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The Notorious B.I.G.’s ‘Ready to Die’ at 30: All 17 Songs Ranked

Written by on September 13, 2024

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It would be difficult to describe hip-hop in 1994 without being hyperbolic. Just look at all the albums celebrating its 30th anniversary this year. Without pulling out the clichéd “Golden Age” descriptor, this period was to hip-hop what the Michael Jordan-led 1984 draft class (or even the Kobe-faced 1996 class) came to be for the NBA. So many great debuts arrived that year: There’s Nas’ 10-megaton blast of an introduction, Illlmatic; Outkast’s landscape-shifting Southernplayalisticadillacmuzik; Common’s ascension to the main stage, Resurrection; Pete Rock and CL Smooth’s sonic food for the soul, Main Ingredient; Scarface’s unrepentant opus, The Diary. And then there was Ready to Die.

Released in September 1994, The Notorious B.I.G’s debut album provided a slice of Brooklyn life. But what made it a work of art was its master class showcase of hip-hop’s key elements at play: beats, rhymes, and storytelling. It had a coterie of the genre’s esteemed beatsmiths: Easy Mo Bee, DJ Premier, and Trackmasters, among many others. They all had the greatest voice to lyrically lace up their tough-as-Timbs production. The combination of these ingredients blurred the lines between fiction and documentary, bringing raw vulnerability and behind-the-roving-lens realism to the stories from the underbelly of the beast, or as Big referred to it, “the everyday struggle.”

In this way, you heard the echoes of the cracked out aftermath of the Reagan era (“Things Done Changed,” “Everyday Struggle”), felt the stomach-rumbling reality that forces everyday people to make do with making do (“Gimme the Loot”), and got the fractured interiority of the trauma (“Suicidal Thoughts”) — all told through the lens of the buddha-bellied narrator’s stoop at 226 St. James Place in Bed-Stuy, Brooklyn USA. “My life is real,” a 23-year-old Christopher Wallace told reporters on the red carpet of the 1995 Billboard Music Awards, where he won Rap Single of the Year (“One More Chance”) and Artist of the Year. “I wrote about it.”

Even with his honest calculations on the throes of life on the “crack side,” Big made the “rap side” seem both effortless and flawless, too. Against the backdrop of a volatile minefield of circumstances and emotions, Biggie lightened the mood with his sense of humor, wit, and warmth. For every unflinching depiction of hardships (“Used to sell crack, so I could stack my riches”), his wittiness kicks in to air out the cloudy fog (“Making money, smoking mics like crack pipes”). Whether unleashing his taekwondo flows over the funk of “The What” or outlining the 357-ways he can leave an emcee cooked on “Unbelievable,” his talent was as wide as his belt size. What came as a result was an album that shook up the rap landscape, taking it from the Bed-Stuy corners to the pop charts, and beyond. And to to think, it arrived on Friday the 13th.  

Three decades since its arrival, Big’s bellow from the ghetto debut remains as prevalent as the sound of sasquatch feet. To celebrate, see how we ranked all 17 tracks.

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