hip Hop in Harlem. Prior to this release, Harlem had given birth to Doug E. Fresh, Kool Moe Dee, Kurtis Blow, and Rob Base, but had yet to see an artist with the level of conceited charm coupled with chart-topping hits to back it up that a Bad Boy-backed Ma$e had on this album.
Paving the way for groups like The Diplomats and A$AP Mob, this album was chock full of the opulent content expected from a true Harlem World representative. Along with its luxurious themes, the LP is laced with high energy production and a star-studded cast of guest appearances from some of New York’s finest, including labelmates The LOX, DMX, Lil’ Kim, Jay-Z, Total, 112, and Busta Rhymes.
After the untimely passing of the Notorious B.I.G., this album was set up to be the debut of Diddy’s “new protege and although it obviously fell short of the acclaim brought by Ready to Die, commercially, this album hit the same level of success as every other Bad Boy debut. Harlem World reached the pole position across music charts, sold over 2,000,000 copies to date, and was nominated for Best Rap Album at the 41st Grammy Awards.
Salute to Ma$e, Diddy and the Bad Boy fam for this piece of Hip-Hop history!
In 1991, Dres and Mr. Lawnge, collectiveluy known as Black Sheep, released their only album as a duo on this date.
On October 22, 1991, Black Sheep dropped their debut LP A Wolf In Sheep’s Clothing on Mercury Records. As one the last acts to be inducted as members of the legendary Native Tongues collective, Dres and his partner in Rhyme/DJ Mr. Lawnge broke the stereotype that rappers had to be born and raised in NYC in order to make respectable Hip Hop. Hailing from Smalltown, North Carolina, the BX transplants turned their geographical diversity into a joke while making one of the most memorable albums and movements to come out of the Native Tongues’ camp.
The album features some very impressionable tracks including the video favorite “Strobelite Honey”, the incomparable “Flavor Of The Month” and the timeless club anthem “The Choice Is Yours”.
Shout out to Dres, Lawnge, Chi Ali, Q-Tip, the Native Tongues family, and everyone involved with this dope album! Salute!
GloRilla’s debut album, GLORIOUS, is finally here. Listening to it, there are thankfully some instrumental/production and topical risks on the 15-song set. One thing that you could find as a weakness overall is her tendency to stick to what she knows. But on GLORIOUS, there are some tributes to gospel, which lead to some instances of personal reflection. Don’t get it twisted, though. Big Glo is still delivering her trademark crunk aesthetic with trunk-knocking bangers about confidence, independence, and the like. Speaking of the latter, one of the songs that GloRilla does best with is “WHATCHU KNO ABOUT ME.”
Shockingly, for the first time ever, her and Sexyy Red collide on it, and they have great chemistry. The beat may sound familiar to some as it samples Boosie Badazz’s and Webbie’s “Wipe Me Down.” Credit goes to Yo Gotti, Ace Charisma, and Lil Ronnie for putting a banging spin on it. The CMG boss is actually all over her debut album as a producer. Both leading ladies bring the brags, but Red adds an extra sense of grittiness that helps take this song to the next level. “WHATCHU KNO ABOUT ME” is already trending on YouTube with over 1.5 million views in its first 24 hours, so this looks to be an early fan-favorite.
Coochie drive ’em crazy, CDC He a dog for the p***y, and you know I got the treat Private entry through the club, f*** a fee A b**** play with gang tonight, her face going on a tee (Buh, buh) Bad b****, you know I’m thick as Coachella You won’t never catch me slippin’, I ain’t no f***in’ Cinderella, stupid b****
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.
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.
“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.”
“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.
On this date in 2001, the self-proclaimed “King Of The South,” rapper/actor T.I., released his first album entitled I’m Serious.
Produced by several behind the board legends including ATL’s DJ Toomp, Jazze Pha, Lil Jon, The Neptunes, and few others, with features from Pharrell, Bone Crusher, Too Short, Pastor Troy, and many other South and West icons still did not garner him the commercial success that he would eventually be recognized for his music as well as in the cinema.
With this being T.I.’s lowest-selling album, Arista Records made the heartbreaking move to cut him from the label after selling less than 300K copies. This was the obvious silver lining in the cloud because T.I has not only went on to become one of the top-selling Hip-Hop artists to date but has also made his mark on the silver screen starring along with the likes of Denzel Washington, Ruby Dee, and many others.
Regardless of what the critics have to say, salute to T.I. for offering up this underground Hip-Hop classic!
On this day in 1992, Chicago Hip-Hop legend Common, who was known as “Common Sense,” released his debut LP Can I Borrow A Dollar? Common delivered a debut that can be set apart from any other album he’s released. As one of Chicago’s first mainstream Hip Hop albums, this album exhibits an unorthodox approach to conscious rap. With very little connection to the boom-bap scene thriving in New York, Common was able to forge his unique style and stand out among a sea of Afrocentric, for-the-cause MCs, subsequently putting Chi-Town on the map.
It was Common’s isolation and hunger that drove this project to be as prolific as it is. After winning the title of ‘Unsigned Hype’ from The Source Magazine, Common quickly rose to the ranks of new artists. His unique status brought him a record deal and the ability to take his out-of-pocket flow and poetic wordplay to the mainstream. The simple production from his four-headed beat machine of No ID, Twilite Tone, and The Beatnuts was the perfect alley-oop for Common to showcase his lyrical prowess. In no way could the instrumental outshine anything Common was saying, creating a full album. Along with the lack of any “big name” features, that proved that this album was the beginning of a bright and illustrious career.
Commercially and critically, the project was slept on. Only peaking at#70 on the Billboard Top R&B/Hip Hop charts and selling well under platinum standards, this album was underappreciated until Common had officially proved himself as one of the greats. The album’s singles “Take it EZ,” “Breaker 1/9”, and “Sound by the Pound” were all top 10 hits on the Rap charts but had very little crossover success. However, this album is retrospectively loved, appreciated, and recognized as a Golden Era classic. Can I Borrow A Dollar? was a peek into the future. Common’s immense success in household name stems from his ability to go against the tide without ruffling any feathers. He stands out while simultaneously fitting in, and today we celebrate his debut.
Lupe Fiasco is a legendary artist in hip-hop who has a truly incredible discography. Overall, his debut project Food & Liquor is one of his most beloved. In fact, today, September 19th, marks the 18th anniversary of the album. A lot of our readers probably have a ton of nostalgia for this album, and it must be hard to believe that this dropped so long ago. In the last 18 years, a lot has changed. However, Lupe’s phenomenal lyricism has remained a constant.
When it comes to this debut album, many remember the debut single, “Kick, Push.” The song is filled with fantastic storytelling and tells the tale of a kid on his skateboard, coasting through life. It came complete with an iconic music video that truly embodied the time period. To this day, this song remains one of Lupe’s most iconic. While he has evolved quite a bit as an artist since this track, you can’t help but feel a connection to his youthful exuberance here.
Let us know what you think of this classic song, in the comments section down below. Do you believe that Lupe is a top-five MC of his generation? If he were to get into a rap battle with Kendrick Lamar, who do you think would come out on top? Additionally, stay tuned to HNHH for the latest news and updates from around the music world. We will continue to keep you informed on all of your favorite artists and their upcoming projects.
First got it when he was six, didn’t know any tricks Matter of fact, first time he got on it, he slipped Landed on his hip and busted his lip For a week he had to talk with a lisp, like thisss… (Ugh) Now we can end the story right here But shorty didn’t quit, it was something in the air (Ugh)
Dallas, Texas rapper ian has been popularizing the white rapper trend in 2024. His very normal appearance has gotten some listeners to hop on the bandwagon and so far, he’s been building quite the fanbase. Now, it seems that Jacksonville, Florida native Brennan Jones is looking keep that going in the latter half of the year. On one of the singles leading up to Brennan Jones 1, “Do Dat”, he says, “Yeah, yeah, they like how this white boy do that?“. The track features another very interesting character that’s making waves in LAZER DIM 700, and overall, you have a unique mixture of both sonics and vocal chops.
On this track and many others, Brennan Jones doesn’t have much to say lyrically. But where “Do Dat” and others maintain a level of intrigue is in the beats. This one in particular features lots of ominous string sections and gives off a horror movie-esque vibe. Overall, Brennan can certainly build off tracks like this and many others on the debut project. Even though he doesn’t necessarily need to switch up his bars too much to become more popular, he looks to be limited as a writer. In that same breath, this is his first record and he’s only just begun to forge his own path in rap and in a particularly crowded Florida scene. He’s got a little SosMula and BLP KOSHER in him, if that gives you any context. See what Brennan Jones has with the links below.
