Biggie Albums In Order
Find The Notorious B.I.G. Discography, albums and singles on AllMusic. 'Biggie revolutionized the hip-hop genre. His debut contained production that set the standard for future hip-hop releases. He brought the gangsta to the forefront with his vivid storytelling, but, his smooth playa persona made him sound like nobody in '94. 2Pac was the rap name of Tupac Shakur (born June 16, 1971, East Harlem, New York, USA - died September 13, 1996, Las Vegas, Nevada, USA) an American rapper and actor.
Before posting. Make sure to. This subreddit is for asking for objective explanations. It is not a repository for any question you may have. E is for Explain - merely answering a question is not enough. LI5 means friendly, simplified and layperson-accessible explanations - not responses aimed at literal five-year-olds.
Perform a keyword search, you may find good explanations in past threads. You should also consider looking for your question in the FAQ. Don't post to argue a point of view. Flair your question after you've submitted it. Category filters. The characters behind the words play to it as well. Tupac was more than just a rapper; he was a revolutionary, born into a family of revolutionaries.
Pac had vision: while many rappers were happy simply living the 'Scarface' lifestyle at the time, Pac wanted more, not just for blacks, but for humanity as a whole. Although in many of his songs it sounds like he just hated the idea of whites ruling blacks, in reality he didn't like the idea of anyone ruling anyone.
Remember that at the time, saying something like that wasn't gangsta, and gangsta was what people wanted. As a result, Pac often came across as quite contradictory, releasing songs like Keep Ya Head Up, praising strong women, while also talking about his bitches in other songs, or talking about how we all need to get along in Ghetto Gospel while seemingly advocating violence in Ride On Our Enemies. Pac was a great lyricist, a great rapper, but his message was what mattered most. If it wasn't for that, he would probably just be remembered as a great rapper, but not an icon. Notorious B.I.G was the East Coast's big star. He may not have had the same level of vision as Pac (although he certainly wasn't merely a 'bitches, bling and guns' rapper), but he was a master of flow and lyrical construction. Even if the themes of his music get boring (and they do to many), there's no doubt that he could write and perform the hell out of a song.
The relationship with Pac was a very interesting one as well: originally close friends, paranoia destroyed the relationship after Pac was shot and Biggie released Who Shot Ya? At quite an unfortunate time. Their rivalry was big and nasty, not like the little bullshit Twitter beefs of nowadays, and it helped build their image as 'hip-hop warriors'. Biggie is an artist that you need to really analyse to fully appreciate.
The best song I can think of is Hypnotize, which is the one that most people know but few really listen to. In it he employs a style that, to this day, very few rappers can pull off. And he does it effortlessly. Even the greats like Nas or Em, who can pull off similar things, just can't do it like Big.
He was, like Pac, ahead of his time, even if it was in a different way. The big thing that many people remember, though, is their deaths. Many have said that if they hadn't died, they wouldn't have the rep they do. That may be true, but there's no way of knowing.
The eerie thing was that they both seemed to. While recording The Don Killuminati, Pac was reported to have been chain smoking, on edge, paranoid, and whenever something went wrong, apparently proclaimed 'we don't have the time for this!' And they didn't; Pac was shot dead the month after recording the album. Biggie was a similar case. The dude's first album was called Ready to Die, and the final song was him dying. In his songs he often talked about his death, and his second album, released after his death, was titled.
Life After Death. This album actually formed a turning point for rap; you know how gangsta rap and pop kinda intertwined with artists like 50 Cent? It all started with this. The mystery and apparent premonitions of the rapper's deaths affected how they were seen, and has given them an almost 'divine' aura. Their deaths were also a big shock in rap.
Now a lot of people have died in rap; Big L, ODB, Dolla, Big Pun, Eazy E. I could go on. But they were killed in events separate from hip-hop. Pac and Big's death. It almost seemed to be caused by hip-hop. It's very likely it wasn't; I'm sure that they had mixed with dangerous people, but a lot of people even to this day view the killings as a result of beef in hip-hop.
This was a wake-up call, and beef was taken more seriously. Nobody wants another Tupac and Biggie incident, and so their deaths stand as a dark lesson in how bad things can get if beef gets too out of hand. I'm gonna wrap this up now because I've gone on. Basically, their character, personal lives and deaths all contribute to their reputation as legendary, along with their technical skill. If anybody says that either Big or Pac were the greatest to ever live, then that person needs to listen to more hip-hop. There have been better rappers since and better rappers before. They may have been two of the best, but the very best?
I love both, but they are two of the most overrated people in hip-hop in terms of technical skills. If you want to really understand why they're so influential, you have to look at the men behind the music, as there was a lot going on. EDIT: I just realised that, even though I've tried to use understandable language, this is a fucking huge wall of text that no 5 year old would read, so I'll do a sum up: Tl;DR: There was a lot more to them than their songs, and their character, ideas, relationship and shocking deaths all contribute to what make them so influential. EDIT 2: Electric Boogaloo: was just posted on that goes into depth on Tupac. It covers far more than I would ever be able to in one post, and is well written.
If anyone's interested and doesn't mind a long read, check it out; even if you don't agree with it all, it certainly helps explain why Pac is so influential. If anybody says that either Big or Pac were the greatest to ever live, then that person needs to listen to more hip-hop. Please name a few rappers superior in flow, quality and lyricism to BIG or Pac. I can think of five or six, tops, who aren't obviously incorrect. And they all didn't release enough albums (minus Nas and Em) to really be considered better (mainly talking about L here, L was damn special and it is a huge shame he died before he could really blow up). I don't disagree with most of what you said, but I think you'd be damn hard pressed to find a rapper straight up BETTER than Biggies Smalls or Tupac Shakur.
Well the obvious one for me would be Eminem. Even though I think he's not as sharp as he used to be, he is a true master of hip-hop. You mention Nas, but personally I don't think he's quite on Big and Pac's level, as much as I love him. I would say Slick Rick, who mastered flow and lyrical construction before Big or Pac had even released a single. Similarly, LL Cool J, while many now view him as old, was (and still is, to an extent) a monster when he goes all in. I wouldn't say that Tech N9ne is a better overall artist, but in terms of rapping itself he would likely dominate Pac (maybe not Big).
Method Man is a maniac when he gets going, and if he isn't better than Pac or Big, he's on their level. In terms of lyricism, GZA would own both rappers, but that's a bit unfair because I maintain the belief that GZA was bred by the government to be a super genius. Kanye West's lyrics would also have them both sweating, but he wouldn't match their delivery imo. A lot of people say Jay Z here, but in all honestly I've never gotten the hype surrounding him. I'm sure he's amazing, even one of the best, but I wouldn't personally place him up with them. I only mention it because a lot of people would argue he's superior.
It does all come down to taste and opinion, of course, but taking away their character reduces their reputation. I personally prefer Pac to Biggie, which is apparently 'wrong' but whatever, and he's definitely in my top 5 favourite rappers, but take away his themes, visions and charisma, leaving nothing but flow and lyrical construction, and he was good, even great, but not the greatest. Biggie, likewise, would still be considered one of the greats, but not the goat if all of his background and such wasn't involved. Big would probably rank higher than Pac is we're talking purely technical, but he wouldn't be considered the very pinnacle of hip-hop. They would still both eat Drake or Chief Keef alive, but there would be a lot more competition.
What you said about the number of albums is true, though. Big only released 2 officially, so who knows, perhaps if he wasn't killed and continued to evolve, he may have become the greatest in history. Aes and Del are without a doubt two of my favourite artists, but as it stands, were they to quit tomorrow (and I hope that doesn't happen!), they wouldn't leave the same legacy.
Although they both have large fanbases, and they're both pretty unique artists imo (you can tell an Aes or Del track just by listening to it), they haven't impacted hip-hop in the same way Big or Pac did. Big and Pac left a huge impression on the culture as a whole and added a whole new level of mainstream acceptance to it.
In terms of more technical skill, then I think that Del is dope in terms of lyricism, but he hasn't quite got the same ability to create lyrics with the level of complexity as Big, and I'd say the Biggie could deliver his music in a more complex and impressive way. With Pac, well, Del and Pac had a lot more in common than first impressions may suggest, but I think that Pac's vision and activism mixed with his pure ferocity led to a revolution in the culture. Del almost acted as a break from Pac; he was still angry, but layered his anger amongst eccentric lyricism and humour. While this no doubt took skill, it didn't hit hip-hop as hard as Pac.
Aes is an interesting one to compare to them. In terms of themes and message it's almost impossible as they're completely different, but in terms of technical skill, it causes a divide. Although I think Aes is an incredibly clever dude, a lot of people say that his songs are just verbosity; a load of long words that, in the end, mean nothing. So comparing his skill to Pac and Big would differ greatly depending who you asked.
Asking me, who's a fan, I'd say that his lyricism may actually be up there with them, although in a way this just highlights how ahead of their time the two were. He's definitely not as accessible to the mainstream as Pac or Big, which could be good, depending on who you ask, and although he's got mad flow in his own way, I find the words don't slip off his tongue quite as effortlessly as Pac or Big's. In the end though, like Del, he hasn't (yet) impacted hip-hop in the way they did. He hasn't changed the way the culture is seen or acts. And that's no bad thing, he seems happy where he is, and I'd much rather he stay comfortable than he ruins his music by trying to do something he doesn't really want to.
It all depends on who you ask, really. Some would argue the the death that Del and Aes are far better artists, and the only reason Pac and Big are considered better is because they died. Others would be offended at the mere suggestion that Del or Aes could be on their level. For me though, summing up, I think that certain aspects of their music are up there with Pac and Big, but overall Pac and Big captured the pain and rage of poor black America at the time in a way that Aes and Del never have, and they had such a huge impact in the culture that, unless Aes or Del completely change the way that hip-hop is done, will mean that Pac and Big will always be considered the more influential. Well, I personally found Pac easier to get into than Biggie if you do give them a go, but most people I've met prefer Big. Just remember, if you are new to the genre, to ignore any snobs.
If anyone ever says something like 'you like Aesop Rock and Del over Pac and Big?' In a sneering sort of way, don't let that put you off. You'll hear plenty of people talk about how Pac and Big are 'real hip-hop' and if you don't like them, you're not a true fan of hip-hop, but screw them.
Don't feel like you have to like any artist simply because you're told you're supposed to. There's no shame in liking a lesser known artist over some of the heavy hitters of the genre!
Hip-hop ain't about superiority, and there's nothing realer than being comfortable with your taste. If you fancy getting more into it, check out. It's a pretty friendly community, and Del and Aes are well liked over there. It's great for introducing you to new music.
People use the word lyricist in different ways. Lyricist to you obviously means having great lyrics, as in the message. Lyricist to others in hip hop mean how the lyrics are constructed, are they flipping words, using double meanings, metaphors and similes etc. That's the problem when people are talking about who's the best lyricist, as not everyone is using the same definition. It's not like every other musical art form. In other music when people say 'those lyrics are great' they universally are talking about the meaning, and how it moves them.
In hip hop it could mean a number of things. Tupac isn't a great lyricist.lolwat? Give me my money in stacks and lace my bitches with 9 figures Real niggas fingers on nickle plated 9 triggas Must see my enemies defeated I'll catch 'em while they coked up and weeded Open fire, noww them niggas bleedin' See me in flesh and test and get your chest blown Straight out tha west, don't get blown My adversaries cry like ho's, open and shut like doors Is you a friend or foe? Nigga you ain't know? This verse alone is vastly superior to the great majority of rap songs by other artists.
That's about right. Also Tupac struck a chord with black people because he was very political in his raps. He was a notorious hypocrite and flip-flopped a lot but when he was 'positive' it was very poignant and heartfelt. A lot of young black youth felt like he was a voice and role model for them.
As for Biggie, he was just straight up dope. Very creative with his story telling (playing two different characters in the same track) and his persona was very likeable. He had a great sense of humour. Also, Diddy and company hooked him up with some serious heat on the beats.
TL;DR Biggie was a character. They uniquely fit a time and place. Biggie and Tupac were releasing records right when hip-hop was first reaching suburban kids in a big way. I am not a hip hop fan now, but I went through a stage where I owned Snoop Dogg's Doggie Style, Dre's The Chronic, a BlackSheep album, and a mix tape with Wu-Tang and others. I was a white kid from a medium sized town in Tennessee, and I was listening to hip-hop because artists like Biggie and Tupac were making great records that were edgy and authentic in a way I hadn't heard before.
I started by listening to Vanilla Ice, MC Hammer, and Kris Kross. That was very tame hip hop, made for white audiences, but it got us used to the idea of hip-hop. Then BAM I heard Snoop, Dre, Tupac, Biggie, and Wu. The music is angry, raw and exciting. Also, Rock music seemed boring at that time.
Grunge had blown up a few years before, and was simmering down. There weren't too many things to be excited about on the musical front. Its all R&B, pop, lame rock and.Hip hop. What else could angry kids supposed to listen to?
His infamous swagger and masterful grasp of the rhythm of language have transformed him into a pop culture icon in a way that’s transcended the misogyny and violence that oftentimes salted his sound. These days, Biggie’s spoken of in the same light as such beloved big men in pop as Barry White, Charles Mingus and Clarence Clemons, a larger-than-life figure with a personality that eschews any language and lifestyle foibles he experienced here on Earth. So large is his legend that you can’t help but imagine how the hip-hop landscape might look today had Biggie not gotten into that Chevy Suburban the night of March 9, 1997 (a truck that is now being sold online for $1.5 million, according to ).
Like Kurt Cobain before him, Biggie left a scant catalog of music in his wake that only scratched the surface of his capabilities as a performer. His sole pair of proper LPs, and, are both essential listens for any hip-hop fan who appreciates the soul of the art form. But the man had so much more to offer this world. Nothing personifies that more than hanging on the wall of Cottonmouth’s office at Harlem’s Paradise on the Netflix Marvel series. (The image came from a session Wallace did with photographer Barron Clairborne for Mass Appeal three days before his murder.). “There are images of black people, rappers or not, that you don’t see in American culture. You rarely seem them as regal,” Clairborne told the magazine for its series “.” “When you see something different, you embrace it.
The image is very stripped down, you only see his face. The fact that he died made the symbolism stronger. He had to die for this image to have that symbolism. The king sacrificed.” What we see in that photograph of Biggie, his face all business, the golden crown tipping off the top of his head, is the undisputed King of Brooklyn hip-hop looking ready to conquer the world. There isn’t a hint of worry about his upcoming trip to Los Angeles for fear of retaliation for Shakur’s killing, an event that, as actor Jamal Woolard so poignantly portrayed in the 2009 film Notorious, broke his heart. If only he hadn’t gotten in that car. It would have been so amazing to see how Wallace could have evolved as the trends of hip-hop and R&B progressed in the years following his murder.
Would Jay-Z be as relevant as he is now? Would Puff Daddy not have fallen off the way he has? Would Biggie have linked up with Kanye? Would he have made a record with Rick Rubin?
Would he have gone the Ice Cube/Snoop Dogg route and become the most loveable dad in rap? Would Biggie and Faith Evans have made an actual duets album like the one his widow is releasing posthumously sometime this year? Notorious B.I.G. YouTube Just like another great voice who was taken from us far too young in 1997 (fellow New York great Jeff Buckley), the death of Notorious B.I.G. Hurts even more not just because it didn’t have to happen—he was killed at the precise moment his career was beginning to take off into the stratosphere. If there’s one aspect of Notorious B.I.G.’s legend that’s fallen through the cracks more than any other these last 20 years, though, it was his titanic fortitude as a team player in rap.
Put Wallace in the studio with any knucklehead with a record deal, and you are guaranteed a classic track—even if the other rappers on the cut all suck, a scenario that happened more than once to Biggie during his cameo mercenary days. In 1995, early Biggie supporter and renowned DJ Mister Cee put together one of the most famous mixtapes to ever circulate on the black market when he dropped, which collected the majority of the songs he did in collaboration with other artists. The Best of Biggie is an essential anthology of rarities that continues to be cited as the yardstick any mixtape is measured against today. When I was asked to pay homage to Biggie in commemoration of this tragic anniversary, I didn’t think twice about breaking out that CD copy of The Best of Biggie my friend Aaron burned for me over 10 years ago. It remains such a great listen despite its wavering fidelity, and a document that captures what neither Ready to Die nor Life After Death could with all their studio polish—the pure, uncut essence of the Notorious B.I.G. In all of its gritty realness.
The best we can do to pay our respects to Christopher Wallace is listen to the incredible songs he created. Keep smiling down on us, Mr.
Notorious Album
We miss you dearly. 10) “Flava In Ya Ear (Remix),” Craig Mack Back in the day you knew you were rolling your eyes at this song when you first heard Puffy and his corny shout-out to The Warriors. But as quick as you scoffed, the combination of Easy Mo Bee’s dopest beat and Biggie’s voice dropped perfectly in unison as he introduced the opening verse—“Niggas is mad I get more butt than ashtrays/Fuck a fair one, I get mine the fast way.” In an interview with Neneh Cherry for BLURT, she told me that Biggie didn’t take kindly to Busta Rhymes when they ran into him in the studio upon recording the remix to her song “Buddy X.” “When he left, Biggie went, ‘Ooh, I don’t like him—he’s too touchy, man,’ ” she remembered. Yet that didn’t stop Wallace from joining the tactile Dungeon Dragon, Rampage and LL Cool J in spicing up the remix for the only track Craig Mack will ever be known for, but what a song it is. 9) “Real Love Remix,” Mary J Blige When Mary J. Blige hit the airwaves with “Real Love” in the summer of 1992, it was like hearing Aretha Franklin singing over Boot Camp Clik beats, an amazing hybrid that served as a high point of the hip-hop soul era. But when you add a young Biggie to the mix as Stetsasonic’s Daddy-O did on his more rugged rendition of the Audio Two groove featured on 1993’s What’s The 411?
Remix, hip-hop’s Teflon Don played the perfect foil to Blige’s search for true romance in a hoodlum’s world. 8) “Come On,” The Notorious B.I.G. Featuring Sadat X remains the single most underrated hip-hop group there is; they are rap music’s a group with so much innovative talent yet so overlooked by a commercial market who would’ve greatly benefitted from their inclusion in the mainstream.
Best Notorious Big Album
Sadat X was the group’s Alex Chilton, possessing a mercurial wit, razor sharp tongue and impeccable ear for melody that yielded some of the best moments on such Brand Nubian classics as. While his solo debut didn’t appear until 1996 with the release of, this Lord Finesse-produced white label was a promising precursor and features the studio version of that immortal verse Biggie dropped at that Madison Square Garden concert in 1995 with 2Pac, Big Daddy Kane, Shyheim and Big Scoob. You know how this one goes: “ / /, / / / / /.” 7) “Think Big,” Pudgee, Biggie and Lord Tariq There might not have been a more unfortunate stage name in hip-hop history than Pudgee (Tha Phat Bastard), an otherwise capable MC from the Bronx who didn’t rise as far as he could. But the one thing that keeps him in conversation in 2017 is his association with Biggie, who blessed the Phat Bastard’s otherwise pedestrian rap stylings with an opening verse that still serves as the most valuable one minute and eight seconds of acetate in the careers of both Pudgee and Lord Tariq combined. Kicking off the cut like “Big Poppa throwin’ niggas off of cliffs, smokin’ spliffs/Disappear with my bitch in a Mitsubishi Eclipse,” 20 years later, Pusha T would repurpose a line from Biggie’s verse on this song for the chorus of his own street banger “Untouchable,” keeping the dream of getting blunted in the 600 alive and well in the 21st century.
6) “The What,” The Notorious B.I.G. Featuring Method Man If I could only tell you how many blunts were rolled as this song served as the soundtrack, you’d think we were a bunch of old Cubans in Miami. But that’s what the combination of Meth, Biggie and that Easy Mo Bee’s Leroy Hutson-kissed funk roll called for.
And sitting there on my boy’s couch with that owl sparked as the chorus comes in—“Fuck the world, don’t ask me for shit. Everything ya get you got to work hard for it”—it was pure gutter gospel for a gang of upstate bumpkins bumping rap music like we were living in Bed-Stuy. 5) “A Buncha Niggas,” Heavy D and the Boyz There’s simply not enough credit paid to the late, great about his role in the career of the Notorious B.I.G., and just how well the heavyweight combo worked together on the mic. This outstanding posse cut off the Heavy One’s 1992 masterpiece was Big’s official debut on a commercial rap record. Out of the gate Biggie’s stood toe to toe with such established players as Gang Starr’s GURU, Busta Rhymes and the massively underrated Rob-O of the Pete Rock-affiliated group InI, quick to grab that brass ring with lines like “I bring drama like ya spit on my momma/Cannibalistic, like that nigga Jeffrey Dahmer.” 4) “Let’s Get It On,” Eddie F. And the Untouchables featuring The Notorious B.I.G., 2Pac, Heavy D., Grand Puba and Spunk Bigga People seem to forget there was a time when 2Pac and The Notorious B.I.G. Were actually friends before the beef that claimed both their lives came to define their relationship. This deep track from ’90s super-producer Eddie F.
Offers an incredibly rare glimpse into the magic of the creative union between Pac and Biggie, if only for a moment. The duo blaze up an inferno of verbiage alongside the likes of Heavy and Grand Puba on this killer crew cut. Like most “Various Artists” rap albums from the era, the title track to is a hidden gem mired in lackluster opportunism. Yet deep in the mix exists not just one of the only known team-ups between Tupac and Biggie, but a verse from Wallace that eerily foreshadows the dangers that lay ahead for him once the beef between himself and Tupac really started to get heated: “When you throw the drop check ’em thoroughly/The bastard might spin around and try to bury me.” 3) “Buddy X (Remix),” Neneh Cherry When I spoke with alt-R&B icon Neneh Cherry a few years back, she was more than happy to share a story of the time she worked with The Notorious B.I.G.
On a remix of her Lenny Kravitz-bashing single “Buddy X.” “Me and Booga Bear were living in Fort Greene at the time, and we went to pick up Biggie in Bed-Stuy to take him to the studio,” she recalls. “He was standing on the stoop, and got into our Volvo and rolled a big blunt.
I remember we were playing some of the demos of the second Massive Attack album for him and he was freestyling to them in the car.” But once they got to the studio, Biggie set fire to this highlight from Cherry’s seminal second album, offering a perspective that somehow turns the tables on the singer’s blame game: “Some honeys say I’m lovely, but Neneh says I’m wicked/Look at you, you ain’t no better/Walking around in your tight sweater, your long leather/No time for the B.IG., so I’m O.U.T.” 2) “4 My Peeps,” Red Hot Lover Tone feat. Biggie, MOP and Prince Po of Organized Konfusion When it came to ’90s hip-hop, there wasn’t a more viable team in rap than the Trackmasters. The men partially responsible for the R&B-ification of rap music during the Clinton years produced certified hits like Biggie’s “Juicy,” “If I Ruled The World” by Nas and Will Smith’s “Men In Black,” not to mention LL Cool J’s new jack swing power move “Hey Lover” off his 1996 LP Mr. Trackmaster Tone fancied himself a rapper himself. And while he was barely a threat to the many MCs he built beats for, he utilized his rolodex of big names to his advantage, like the time he brought together Biggie, M.O.P. And Prince Poetry of Organized Konfusion together for this cut off his otherwise forgettable second LP, 1995’s #1 Player. Why Po’s partner Pharoahe Monch wasn’t in the mix on this track remains a mystery to this day, but to hear Biggie’s “black bastard from Bedrock” segue into the Prince’s “Universal Solider of hip-hop” on the second and third verses of “4 My Peeps” is one of the game’s most rewarding Easter eggs.
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1) “Cunt Renaissance,” Crustified Dibbs featuring Notorious B.I.G. I cannot fathom how a song like this unlikely one-off collab between a young R.A. The Rugged Man back in his Crustified Dibbs days and Biggie Smalls, spawned from a scrapped session with Akinyele, could ever be recorded in 2017. The think pieces and Twitter outrage would be never-ending. However, for better or worse, “Cunt Renaissance” exists and you should be ashamed of yourself for getting so amped about hearing R.A.
And the B.I.G. Out-gross each other in the most verbose way possible (with lyrics I’ll get heat for even mentioning). “If I did a commercial record like ‘Juicy,’ it would have been a song like Biggie did with Da Brat or one of those forgotten-ass Biggie songs that made it on the radio for two months,” R.A. Explains in an interview featured on the bonus DVD of his 2010 collection Underground Classics, Vol. “But ‘Cunt Renaissance’ is disgusting. It’s a fuckin’ nightmare to music, like who would have made such an ugly-ass record?
Well, it’s a cult classic now, and I’m proud of it.”.