The Best Rawkus Records Singles

Year: 1999

Before Cage was beefing with Eminem and rapping about "Suicidal Failure", he was scheming skeevy acts of lewdness with cohorts Mr. Eon and DJ Mighty Mi of The High & Mighty, another Rawkus act. For their "First Name Smut" promo single, Cage and Mr. Eon promote violence and erasing the DATs of other rappers over a funky bassline.

Year: 1999

"Rock" is an intriguing melange of samples, from Roy Porter to The Incredible Bongo Band, Ralph MacDonald to Marva Whitney, but we came for the raps on "Watch Dees". Rawkus stalwart DJ Spinna claims that when it came time for his solo album, the label suggested putting Marshall Mathers on "Watch Dees" with Thirstin. God damn it worked like a charm. With a beat that's reminiscent of the Jaws theme reimagined for NYC sewers, Thirstin comes off on some disjointed voodoo shit ("Before battles we pour blood and toast, death to wicked infants"), but it can't compare to Eminem's morbid genius - "Who's arm is this? I must have cut it off at the pharmacist / who refused to renew my seventh prescription of Darvecet". All due respect and best wishes to that man's health, but those purple pills certainly inspired some incredible rhymes.

Year: 1998

What an amazingly simple rap name. This single, which seems to be Big Meal's only official release, was actually dropped on Hydra, home to many Godfather Don singles in the 90's, but Rawkus got an early test pressing. Both tracks on the vinyl have the Beatnuts flavor, with "Put It On 'Em" produced by one-time member V.I.C. (a.k.a. The Mighty V.I.C.) while "Pimps, Players, Macks" got the Juju treatment. Big Meal is sort of an anomaly, appearing on a couple of compilations a year later, but then disappearing for good. At least he comes through here, dropping jewels like "Do the metamorphosis / now I'm in high rise offices" and "How you gon' understand style and class / when you don't even wash your ass?"

Year: 1998

You might know the B-side of this single, "5 Star Generals". It has some guy named Eminem on it, but "Soundclash" is produced by Nick Wiz (find his "Cellar Sounds" compilation if you know what's good for you), who produced the "Arabian Nights" track on the other side of Shabaam's first mainstream-leaning Rawkus single, "Side 2 Side", from a year before. The BK rapper is one of those "famous for not being famous" rappers that Rawkus devotees never fail to big up, but his career highlights include an appearance on the "Simon Says" remix, his contributions to Lyricist Lounge and Soundbombing releases, and Rhyme Related, the sole album from underground power crew DJ Spinna, Apani B, Mr. Complex, and Sahdeeq. His style is a bit straightforward for the eccentric taste of Rawkus, but he could hold his own with anybody else on the label.

Year: 1997

It's hard to describe exactly how momentous Company Flow's arrival was for hip-hop, so let's just say that it not only gave birth to one of the greatest underground rap labels ever in Def Jux, but also opened the door for outlandish rappers to drop graffiti references over beats that sounded like asteroids colliding. El-P, Big Juss and Mr. Len would release the first spectacular Rawkus album with Funcrusher Plus, which gave hip-hop dorks the flip side of Wu-Tang's weird world. "Blind" wasn't even the album's first single - El Producto actually dropped the "Infokill / Population Control" 12" on his own Official Records, followed by "8 Steps to Perfection / Vital Nerve" before abandoning the venture and signing with Rawkus. "Blind" is actually included here because of the cut-free version of "8 Steps to Perfection (Lost Mix)", which was the original wrinkle-free rendering of the song that appears on the album with stutters and live chops. It's kind of hard to go back to a normal version after the one on the album gets stuck in your head, though.

Year: 1997

A rudimentary piano loop, some dry drums, a riffing sax, and Slick Rick saying "Try conquering my crown and that's really very silly". Slick is a good way to describe Black Attack, who fits with Shabaam as one of the more conventional MCs on the Rawkus team. Produced by the Ghetto Professionals (comprised of V.I.C. and Mike Heron, the latter of whom is now Joell Ortiz's manager), the 1, 2 punch of "My Crown" and "Correct Technique" offers both vivacious street corner knowledge and blunted subway theme songs. I can't place that "Correct Technique" sample, but it sounds like some Ahmad Jamal shit.

Year: 1998

El Fudge. Not to be confused with Pudgee Tha Phat Bastard (not that you would, but they sound sorta the same, and Pudgee probably liked eating fudge). "Liquid" is produced by Sean C. (yes, that Sean C. of The Hitmen), and features Fudge stuffing syllables over a guitar sample that's a little too chill for his hyperactive rhymes. The cover is also unforgettable, not only aesthetically, but also because it was done by Rawkus roster member Skam, who did Tribe's Beats, Rhymes and Life cover as well as some album art for Eminem (Skam used to run with Em and is actually the cousin of MC Kriminul from The Jigmastas). Rawkus became known for their vinyl singles and B-sides early on, so L-Fudge took it one step further and included the bonus cut "Show Me Your Gratitude" before the posse cut "What If?" featuring Talib Kweli, Skam, Shabaam Sahdeeq, and the 12" specialist Mike Zoot.

Year: 1997

Everybody knows El Da Sensei, Tame One and DJ Kaos as Artifacts, the group that dropped two ill ass albums in '94 and '97. They also went by Brick City Kids, and they did this one-off 12" with Rawkus that was produced by the Ghetto Pros (Discogs says that it was Juju and V.I.C, but the Ghetto Pros were Mike Heron and V.I.C.). Perhaps the rappers applied their aliases to drop their music through another channel besides the Atlantic Records subsidiary Big Beat Records that was releasing their albums, but we're lucky that they did because these are back to back bangers.

Year: 1998

East and West coast forces collaborate over a career-defining Shawn J. Period beat that evokes both Dilla and Q-Tip's sultry production. Yasiin had found his pocket on compilations like Lyricist Lounge and Soundbombing, becoming elastically creative enough to rap about practicing the very verse you're hearing him spit. Q-Tip's voice is pleasantly soft as usual before Tash brings an Alkaholik flavor to the groove as he talks about cyber sex and burning Big Worm's perm. Every verse works in harmony with each other and the jazz club guitar glides like mist over a reticent bassline. A standout from the first Lyricist Lounge compilation, whether you skiied up or tree'd up.

Plus, sandwiched between "Body Rock" and the B-side, Kweli's "Manifesto", is a freestyle session from the Stretch and Bobbito Show that includes Pharoahe Monch, Black Thought, Common and Absolute. It's not to be missed - everyone rips it, especially Pharoahe.

Year: 1998

Back in '95, Kool G gave rapper B-1 some shine on his 4,5,6 album alongside MF Grimm, who ran with G Rap back then, as this murderous session on Stretch and Bobbito can attest to. Previously known as One (perhaps someone explained why he might want a more specific rap moniker) for his Large Professor-assisted "Verbal Affairs" single, B-1 returned the favor to Giancana three years later on "Cardinal Sins", though it remains to be seen whether it's wise to let Kool G Rap rap on your record and fuck your shit up. I guess B-1 learned his lesson, because a year later Large Professor was back rapping a guest verse on his new single, "Put Yo' Self In My Place".

Year: 1999

The weirdo extraordinaire was shouting out Isotoners long before Kanye on the first single from his debut album, Skillionaire. Flipping a classic 1968 Galt McDermot sample that was also utilized by Artifacts, Mos Def, and Action Bronson, the Polorican embodies why Rawkus rocked so steady - they trusted left-of-center rap artists to make timeless, headbanging material. This was the rapper's only work with Rawkus before going independent to start his own home for Lo-Lifes, Skillionaire Enterprises.

Year: 1999

If you know the ins and outs of Rawkus, then you know how ill both sides of this 12" are. Medina Green was something of a group venture - DCQ, Kash-Ru, Magnetic, Lord Ato, and Jah Born were the official members. It probably wouldn't have happened without DCQ's previous group, Urban Thermal Dynamics, comprised of elder brother Mos Def and sister Ces. When Mos struck out on his own path, DCQ figured he would start his own group, and with Mos and Posdnuos on the respective boards, "Crosstown Beef" and "Fa-La-Lashe" were born. Slap on an iconic photo for the cover, and you've got yourself a place in the Rawkus hall of fame.

Year: 1997

Mos Def quickly became the flagship artist of the emerging Rawkus brand. He was the most exciting and attention-grabbing MC on the label, so the label took good care of him and the relationship culminated not only in the classic debut album Black On Both Sides, but also with the indelible Blackstar project. "Universal Magnetic" was Mos Def's solo debut after appearing on the remix to De La's "Stakes Is High" and two songs on the Bush Babees debut album, Gravity. He starts by flexing some alphabetical slaughter over a bare bones beat before Shawn J Period drops the full instrumental and Mos references Breyer's ice cream, Eddie Murphy, and Skeletor, thus indebting himself to nerds and gangsters alike. In true Rawkus style, the B-side "If You Can Huh! You Can Hear" delivers just as nicely with smooth production and a style that foreshadowed Blackstar's jazzy, jet-black style.

Year: 1999

Common released a slew of singles in 1999, from his collaboration with The 45 King, "Car Horn", to the sprawling squad-deep "Hurricane" and two singles from Like Water For Chocolate, to this gem with Sadat X. Produced by Chicago producer Dug Infinite (track down his Sampler Vol. 1 project with No I.D.), "One-Nine-Nine-Nine", or "1999" for an easier title, is a lithe breath of fresh air with a familiar string sample. The backside is another Dug Infinite production with Maseo on the cuts, perhaps paying homage to "Pass The Plugs", while the Gap model Common gets mean and boasts about selling twice as much as other rappers, which today reads as ironic in light of Jay-Z's wistful wish to rhyme like Common Sense. He also had the idea for InstaCom before InstaGram even became a thing.

Year: 1996

I was in total awe when I discovered this record. It had all the right ingredients - a dusty drum break, enraptured keys, street raps, smooth singing about g-strings up your butt. Rose Family was a crazy mix of wide-ranging talent between Daddy Rose, Nikki Bonds, Baracus and Saulhaudin, and the Wu-Tang affiliates (Daddy Rose grew up with RZA and GZA but is now serving a life sentence) hailing from Brownsville gained Rawkus some notoriety by being the first rap act signed to the label around 1995/96 (no, it wasn't Company Flow). The video (watch on YouTube here) is the cherry on top of this glorious single, and the B-side "Hah!" is a solid malt shake on the side.

Year: 1996

Both songs on this early Rawkus release are easily some of the best material the label ever put out. There's a minuscule amount of information about this group available online, besides the fact that both tracks were produced and mastered by John Forte of The Fugees. The combination of the hook and the Isaac Hayes flip on the frontside of this is nothing short of addictive. It's stunning how dope and unheralded these two songs are.

Year: 2000

"Oh No" is an acutely turn of the millenium-sounding record that finds Mos Def and Pharoahe Monch trying their hardest to outdo one another over a bubbling Rockwilder beat. Rawkus brings both coasts together once more by joining three distinct styles together - a slick-tounged, easygoing Mos, a bombastic, syllable-heavy Pharoahe, and the G-Funk crooner himself, Nate Dogg. It's raw competition with Nate only appearing to soften the friction between verses.

Year: 2002

Soon after The Blueprint cratered the rap scene, Kanye West was steadily becoming a superstar producer. This was his breakout record during a year that included "Champions", "Guess Who's Back", and work on The Blueprint 2. This was also Talib Kweli's biggest impact on mainstream hip-hop, confirmed by the illustrious remix with Jay-Z, Busta Rhymes, Mos Def, and Kanye himself rapping stunning bars like "if music get you choked up, this is the tree and the rope". "Get By" is easily the Rawkus single with the most radio penetration, and it allowed Kweli a powerful introduction to a fanbase that would stay loyal thanks to Kanye's genius Nina Simone sample and Talib's exasperated repetition. Check the re-remix by Mr. Cheeks and Snoop from Kanye's I'm Good mixtape too.

MUSIC THAT WILL MAKE YOU WANT TO CHANGE YOUR LIFE

Year: 1999

DJ Kool G flipped Aretha's "One Step Ahead" into a rapturous story rap about courtship in the club and the bitter taste of disappointment after so much personal investment. This is one of those songs that sticks in your head long after you first hear it, the go-to Mos Def song, the exemplary zenith of Rawkus' conscious, refined, and progressive aesthetic.

Year: 1999

Often cited as the casual rap fan's favorite album, Mos Def & Talib Kweli Are Black Star was the shining moment for a label that had trudged through the muddy underground and come out with a crisp, shiny sound. Everything about Hi-Tek's beat captures a steaming city in the early morning, stretching it's lungs to both energize and consume people. It's worth noting that Pete Rock's "Flying High Main Mix" is the B-side that conjures up more of a "40's on the roof at dusk" feeling than the sunny, hazy original. Mos Def reinterprets the hook (and some of Marvin's "Distant Lovers" towards the end) while Black Thought swoops down to dissect everything around him. Both versions demonstrate the unspeakable smoothness that led to this single's massive popularity among diehard and fly-by-night rap fans alike.