Unkut.com Presents: The 50 Greatest Queensbridge Rap Songs

Jay-Z may have once swerved at Nas by pointing out that:"Your bodyguard's 'Oochie Wally' verse better than yours," but this remains a fine demonstration of Ignorant QB Sex Rap in the tradition of Mobb Deep's 'Hit It From The Back.' No room for LL Cool J-style punk smoove shit here—a Braveheart party is all about face-fucking, running trains, and hitting broads "where they doodie at" over a catchy Arabian-tinged instrumental.

Getting a solo spot on a Nas album is either a dream introduction to the rap world or the kiss of death, depending on how you look at it. Being brought in as a last-minute replacement for Cormega in the underwhelming rap supergroup The Firm is hardly a home run either. Regardless of the politics, the Wild Gremlin can put it down with the best of them when he has to, as he demonstrates that even a tinny Trackmasters beat can't dull his...well, his shine.

This is some classic promo-only Mobb material, since clearing Prince's "If I Was Your Girlfriend" loop was clearly beyond the means of a Loud Records budget. Either that or His Royal Purpleness didn't dig lines about "scrubbing that crotch with Dove/potpourri bitches get fucked, their mouth plugged." Is it any surprise that Hav & P fans found "Hey Luv" with 112 kinda hard to swallow (II) after being raised on shit like this and "Hit It From The Back"?

There's some confusion regarding the origins of this song, but since it was originally white-labeled as a Nature song feat. Nas and Noreaga we'll give him the credit. This is basically four and half minutes of heavy lyrical artillery, plus some typically confusing Nore bars. Nature demonstrates just how nice he can be when provided with the right type of production—which is conversely why the sterile sound of For All Seasons didn't really do him any favors when it dropped.

This was one of the bright spots in an otherwise difficult period for the Infamous duo, as their attempts to broaden their sound only served to alienate many core fans. "Burn" is also notable for providing Prodigy the chance to fire back at Jay-Z after the Summer Jam incident, insisting: "That shit that you pulled ain't do me no damage". The MVP, however, is loyal Mobb lieutenant Big Noyd, who steals the show ("You don't think I live a pop life now/'Cause hey, you could get popped right now") with his pledge of allegiance to the four elements of keeping it gully: sex, drugs, money, and murder.

The Reunion was no War Report, but thanks to joints like this and "Phone Time," C-N-N proved that there was life after Tragedy. An ill Alchemist beat and a high-octane Foxy Brown guest spot never hurt either, as Nore declares that, "I don't like having sex—I like brains!" before letting us know that Pamela Lee is his favorite snowflake. 'Pone breaks down his gully credentials in an appropriate manner and then lets Foxy off the leash to tear the "Queen Bitch" to pieces and throw her remains under a passing Greyhound.

Word is that The Lost Tapes Volume 2 is due this December, which is hardly surprising considering the fervor that the first volume of Nas' unreleased songs caused. This Lost Tapes gem was produced by Precision (who also did "Smokin'" on Stillmatic), and presents the contemplative Nas, back on his reflective shit over subtle keys and hypnotic piano licks. Touching upon a wide range of topics in a stream-of-consciousness style, God's Son speaks on everything from childhood memories to South Africa to general health tips, providing the perfect antidote to his unfortunate "You Owe Me" phase.

Hav and Trag have known each other since they were kids, so it's no surprise that they have a great chemistry on the mic when they collaborate from time to time. "What's Poppin'" is one of those anti-social Bridge records that we all know and love, threatening almost as much violence as Cam'Ron's Killa Season film—which, coincidentally, also happened to feature him uttering the question, "What's poppin'?" at least 5,000 times, usually before a beat-down or shooting.

It's been said that Large Professor had to force Nas to record this song, since Esco apparently didn't feel like he was ready to go to war. Once he'd been convinced that Jay-Z's disrespect couldn't be tolerated, however, he seemed to have no trouble penning this fine example of verbal character assassination. Some may feel that "The Takeover" was the better record—the beat bangs harder and well-aimed shots are fired at multiple targets with sniper-like efficiency—but in the court of public opinion regarding the outcome of their epic battle, the phrase "Nas lost" has no relevance.

Who else could get away with calling a track "Fuck All Y'all Bitch-Ass Niggas" but Blaq Poet? His first pairing with a Primo track would prove to be the beginning a great working relationship, as the no-frills Works Of Mart sound is an ideal match for Poet's unwavering verbal assault.

While some might regard Ty Nitty, Godfather Pt. III, and Big Twins to be little more than a Mobb Deep spin-off, they have improved their skills over the course of three solid albums to the point where they've now earned their own spot amongst a select few Queensbridge mainstays, as Twins demonstrated with his superb 2009 solo debut. Under-appreciated beat conductor E-Blaze serves up a tense string-laden soundtrack for this stirring Q.U. dedication.

As the Queensbridge equivalent to M.O.P.'s Teflon, Rapper Noyd has served as a loyal soldier to the Mobb Deep crew formerly known as the Poetical Prophets. When provided with a knocking beat and appropriately catchy hook, as The Alchemist has done here, Noyd's ever-reliable recipe of gun talk and deadpan threats of inflicting bodily harm goes down like a shot of well-aged whiskey. "Part 2" works just as effectively in its own right, but it's the precise chop and vocal snippets that seal the deal on the original.

Not to be discouraged by Def Jam shelving The Testament's original release, Mega Montana took it back to the street with his independent classic, The Realness, which certified his position in rap as more than a mere footnote from a Nas song. "Thun & Kicko" could easily have been included on Hell On Earth, as it captures the sound of Havoc's stripped-back audio paranoia and Prodigy's self-assured thun language in their prime.

Lost some credibility amongst the hardcore rap community after trying to balance commercial acceptance with artistic vision? Give DJ Premier a call! He's like the Mr. Fix-It of raw hip-hop, able to make backpackers forget about "Street Dreams" in a single bound and wipe memories of Nas poppin' bottles with Puff in the blink of an eye. Like a wife returning to her abusive husband after he put a ring around her whole eye, Nasir keeps luring Illmatic disciples back for more punishment with addictive treats like this.

Rap beef can often be an over-cooked dish, but when it's served up correctly there are few more satisfying moments than absorbing an expertly planned execution of a chump. This installment in the Mobb's long-standing feud with Keith Murray isn't exactly "No Vaseline," but it manages to convey that particular brand of violent energy that you can often pick up on just before somebody has a broken bottle shoved into their face at a bar. It was also a hidden track on the "interactive CD-ROM" version of the album, which required you to click your mouse around a picture of the 41st Side PJs and dial a special number into a virtual pay phone. Like whoa!

At some point in his career, Stretch Armstrong seems to have lost interest in the underground hip-hop his famous radio show (The Stretch Armstrong and Bobbito Show on WKCR) had begun to represent and focused his energies on violent Queens music, resulting in a number of dope street records. His remix for "Usual Suspects" introduced a contrasting sound to the Mobb beats that Noyd usually rode over, presenting a slightly lighter mood for him to threaten your life over, without sacrificing those ever-important crunchy snares.

MC Poet took it personally when KRS-One shat on his neighborhood, penning no fewer than four records taking shots at the Blastmaster. This is easily the most entertaining, as Poet spends a good portion of this tirade clowning KRS' hefty first wife, Ms. Melodie: "I'll make you and break you, just like a puzzle/Melodie's a Gooney Goo Goo, she need a muzzle/She eat all the chicken, the turkey and the hamburger/If you touch it, you'll get murdered!/That's why you're skinny, puny, and measly/She eat all the food and beat you up easily." Good thing that "Still #1 (Numero Uno Remix)" was on point, huh?

The late Sha Lumi was a serious student of this rap science, paying dues as the DJ for Mobb Deep on their Juvenile Hell album and later holding it down as Tragedy's right-hand man. So it was no surprise that his solo debut in 2007 would prove to be the purest Q.B. representation in over five years. "Come On" was his crowning achievement—a stirring example of high-octane Bridge music set to Large Pro's best beat of the decade: "I'm from the era of the boom-bap, and pretty bitches that rap/The Gods build, parliament on top of the hill/only true OG's held steel—and it's a fact." Salute!

Shante needed a great gimmick to force herself back into the over-crowded Chick Rap game in 1992. What better way to steal the spotlight than to return to her roots as a battle rapper? No time for sneaky subliminal jabs here—Roxanne starts naming names early into the second verse, tearing shreds off of every big-name female in the rap world while saving an extra dose of venom for MC Lyte and Yo-Yo. Of course, Lyte pretty much bodied her with her response ("Steady Fucking"), but sometimes in life, she who hits first hits the the hardest.

The America Is Dying Slowly compilation featured a surprisingly strong line-up of exclusive tracks for a project of its type (it was part of the Red Hot AIDS Benefit Series). This team-up of Mobb Deep with A-Dog and Ammo of A.C.D. proved to be one of the most memorable, as L.E.S. provides an eerily medieval foundation for lyrics which impressively stay completely off-topic by managing to avoid making any reference to safe sex or AIDS, which was the whole point of the project.

This is what you want from a quality Cormega track—a soulful, bluesy beat, street wisdom, and minimal Nas references. There's nothing too complicated about his delivery, but Mega has enough presence and vocal charisma to keep the listeners tuned into his relentlessly accurate narratives.

Poet and Hot Day's Without Warning album featured enough artillery on the front and back covers to overthrow several small dictatorships, as well as featuring early appearances from MC Cor (aka Cormega) and the future line-up of Screwball. There also weren't a lot of songs coming out of New York in 1991 that blatantly promoted slinging crack—even the legendary real-life hustlers Mob Style featured an anti-drug song on their album! Having fought almost single-handedly to "put Queensbridge back on the map" during his war against BDP, Poet brought that same kind of relentless focus to this project. Almost twenty years later, ain't a damn thing changed: "If somebody steps to ya? Murder the dummy!"

Not all kiddie rap involves wearing your clothes back-to-front and singing the praises of chicken noodle soup. Before Jermaine Dupri ensured himself a lifetime of royalty checks, a young MC Jade (later to be known as Tragedy) started recording demos with neighborhood DJ Hot Day, flexing an advanced vocabulary and lyrical technique far beyond his years. "Go Queensbridge" keeps it simple—an 808, some cuts, and raw rhymes—transporting the listener back to the era of live shows at the local skate rink, complete with the obligatory needle skip.

"Shook Ones, Pt. 2" might have made the ultimate case for the ability of a remix to transform a good song into a classic, but here we have an example of the "less is more" philosophy at work. While Part 2 of Rapper Noyd's first single essentially relegated him to a supporting role on his own track, the original recipe proved to be a far more effective portrait of menace. Over sparse percussion and the haunting wails of disembodied banshees, Noyd and Prodigy trade tales of Winter Warz while threatening to leave you "paralyzed from your feet up."

The bad blood between Tragedy and his onetime disciple Nore is all water under the bridge now (no pun intended), but that does little to diminish the power of this record, which is nothing short of that ether that makes your soul burn slow. DJ Clue And Duro match the feel of the vocals with a menacing onslaught that perfectly captures the feel of those Iron Sheik sessions that Khadafi recorded with Imam THUG.

MC Shan might have taken some lumps from his verbal run-in with KRS, but when he returned with this opening salvo from Born To Be Wild, it was business as usual. Sure, he calls the evil Transformers "Deceptigones," but that "Risin' To The Top" loop more than compensates for any action-figure-related mishaps. Let's also not forget Shan's helpful contribution to the rumor mill when he reminds us that "Polo's the brand ’cause the Klan makes Troops." That'll learn 'em for choosing to sponsor LL!

This was originally recorded for The War Report, but like so many other Nas features, it mysteriously couldn't be cleared for release. Blame Steve Stoute? If memory serves, that top-notch track is an EZ Elpee creation, but don't quote us on that. This is also noteworthy for the fact that it's the only proper song that Trag and Nas ever did together ("Da Bridge 2001" doesn't count), but more importantly, "Calm Down" may be the only track that Nas sings on that doesn't make the discerning listener throw up in his mouth just a little bit.

Blaq Poet is Queensbridge, as he once again proves that he can still bring it live and direct after nearly 25 years of making QB anthems. DJ Premier brings the musical drama and Poet states that he's "pure New York—got train tracks inside me!," demonstrating that he hasn't missed a step as he relishes his rap veteran status without ever resting on his laurels. If you were born and raised on rap records that made you want to break car windows, steal booze, and slap your little sister down the stairs, then look no further. Hoo-Ha!

Before Screwball, Kenny Lou and Kyron were Kamakazee, repping the gritty project sound with Marley Marl. Shifty, slimy reptile-like individuals have long provided staple subject matter for hip-hop records—call them back-stabbers, frenemies, or just plain fraudulent fakes—the fact remains that no one likes a traitor. This happens to be one of the finest examples of the Anti-Snitch Rap genre, due in no small part to a speaker-smashing beat that comes complete with rattlesnake percussion. All together now: "Fuck them snakes in the grass, son!"

This is the record that earned Kool G Rap his rumored million-dollar advance from Rawkus Records. It wasn't just the intricate verbal barrage that he unleashed over this somber Alchemist track that got him a fat advance check—he'd been laying down a series of impressive guest spots in the period leading up to this one—but G's performance with the "official Queensbridge murderers" sealed the deal, as he elevated the fine art of Gun Talk Rap to its technical and poetical peak, and proved that he might just be the best to ever do it.

As a dis record, this seems pretty tame in comparison to modern-day rap beefs, but in the context of when it was released, it served its purpose as an agitated response to "South Bronx," giving KRS-One enough justification to fire back with "The Bridge Is Over."

It's not very often that we get to hear the torch being passed from one generation to another on a record, but whether intentional or not, that's exactly what happened on "Fast Life." While the rap media declared Nas as the Second Coming of Rakim, the blueprint of his style can be more closely traced back to Tragedy and Kool G Rap. When the Kool Genius of Rap invited Nas to join him on a cut from his fourth album, the world got to hear two generations of Queens MCs combine minds to showcase intricate wordplay, precise cadence, and high-roller trash talk.

This autobiographical tale from the artist who would later dub himself the Intelligent Hoodlum is set to a soundtrack of abrasive guitar stabs, crude scratching, and extra loud drums, which some might consider the essential ingredients for a classic rap record. It doesn't take a genius to figure out why this single was changed from its original title of "Coke Is It," but rest assured that the real tragedy here is the fact that this classic isn't played at least once at every live hip-hop show.

Noreaga had originally used this beat for a song called "Noreminati," before Khadafi decided to grab it for himself. Good thing, too, since his version turned out to be a conspiracy rap masterpiece. Trag warned us that in "1999, numb refined/Internet web controls your whole mind," but did we listen? Not to mention Imam THUG cautions, "They got some type of shit they put up in your fuckin' drawers!," which we still haven't really figured out. Just to be safe, though, we've been running our boxers through a metal detector since 1997.

The Geto Boys may have introduced us to Scarface vocal samples, but Havoc took it one step further by putting "Tony's Theme" over the "Bonita Applebum" drums, allowing "the professional professor at this rap science" to throw on the white lab coat and get busy. Why is the track named after an Infamous Mobb crew member? Why the fuck not? The remix sported new lyrics and a loop from the horror flick Phantasm, but since the original dropped after we had literally watched Tony Montana's celluloid escapades every other day for about a year, it was no contest.

On the recently released deluxe edition of In Control, Vol. 1, Marley explains that Trag's second verse is the blueprint for the modern-day Queensbridge rhyme style, which makes this track from the 16-year-old MC Percy an essential milestone in the development of the unique cadence and flow that would later be refined and eventually perfected by Nas.

Not that Nas didn't come with it lyrically, but it's all about the beat on this one. Salaam Remi managed to find a way to chop the well-worn "Apache" break and make it sound brand new, instantly transporting you back to that smoke-filled basement party you had to sneak into just to hear the music. If you're a rapper of limited lyrical ability, rap over this shit—it could even make Magoo sound dope. Yeah, it's that good.

Rap answer records were once the perfect vehicle for attention-seeking new jacks. Can't get your record on Red Alert's show? Just rip off a hit beat and dis the original artist! Shante's high-pitched voice and amusing put-downs proved to be the perfect antidote to an era of shout rap—over the theme music to Gilligan's Island, no less. The other 500 Roxanne answer records? Not so much.

Too many all-star rap team-ups take place long after the artists involved have peaked. This however wasn't one of those times, as all four participants were at the height of their powers when they recorded this near-flawless showcase of New York rap supremacy. As The Chef reminds us in the closing moments, "Shaolin and Queensbridge—we robbin' niggas for fun". Best to run ya garments and step, sonny.

Dedication rhymes about your DJ are a thing of the past these days, much like token Hip-House songs. Does anybody really need to hear somebody drop a rhyme called "Serato Scratch Reaction?" Marley reported that Shan wrote this timeless ode to his turntable prowess on a pocket full of tissues, which makes sense considering that the drums sound like they've been wrapped in sandpaper (that's good, by the way).

It's a shame that Tragedy and Imam THUG didn't get to record more material together, since they blend together like a thugged-out version of EPMD. On "True Confessions" they spit a new thun language that combines ancient biblical imagery with modern-day street science and a whole lotta weed (Imam may actually be the first rapper to ever reference his "weed holders" aka weed carriers on record). Musically, it sounds like the kind of beat that RZA would have made if he'd grown up in the Middle East instead of Staten Island. Certified dope.

Craig G wasn't really feeling this neck-snapping remix when Marley first played it for him, but it turned out to be such a winner that Biggie Smalls brought it back in 1995 for the "Hip-Hop Remix" of "One More Chance." This single was also notable for featuring one of Cold Chillin's finest covers, courtesy of photographer George DuBose, depicting the duo hard at work in the lab—complete with white coats and safety goggles—creating some ol' next shit to blow the minds of the suckers.

It's not unusual for a Nas song to be denied official release after it has been recorded, but the irony of this particular situation is that five years after it was remade for the Screwball album, complete with a new Cormega verse and the addition of Havoc to the line-up, Nas decided to record his own solo remake for the 10th Anniversary Platinum Edition of Illmatic. The original version rides a timeless Marley Marl piano loop, capturing the feel of a blunted basement session as the crew show and prove as only official QB troopers can.

Fresh off the success of "Who Shot Ya," Nashiem Myrick struck gold once again when he laced CNN with this street anthem. "T.O.N.Y." proved to be exactly what the crew needed to graduate from underground heroes to official heavy-hitters. All three of them activate beast mode and ride this catchy track to hell and back, garnering themselves a lot of new converts to The War Report movement in the process.

When it comes to sampling some old Sugarhill Records shit, this is the way to do it. Forget simply looping "The Message" like Ice Cube did with the "Check Yo Self" remix—Havoc's flipping of Grandmaster Melle Mel's "White Lines (Don't Do It)" provided a perfect backdrop for Prodigy (at his irritable and aggy best) to spew off random thoughts about everything from wasting too many nights sniffing coke to shooting guns with his father when he was young to his chain that hangs down to his dick (pause) and bangs glass tables. This is real hip-hop in the realest sense.

The solo debut single of Nasty Nas still remains one of the finest examples of brag rap ever recorded, as he builds upon the buzz he started on "Live At The BBQ" by composing the ultimate b-boy document over a superb, sleigh-bell-laced Large Professor heater. Nas proceeds to run down his entire resume in the space of three verses, filling us in on his history and daily operations while ushering himself in as the leader of the next breed of verbal assassins. And yeah, we miss Mr. Magic too.

Tragedy told us that a lot of rappers fronted when he was trying to put this record together. Snoop, Kurupt, and Daz had just made a video for "New York, New York" that showed them actually kicking the shit outta The Big Apple, building by building, and nobody else had the stones to respond? That being said, neither song really lets off at anybody in particular during the actual verses themselves, but any song combining this many top-notch Queens rappers is a sure shot. Unless the track in question happens to be called "Da Bridge 2001"...

The "Human Nature" loop on the original version came correct, but when Large Pro flipped an old Biz Markie line into a Nas hook (how the hell did he think of that shit anyway?) he achieved above-the-clouds status, transforming this confident display of vocabulary spill from a radio-friendly album teaser into a block-rocking jeep beat that would have even put a smile on Termanator X's dial.

If there is one track that defines the sound and feel of Queensbridge rap, then this is it. It's the single that enshrined Prodigy and Havoc as legends when they made the inspired decision to remake the original version at the very last minute. Every line is a quotable—as attested to by the number of hooks lifted from the acapella—delivered with frosty belligerence over a hypnotic, pounding war march that could make even the softest herb think he can stab someone's brain with their own nose bone if they so much as look at him crooked.

The official Queensbridge theme song is so influential that it's been remade no fewer than eight times, and it's now considered a rite of passage for any self-respecting QB MC to attempt their own update. Not only did "The Bridge" feature one of the most recognizable signature sounds in the history of hip-hop, courtesy of the great Marley Marl, but by raising the hackles of Bronx reps KRS-One and Scott La Rock, it also served as the unintended catalyst to The Bridge Wars.