The 50 Best J Dilla Songs

In honor of the late James Yancey's birthday, Complex selects the tracks that made Jay Dee a hip-hop immortal.

Not Available Lead
Complex Original

Image via Complex Original

Not Available Lead

J Dilla. Jay Dee. James Yancey. One man, many aliases. But no matter how you chose to address him, there was no debating his genius. From his solo material, to his work with Slum Village and later the backbone of the Soulquarians collective; J Dilla’s contributions to music are priceless. His unique sound is still felt and oft-imitated six years after his death.

Emerging on the national scene in the mid-90s, Jay Dee’s warm, fuzzy, and soulful production style instantly made him a top prospect in the industry. The underground took notice, and he was quickly tapped to produce for the likes of A Tribe Called Quest, Janet Jackson and The Pharcyde. He joined The Ummah production team with Q-Tip & Ali Shaheed Muhammad, and soon enough the kid from Detroit was starting to be recognized as a major player in hip-hop.

At the same time, Dilla was ushering in his own group, the Detroit-bred Slum Village, whom many called the successors to A Tribe Called Quest. Dilla never seemed happy with that comparison, however, and always insisted SV was harder-edged and more materialistic than the Native Tongues.

Dilla’s programming method was almost a drunken style: heavy on rhythm and percussion and, more often than not, slightly off-beat. It was beautiful yet bizarre, the way he could seamlessly twist and manipulate sounds in his favor, making them his own. The man was a wizard behind the boards.

It wasn’t until his death in 2006 at age 32 that the world really took notice and gave the man his proper respect. He was the ultimate producer/artist. Truth be told, a ‘Best of J Dilla’ list could easily stretch into the hundreds, but in honor of Dilla's birthday, Complex assembled our 50 favorite DIlla joints for your enjoyment. So adjust your headphones and get ready to learn yourself something about one of the most important figures in hip-hop history.

Written by Andrew Barber (@FakeShoreDrive)

Follow @ComplexMusic

50. Mos Def f/ Talib "History" (2009)

Not Available Interstitial



Producer: J Dilla
Album: Ecstatic
Label: Downtown Records

Black Star reunited for the first time in ages over a soulful Jay Dee instrumental, released three years after J Dilla's death. Those familiar with Dilla's legendary beat tapes had probably heard the Mary Wells–sampling track prior to the release of Mos Def's The Ecstatic, but Black Star over Dilla for the first time since “Little Brother” was enough to pique any fan's interest. History indeed.

Salute to Mos Def for actually copping a beat and putting money in Ma Dukes' pocket, thus supporting the legacy of her son. After Dilla's death many rappers recorded over his instrumentals, but few actually paid for the pleasure.

49. Common f/ D'Angelo "So Far To Go" / J Dilla "Bye" (2007)

Not Available Interstitial



Producer: J Dilla
Album: Finding Forever
Label: Good Music/Geffen Records

First appearing on Dilla's Donuts as “Bye,” this instrumental was an incredibly sad listening experience. It's almost as if Dilla knew he was leaving the earth, and was leaving this gem behind as his final farewell. “So Far To Go” would later appear on Dilla's first posthumous album, The Shining, featuring Common and D'Angelo.

More than just a song, “So Far To Go” represents the end of an era. It was one of the last beats Dilla completed before passing away, and also marked the last time he'd work with his Soulquarian contemporaries. Heck, it was damn near the last time we heard something new from D'Angelo. It's only fitting that a producer who brought so many so much joy to the world would sample The Isley Brothers “Don't Say Goodnight,” for his final goodnight.

48. Slum Village f/ J Dilla "Reunion" (2004)

Not Available Interstitial



Producer: Black Milk
Album: Detroit Deli (A Taste of Detroit)
Label: Capitol Records

There's no way around it, “Reunion” is an eerie song. It was originally set to feature all four members of Slum Village, but rapper Baatin decided against contributing a verse at the 11th hour. Baatin's flaking on his feature prompted Elzhi to discuss the situation in his verse, wherein he ripped Baatin and pleaded with the struggling MC to get help.

A Slum Village reunion album was later planned, but never came to fruition due to the passing of both Jay Dee and Baatin. This would've been their last moment together as one. The track is often credited to Jay Dee, but it was actually produced by Dilla's understudy, Black Milk. Although the song is somber in hindsight, it did include one of the better lines of Dilla's career: “Rep more D than 12 Eminems.”

47. Jay Dee a.k.a. J Dilla f/ Phat Kat "Featuring Phat Kat (The D)" (2001)

Not Available Interstitial



Producer: J Dilla
Album: Welcome 2 Detroit
Label: BBE

No matter how big Jay Dee got, or how high profile his collaborators became, Dilla always had love for his homies from the D. His debut solo project, Welcome 2 Detroit, found Dilla reaching back to his home town, and creating a breeding ground for the bubbling talent in the 313.

On “Featuring Phat Kat,” Dilla enlisted the help of his long-time road dog, and 1st Down (Dilla's group prior to Slum Village) groupmate Phat Kit, who tore Rufus Thomas's “Do the Funky Penguin” sample to shreds. Kat, who snuck in and out of the track, crafted the perfect dedication to Rock City, which sounded like the audio version of a cold Michigan night.

46. J Dilla "Lightworks" (2006)/ MF Doom "Lightworks" (2009)/ Talib Kweli & Q-Tip "Lightworking" (2007)

Not Available Interstitial



Producer: J Dilla
Album: Donuts / Born Like this / Dillagence
Label: Stones Throw / Lex / N/A

One of the more popular beats on Dilla's Donuts album, this instrumental was tackled and revisisted by everyone from MF DOOM to Talib Kweli and Q-Tip. The bizarre and frantic Raymond Scott sample sounds like a television commercial from the 50's. It was the toast of many former Dilla associates, who paid tribute to the late, great producer by rhyming over one of his final contributions to the world.

45. Phat Kat f/ Elzhi "Cold Steel" (2007)

Not Available Interstitial



Producer: J Dilla
Album: Carte Blance
Label: Look Records

Dilla wasn't just a boom-bap and love-rap producer—he could make that hard shit when tested, and when longtime associate Phat Kat needed something aggressive for his Carte Blanche album, Dilla unleashed this monster. Sounding so vicious it made you want to grab the cold steel yourself, Kat and SV member Elzhi tore the track to shreds. The song dropped a year after Dilla's death, so we're not sure if he ever heard the finished product, but there's no doubt he's scrunching his face in heaven.

44. Guru f/ Bilal & J Dilla "Certified" (2000)

Not Available Interstitial



Producer: J Dilla
Album: Jazzmatazz, Vol. 3: Streetsoul (2000)
Label: Virgin Records

Guru's long-running Jazzmatazz series looked to expand traditional rap fans' palates, by pairing hip-hop with live jazz sounds. But by the time Jazzmatazz Vol. 3 dropped, the focus had clearly shifted from jazz to R&B/soul. So who better to recruit for the project than the Soulquarians, whose influence rubbed off on everyone in R&B, and shaped the sound of music at the time (Neo Soul!). So the project was littered with Soulquarians or people who sounded just like the Soulquarians.

Actual Soulquarians, Bilal and Jay Dee were handpicked by the Gangstarr frontman to contribute to “Certified,” a bouncy and fun beat that eloquently sampled Klaus Wunderlich's “Sugar Me/Standing in the Road.” It was upbeat and vibrant to say the least. Sure Premier was Guru's primo producer, but he sure sounded great over some James Yancey. While only two of the song's participants are still living, it's a sad reminder that the torchbearers of this era are growing older. Cherish them while they're still here.

43. Slum Village "Let's" (2002)

Not Available Interstitial



Producer: J Dilla
Album: Trinity (Past, Present and Future)
Label: Barak/Capitol Records

For better or worse, J Dilla left Slum Village in 2002 to pursue a solo career. He'd been replaced by Elzhi, a lyrical juggernaut from the D; but fans were concerned that the group's production might suffer—and rightfully so. Thankfully, SV was able to secure a handful of Dilla beats for their 2002 project Trinity (Past, Present & Future), but those who expected to hear Fantastic Vol. 3 were hit with a curveball.

By that time, Dilla had abandoned the sound he perfected on Vol. 2 and gone digital. The best example of this new frontier is “Let's,” which featured futuristic blips, spaced-out sound effects, and Funkadelic-inspired layered vocals. Dilla's production had gone from warm and comforting to straight-up spooky.

42. Frank N Dank "Okay" (2004)

Not Available Interstitial



Producer: J Dilla
Album: Xtended Play
Label: Needillworks? Ent.

You can't make a best of J Dilla list without including his long time associates, Frank-N-Dank. Introduced to the world on Dilla's Welcome 2 Detroit album, the duo followed Dilla throughout his digital phase, and their sound was shaped around Jay Dee's bouncy Detroit electro-funk.

The group secured a deal alongside Dilla at MCA, but their album was subsequently shelved (as was Dilla's). However during these 2002 recording sessions, Frank-N-Dank crafted the out-of-this-world “Okay,” which sounded like something recorded in another galaxy. The record was too great to go unheard and finally found a home on their 2004 album Xtended Play.

41. J Dilla "Diamonds" (2002)

Not Available Interstitial



Producer: Nottz
Album: Pay Jay
Label: N/A

“Diamonds” was set to be released on Dilla's sophomore album and MCA Records debut, Pay Jay in 2003. But due to MCA folding into Geffen, the album was shelved and Dilla lost his deal. The bulk of Pay Jay was to be handled by outside producers, giving Mr. Yancey a wide array of beats to spit over. Kanye West, Pete Rock and Hi-Tek were just a few of the notable contributors, but one of the album's brightest moments was the Nottz-produced “Diamonds.”

The not-so-"conscious" Dilla dedicated this one to a girl's best friend, kicking rhymes about his obsession with sparkling rocks. Nottz carefully chopped Seals & Crofts' “Diamond Girl” sample as if he was vying for a spot on the dean's list at Dilla Academy. Unfortunately for Dilla's family (but fortunately for fans), Pay Jay's masters found their way online in 2009, and have been heavily bootlegged ever since.

40. Busta Rhymes "Show Me What You Got" (2000)

Not Available Interstitial



Producer: J Dilla
Album: Anarchy
Label: Flip Mode/Elektra Records

While Busta's singles were never Dilla affairs, the producer quietly handled some of the best Bussa Buss' album cuts. Pairing a slick Stereolab sample with one of Busta's more refined slow flows, this trackwas gushed about by other beatmakers, who touted Dilla as a producer's producer.

The beat was much different than the other two Dilla delivered to Busta for Anarchy. It may have been more of an acquired taste, but those who understood Dilla from a technical standpoint knew this one was the truth.

39. J Dilla f/ Madlib & Guilty Simpson "Baby" (2006)

Not Available Interstitial



Producer: J Dilla, Madlib
Album: The Shining
Label: BBE

“Baby” appeared on Dilla's first posthumous album, The Shining, which was about 75% completed at the time of his death. Finished by Karriem Riggins in the summer of 2006, The Shining was a glimpse into the mind of J Dilla, and a clue as to where his sound was headed next.

“Baby” was the last time we'd get to hear Dilla twist a snippet of vocals into something other than its intended purpose. This time sampling The Stylistics “Maybe It's Love,” which he sped up and chopped to say “Baby.” This soulful instrumental was a fitting canvas for Guilty Simpson, Dilla and Madlib to display their distinct styles.

38. Jay Dee a.k.a. J Dilla f/ Elzhi "Come Get It" (2001)

Not Available Interstitial



Producer: J Dilla
Album: Welcome 2 Detroit
Label: BBE

Prior to replacing Jay Dee in Slum Village, Elzhi debuted his dizzying wordplay on Dilla's “Come & Get It” from the Welcome 2 Detroit album. We're not sure if this was El's audition for the role or not, but kicking verbal gymnastics over Dilla's muffled bass and kicks was a surefire way to earn a slot in the esteemed Detroit collective. The beat sounded like it was submerged under water, and even featured Dilla Dog harmonizing at the end. Detroit experimentation at its finest.

37. J Dilla "Nothing Like This" (2003)

Not Available Interstitial



Producer: J Dilla
Album: Ruff Draft
Label: Mummy Records/Stones Throw Records

First appearing on Dilla's most experimental album, Ruff Draft, “Nothing Like This” likely caught listeners off guard. He wasn't rapping, but it wasn't just an instrumental either. It was more of a melodic chant, with Dilla Dog repeating a chorus over and over again. The aptly titled song sounded more like an 80s rock/electronic hybrid than an actual rap record, with an incredibly obscure guitar riff reversed and recurring throughout. Whatever it was, it didn't sound like it was from this planet.

36. Busta Rhymes "Enjoy Da Ride" (2000)

Not Available Interstitial



Producer: J Dilla
Album: Anarchy
Label: Flip Mode/Elektra Records

One of Jay Dee's best traits was understanding the sound that worked for an artist and then personifying it. Dilla knew Busta enjoyed rhyming over beats that sounded like Saturday morning cartoons, and “Enjoy Da Ride” was his grown and sexy version of that. The song sparkled like a diamond and whatever Dilla Dog sampled and rearranged remains a secret he took to the grave. Wind chimes, whistles and kazoos? Only Dilla.

35. Jay Dee "Fuck The Police" (2002)

Not Available Interstitial



Producer: J Dilla
Album: Pay Jay
Label: N/A

Despite Dilla keeping the company of so-called conscious rappers, he was known to get gully on occasion—and “Fuck The Police” was one of those times. Fed up with the treatment he'd received by Detroit's finest, Dilla took to the mic to address racial profiling and all around police fuckery.

He flipped the bird to 5-0 N.W.A.-style with a nod to their classic on the intro. The disclaimer at the beginning was included to downplay his unusually violent content and calls to action: “Applaud any nigga that bucked them/Cause we could lose a few of 'em/We got enough of 'em.” Dilla's unapologetic venom was backed up by stutter-step drums and infectious flutes.

34. Common f/ Q-Tip, Pharrell & Erykah Badu "Come Close (Remix)" (2002)

Not Available Interstitial



Producer: J Dilla
Album: Come Close The Single
Label: MCA Records

Com and Jay Dee perfected the new millennium rap love song with “The Light” in 2000, and Common went back to the well in 2002, this time enlisting The Neptunes for part deux, “Come Close.” Though dope, it didn't quite pack the punch of “The Light,” so Common grabbed Dilla to construct the “Come Close (Remix).”

Evoking the emotion of one of rap's greatest love songs, “Bonita Applebum,” Dilla's remix revisits the sitar throughout. The track would be one of the last meetings of the Soulquarians, even including honorary Native Tongue member Pharrell Williams. The hollow drums and spacey sound effects were the perfect backdrop for another Dilla remix that trumped the original.

33. J Dilla f/ Common "E=Mc2" (2006)

Not Available Interstitial



Producer: J Dilla
Album: The Shining
Label: BBE

Dilla gave Com Sense the perfect backdrop to kick his aggressive battle taunts, which were one thousand times more potent than anything he quipped on “Sweet.” Dilla knew how to bring the Southside out of Radio Rashid, and the hard drums and futuristic vocal sample of Giorgio Moroder's “E=MC2” made him sound even more ferocious. Dilla had a penchant for bringing the Southside out of Common, a chemistry they first mastered on Com's “Dooinit.”

32. Jay Dee f/ A Tribe Called Quest "That Shit" (2006)

Not Available Interstitial



Producer: The Ummah
Album: Lost Tribes
Label: Jive

Little known fact: “That Shit” is the only A Tribe Called Quest song on which Jay Dee laid vocals. Introduced to the world on Funkmaster Flex's The Mix Tape Vol. III, “That Shit” felt like Tribe passing the torch and welcoming their Slum Village brethren to the big leagues. There was a mystery surrounding the young producer at the time, and Tribe gave Dilla a platform to let the world know he was more than just a producer.

31. J Dilla "Reckless Driving" (2003)

Not Available Interstitial



Producer: J Dilla
Album: Ruff Draft
Label: Mummy Records/Stones Throw Records

Released on Dilla's lo-fi masterpiece Ruff Draft, “Reckless Driving” was among the more abstract and experimental of Dilla's catalog. “Reckless Driving” was three minutes of frantic production, creating a nervous energy that actually feels like you're driving drunk.

Recorded in just a week, Ruff Draft was a true rarity and collectors' item until its re-release on Stones Throw in 2007. One of the best examples of Dilla's thought process during this time, “Reckless Driving” can only be compared to his work on Common's Electric Circus.

30. Raekwon f/ Inspectah Deck, Ghostface Killa, Method Man, & The GZA "House Of Flying Daggers" (2009)

Not Available Interstitial



Producer: J Dilla
Album: Only Built 4 Cuban Linx... Pt. II
Label: Ice H20/EMI Records

Karate samples. Marching drums. Wu chants. Aggressive content. Yep, this beat packed as much punch as the Zhang Yimou movie of the same name. But surprisingly, this throwback to the Wu's golden era wasn't produced by the RZArector, but instead the producer formerly known as Jay Dee.

After almost five years of delays, The Chef's Only Built For Cuban Linx Vol. II finally impacted in late 2009. It was a critical and, relatively speaking, commercial success, but the track that had heads talking was Rae's “House of Flying Daggers,” produced by the late-great J. Dilla. Hand-crafted for Rae just weeks before his passing, Dilla's hectic soul stomp was the perfect backdrop for the rejuvenated Wu.

Over a Four Tops sample, four of the W's best lyricists stabbed the track ferociously, and let the world know the Wu was back—with or without the RZA on production.

29. Slum Village "Climax (Girl Shit)" (2000)

Not Available Interstitial



Producer: J Dilla
Album: Fantastic, Vol.2
Label: GoodVibe Recordings

Speaking to the fantasies of every man, Slum Village's first major look to the world was their single and video for “Climax,” which was the second push from Fantastic Vol. 2. Pulling from his loverman stash (think Com's “The Light” or Tribe's “Find A Way”), Dilla created a breezy, luscious soundscape for a dedication to the menage a trois—with Baatin's sister on the hook. Despite “Climax's” risqué subject matter, it was still a record for the ladies that wasn't a tad-bit crude or offensive.

28. Jaylib "Starz" (2003)

Not Available Interstitial



Producer: J Dilla
Album: Champion Sound
Label: Stones Throw Records

Jaylib was a hip-hop purist's wet dream. Pairing Dilla's Detroit funk with spacey West Coast underground stalwart Madlib was the stuff of hip-hop heaven. Champion Sound, released on Stones Throw in October of 2003, was the one and only collaborative album between the duo.

The two first linked up when Beat Junkie DJ Rocc passed Madlib a Jay Dee instrumental CD in 2000, to which Mad began recording under the moniker Jaylib. Dilla returned the favor, agreeing to rap over Madlib beats, and thus the project was conceived.

After a handful of setbacks, bootlegs and scheduling conflicts (the two only met a couple times prior to release), Champion Sound was finally released to great critical acclaim. The real standout on the album, however, was “Starz,” which took Dilla's traditional boom-bap sound and merged it with the contemporary sped-up soul samples made popular by Kanye West and Just Blaze.

Although, Madlib's vocals are somewhat drowned out by Dilla's monstrous production, it's clear the real star on “Starz,” was Dilla's beat. Starcastle never sounded so good.

27. J Dilla "One Won't Do" (2006)

Not Available Interstitial



Producer: J Dilla
Album: The Shining
Label: BBE

While Dilla is mainly remembered for his work behind the boards, his work on the mic is not to be overlooked. Technically he wasn't the greatest rapper, but he knew how to ride his own beats perfectly—using his voice and flow as an instrument. He could also craft his own sing-songy hooks, some of which could easily be confused with Dwele (though, that might be a stretch).

Another misconception was that Dilla was a super conscious MC, when in fact, he spent more time talking about girls, clothes, jewelry and rims than your average rapper—he just went about it differently. No stranger to songs about threesomes (ahem, “Climax”), Dilla dedicated “Won't Do” to Big Love as one Mrs. Yancey just wasn't enough for him.

Dilla had a genius for taking frequently sampled records and finding portions that had remained untouched—as he did here with The Isley Brothers' “Footsteps In The Dark,” which had already been flipped by everyone under the sun. But Dilla Dog freaked it in a way that had never been done before.

26. Busta Rhymes "Live It Up" (2000)

Not Available Interstitial



Producer: J Dilla
Album: Anarchy
Label: Flip Mode/Elektra Records

Y2K was a productive year for James Yancey. Between his work with the Soulquarians, Common, and his own group, Slum Village, Dilla was a busy man. Some of his best work that year, however, was with one of his earliest collaborators: Busta Rhymes.

While his work with other artists was more "traditional," the music he gave Busta found Dilla embarking on a digital journey. The marching tempo with the rolling pitch effects weaving in and out of the background allowed Bussa Bus to bounce all over the track—a blank canvas, if you will, for the expression of various flows.

25. Ghostface Killah "Whip You With A Strap" (2006)

Not Available Interstitial



Producer: J Dilla
Album: Fishscale 
Label: Def Jam / Stones Throw Records

J Dilla passed away from a rare blood disease just three days after the release of his instrumental opus, Donuts. After his death, a number of artists ranging from The Roots to Busta Rhymes to Talib Kweli plucked from these instrumentals to create songs of their own. However there was one artist Dilla clearly had in mind when crafting Donuts, and that was Ghostface Killah.

Simply titled “One For Ghost,” the beat was used just months later on Ghost's critically acclaimed Fishscale album. Fishscale was the first pairing of Ghost and Dilla, who also collabed on the song “Beauty Jackson,” which was known as “Hi” when it appeared on Donuts. Dilla and Ghostface had impeccable chemistry, as Jay Dee brought the heart and soul out of Tony Starks, giving him some of his best and most creative sounds since Supreme Clientele.

Dilla's sample of Luther Ingram's “To The Other Man,” was the perfect backdrop for Ghost to tell his hilarious tales of yesteryear, when his Mom used to beat the brakes off him.

24. Slum Village "Get Dis Money" (1999)

Not Available Interstitial



Producer: J Dilla
Album: Office Space Soundtrack/Album and Fantastic, Vol.2
Label: Interscope Records & Goodvibe Recordings

Taking just a few short seconds of Herbie Hancock's “Come Running To Me,” Dilla sampled Herbie on vocoder, added a multi-layered bassline and was able to build an entire song around it. At this time, rappers enjoyed talking about money (I guess they always have), so SV put a "traditional hip-hop" spin on records like “All About The Benjamins” and “Bling Bling.” The track featured all three SV members bouncing around the beat, swinging in and out of the pocket and genuinely having fun in the name of the almighty dollar.

23. Common "Dooin It" (2000)

Not Available Interstitial



Producer: J Dilla
Album: Like Water for Chocolate
Label: MCA Records

While some of the production Jay Dee passed to Common for Like Water For Chocolate was a bit on the softer side (for lack of a better term!) Dilla gave him an aggro hip-hop banger with “Dooinit.” Sampling Rick James' “Give It To Me Baby,” this was some real punch-you-in-the-face type rap.

Dilla brought his Detroit bounce, layered with luscious keys, burping bass and incorporating sharp cuts from Com's “Car Horn.” It's also possibly the Common song with the most quotables—as the man born Lonnie Lynn talked tough to sucka MCs throughout.

22. Q-Tip "Let's Ride" (1999)

Not Available Interstitial



Producer: J Dilla, Q-Tip
Album: Amplified
Label: Arista Records

Beats, Rhymes & Life and The Love Movement alienated some Tribe fans, but Q-Tip's solo set, Amplified completely closed the door on those who'd been waiting around for the MC to return to '93. Sure there were a couple of clunkers, but in hindsight the album had some great moments—namely the breezy banger “Let's Ride.”

The undeniably dope flipping of Joe Pass's guitar on “Giant Steps,” not to mention half a dozen other samples and distinct noises, might make you want to go back and revisit Tip's first solo venture. “Let's Ride” found Dilla embracing Kamaal's reinvention, pushing his artistic capabilities with a new sound.

21. The Pharcyde "Drop" (1995)

Not Available Interstitial



Producer: J Dilla
Album: Labcabincalifornia
Label: Delicious Vinyl

Much like his association with Tribe's Beats, Rhymes & Life album, Dilla has been wrongfully accused of destroying the sound the Pharcyde created with J-Swift on Bizarreride II. If anything, Dilla gave the Cali crew a more mature sound, to match the foursome's touching on much deeper subject matter in their raps.

“Drop” was easily one of the breakout songs from Labcab, so much that the track was used as the project's second single, complete with a classic Spike Jonze-directed video. The beat was built around a reverse sound effect, layered with a bouncy bassline, luscious keys and sharp cuts. We may never discover the sample Dilla used to reverse the beat, but we thank him for including that “Drop” line from the Beastie Boys' “The New Sound” throughout.

20. Keith Murray "The Rhyme (Slum Village Street Remix)" (1996)

Not Available Interstitial



Producer: J Dilla
Album: Enigma
Label: Jive Records

Dilla is on a short list with the likes of Pete Rock and Large Professor for being one of the few producers whose remixes would consistently outshine the originals.

And this is absolutely the case with Keith Murray's “The Rhyme.” Murray's first single from his sophomore set, Enigma, produced by the Green Eyed Bandit, didn't quite hit the way “The Most Beautifullest...” did, and it wasn't until the dusty “Slum Village Street Remix” dropped that it swayed perception.

Stand down, Erick Sermon. Sure every producer under the sun had sampled Bob James's “Nautilus,” but Dilla was able to freak and flip a part that, at the time, had remained untouched. Advantage: Jay Dee.

19. A Tribe Called Quest "Find A Way" (1998)

Not Available Interstitial



Producer: The Ummah
Album: The Love Movement
Label: Jive Records

Despite the peanut gallery begging for that “old Tribe sound back,” The Ummah returned to produce Tribe's swan song, The Love Movement. The first single, “Find A Way,” was an ode to friends with benefits, with Tip and Phife reprising their loverman roles.

The track cleverly samples Japanese DJ Towa Tei's “Technova,” taking a portion of the former DeeeLite member's vocals, and having Tribe create a melody over them.

And no, the high-pitched vocals under the chorus are not saying “You caught my heart for the evening,” but something in Japanese completely unrelated to the song—yet another patented Dilla trick.

18. Erykah Badu "Didn't Cha Know" (2001)

Not Available Interstitial



Producer: J Dilla, Erykah Badu
Album: Mama's Gun
Label: Motown Records

Featured on Erykah's sophomore album, Mama's Gun, which was recorded during the much-hyped Soulquarian era, Dilla's signature sound can be found all over the album. “Didn't Cha Know” was one of Dilla's many contributions to the project, and even snagged a Grammy nomination for Best R&B Song of 2001.

However, the song wasn't without its controversay, as Tarika Blue, whose “Dreamflower” was sampled on the track, never granted Dilla or Erykah permission—a common occurence throughout Dilla's career, though he usually avoided getting caught. A settlement was later reached out of court.

“Didn't Cha Know” proved that Dilla was more than just a hip-hop producer. He could dominate the R&B spectrum just as well, if not better than his contemporaries—many of whom would go on to flat-out bite his sound.

17. Common f/ Slum Village "Thelonious" (2000)

Not Available Interstitial



Producer: J Dilla
Album: Like Water for Chocolate
Label: MCA Records

While Dilla was best known for his production, he was no slouch on the mic either. He knew exactly how to rock over his own beats, and crafted quality hooks to accompany them. Jay Dee produced the bulk of Common's Like Water For Chocolate, so it was only right that Com Sense invited Dilla's crew, Slum Village, to participate on “Thelonius.”

The composition was masterful, featuring a great mix of thumping basslines and bleeding keys—beefed up from a choice sample of George Duke's “Vulcan Mind Probe.” And it's not debatable who had the best verse here—James Yancey lambasted imaginary players with the whole “Numbers look crooked like King Kong shook it” line.

16. Bilal f/ Mos Def & Common "Reminisce" (2001)

Not Available Interstitial



Producer: J Dilla
Album: 1st Born Second
Label: Interscope Records

Bilal has mentioned in many interviews that Dilla put this beat together in all of 10 minutes, after spending the day riding around Detroit in his Range Rover. Bilal later recruited Mos Def and Common to appear on the track, making a full-fledged Soulquarian affair. Tracks like this make it a litle easier to reminisce on Dilla's career without getting too upset.

15. Slum Village "I Don't Know" (2000)

Not Available Interstitial



Producer: J Dilla
Album: Fantastic, Vol.2
Label: GoodVibe Recordings

A concept record in the truest sense, "I Don't Know" made so much noise on SV's heavily bootlegged Fantastic Vol. 1 that it was cleaned up and added to Vol. 2. Taking various James Brown vocal samples (taken from “The Boss,” “Funky President,” “Make It Funky,” and “Sex Machine”), Dilla enlisted the help of DJ Jazzy Jeff, who cut up the ad-libs and placed them throughout the track, adding emphasis and accents to certain lines.

While trading bars back and forth, SV took shots at no one in particular, but had to to ask “why the fuck they're fucking with you?” It was short, sweet, to the point, and warned space takers not to waste the S-Villa's time.

14. Lucy Pearl "Without You (Jay Dee Remix)" (2000)

Not Available Interstitial



Producer: J Dilla
Album: Lucy Pearl
Label: Beyond

Lucy Pearl was the short-lived supergroup of cast-offs from A Tribe Called Quest, Tony Toni Toné and En Vogue. Two of the members (Ali Shaheed Muhammad & Raphael Saadiq) worked closely with Jay Dee as part of The Ummah. Fortunately, the collective enlisted Dilla to contribute to their first (and last) album with this remix to “Without You.”

It was actually less of a remix and more of a total gutting of the track. Dilla stripped the over-produced original to bare bones, re-imagining the song with a minimalist approach: muffled drums, cupped keys and the producer himself handling ad-lib duties—yet another instance of a Dilla remix being far superior to its original.

13. A Tribe Called Quest "1nce Again" (1996)

Not Available Interstitial



Producer: The Ummah
Album: Beats, Rhymes and Life
Label: Jive/BMG Records

“Yo, is that an R&B singer on the hook? Were those 'jiggy bells'?” Some fans cried foul when A Tribe Called Quest debuted their new sound in the summer of '96. Their first single “1nce Again,” was a step in a new direction for the group, featuring sounds that fit better on Hot 97 than WKCR.

While many accused Jay Dee (The Ummah are rarely mentioned in these discussions) of tampering with and ruining the traditional Tribe sound, Jay was only taking Q-Tip and Ali Shaheed's beats and making them sound bigger, better and most importantly: contemporary. Despite the flack, the song and the album were both nominated for Grammys—and in retrospect were both pretty great.

12. Q-Tip "Vivrant Thing" (1999)

Not Available Interstitial



Producer: J Dilla, Q-Tip
Album: Amplified
Label: Arista Records

After years as an underground king, Q-Tip was ready for the mainstream success that had eluded him for years. Ditching the Tribe, Tip went for dolo, focusing on a solo project that was primarily produced by himself and Jay Dee. The first look from the album was the uptempo “Vivrant Thing.”

It's subject matter and commercial sound confused many fans, as this was a new Tip, with producer Jay Dee elevating his sound, crossing over to the pop spectrum. Love it or hate it, Dilla's flip of Love Unlimited Orchestra's “I Wanna Say” has held up remarkably well. This record still packs dance floors some twelve years after its release.

11. Slum Village "Raise It Up" (2000)

Not Available Interstitial



Producer: J Dilla
Album: Fantastic, Vol.2
Label: GoodVibe Recordings

The last single from SV's Fantastic Vol. 2, was much more aggressive, upbeat and digital than the sound found on the rest of the album. This stemmed from “Raise It Up's” sample, which was taken from Daft Punk member Thomas Bangalter's “Extra Dry.” Dilla Dog found the song on a bootleg recording and sampled without permission, figuring the artist was too obscure to notice.

Unknown to Dilla, Daft Punk were huge fans of Slum Village and immediately picked up on the sample. But instead of demanding payment, the French duo agreed to let the sample slide if Slum Villa would simply remix one of their records. What transpired was Dilla's official remix of Daft Punk's “Aerodynamic,” which no doubt surprised fans of both acts, and lent Daft Punk further credibility in hip-hop circles.

10. Black Star "Little Brother" (1999)

Not Available Interstitial



Producer: J Dilla
Album: The Hurricane Sountrack
Label: MCA Records

As the story goes, Dilla spent four hours reworking Roy Ayers' “Ain't Got No Time” to pass time while ?uestlove slept on his couch before catching a flight. Inspired by his production hero Pete Rock, Dilla wanted to take a stab at the sample, which Pete freaked on he & C.L. Smooth's “In The House.” The problem was that Roy Ayers talked throughout the track, making it rather difficult to sample.

Somehow, Dilla was able to pull 32 half-second fragments where Roy wasn't chirping, and stitch them all together to make a loop. Unhappy with the finished product, Dilla scrapped the beat all together, with no intentions of it ever seeing the light of day again. By accident or fate, it fell into the hands of Talib Kweli and Mos Def, who discovered it on the b-side of a Dilla beat tape. The rest is history.

9. The Roots "Dynamite" (1999)

Not Available Interstitial



Producer: J Dilla
Album: Things Fall Apart
Label: MCA Records

It's said that ?uestlove initially fell in love with Jay Dee's production style because his drum patterns seemed so organic and real. Ahmir put his admiration into action when he invited Dilla to work with The Roots on their fourth album, Things Fall Apart. The Roots project was recorded at Electric Lady Studios at the same time as Erykah Badu's Mama's Gun and D'Angelo's Voodoo—and Dilla's sound shaped the way all three albums were recorded.

This is when the Soulquarians were born. The guitar flicks and choppy rhythm on “Dynamite” were right out of Dilla's playbook, proving the producer could work the same magic with a live band as he did with his MPC. This contribution cemented a long-lasting relationship between The Roots crew and Dilla Dog, effectively shaping the sound of neo-soul for the foreseeable future.

8. Jay Dee a.k.a. J Dilla f/ Frank N Dank "Pause" (2001)

Not Available Interstitial



Producer: J Dilla
Album: Welcome 2 Detroit
Label: BBE

Never one to leave his homies behind, Dilla let Detroit's finest underground talent show and prove on his Welcome 2 Detroit album. Frequent Dilla collaborators Frank-N-Dank are probably the best examples of seizing the moment, as “Pause” is arguably the brightest spot on the album. The beat was years ahead of its time, with Dilla possibly crafting the first ever snap music track.

The drums and bass literally bubble from your speakers, with Dilla taking a minimalist approach to making a huge record. It was said that strip clubs were heavily influenced by the sound of Welcome 2 Detroit, as was clearly the case here. This record predates the sound that would shape the strip club soundtrack throughout the mid-aughts.

7. A Tribe Called Quest "Get A Hold" (1996)

Not Available Interstitial



Producer: The Ummah
Album: Beats, Rhymes and Life
Label: Jive/BMG Records

Tribe fans were up in arms when they checked the production credits of Beats, Rhymes & Life to find that the album was almost entirely produced The Ummah. 'Who is Jay Dee?' and 'What is a Consequence?' were common questions during this time. Change is good, but in hip-hop, sometimes elevation is perceived as abandonment or selling out. This couldn't be further from the truth in the case of The Ummah, who gave Tribe a fuller, arguably more advanced sound. And the backbone of this new sound was Jay Dee.

Later in his career we'd learn that Dilla had a penchant for sampling strange voices, manipulating them and then fashioning them into tracks. “Got A Hold” was one of the first times we witnessed this technique (the sample is actually saying “Or was I just drifting back to the time”). It's also worth noting that Dilla's right-hand man, DJ Houseshoes, famously claimed that Dilla made this beat in just 12 minutes. While some hated the change in Tribe's traditional sound, it was no secret that the kicks got crispier and the drums got harder. Consider “Get A Hold” as the welcoming committee.

6. De La Soul "Stakes Is High" (1996)

Not Available Interstitial



Producer: J Dilla & De La Soul
Album: Stakes Is High
Label: Tommy Boy Records

By 1996, Jay Dee had completely infiltrated the Native Tongues movement. Everyone from Tribe to De La were singing his praises, so it was no surprise that the Detroit beatsmith was tapped to produce the first single from De La's fourth album, Stakes Is High. Released during the height of the East Coast vs. West Coast battle, the track took hip-hop opulence and gangster rappers to task, and found De La grumpy with the current drift of the culture.

The beat is another Dilla treasure, showcasing one of his best traits—a gift for finding the most obscure sounds, sampling them, and turning them in to big records. The way he built an entire song around a few short seconds of Ahmad Jamal's “Swahililand” is the stuff of legend. Being sick and tired never sounded so good.

5. D'Angelo "Feel Like Makin' Love" (2000)

Not Available Interstitial



Producer: D'Angelo, J Dilla (Uncredited)
Album: Voodoo
Label: Cheeba Sound/Virgin

Although Jay Dee wasn't credited as a producer on D'Angelo's Voodoo, his sonic signature is all over the album. Recorded during the Soulquarian era at Electric Lady Studios, the groove, percussion and rhythm were all influenced by Dilla and his work with The Ummah. ?uestlove, who served as D'Angelo's co-pilot throughout the recording process, acknowledged Dilla's influence on the album's overall sound and later admitted that: “Jay Dee did the Lauryn track.”

The “Lauryn track" in question was “Feel Like Makin' Love,” which was initially supposed to feature Lauryn Hill. Although tapes were Fedexed back and forth between D'Angelo and Lauryn, the collabo was eventually aborted, thus becoming a D'Aneglo solo record. Insiders attest that some Lauryn Hill vocals are featured on the track. That's still up for debate—but whether or not Dilla played a big part in Voodoo is not.

4. The Pharcyde "Runnin" (1995)

Not Available Interstitial



Producer: J Dilla
Album: Labcabincalifornia
Label: Delicious Vinyl

“Runnin” was the first single from the Pharcyde's then-panned but now-coveted sophomore album, Labcabincalifornia. Pharcyde's triumphant comeback record worked because it was fun, upbeat and featured a catchy sing-songy chorus—despite the somber subject matter. It was kind of like an anti-bullying PSA for the mid-'90s.

The track featured a 'happier' bassline and tempo than that of Dilla's later work. The genius flip of Stan Getz's “Saudade Vem Correndo” with the rearranged horns, piano and guitar, let the world know that this new-to-the-scene producer was coming for the crown.

3. Janet Jackson f/ Q-Tip "Got Til It's Gone" / "Got Til It's Gone (Jay Dee Revenge Remix)" (1997)

Not Available Interstitial



Producer: J Dilla, The Ummah
Album: The Velvet Rope, N/A
Label: N/A

Janet Jackson's first single from her 1997 album The Velvet Rope was surrounded by controversy from the jump. First, Janet and co. were sued by British singer Des'ree for illegally sampling her “Feel So High.” Second, and most importantly, J Dilla was snubbed of a production credit. Whether a simple mistake or the work of music industry shysters, the song was credited to Janet Jackson, Jimmy Jam and Terry Lewis—despite having The Ummah's fingerprints all over it.

Those patented Ummah snares, kicks and burbling bass were all present, plus Q-Tip was featured on the track. It didn't take long for those in the know to figure out this was the work of Record Industry Rule #4080. Lashing back at those who'd wronged him, Dilla went back and crafted a remix dubbed as “Jay Dee's Revenge” taking the elements used on the orginal and beefing them up as he skillfully waved the middle finger at a certain production duo from Minneapolis.

2. Slum Village "Players" (2000)

Not Available Interstitial



Producer: J Dilla
Album: Fantastic, Vol.2
Label: GoodVibe Recordings

Fantastic Vol. 2 was set to drop in 1998 as part of SV's deal with A&M Records, but when the label folded, the album was stuck in limbo. The album finally saw release in the summer of 2000, and by this point, Dilla had raised his profile considerably, becoming the toast of the underground and a full-fledged member of the Soulquarian collective.

Dilla flexed his muscles to land some high-profile collabos for Vol. 2, but the album's biggest moments didn't feature any guests at all. “Players” was one of the more fascinating inclusions on the album. Dilla was a master manipulator of noises, sounds and voices, but what he did on “Players” was the stuff of legend.

Sampling a simple “Clair” from The Singers Unlimited song of the same name, Dilla slowed the lyric down beyond the turntable's pitch capacity so you think you're hearing the word “Players.” When this sampling feat was unearthed and fully comprehended it solidified Dilla Dog as one of the G.O.A.T.s and had true heads bowing in his presence.

1. Common "The Light" (2000)

Not Available Interstitial



Producer: J Dilla
Album: Like Water for Chocolate
Label: MCA Records

Recording during the Soulquarian sessions at Electric Lady Studios in New York, Jay Dee gave Com Sense the perfect soundscape to craft a hip-hop love song for the new millennium. Though the song was said to have been inspired by Erykah Badu, Common effortlessly rode that Bobby Caldwell sample all the way to the pop charts and into the hearts of thousands of adoring women—making Com a certified sex symbol.

At the turn of the century, Dilla had mastered his warm and fuzzy boom-bap style of production, and by the time the “The Light” hit he'd reached his peak. The next phase of Jay Dee's production style was more digital, but this was a welcome goodbye to that era, which also gave Common the biggest hit of his career.

Latest in Music