7 unforgettable nostalgia trips from rap hits of the past

Amidst the massive clashes among powerhouse musicians and an endless stream of music releases each month, navigating the fast-paced rap scene can be both enjoyable yet somewhat overwhelming. I appreciate being able to truly savor the projects I’m able to fully absorb, but frequently find myself playing catch-up with releases that slip past my notice.

As a passionate fan of rap music, I often find solace in revisiting the rap tracks from my childhood that initially sparked my love for the genre. From “World of Entertainment (WOE Is Me)” by Jurassic 5 to “Walk Like a Warrior” by Dead Prez featuring Krayzie Bone, these songs serve as a reminder of my entry into the world of rap and continue to resonate with me deeply.

Reflecting on hip-hop’s 52nd anniversary, it seems appropriate to cast our minds back, right to the start, to a few instances where the very rappers themselves pondered over the melodies of their early days, and how they developed an affection for the craft that eventually became their own.

7 rap hits from the past that still haven’t lost their magic

1. Bust The Facts by Ultramagnetic MCs (1992)

Four years after the release of their legendary debut album, “Critical Beatdown” (1988), the Bronx group comprising Kool Keith, Ced-Gee, TR Love, and DJ Moe Love came out with their follow-up titled “Funk Your Head Up.

The album carries a sense of nostalgia throughout, evident in moments like the “Blast from the Past” interlude, which is a medley of sound clips from their 1980s hits, including tracks like “Ego Trippin'” and “Break North.

In the heart of the album, a track titled “Bust The Facts” emerges, and it seems to pay homage to the early years of hip-hop recordings, as well as the pre-recording park jam culture of the 1970s, a setting that served as the group’s childhood playground.

In a musical context, “Bust The Facts” incorporates numerous samples that echo the significant and influential era of rap music in its past. This is demonstrated through the use of phrases like “Here’s a little story that must be told,” which is from the classic hip-hop film “Wild Style” (1982), directed by Charlie Ahearn. Additionally, you can hear the Treacherous Three’s “go off, go off” chant at the start of Spoonie Gee’s “Love Rap” from 1980. Familiar break beats are also used, such as “Catch A Groove” by Juice from 1976.

In addition to serving as a gateway through time, Kool Keith’s lyrics tell an incredibly unusual story that jumps between well-known figures in the music industry, street gangs, popular locations, fashion brands, and beverages closely associated with New York City during the formative years of hip-hop culture.

As a devoted enthusiast, I can’t help but mention some of the legendary figures who have graced the hip-hop scene with their talent. From the L Brothers and Kool Herc, also known as the Herculoids or Herculords, to iconic DJs like Disco King Mario, Grand Wizzard Theodore, and Charlie Chase, these trailblazers have left an indelible mark on the genre. Not forgetting the rap icons Melle Mel, Chief Rocker Busy Bee Starski, and Dot-A-Rock, their contributions to hip-hop are undeniable. And let’s not overlook the T-Connection in the Bronx, a venue that played host to countless memorable moments in the early days of hip-hop.

Just a small selection of names and examples can be found in “Bust The Facts.” My summary barely touches upon the exciting journey you’ll embark on if you decide to tune in.

2. Back in the Dayz by Doug E. Fresh and the New Get Fresh Crew (1992)

In the same year that Ultramagnetic released their long-awaited first album after four years, legendary artist Doug E. Fresh also debuted a fresh new project, following a gap of four years since his previous one (1988). Titled “Doin’ What I Gotta Do,” Doug E. Fresh made his comeback with his two DJs, Chill Will and Barry B, and a new addition to the team, Miss Jonz, whose real name is Tarsha Jones. She was a singer who later gained fame as a radio personality, working with numerous hip-hop artists such as Common, Pete Rock, and Das EFX.

During ’92, the song “Doin’ What I Gotta Do” was released, whereas “Back in the Dayz” is believed to be a live recording dating back as early as 1989. The Get Fresh Crew made their appearance on stage, introduced by Kool DJ Red Alert, a renowned emcee from Kiss FM, who mentioned the 1989 posse cut “Self Destruction,” where Doug E. Fresh was also featured.

In the late ’80s, the powerful anthem “Self Destruction” by Boogie Down Productions, specifically the title track from the album, became a key song in the Stop the Violence Movement. Initiated by KRS-One of BDP, this movement aimed to address and condemn violence within the African American community, following a tragic incident that took the life of his mentor and DJ, Scott La Rock, in 1987.

As Red Alert kicked off, I jumped right into it, beatboxing and getting everyone to join in, clapping their hands on the beat and cheering me on with chants of “Go Doug E.! Go Doug E.!” Once everyone was hyped up, I seized the moment and started my main act, rapping: “This is when hip-hop was at its peak, going through a wild phase. Way back in the day.

Doug E. Fresh, similar to Ultramagnetic on “Bust The Facts,” is reminiscing about an old-school era of hip-hop by playing iconic dance records from the ’70s and early ’80s, which are well-known within the hip-hop community, through Chill Will and Barry B. He’s essentially inviting the crowd to remember the music they danced to in their youthful days and the fun times associated with it.

As Doug E. Fresh entertains the crowd with his raps and routines, Chill Will and Barry B mix tracks such as “Heaven and Hell Is on Earth” by the 20th Century Steel Band, “Get Up and Dance” by Freedom, “You’ll Like It Too” by Funkadelic, “UFO” by ESG, and “Cavern” by Liquid Liquid. Notably, they incorporate a part of “Cavern” for the well-known song “Whites Lines (Don’t Don’t Do It)” by Melle Mel.

In this part of the program, the performance by Chill Will of “Before I Let Go” by Frankie Beverly and Maze brings it to a close, inspiring Doug E. Fresh to get the crowd involved with singing along to Beverly’s memorable vocal runs. This tune is another delightful choice that will evoke feelings of nostalgia as if you were part of the audience.

3. Every Ghetto, Every City by Lauryn Hill (1998)

In the heartwarming narrative of “The Miseducation of Lauryn Hill” (1998), the track “Every Ghetto, Every City” offers a cheerful exploration of Lauryn Hill’s childhood in New Jersey, providing a lighter contrast to the album’s deeper themes. Although it doesn’t delve deeply into music history, it cleverly employs musical elements to evoke a sense of nostalgia, with Stevie Wonder’s “I Wish” serving as its spiritual and musical inspiration.

As Hill reminisces about her life, journeying from her early years nestled by Ivy Hill in Newark to the rhythmic drill teams of Munn Street, possibly in East Orange, each song seems to mature with her, employing hip-hop as a means to chronologically advance. In the second verse, a voice beatboxes and someone claps along, while in the third verse, a DJ starts spinning a record.

In “Every Ghetto, Every City,” just like how hip-hop serves as an expression of culture, community takes precedence above all else. While Hill mentions notable ’80s rappers such as Doug E. Fresh, Slick Rick, and Biz Markie, it’s important to note that she didn’t merely admire these artists for their music; rather, they were among the many musicians whose work was frequently played within her predominantly black community in New Jersey.

In my youth, growing up in those vibrant neighborhoods, it wasn’t just rap that filled the airwaves-the music scene was way more diverse than that! The DJ, being the heart of it all, showcased an impressive array of tunes. I can still remember grooving to some legendary moves like the Wop and the Biz Dance back then. But let’s not forget about the infectious beat of “Jack Your Body,” a house music classic by Steve “Silk” Hurley from 1986, that would have been spinning in those same circles where I was dancing to hip-hop. Good times!

One part of the song I particularly enjoy is a hip-hop reference, where the lyrics mention “Hillside brings trouble with the police, the Self-Destruction album drops, and suddenly everyone’s name is Muslim.” At the end of that line, Hill uses the Arabic greeting “Wa alaykumu s-salam,” symbolizing people converting to Islam.

At the same time, Hill’s backup vocals seem to echo “Kids celebrating, women creating,” which is a slight twist on the original lyrics from “Heaven and Hell Is on Earth” by the 20th Century Steel Band. This subtle reference ties in with her discussion of “Self-Destruction,” as that part of “Heaven and Hell Is on Earth” was notably used in that song’s sample.

In short, I like this track very much.

4. Memory Lane (Sittin’ in da Park) by Nas (1994)

In the 2014 documentary “Time Is Illmatic,” directed by One9, Nas shared candidly about his intention to root listeners in the setting of his childhood neighborhood, Queensbridge, through his debut album, “Illmatic” (1994). Moreover, he emphasized that his role as a rapper was deeply rooted in the hip-hop legacy of past generations, a genre that was relatively young at the time.

Specifically, the album “Illmatic” often nods to the iconic hip-hop movie “Wild Style” (1982). Notably, this film is frequently used as a sample and can be heard in the background of the introductory track on the album titled “Genesis”. This includes the conversation between Zoro (Lee Quiñones) and his brother (Carlos Morales), as well as the music that accompanies the train car sequence.

As a dedicated fan, I’ve noticed that Nas often reflects on the past throughout his album, but none more so than in “Memory Lane (Sittin’ in da Park).” This track, unlike others, carries a profoundly melancholic and bittersweet vibe rather than an overt joyfulness. Instead of finding unbridled comfort in crafting verses, Nas appears to grapple with his thoughts, particularly those about his peers who didn’t have the same fortunate trajectory as him in life.

In a contrasting manner, Nas often talks about the fame of some major drug dealers he became aware of during his upbringing. He mentions “Fat Cat,” who I believe is Lorenzo Nichols, and the Supreme Team from Jamaica, Queens, as well as Alpo Martinez from Harlem. These individuals were almost mythical figures to him. However, alongside these towering personalities, Nas grapples with the reality that many of his close friends chose a similar path and either met untimely deaths or ended up incarcerated, much like numerous high-profile hustlers did too.

As a tribute to the departed, whose existence is preserved only in our memories or nostalgic reminiscences, Nas symbolically pays homage by spilling Heineken beer onto the ground.

In the movie “Cooley High” (1975), directed by Michael Schultz and written by Eric Monte, a scene is notably depicted where characters Cochise (played by Lawrence Hilton-Jacobs) and Preach (Glynn Turman), along with their friends, symbolically empty liquor bottles in tribute to those of their companions who were either deceased or incarcerated and couldn’t join them in celebrating Cochise receiving a basketball scholarship.

In the beginning of his song, Nas explicitly mentions being a dropout from Cooley High, which strongly suggests that he intentionally made a reference to this movie.

One significant feature of “Memory Lane” lies in its production, overseen by the renowned DJ Premier. His unique approach, unlike any other, perfectly suits a track about memories, given his practice of skillfully weaving and editing lyrics that directly connect to the song’s theme. This makes his work on “Memory Lane” particularly noteworthy.

In his hometown of Queensbridge and as a devoted admirer of the iconic Juice Crew hip-hop group, which was local to him, Premier crafted the chorus by incorporating snippets from two of their songs.

He begins by referencing, “Now let me embark on a nostalgic journey,” from Biz Markie’s 1987 track “Pickin’ Boogers,” and combines this with the closing statement of the third verse in Craig G and Marley Marl’s “Droppin’ Science” from 1988, “Living larger than life, and what this signifies is, we’ll be the most exceptional duo emerging from Queensbridge.” This song truly takes us on a trip through memories.

5. Actin’ Bad by the Click (1995)

The Click is a well-known four-member rap group hailing from Vallejo, California, all of whom are related by family. Three out of the four, E-40, Suga-T, and D-Shot, are siblings, with their cousin B-Legit completing the group.

In a similar vein to Nas’ debut album “Illmatic” (1994), the second release by the Click, titled “Game Related” (1995), frequently touches upon the drug trade and the rap industry, as well as the deteriorating condition of the African-American community during the crack cocaine crisis and the War on Drugs under the Reagan and Bush administrations.

As a devoted fan, I’d like to share that while Game Related might seem game-centric at first glance, it often delves into reminiscences of their lives in simpler times. For instance, E-40 fondly recalls his childhood days with a Jheri curl and playing baseball, as he reminisces on “Learn About It.

In musical terms, the song that evokes the strongest sense of ’80s childhood nostalgia on this album is undoubtedly “Scandalous,” as it brings back Zapp’s Roger Troutman, who performs alongside the group in a modernized version of his 1985 hit “Computer Love.

As a gamer, I marked “Actin’ Bad” for a particular reason: it’s all about E-40. In this track, the group talks about causing trouble in the neighborhood, but what makes it special is that E-40 takes time to pay homage to his rap role models from his past.

On many occasions, The Click incorporates historical references from rap music into their narrative about the drug trade in this album, as demonstrated in the track “World Went Crazy.” Here, 40 mentions that dealers would play Too Short’s “Bb Betty” while they were on street corners.

In the second verse of “Actin’ Bad,” E-40 shifts from a drug-centric theme to naming artists he admires. He mentions Bay Area icons like Too Short and Freddie B., as well as Calvin-T and Magic Mike, who initially gained fame through mixtapes rather than albums, as hinted in the opening lyrics of Too Short’s “In The Trunk,” where he raps, “Every day I sold tapes, me and Freddie B. We’ve been famous since 1983.

E-40 also mentions some New York rap artists, including Kangol Kid from UTFO (United Tactics for Overpowering) and KRS-One from Boogie Down Productions.

To wrap it up, I’d like to give a shout-out to Rudy Ray Moore and Clarence Reid, who performed under the alias Blowfly. These two hilarious black entertainers significantly influenced hip-hop music with their bawdy comedy albums, most of which were released between the 60s and 90s. Rudy Ray Moore is also renowned for his acting prowess, particularly for his iconic role as the main character in the 1975 film “Dolemite” directed by D’Urville Martin.

In a similar vein, both comic works frequently incorporated rhyme, with Alan Moore often penning classic, rhythmic poems such as “The Signifying Monkey,” and Blowfly launching the album “Blowfly’s Rapp” in 1980, which contained one explicit song among numerous albums filled with explicit lyrics.

Regardless if it’s the explicit humor found on a ’70s comedy album or the distinctive rhyme patterns and powerful beats of KRS-One and Too Short, you can clearly understand how each artist that E-40 mentioned has impacted his own music, as well as the style of the Click as a whole.

6. Old School by 2Pac (1995)

Among the numerous standouts from Tupac Shakur’s groundbreaking album Me Against The World (1995), the track “Old School” holds a special place in my heart, alongside many other favorites like “Dear Mama” and “Young Nz”. Although the latter two tracks are arguably the most overt expressions of Tupac’s nostalgia and reflections on his past, “Old School” resonates with me due to its profound exploration of his lifelong passion for hip-hop.

As a dedicated gamer diving into the world of “Old School” by 2Pac, I can’t help but admire his exceptional skills as a vocal performer. But what truly sets him apart is his mastery over verse structure. He crafts his lyrics like a seasoned weaver, seamlessly incorporating numerous artists within his verses. Sometimes he names them directly, other times he leaves it to the listeners to decipher who he’s referencing. It’s an impressive display of knowledge and artistry!

2Pac’s song is overflowing with recollections of observing hip-hop’s early days, a period he experienced during his childhood and teenage years in Harlem, Baltimore, and the Bay Area, much like “Bust The Facts” by Ultramagnetic MCs.

One example is that the song’s intro goes like this: “I recall Mr. Magic, Flash, and Grandmaster Caz.” The title “Grandmaster” is shared by both Flash and Caz, who are mentioned here. They were two of the most significant artists during rap music’s initial recorded period, with their careers tracing back even earlier.

2Pac remarks, “After mentioning Caz’s name, he follows with, ‘LL, anthem of chaos, but that didn’t endure.’ I found it quite inventive when he combined ‘LL’ and ‘anthem of chaos’ to refer to LL Cool J, without explicitly naming Run-DMC. Instead, he mentioned the title of their famous album from 1986.

As a music enthusiast, I find it fascinating how “Raising Hell,” a title from one of my favorite artists, shares the same number of syllables with “Rock the Bells,” a classic hit by Run-DMC. Interestingly, both phrases begin with the “r” sound and even rhyme, giving the impression that 2Pac might be nodding to Run-DMC if you’re not careful about the details.

Just like “Memory Lane” by Nas, the track “Old School” evokes a sense of nostalgia through the use of samples from classic hip-hop. The production is handled by Soulshock, with additional production credits for Ezi Cut and Jay B. A notable sample in the song comes from Grand Puba of Brand Nubian, taken from their 1990 hit “Dedication.

On their first album titled “One for All“, the last track served as a platform to acknowledge fellow artists, following common practice. Grand Puba specifically acknowledged his favorite rappers and declared in the lyrics, “What more can I say? I wouldn’t be here today if the old school didn’t pave the way,” which were later adopted as the chorus for “Old School.

2Pac referred to all the rappers in this track as ‘old school,’ sometimes suggesting they had lost their edge. However, it’s crucial to understand that being labeled ‘old school’ doesn’t imply these artists ceased to exist or became forgotten. Instead, it signifies a shift in their relevance within the music scene.

Most of the artists mentioned in the song were still quite busy in their careers by 1995, with many still active today. However, tragically, 2Pac’s life was nearing its end without public knowledge – he had roughly a year and a half left to live when “Me Against the World” was first released.

7. The Bridge by MC Shan and Marley Marl/ South Bronx by Boogie Down Productions (1986)

Many discussions have centered around the Bridge Wars, a conflict that spread through various neighborhoods in New York City, originating from an early confrontation between the Juice Crew, based in Queensbridge, particularly MC Shan, and Boogie Down Productions, who got their name from their home turf in the Bronx, known as the Boogie Down.

In spite of numerous diss tracks from different artists, it’s intriguing to note that if we concentrate on the original disagreement between Shan and BDP, at least in their recorded music, they both seemed to share a common desire – a passion for celebrating the history of their neighborhood. Essentially, they were both immersed in reminiscing about the hip-hop culture of their past.

In the documentary Time is Illmatic (2014), Marley Marl reveals that “The Bridge” was actually created before it was formally recorded. Originally conceived as intermission music for Queensbridge Day, its popularity skyrocketed as the tape circulated throughout the neighborhood.

In essence, ‘The Bridge’ delves into the annals of history, highlighting key figures from the Queensbridge hip-hop movement. Among these pioneers are DJ Gas and Larry Larr, who appears to be an older sibling of Marley Marl, not to be confused with the Philadelphia rapper.

Larry Larr, as far as I understand, was part of the High Fidelity Crew based in Queensbridge, a group that seems to include many of the individuals mentioned alongside him by Shan, including Cousin Bruce. It’s also worth noting that the older brother of Craig G was reportedly a member of this crew, according to his 2013 interview with Robbie Ettelson for Unkut.

Essentially, “The Bridge” tells the story of the Queensbridge lineage, starting from the street jams of the High Fidelity Crew and culminating at the creation of “Sucker D.J.’s (I Will Survive)” by Marley Marl and Dimples D in 1983. This song was a counter-response to Run-DMC’s groundbreaking track, “Sucker M.C.’s” from Krush-Groove 1.

During that occasion, Shan took the chance to mention some members of the Juice Crew from the mid ’80s, starting with Roxanne Shante, then himself, and Craig G., who was the most recent addition. Essentially, “The Bridge” is a well-known song, often serving as a representation of nostalgic appreciation within hip-hop.

When Boogie Down Productions countered Shan’s track with “South Bronx,” asserting that Shan had mistakenly credited Queensbridge as the originator of hip-hop instead of the South Bronx, they simultaneously provided an account of hip-hop’s historical background.

In the same format as “The Bridge,” which was typical for hip-hop response records in the mid-80s, “South Bronx” followed suit, similar to “The Show Stoppa (Is Stupid Fresh)” by Super Nature (who later became Salt ‘N’ Pepa and Hurby Luv Bug) and their response to “The Show” by Doug E. Fresh and The Get Fresh Crew, originally featuring MC Ricky D (later known as Slick Rick).

The response records weren’t always hostile diss tracks, rather they served as a means for artists to capitalize on popular music to garner attention. However, Boogie Down Production’s “South Bronx” was undeniably a subtle diss towards Queensbridge and Shan. This was partly because they felt disrespected after their demo was ignored by Mr. Magic.

Even though KRS-One wasn’t born in the Bronx, his music on “South Bronx” gives the impression that he is a native. His rapping style and lyrics closely resemble Shan’s, delving deeply into the rich history of the Bronx hip-hop culture.

He covers a range that includes Kool Herc, Coke La Rock, Grandmaster Flash, Afrika Bambaataa, Afrika Islam, Kool DJ Red Alert, and DJ Chuck Chillout, along with the neighborhoods they inhabited and the crews they were affiliated with, such as Nine Lives or Rock Steady Crew.

In simpler terms, the dispute between the artists went way beyond a minor issue, reminiscent of a significant conflict in the South Bronx. However, it’s crucial to remember that at its core, hip-hop music, and by extension, the community it represents, was the primary focus when the music sparked this feud. This was because the original record served as both the catalyst for the beef and a symbol of the community’s values.

Despite the backdrop of conflict, the content remained affirmative and festive, highlighting the community in a favorable manner. This is, in my opinion, an aspect that hip-hop music should emphasize as it reaches its 52nd year.

2025-08-11 13:02