ახლა მე რაც პირველ რიგში ჰიპჰოპთან რაც არის კავშირში იმის მიხედვით მოგახსენებთ
ეს ალბომები მომისმენია, და სულაც არ ვთვლი რომ მარტო ესაა კლასიკა და ყველაზე კარგი რამ
, ზოგიერთი სულაც არ მომწონს.
Biz Markie
Goin' Off (1988)
This wasn't the record where Biz changed hip-hop history - that was 1991's I Need a Haircut, which led to the creation of the sample clearance business - but his debut is a delight. Albee Square Mall is an ode to Biz's local shopping precinct, while Pickin' Boogers is a paean to the joys of digital nasal excavation.
Boogie Down Productions
Criminal Minded (1987)
Homeless teenager Lawrence "KRS-One" Parker and his social worker, DJ Scott "La Rock" Sterling, created a record full of ambiguous tales of Bronx streetlife, set to invigoratingly sparse beats. Its influence was both musical and cultural, and Scott's subsequent death merely the first of a number of unsolved hip-hop homicides.
Clouddead
Clouddead (2001)
The trio of Doseone, Why? and Odd Nosdam, members of the West Coast Anticon hip-hop collective, are unlike anything else that genre has spawned. Their arch, surreal lyrics are delivered in raps that sound like a cartoon version of Cypress Hill over an eclectic and disjunctive mix of beats, drones and samples.
Coldcut
Journeys by D 0 Minutes of Madness (1995)
In a mid-90s market saturated with DJ mix albums, Coldcut's CD seemed fresh and unique. It still does. A musical sum greater than its parts - which included hip-hop, techno, Harold Budd and Jello Biafra - it came with a dedication to William Burroughs, something absent from, say, Bonkers Happy Hardcore 2: Now We're Totally Bonkers.
Cypress Hill
Cypress Hill (1991)
The debut from Cypress Hill played their Latino heritage and reefer madness against the hard-edged Californian gangsta rap template set down by NWA. The conspicuous violence and smooth funk beats of How I Could Just Kill a Man and Hand On the Pump broke new ground in commercial hip-hop, as did the fact that the record included a song entirely in Spanish.
De La Soul
3 Feet High and Rising (1989)
Named after a Johnny Cash lyric (from one of the many tunes it samples), this NYC trio's debut espouses humour and harmony via tunes as day-glo bright as the flowers on its cover. Released amid a sea of gangsta rap, it remains one of hip-hop's most progressive, witty and broad-minded albums.
DJ Shadow
Endtroducing (1996)
A pioneering album made entirely of samples by a kid from suburban California with vinyl-addiction issues. Endtroducing uses snatches of forgotten funk jams, horror movie strings and crashing beats to achieve a disorienting, dreamlike state. You won't find this instrumental hip-hop classic in the bargain bin alongside its source material.
Edan
Beauty and the Beat (2005)
A rapper-producer of prodigious gifts, the Bostonian Edan Portnoy straddles the gap between bedroom genius and the slightly nerdy modes of white B-boy hip-hop creativity. His second LP is barely half an hour long, but it is packed with more and better ideas than most MCs can find to pad out three 74-minute plod-a-thons.
Missy 'Misdemeanour' Elliott
Supa Dupa Fly (1997)
In collaboration with the producer Timbaland - whose signature sparse beats defined US urban music at the time - Missy Elliot made one of the most ambitious hip-hop records ever. Part Snoop, part Afrika Bambaataa, the album made Elliott the world's highest-selling female rapper.
Eric B & Rakim
Paid in Full (1987)
Paid in Full is one of hip-hop's most innovative, influential records. Eric B broke new ground with his R&B and soul samples, while Rakim's intricate, intelligent rhymes set standards to which many rappers still aspire. Few argued when in 2005 MTV crowned it the greatest hip-hop album of all time.
Fugees
The Score (1996)
One of the biggest hip-hop albums of the 90s owed its success to a song that was anything but hip-hop. Fugees' more-or-less straight cover of Roberta Flack's Killing Me Softly allowed them to reach a crossover audience: with that song in people's minds, the album's pop-leavened rap found a huge and ready fanbase.
Gang Starr
Step in the Arena (1988)
Penfriends whose first compositions were put together over the phone, Keith "Guru" Elam and Chris "DJ Premier" Martin hit their stride on this second album. With Premier's phenomenal flair for finding melodic but hard-hitting beats and Guru's penchant for lyrical positivity expressed in a rich baritone, Step in the Arena began a run of records that made the duo hip-hop legends.
Handsome Boy Modeling School
So ... How's Your Girl? (1999)
Take two of hip-hop's quirkiest producers (Dan the Automator from Dr Octagon and Prince Paul from De La Soul), a motley cast of guests (including DJ Shadow, Roisin Murphy and Sean Lennon) and a running joke based on a defunct US sitcom that hardly anyone saw. Result: an irresistible magpie-pop variety show.
Ice Cube
AmeriKKKa's Most Wanted (1990)
Newly freed from his NWA contract and itching to make his mark, Cube headed to New York to work with Public Enemy's Bomb Squad production team, then on one of hip-hop's hottest streaks. The result was a feral, furious, sometimes ignorant, always wilful and consistently provocative masterpiece of rap rage.
Ice T
Power (1988)
The cover may feature this west coast rapper's then girlfriend wearing a skimpy swimsuit and holding a pump-action rifle, but Power is actually gansta rap at its most enlightened. The former gang member's brutal but articulate rhymes expose the harsh realities of drugs and street crime; it's far more grim than glamorous.
J Dilla
Donuts (2006)
James Yancey recorded Donuts while on dialysis and released it the day he turned 32. Three days later, he was dead, but his swan song shows why he was the hip-hop producer's producer. This dense, urgent, soul-drenched splurge of wild ideas and weird juxtapositions is a final celebration of the music he loved.
Jay-Z
The Black Album (2003)
For what was meant to be his last studio album, Shawn Carter delivered his most open, intense and honest rhymes. Though the reality fell short of the professed dream (the plan was 10 collaborations with 10 great hip-hop producers), it's his strongest, most consistently inspired set, if not generally his most lauded.
Massive Attack
Blue Lines (1991)
Britain's "urban" music has always reflected a diverse multiculturalism, rather than the strictly delineated divides of the mainly American styles that influence it. Blue Lines threw soul, hip-hop, dub and jazz into the brew, and united hardcore fans, chattering class-dilettantes and old-school rap and soul fans for 40 minutes.
Nas
Illmatic (1994)
Illmatic had a finger in every hip-hop pie. It was impeccably produced by some of the genre's big names . But the key to its success was Nas's impeccable flow - he could drop Malcolm X and bisexuality into his rhymes and still cut a convincing gangsta. So good was Illmatic that it has overshadowed the rest of Nas's considerable career.
The Notorious BIG
Ready to Die (1994)
His 1997 murder gave Christopher Wallace's debut an extra resonance it hardly needed. An astoundingly sure-footed concept album, it tells the story of a small-time criminal from birth to suicide. Biggie's eye for detail, remarkable conversational flow and dazzling beats make this one of the hip-hop classics.
OutKast
Stankonia (2000)
The fourth album by this Atlanta, Georgia duo, comprising archetypal playa-hustler Big Boi and alien androgen Andre 3000, was a veritable cornucopia of rap and funk delights. The hit singles So Fresh, So Clean, Ms Jackson and B.O.B. (Bombs Over Baghdad) were just the start of this 24-track hip-hop odyssey.
Greg Osby
Banned in New York (1998)
Restlessly dynamic saxophonist Osby was in on the 80s free-funk M-Base movement, and has also checked out hip-hop and rap. This punchy set includes a young Jason Moran on piano, and follows a jazz line from Ornette Coleman back to Charlie Parker, with Parker and Sonny Rollins themes among the classic materials trenchantly reworked.
Portishead
Dummy (1994)
Dummy would become a byword for a certain type of middle-class dinner party, which does this strange, sad album an immense disservice. Its out-of-time samples, slowed hip-hop beats and melancholy vocals were much mimicked, but it's easy to forget just how deeply odd and unsettling it sounded at the time.
Public Enemy
It Takes a Nation of Millions to Hold Us Back (1988)
Rock and pop offer the listener few sensations as thrilling and liberating as the moment when the appeal of an artist or genre suddenly becomes clear, when music that previously seemed unfathomable and alien starts to make perfect sense. It's hard to escape the suspicion that Public Enemy's second album holds such a pre-eminent position - enshrined in innumerable rock magazine polls as the best hip-hop album ever, the solitary rap album permitted into Rolling Stone magazine's 100 Greatest Albums of All Time - because it marked the moment when rock fans belatedly realised that hip-hop was a vital musical force. Here was an album possessed of such power, so ferociously intelligent, so brimming with anger, wit, vitality, revolutionary intent and all the other things that rock music in 1988 lacked. After hearing It Takes a Nation of Millions to Hold Us Back, only an idiot could continue to dismiss rap as novelty or noise. Its position as the official greatest hip-hop album of all time has a downside. It is the only hip-hop album to suffer the same fate as Pet Sounds, or Revolver, or OK Computer: to have been analysed to within an inch of its life. Most people even a passing interest in rock history know pretty much everything there is to know about it. They know that its righteous message of black empowerment took a knock a couple of years after its release, when Public Enemy's Minister of Information, Professor Griff, told one interviewer that Jews were "responsible for the majority of wickedness that goes on across the globe". They know that the Bomb Squad's remarkable, dense production style required sampling on a scale previously unseen: Night of the Living Baseheads alone contains 18 different samples, ranging from the obligatory (James Brown) to the unlikely (punk-funkers ESG and David Bowie's Fame) to the self-referential (Public Enemy's Bring the Noise). They know that the excitable voice on Countdown to Armageddon belongs to "Dangerous" Dave Pearce, later to join Radio 1 as the most baleful presence on British radio since the Allies caught up with Lord Haw-Haw. On release, It Takes a Nation of Millions ... made hip-hop sound like the future, which it was - just not the way Public Enemy thought it would be. Perhaps the fact that hardly anything followed in its wake, that the Bomb Squad's style was swiftly to be superseded by the smoother, more palatable sound of G-funk, and that the kind of politics it offered would be quietly dropped from hip-hop's agenda accounts for the way the album has survived the endless analysis to still sound fresh and viscerally exciting today. Music offers few more primally thrilling moments than Chuck D's valedictory cry of "Yes!" at the outset of Rebel Without a Pause. Twenty years on and hundreds of words later, hearing it still feels like being woken up with a swift punch in the face. Alexis Petridis
Red Hot Chili Peppers
BloodSugarSexMagik (1991)
The album that most vividly documents the Chilis' narcotic highs and lows took their much-copied funk, punk and hip-hop stews to a worldwide audience. Landmark status was assured when Under the Bridge, the album's tear-jerking anthem about the loneliness of scoring heroin, provided an unlikely hit for All Saints.
Roots Manuva
Run Come Save Me (2001)
As well as hosting Witness (1 Hope), possibly the most outstanding British hip-hop song yet recorded, Run Come Save Me offered a series of dub and bashment-influenced raps that provided an insight into the weed-addled paranoia and detachment of a generation of urban youth.
The Roots
Things Fall Apart (1999)
The fact that the Philadelphia rap group used live instruments and turned their shows into euphoric hip-hop history lessons overshadowed their records until Things Fall Apart. A masterwork, rich in sonic texture and bold in execution, it tackled a succession of vital, difficult issues with insight, sensitivity and finesse.
Run DMC
Raising Hell (1986)
Some records define their times, others give rise to genres; Run DMC's third album is today regarded as the starting point of a new era. Walk This Way, the inspired collaboration with Aerosmith, turned Run, DMC and Jam Master Jay into global pop stars, and this blast of shouty raps and pugilistic beats ushered in hip-hop's golden age.
Son of Bazerk
Bazerk, Bazerk, Bazerk (1990)
In the middle of the run that produced Public Enemy's Fear of a Black Planet and Ice Cube's solo debut, the Bomb Squad production team fashioned this neglected masterpiece. Son of Bazerk hitches his sharp-suited testifying to some abrasive hip-hop beats to create the missing link between Public Enemy and James Brown.
Bubba Sparxxx
Deliverance (2003)
A chubby white guy from the sticks is an unlikely hip-hop hero, but Bubba Sparxxx's "hick-hop" opus is one of the best hip-hop albums of this decade. Blending Timbaland's digital production with bluegrass samples, country laments and Bubba's own poetic, flowing musings on the South, Deliverance was an enthralling reminder of hip-hop's ability to function as folk music.
Stereo MCs
Connected ( (1992)
Sounding like a rap Happy Mondays, this third Stereo MC's record was crammed with hulking, dancefloor-friendly electro/hip-hop. As strikingly fresh as it was thrillingly funky, the album made such an impact that the duo were unlikely winners of both the best British album and best British group awards at the 1994 Brits.
Stereolab
Emperor Tomato Ketchup (1996)
Let's be honest: how many albums of space-age, Marxist, easy-listening future-pop does anyone need? The anglo-French band's aesthetic reached its apogee on album number five, where they thickened the brew with elements of jazz, hip-hop and techno, helped out by post-rock nabob John McEntire. One compilation title encapsulates Stereolab's charms: Serene Velocity.
A Tribe Called Quest
Midnight Marauders (1993)
A curious concept album, with the songs linked by a computer voice, Tribe's third LP was perhaps their least distinctive, yet it represented the epitome of a refreshingly complicated style. Oh My God, Award Tour and Steve Biko are the sort of hip-hop classics that hardcore fans and casual dabblers could embrace equally enthusiastically.
Ultramagnetic MCs
Critical Beatdown (1988)
A heady rush of fractured breakbeats, dizzying tempo changes and raps that could almost have been composed from random words out of sci-fi novels. The Bronx rappers' debut showed hip-hop some new horizons, and, in Kool Keith's acerbic raps, introduced one of the genre's most compellingly individual lyricists.
Various
The Best of Sugarhill Records (1998)
The midwives at hip-hop's birth were independent labels, and the biggest of the early days was Sugarhill. Sylvia Robinson's label released the first rap single (Rappers' Delight by the Sugarhill Gang) and dominated recorded rap's formative years. Single-disc collections are bewilderingly numerous, but this one contains most of the highlights.
Tommy Boy's Greatest Beats (1999)
Formed in a New York apartment in 1981 by Tom Silverman, Tommy Boy was hip-hop's answer to Factory Records. From Afrika Bambaataa's seminal Planet Rock 12-inch, to tunes by Stetsasonic, Naughty by Nature, Digital Underground, De La Soul, K7 and Coolio, this two-CD compilation charts the label's astonishing impact.
Above the Law
Livin' Like Hustlers (1990)
Years before Jay-Z and Biggie made the hustler a rap archetype, and while NWA's noisy, post-Public Enemy aesthetic was defining a new genre, Above the Law showed that gangsterism had a smooth, muscularly musical side. Gangsta rap's world-conquering popularity could not have happened without this pivotal debut.
Beastie Boys
Licensed to Ill (1986)
Though they have since downplayed its lyrical excesses, the Beastie Boys' deliciously splenetic debut is still a superb listen. This is because, despite the goofing and gaucheness, Ad Rock, Mike D and MCA were formidably talented vocalists; the subject matter may be a joke, but the raps are deadly serious.
Betty Boo
Boomania (1990)
By the time she was 20, Londoner Alison Clarkson had written and recorded this strikingly fresh debut, which blends acid house beats, cocksure raps and classic girl group choruses. Even the indie press was smitten, with Melody Maker naming her their Completely Faultless Goddess and Pop Genius of the Year.
Clipse
Hell Hath No Fury (2006)
Like all great gangsta rap, the Clipse's second album inhabits a kind of ethical no-man's-land. Its protagonists seem unsure whether they are brazenly amoral or deeply troubled by their dexterously told tales of crack-dealing. Producers the Neptunes find the perfect musical accompaniment; sparse, disjointed, bleak and atonal, it's grim and gripping in equal measure.
Dr Dre
The Chronic (1992)
Despite (or perhaps because of) its violence, misogyny and homophobia, Dr Dre's post-NWA debut remains a defining album in music history. The Chronic introduced a host of soon-to-be-huge rappers (notably Snoop Doggy Dogg), established the prominence of the thrilling west coast G-funk sound, and catapulted gangsta rap to the mainstream.
Dr Octagonecologyst (1995)
Although at least one of its makers has sought to distance himself from it, this attempt to redefine rap's boundaries ended up simply drawing new ones. Former Ultramagnetic MC "Kool" Keith Thornton's acerbic wordplay and Dan "The Automator" Nakamura's idiosyncratic beats (he samples Bartok on the standout Blue Flowers) became a template for "alternative" rap.
Eminem
The Marshall Mathers LP (2000)
One long rant against US hypocrisy, The Marshall Mathers LP saw Eminem taking shots at everyone from Bill Clinton to Britney Spears, while mocking those who held him responsible for corrupting a nation. On the album's masterpiece, Stan, the rapper revealed the tender, tormented side of America's Public Enemy No 1.
Lupe Fiasco
Lupe Fiasco's Food and Liquor (2006)
With rap supposedly going to the dogs, Lupe Fiasco's debut proved that there was plenty still left for the music to explore. Whether mind-melding his inner-city block into a giant toy robot (Daydreamin'), skewering hypocrisy in the so-called "war on terror" (American Terrorist) or telling tales of skateboard kids (Kick, Push), the Chicagoan's complex songwriting has made him stand out.
Genius/GZA
Liquid Swords (1995)
The best Wu-Tang solo album. RZA's production is on the money, the ready-made kung fu mythology is in full effect, and the rapping is, well, genius - by turns literate and menacing, the rhymes of a "child educator plus head amputator" who flows "like the blood on a murder scene".
K'naan
The Dusty Foot Philosopher (2005)
A escapee from wartorn Somalia, by the time he was 26 K'naan Warsame had delivered this brutally candid missive from his adopted Canada. A record of poetic rapping and eye-popping storytelling, it's infinitely closer to the tumbling wordplay of 60s icons the Last Poets than to the showiness of Jay-Z or Kanye.
Madvillain
Madvillainy (2004)
Snatching the mantle of rap's oddball-in-chief from Kool Keith, Daniel "MF Doom" Dumile wears a metal face mask and records under a fistful of aliases. Madvillainy, in tandem with producer Madlib, is the one to start with: its busy unpredictability and stoned comic-book mythos offer a colourful window into Dumile's world.
Kanye West
The College Dropout (2004)
Having catapulted to prominence as a producer by making the best beats on Jay-Z's brilliant Blueprint album, Kanye picked up the mic and attempted to turn himself into a global superstar. Matching literate, funny and confident rhymes with that peerless ability to make belting tunes, he assured his rapid ascent in the rap hierarchy.
TLC
CrazySexyCool (1994)
Singer-rapper Lisa Left-Eye Lopes had to be granted permission to leave rehab to record the album (she had burned down her boyfriend's house while drunk), so it's a miracle that TLC managed to make CrazySexyCool at all, let alone make it such a triumph. Destiny's Child took all they know about slinky, empowered, modern R&B from here.
Peaches
The Teaches of Peaches (2000)
The debut from this Canadian rapper-singer is confrontational and vulgar, perching on the line that separates feminism and filth. Tracks such as Fuck the Pain Away and Diddle My Skittle are danceable, in a Teutonic electro-disco way, and provocative. Men are the quarry - but is she a benevolent gamekeeper or a vengeful hunter?
MC Solaar
Prose Combat (1994)
The best of the Senegal-born French rapper's seven albums. French speakers rave about the MC's literate, socially conscious rhymes (particularly on the intense, Guernica-citing La Concubine de L'Hemoglobine). But you don't need to speak the lingo to fall for Prose Combat's warm, jazzy hooks and Solaar's sumptuous lyrical flow.
NWA
Straight Outta Compton (1989)
There had been rap records that talked about gang crime in lurid, first-person detail before, but this combination of Public Enemy-influenced noisy beats and lyrics of violence painted in garish verbal colours opened the floodgates. Eazy-E and his cohorts claimed their work was street reportage, but their cartoonish excess was also darkly, devilishly funny.
Mobb Deep
The Infamous (1995)
West-coast gangsta rap is a high-life fantasy of blunts and booty, but in the half-lit world of Queens MCs Prodigy and Havoc (aka Mobb Deep), weed makes you paranoid, money makes you enemies and hell is always just around the corner. Their second album is a rivetingly claustrophobic urban nightmare.
ესენი კიდე პირველ რიგში უნდა მოვისმინო
))))))) მაგარი ძააან
)))))
Beck
Mellow Gold (1993)
Genre-defying music, clashing and fusing folk, hip-hop and psychedelic rock. Surreal lyrics that reflect on overflowing toilets, Neanderthal neighbours and snooty hippy chicks. Mellow Gold has everything you might find on its more famous follow-up, Odelay, plus lolloping misfit anthem Loser, one of the great pop singles of the 1990s.
The Beta Band
The Three EPs (1998)
A splurge of patchwork-pop ideas, and still one of the most satisfying stylistic pile-ups of recent times. Acid-house folk, psychedelic hip-hop, carnivalistic sound-collage ... and, in Dry the Rain, an anthem of late-90s indie-bliss balladry. They all but disowned their first "proper" album; later ones were OK, but this is the real gold.
Big Youth
Screaming Target (1973)
He may have treaded heavily in the footsteps of the equally mighty U-Roy, but Manley Buchanan's full-length debut - produced by Gussie Clarke and featuring the sweet vocals of both Dennis Brown and Gregory Isaacs - stands as the pinnacle of the Jamaican DJ canon, his imaginative toasting a clear blueprint for the as-yet-to-be-born hip-hop nation.
Robert Glasper
In My Element (2007)
Also known for his work with hip-hop heavyweights such as Jay Z, Kanye West, Q-Tip and J Dilla, this Blue Note set sees the Atlanta pianist in full-on jazz mode: subtly funky, deeply meditative and thrillingly inventive, mashing up Radiohead with Herbie Hancock and slyly replicating J Dilla's cut-and-slash production sound acoustically.
The Go! Team
Thunder, Lightning, Strike (2005)
The Go! Team's debut was the vision of Ian Parton, a bedroom boffin obsessed with cop-show themes, retro musicals and early hip-hop. Aided by Ninja's cheerleader-style rapping, the Brighton sextet's debut demanded to be danced to. And, for those of a geekier disposition, each listen harboured a fresh new game of spot-the-sample.
The Hold Steady
Separation Sunday (2005)
It is rare to hear an American indie album in thrall to both Thin Lizzy and hip-hop. Craig Finn's tales of Catholicism, bad drugs and worse sex clearly owe as much to rap's urban poetry as to the often-cited Bruce Springsteen, while the band sound as if they're playing for dear life.
Soweto Kinch
Conversations With the Unseen (2003)
Soweto Kinch burst on the scene with a new way of playing jazz, combining edgy post-bop with hand-played versions of the grooves and broken beats of hip-hop. This debut demonstrates Kinch's complex but beguiling tunes, but what makes Conversations special is his thoughtful rapping.
Orlando Cachaito Lopez
Cachaito (2001)
Even though the Buena Vista Social Club franchise had thoroughly shaken up world music, nobody was quite ready for this sprawling, eclectic and slightly bonkers album from bassist Cachaito and producer Nick Gold, which mashes reggae, jazz and French hip-hop with Cuba's finest.
Luscious Jackson
In Search of Manny (1992)
Formed in 1991, the all-female group Luscious Jackson featured former Beastie Boys drummer Kate Schellenbach; they were the first artists to record for the Beasties' Grand Royal label. Their debut is a sassy, witty collection oscillating between pop, funk and hip-hop. The highlight is Life of Leisure, a tale of a slacker boyfriend set to big-band loops.
Various
Crucial Electro 2 (1984)
With none-more-80s graphics and Delbert Wilkins title, it looks like a charming period piece, but Streetsounds' mix albums introduced many Britons to hip-hop. The genre would eventually rule the world, but minimal tracks such as Afrika Bambaataa's Planet Rock still carry an alien tang today an echo of how strange they sounded in 1984.
Various
Headz (1996)
MoWax's anthology of trip-hop, that much-maligned but quietly influential genre which applied dub's spliffed-up methodology to hip-hop. Among the coma-paced delights on this sprawling two-disc amuse-bouche (Vol 2 was a whopping four-CD set) are Nightmares on Wax, Autechre, UNKLE, Howie B, DJ Shadow and Tranquility Bass.
რეპი მუსიკა არააო იმას ავაფარებდი ახლა სახეზე ამას 
,,გარდიან"-ის 1000 ალბომი რომლებიც ყველამ უნდა მოისმინოს, რას იტყვით ამაზე?
