Top 10 – Best Remakes in Hip Hop History

damn wut about def squad’s remake of sugar hill gang’s joint. that had everyone open

I think Def Squad And Pun & Fat Joe’s remakes should have def made it in the top ten

My bad I messed it up it was suppose to say ..the orignal “Still #1″ gets me amped as well…The computer here is phuckin’ up, lol..

if you haven’t you should check out “YGM” (Young, Gifted, and Mixed) and “Road to the Riches”, both by Atmosphere. Two incredible remakes of two hip hop classics

The reason why Justin doesn’t have it higher on the list is the reason why it is one of Hip-Hop’s greatest & controversial watershed moments; but you had to be there from the beginning to understand why his reason is incorrect. This has always been, in my opinion, a very touchy subject and situation for my generation/age group who literally birthed, nurtured, loved, and raised Hip-Hop. To me, its similar to WWII & Korean War vets mad and disgusted at young men not wanting to go to Vietnam in the ‘60s before we knew something was wrong w/our leaders. They just couldn’t image someone doing that…Nonetheless, this conversation begins & ends with a member of Hip-Hop’s F4W Generation – Snoop Dog.

[Point of Information class – F”XX” is the nomenclature utilized to classify the filial generation offspring of Hip-Hop. The “F” represents filial generation or offspring, the first “X” indicative of their alphanumeric rank, and the second “X” their longitude and latitude or geographical coordinates. The 2nd filial generation is comprised of offspring(s) resulting from a cross of original flavor and local predilections. While there is considerable debate, it is generally acknowledged that the South or the F2S (led by that enticing booty music) was Hip-Hop’s third offspring and the West or F2W the 3rd generation. (see accompanying schematic at end)]

Nonetheless, prior to Snoop’s violation of the second rule of Hip-Hop, as it pertained to the MC, it was consider at best career suicide to even consider the articulation &/or syncopation of another’s verbal composition spit in metrical feet forming rhythmical lines…i.e., Biting Another’s Line. Furthermore, the originator and the offended masses would accost artist and his crew with the obligatory – yet appropriate physical traumatizing of their physical personage upon visual confirmation. This castigation of the violator was brought to the attention of the masses via the King’s from Queens – RUNDMC groundbreaking single “Sucker MCs.”

Towards the latter portion of Hip-Hop’s Golden Era (’86-’90), the F2W or West Coast began creating a brand of music which would cause a seismic shift in the creative, commercial, and legislative excellence of Hip-Hop. Snoop Doggy Dog, a prodigy and understudy of the genius and platinum hit maker Dr. Dre, with one album would forever change the landscape of how Hip-Hop was distributed, consumed, and ostensibly regurgitated. His first album (Yes – the Chronic was Snoop’s 1st Album…eff all ya’ll) was just a stepping stone to his near decade long dominance of the charts. His debut album however, Doggy Tales (or something like that, I’m in a meeting and can’t validate my references @skeme) would violate Article 20 N.Y.C. § 1412(mc)(78)(BX)(3) Subsection MIC of Rule #2 of MC governance established by the Judicial Branch of the Outdoor Park Circuit as mandated during Hip-Hop’s first Conclave by the Honorable MC Busy Bee. This transgression took the form of the aforementioned Snoop Doggy Dog’s remake of the venerable Lord’s of London Ruler – Slick Rick’s incredible Lodi Dodi.
Between Tim Dog’s Jheri curl attacks and residents of the NE (NY, Conn, Philly, Bos) screaming foul amongst other things Snoop took the controversy head on. He brilliantly articulated how he:
1) acknowledged & respected the unwritten but enforceable laws of the MC, especially as it pertained to “Biting”,
2) believed that any violator of the laws governing “biting” should be subjected to the fullest extent of the law…and more,
3) had an obligation as a loyal fan of Slick Rick and a student of Hip-Hop to acknowledge those who paved the way for him.

This recognition of The Ruler’s greatness manifested itself in the form of a lyrical tribute via his favorite piece by the aforementioned artist. Oh the humanity!!! The wailing and wringing of tears coupled with demonstrations for Snoop’s ass by those of us from NY was palpable as it was sad. Some wonder if the acuteness of our condemnation of Snoop’s breach of MC ethics wasn’t simple a cover for our inability to commercially match our West Coast siblings throughout the rest of the country. We were a region of “let me dub that tape” and miring our artist in financial obscurity battling young turks plying their wares out of their trunks. Snoop was absolved by the lower courts of MTV & Hollywood as the Renaissance of Hip-Hop peered over the horizon.

In the final analysis the evil gods of capitalism were too much for Mecca to repel and they ordered their Defense Secretary SoundScan to be the final arbitrator of what constituted quality in Hip-Hop music. Mecca’s appeal & counter attack was led by the young but gifted audio firm of Wallace, Combs, and the RZA, the GZA, Ol Dirty Bastard, Inspectah Deck, U-god, GhostfaceKilla AND – The M.E.T.H.O.D. Man. While unable to overturn the original ruling a “friend of the court” brief was filed by the ATL’s OutKast judicial team and Master P, Professor emeritus of Uhhh Na – na..na…na at the 7th Ward School of Hard Knocks. Their collective bargaining ushered in the 3rd age or The Renaissance for the world’s consumption.

Like the DJing legislative tribunal, the MC’s legislative history makes clear merely because someone with the ability to emulate can perform well floetically does not mean that he/she may not also be substantially limited in the major life activities of earning, flossing, writing, thinking, speaking, or…breathing for biting somebody else’s shit. Of course, the person would still need to establish that he/she was substantially impacted by the originator and limited in this manner and that he/she needed reasonable accommodations form the Hip-Hop community at large to allow them the privilege of remaking another’s work. The legislative history also makes clear that the 11th Circuit in BirdMan v. Wal-Mart Stores, Inc. was incorrect to decide that a person with mental retardation (Lil Wayne) was not disabled because he could drive a car and communicate with words…

Brief Genetic Delineations for Hip-Hop:

The Parent (South Bronx) begat F1N (Mecca or NY style hip-hop), which begat F2S (The South which begat the Durty South) and F3W (the West Coast which begat Gangsta Rap with Just-Ice & pre-Scott LaRock’s death KRSOne of the aforementioned F1N generation).

F3W and F2S had started creeping and begat F6M twins (The Upper Midwest – Chicago & Lower Midwest – Texas, Mississipi.

@Kev – lol, lol, I like it but it will have to be #3 on the list; when i was being hazed & pledging up at Morgan State – brothers gave me another one…Mr. Data (the “know everything” andriod from Star Trek 2nd Generation)

“I’m not arrogant, I’m just better than you…Yes, I will instruct you!”

The Moment I Feared by Tame One comes to mind as well.
And what about that ODB song remaking the Cold Blooded Rick James joint?

I listened to the kidz in the hall “remake” …not really a remake at all…used the same sample as 93 til infinity. That happens all the time.

The Roots did “Men at Work” (KGR) as well. Remake, continuations or re-interpretation….samething almost right?

Good ish Justin.

What about the go on and cry sample – les mccann …that’s been used a bunch. The Ron Isley sample shyheim used on Then You’re Gone ..UGK used that, a female mc used it back in the day too..good sample

mos def stakes is high on that vh1 special. love the intro dilla dilla dilla dilla

tame one – the moment i feared
everlast – children story
snoop – vapors
btnh – fuck tha police
coolio – money – dollar bill yall
rage against the machine – renegades of funk
snoop – paper’d up