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best-rap-remixes-of-all-time-items Nas's rhymes take a step down in the remix, but Ludacris and especially Jadakiss take full advantage of their time remixrs the track to deliver extremely potent verses. Commenters, feel free to confirm. It's part of the pop vernacular, propelled by the EDM phenomenon. Over best rap remixes of all time items years, this record has been remixed, remade, sampled, bootlegged and covered but none have even come close to the Stonebridge remix. And he packaged it all with a nice mixable intro and outro. Thinking man's rap at its finest.

Either way, I remember the first time I heard this song, I said what the fuck is this?!? There was no snare drum. It was just that little rimshot from the Debarge sample. It was light-sounding, not rough rugged and raw like everything that was out at the time.

It was the total opposite of the original version. Commenters, feel free to confirm. The original "Scenario" could quite possibly be one of the top 5 best hip-hop songs evar how did I forget to put it in my top 10 , but the remix is another beast altogether. It was one of the rare instances where a remix and the original song were both equally as great.

I think this particular remix has been cited more times than any as the 1 hip-hop remix ever, and here it is topping my list just the same. It's just that good. So there you have it. The top 10 best hip-hop remixes. I honestly scratched my head for a week trying to think of a post remix that actually had a different beat to it that was really exceptional.

Not even that Dangermouse Grey Album shit struck a chord with me. I dunno, maybe the remix died and became the mash-up. Think I don't know what I'm talking about, that my list sucks?

Feel free to post your own Top 10 in the comments. The original was very Euro-Pop and lacked any of the hooks that made this one of the greatest remixes ever. One of the two most famous Korg M1 organ hooks appears on this remix, and it is instantly recognizable on any dance floor anywhere in the world. That hard hitting snare actually had a kick behind it which made it so upfront.

Stonebridge added a really nasty bass part overtop to round out one of the most hook-filled remixes of all time. Over the years, this record has been remixed, remade, sampled, bootlegged and covered but none have even come close to the Stonebridge remix. I first heard this in at Tracks in DC. The original version was an earlys disco-tinged club track and contained none of the sounds that MK infused into his remix.

The only original elements used were select vocal snippets arranged in his signature cut-up style. All the other hooks — which came mostly from the M1, including the sax and string parts — were added by MK. Throughout the decades, he has constantly delivered massive remixes and I could easily make a Top 10 list of just his tracks.

Between original releases and remixes, his tracks were everywhere. Even the huge bass sound reminds me of some classic jungle tracks. It had a great chunky drum loop, also atypical of a lot of house at the time.

I was working as an intern at Logic Records when this promo came in. No one wanted it so I took it home and still have it. So why is it on this list? Because not every remix is a masterpiece of originality. He added a much needed steady club beat and a funky bass line, then dropped in parts of the original, sometimes super chopped-up but tastefully done.

I still play this in classic club and house sets. The original was electronic indie rock but the club Mix was on another level. Really more of a dub mix, Paul and Andrew cut most of the vocals and the ones that are present are buried and warped with lots of effects.

Solid production is part of what makes a great remix. I first heard this record at Metropol spun by Kris Kersey and I remember thinking it was pretty boring. I came to appreciate it later on as I got more into the rave scene and artists like Orbital.

Looking back now as a remixer myself, this was way ahead of its time. Norman Cook stepped in and flipped the song in a way that paid homage to the original with the guitars and vocals, but that beat just took it to another level. And the word salad vocal bits after the intro are just insane. Heavy programmed breaks with scratches and samples overtop like icing on a cake makes it one of the stand-out tracks of the '90s Big Beat era.

I first heard it in a record store in NYC. About two minutes in the kick comes and starts a nice slow build. Even on the reprise release that came out in , the vocals were never really a standout part of the track, but in this remix they take on a whole new life. Now it actually feels like a song. This is a case where a remixer worked in reverse — taking a record already made for the dancefloor and turning it into a track for the bedroom.

Sometimes you can take what is there and build around it. Many early remixes were just extended versions that brought elements from the original in-and-out without adding much new material. So what do you do to that?!? Coldcut doubled the length of the original and added a kitchen sink full of samples, including obscure spoken word bits, James Brown count-offs, and, of course, the inspired Ofra Haza vocal.

The popularity of this song was largely due to this remix, which Rakim loved but Eric B hated. Regardless of how the artists felt, it became one of the first commercially successful remixes to ever go Top 20 in many countries. Those intro stabs are a glorious trip back to the '90s rave scene and all A-Trak had to do was sample the synth and cut it up with a hard attack.

In fact, if you took off the vocals this could easily have been released in and played at a rave. Other than the vocal, not much from the original made the cut in his remix, besides a wobbly synth line in the bridge.

The original had that New York indie rocktronica vibe but this remix could easily work on radio as well as the clubs. I first heard this played in a club in Pittsburgh by Digital Dave. It was one of the few times I trainspotted a DJ. In this case, it used the foundation of the original version and built it into something fresh but still recognizable. Hybrid have a knack for taking elements from a track and turning them into something wonderful.

First, they actually put movement and a beat into it. Then they brought musical elements to the front, liberally filtering things to add interest, and made the vocals seem like a main part instead of buried. They took a track that was destined for background music and turned it into something that would work on a dance floor or a club scene in a vampire movie. Dave Angel took an iconic dance record and turned it into a version that, at first listen, sounds like theme music for a Halloween rave in a graveyard.

Gone are the catchy synth hooks, replaced by spooky oboe lines and haunting church bells. The breakbeats, the rolling bassline are fantastic on their own and I wish I had a version without the Eurythmics in it.

From the first beat it just builds and builds until the first breakdown.

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