The Ideal Qobuz Collection comprises original, uncompiled albums that have made a considerable mark on music history or which qualify as essential recordings within each musical genre. By downloading these albums, or streaming them with your subscription, you begin a journey that will shine a light on some of the finest moments in recorded music.

Albums

£14.03

Rap - Released November 24, 2014 | Def Jam Recordings

Distinctions The Qobuz Ideal Discography
£14.03

Rap - Released October 14, 2014 | Def Jam Recordings

Distinctions The Qobuz Ideal Discography - Pitchfork: Best New Reissue
For many, Public Enemy’s second album is the greatest in rap history. And when it hit music stores in 1988, It Takes A Nation Of Millions To Hold Us Back enshrined Chuck D’s gang as the Rolling Stones of hip hop. An uppercut that changed the course of the genre’s history, Public Enemy remains thanks to this album THE benchmark in terms of ideological AND musical engagement. Offering a black version of CNN stripped of political correctness, examining each corner of American society with (extremely) rich rhymes and layers of literate and often carnivorous samples, Public Enemy impose their words as well as their sound. An aggressive approach to musical production (the Bomb Squad led by producer Hank Schocklee) that produces literal acoustic miracles. An electric and groovy tsunami, light years away from the bling-bling rap that would eventually take control of the genre, which attained its creative Golden Age in 1988. This Deluxe Edition includes a second record featuring thirteen bonuses, including the No Noise version of Bring The Noise, instrumentals for Rebel Without a Pause, Night Of The Living Baseheads and Black Steel In The Hour of Chaos, and the soundtrack version of Fight The Power for Spike Lee’s eponymous film. © MZ/Qobuz
£14.03

Rap - Released September 16, 2014 | Def Jam Recordings

Distinctions The Qobuz Ideal Discography
£8.18

Rap - Released January 1, 2011 | Def Jam Recordings

Booklet Distinctions The Qobuz Ideal Discography - Pitchfork: Best New Music - Sélection Les Inrocks
£11.56

Rap - Released January 1, 2010 | Def Jam Recordings

Distinctions The Qobuz Ideal Discography - Pitchfork: Best New Music - Sélection Les Inrocks
As fatiguing as it is invigorating, as cold-blooded as it is heart-rending, as haphazardly splattered as it is meticulously sculpted, My Beautiful Dark Twisted Fantasy is an extraordinarily complex 70-minute set of songs. Listening to it, much like saying or typing its title, is a laborious process. In some ways, it’s the culmination of Kanye West's first four albums, but it does not merely draw characteristics from each one of them. The 13 tracks, eight of which are between five and nine minutes in length, sometimes fuse them together simultaneously. Consequently, the sonic and emotional layers are often difficult to pry apart and enumerate. Nothing exemplifies its contrasting elements and maniacal extravagance as much as “All of the Lights.” Rattling, raw, synthetic toms are embellished with brass, woodwinds, and strings. It’s a celebration of fame (“Fast cars, shooting stars”) and a lament of its consequences (“Restraining order/Can’t see my daughter”). Its making involved 42 people, including not one but two French horn players and over a dozen high-profile vocalists, only some of which are perceptible. At once, the song features one of the year’s most rugged beats while supplying enough opulent detail to make Late Registration collaborator Jon Brion's head spin. “Blame Game” chills more than anything off 808s & Heartbreak. Sullen solo-piano Aphex Twin plays beneath morose cello; with a chorus from John Legend, a dejected, embittered West -- whose voice toggles between naturally clear-sounding and ominously pitched-down as it pans back and forth -- tempers wistfully-written, maliciously-delivered lines like “Been a long time since I spoke to you in a bathroom, ripping you up, fuckin’ and chokin’ you” with untreated and distinctively pained confessions like “I can’t love you this much.” The contrast in “Devil in a New Dress,” featuring Rick Ross, is of a different sort; a throwback soul production provided by the Smokey Robinson-sampling Bink, it’s as gorgeous as any of West’s own early work, yet it’s marred by an aimless instrumental stretch, roughly 90 seconds in length, that involves some incongruent electric guitar flame-out. Even less explicable is the last third of the nine-minute “Runaway,” when West blows into a device and comes out sounding something like a muffled, bristly version of Robert Fripp's guitar. The only thing that remains unchanged is West’s lyrical accuracy; for every rhyme that stuns, there’s one deserving of mockery from any given contestant off the The White Rapper Show. As the ego and ambition swells, so does the appeal, the repulsiveness, and -- most importantly -- the ingenuity. Whether loved or loathed, fully enjoyed or merely admired, this album should be regarded as a deeply fascinating accomplishment. ~ Andy Kellman
£11.56

Rap - Released January 1, 2007 | Def Jam Recordings

Distinctions The Qobuz Ideal Discography
£11.56

Rap - Released January 1, 1993 | Def Jam Recordings

Distinctions The Qobuz Ideal Discography
At the time that Bacdafucup hit the record racks and airwaves, Onyx seemed to be inventing a genre all their own: heavy metal rap. Of course, on closer inspection, it is not at all surprising stylistically, given their link to Def Jam and Run DMC, the record company and crew that introduced heavy guitar riffs into hip-hop. Onyx, though, seemed far more threateningly hardcore than Run DMC ever were, and each song on their debut album seems like a quick-triggered, menacing chip set squarely on the shoulders of MCs Big DS, Suavé, Fredro, and Sticky Fingaz. That the entire album from beginning to end circumvents almost any backlash by being so brilliantly catchy as well, is a sterling tribute to how strong a quartet Onyx truly is on this first effort. The group gives the impression that they wanted to spotlight the sort of cartoonish, directionless anger that existed in a lot of hardcore rap, and then funnel that sort of energy into songs full of singalong choruses and joyous, chanted hooks that lend a certain feeling of camaraderie to the whole album. The release is mostly co-produced by Run DMC's Jam Master Jay and newcomer Chyskillz, and its music has a tense, wired edge that amplifies the vividness of the threatening lyrics. Sonically, it has a hardcore East Coast/New York City cast, full of throbbing bass and screeching siren-like effects. The grimy urban vibe is matched by Onyx's narrative thuggery, discharged straight from the streets like pumped-up news dispatches and predating the roughneck rap trend by several years. It's hard to imagine, given the gritty content of the album, that Onyx was aiming for airplay with Bacdafucup; nevertheless, almost in spite of itself, it was so good that it earned just that. ~ Stanton Swihart
£7.49

Rap - Released January 1, 1990 | Def Jam Recordings

Distinctions The Qobuz Ideal Discography
£11.56

Rap - Released January 1, 1990 | Def Jam Recordings

Distinctions The Qobuz Ideal Discography
At the time of its release in March 1990 -- just a mere two years after It Takes a Nation of Millions -- nearly all of the attention spent on Public Enemy's third album, Fear of a Black Planet, was concentrated on the dying controversy over Professor Griff's anti-Semitic statements of 1989, and how leader Chuck D bungled the public relations regarding his dismissal. References to the controversy are scattered throughout the album -- and it fueled the incendiary lead single, "Welcome to the Terrordome" -- but years later, after the furor has died down, what remains is a remarkable piece of modern art, a record that ushered in the '90s in a hail of multiculturalism and kaleidoscopic confusion. It also easily stands as the Bomb Squad's finest musical moment. Where Millions was all about aggression -- layered aggression, but aggression nonetheless -- Fear of a Black Planet encompasses everything, touching on seductive grooves, relentless beats, hard funk, and dub reggae without blinking an eye. All the more impressive is that this is one of the records made during the golden age of sampling, before legal limits were set on sampling, so this is a wild, endlessly layered record filled with familiar sounds you can't place; it's nearly as heady as the Beastie Boys' magnum opus, Paul's Boutique, in how it pulls from anonymous and familiar sources to create something totally original and modern. While the Bomb Squad were casting a wider net, Chuck D's writing was tighter than ever, with each track tackling a specific topic (apart from the aforementioned "Welcome to the Terrordome," whose careening rhymes and paranoid confusion are all the more effective when surrounded by such detailed arguments), a sentiment that spills over to Flavor Flav, who delivers the pungent black humor of "911 Is a Joke," perhaps the best-known song here. Chuck gets himself into trouble here and there -- most notoriously on "Meet the G That Killed Me," where he skirts with homophobia -- but by and large, he's never been so eloquent, angry, or persuasive as he is here. This isn't as revolutionary or as potent as Millions, but it holds together better, and as a piece of music, this is the best hip-hop has ever had to offer. ~ Stephen Thomas Erlewine
£11.56

Rap - Released January 1, 1988 | Def Jam Recordings

Distinctions The Qobuz Ideal Discography
Yo! Bum Rush the Show was an invigorating record, but it looks like child's play compared to its monumental sequel, It Takes a Nation of Millions to Hold Us Back, a record that rewrote the rules of what hip-hop could do. That's not to say the album is without precedent, since what's particularly ingenious about the album is how it reconfigures things that came before into a startling, fresh, modern sound. Public Enemy used the template Run-D.M.C. created of a rap crew as a rock band, then brought in elements of free jazz, hard funk, even musique concrète, via their producing team, the Bomb Squad, creating a dense, ferocious sound unlike anything that came before. This coincided with a breakthrough in Chuck D's writing, both in his themes and lyrics. It's not that Chuck D was smarter or more ambitious than his contemporaries -- certainly, KRS-One tackled many similar sociopolitical tracts, while Rakim had a greater flow -- but he marshaled considerable revolutionary force, clear vision, and a boundless vocabulary to create galvanizing, logical arguments that were undeniable in their strength. They only gained strength from Flavor Flav's frenzied jokes, which provided a needed contrast. What's amazing is how the words and music become intertwined, gaining strength from each other. Though this music is certainly a representation of its time, it hasn't dated at all. It set a standard that few could touch then, and even fewer have attempted to meet since. ~ Stephen Thomas Erlewine