The history of Super Bowl halftime shows is something of a mixed bag — that's why they're good fodder for impassioned arguments and comprehensive rankings. But there was extra anticipation for this one, and not just because of how many GRAMMYs juggernauts there'd be.

"Snoop Dogg told me that hip-hop's always been in the culture of the NFL," sportscaster Maria Taylor said during the 2022 Super Bowl. "But for the first time ever, hip-hop and rap will take center stage." Thus, she primed the audience for a hell of a ride, filled with rap royalty from multiple scenes and lineages — and the Pepsi Super Bowl LVI Halftime Show did not disappoint.

From the opening seconds, it looked like viewers were in for yet another first: Dr. Dre, enthroned on an office chair, pushed faders on a massive, pearl-white mixing board. Is this the first shout-out to producers and engineers on the halftime stage? That's probably for the Recording Academy's P&E Wing to debate among themselves on Monday. But in the moment, it simply felt like a fitting salute to Dre's legacy as a visionary behind the board.

Dre then stood up, arms outstretched, surveying his dominion. More than a year after his 2021 aneurysm briefly laid him low, it's poignant to see him back in action on such a grand scale. The set was revealed to be a city block (or, as multiple tweets jokingly surmised, a WeWork) on top of a map of L.A. Then, a joyous yelp of "Snoop Doooooogg!" What an homage to the West Coast; what a colossal party. Everybody's celebratin'.

Festooned in blue before a sea of Crip-walking dancers, The artist formerly known as Snoop Lion — who planted his flag as a hungry upstart on The Chronic back in 1992 — joined Dre for performances of "The Next Episode" and "California Love" — the latter being, of course, a Tupac Shakur joint. And if that wasn't enough of a throwback, surprise! An upside-down — then right-side-up — 50 Cent performed his once-inescapable, GRAMMY-nominated 2003 hit "In Da Club."

In what was destined to bowl over Twitter, a highly reflective Mary J. Blige appeared to perform "Family Affair," backed up by silvery dancers. She went from high-octane to heart-on-sleeve with "No More Drama," which she capped off with a flourish and a faux-faint. But it wasn't time to say goodnight: whether by flames or by chains, when it comes to bringing things to another level of high-concept drama, you can always count on Kendrick Lamar.

K-Dot — who's been finishing up his follow-up to DAMN. and collecting beach cruisers — blew minds the world over with an aerodynamic performance of "Alright," which won the GRAMMY for Best Rap Song at the 2016 GRAMMY Awards. Whatever he's got up his suit jacket sleeve for 2022 and beyond, be advised to brace yourselves.

Never one to be easily upstaged, Eminem brought the heat with "Lose Yourself" — you know, the one about a matriarch's certain Italian staple. And if that wasn't Anderson .Paak on drums! (Silk Sonic, his high thread count duo with Bruno Mars, is up for four GRAMMYs at the 2022 GRAMMY Awards.)

After rumors of a behind-the-scenes kerfuffle over whether Em would kneel in solidarity with Colin Kaepernick, he did just that — as Dre plunked out the melody to Tupac's "I Ain't Mad at Cha" on a gleaming piano. Before the next round of commercials piped in and the Rams rode to victory, all five headlining musicians — plus 50 — joined together for a celebratory version of "Still D.R.E."

"I still got love for these streets," the pioneering MC and producer declared to the entire planet, toasting to the everlasting global supremacy of rap, flanked by his mightiest colleagues and compatriots. So do we, Dre. So do we.

Watch Country Leading Light Mickey Guyton Perform The National Anthem At Super Bowl LVI

In the world of hip-hop, fashion is more than just clothing. It's a powerful means of self-expression, a cultural statement, and a reflection of the ever-evolving nature of the culture.

Since its origin in 1973, hip-hop has been synonymous with style —  but the epochal music category known for breakbeats and lyrical flex also elevated, impacted, and revolutionized global fashion in a way no other genre ever has.   

Real hip-hop heads know this. Before Cardi B was gracing the Met Gala in Mugler and award show red carpets in custom Schiaparelli, Dapper Dan was disassembling garment bags in his Harlem studio in the 1980s, tailoring legendary looks for rappers that would appear on famous album cover art. Crescendo moments like Kendrick Lamar’s performance at the Louis Vuitton Men’s Spring-Summer 2023 runway show in Paris in June 2022 didn’t happen without a storied trajectory toward the runway.

Big fashion moments in hip-hop have always captured the camera flash, but finding space to tell the bigger story of hip-hop’s connection and influence on fashion has not been without struggle. Journalist and author Sowmya Krishnamurphy said plenty of publishers passed on her anthology on the subject, Fashion Killa: How Hip-Hop Revolutionized High Fashion, and "the idea of hip hop fashion warranting 80,000 words." 

"They didn't think it was big enough or culturally important," Krishnamurphy tells GRAMMY.com, "and of course, when I tell people that usually, the reaction is they're shocked."

Yet, at the 50 year anniversary, sands continue to shift swiftly. Last year exhibitions like the Fashion Institute of Technology’s Fresh, Fly, and Fabulous: Fifty Years of Hip-Hop Style popped up alongside notable publishing releases including journalist Vikki Tobak’s, Ice Cold. A Hip-Hop Jewelry Story. Tabak’s second published release covering hip-hop’s influence on style, following her 2018 title, Contact High: A Visual History of Hip-Hop.

"I wanted to go deeper into the history," Krishnamurphy continues. "The psychology, the sociology, all of these important factors that played a role in the rise of hip-hop and the rise of hip-hop fashion"

What do the next 50 years look like? "I would love to see a hip-hop brand, whether it be from an artist, a designer, creative director, somebody from the hip-hop space, become that next great American heritage brand," said Krishnamurphy.

In order to look forward we have to look back. In celebration of hip-hop’s 50 year legacy, GRAMMY.com examines iconic moments that have defined and inspired generations. From Tupac walking the runways at Versace to Gucci's inception-esque knockoff of Dapper Dan, these moments in hip-hop fashion showcase how artists have used clothing, jewelry, accessories, and personal style to shape the culture and leave an indelible mark on the world.

The cover art to Eric B and Rakim’s Paid in Full

Dapper Dan And Logomania: Luxury + High Fashion Streetwear

Dapper Dan, the legendary designer known as "the king of knock-offs," played a pivotal role in transforming luxury fashion into a symbol of empowerment and resistance for hip-hop stars, hustlers, and athletes starting in the 1980s. His Harlem boutique, famously open 24 hours a day, became a hub where high fashion collided with the grit of the streets.

Dapper Dan's customized, tailored outfits, crafted from deconstructed and transformed luxury items, often came with significantly higher price tags compared to ready-to-wear luxury fashion. A friend and favorite of artists like LL Cool J and Notorious B.I.G., Dapper Dan created iconic one-of-a-kind looks seen on artists like Eric B and Rakim’s on the cover of their Paid in Full album.

This fusion, marked by custom pieces emblazoned with designer logos, continues to influence hip-hop high fashion streetwear. His story — which began with endless raids by luxury houses like Fendi, who claimed copyright infringement — would come full circle with brands like Gucci later paying homage to his legacy.

Athleisure Takes Over

Hip-hop's intersection with sportswear gave rise to the "athleisure" trend in the 1980s and '90s, making tracksuits, sweatshirts, and sneakers everyday attire. This transformation was propelled by iconic figures such as Run-D.M.C. and their association with Adidas, as seen in photoshoots and music videos for tracks like "My Adidas."

LL Cool J. Photo: Paul Natkin/Getty Images

LL Cool J’s Kangol Hat

The Kangol hat holds a prominent place in hip-hop fashion, often associated with the genre's early days in the '80s and '90s. This popular headwear became a symbol of casual coolness, popularized by hip-hop pioneers like LL Cool J and Run-D.M.C. The simple, round shape and the Kangaroo logo on the front became instantly recognizable, making the Kangol an essential accessory that was synonymous with a laid-back, streetwise style.

Dr. Dre, comedian T.K. Kirkland, Eazy-E, and Too Short in 1989. Photo: Raymond Boyd/Getty Images

N.W.A & Sports Team Representation

Hip-hop, and notably N.W.A., played a significant role in popularizing sports team representation in fashion. The Los Angeles Raiders' gear became synonymous with West Coast hip-hop thanks to its association with the group's members Dr. Dre, Eazy-E, and Ice Cube, as well as MC Ren.

 Slick Rick in 1991. Photo: Al Pereira/Getty Images/Michael Ochs Archives

Slick Rick’s Rings & Gold Chains

Slick Rick "The Ruler" has made a lasting impact on hip-hop jewelry and fashion with his kingly display of jewelry and wealth. His trendsetting signature look — a fistful of gold rings and a neck heavily layered with an array of opulent chains — exuded a sense of grandeur and self-confidence. Slick Rick's bold and flamboyant approach to jewelry and fashion remains a defining element of hip-hop's sartorial history, well documented in Tobak's Ice Cold.

Tupac Walks The Versace Runway Show

Tupac Shakur's runway appearance at the 1996 Versace runway show was a remarkable and unexpected moment in fashion history. The show was part of Milan Fashion Week, and Versace was known for pushing boundaries and embracing popular culture in their designs. In Fashion Killa, Krishnamurpy documents Shakur's introduction to Gianni Versace and his participation in the 1996 Milan runway show, where he walked arm-in-arm with Kadida Jones.

TLC. Photo: Tim Roney/Getty Images

Women Embrace Oversized Styles

Oversized styles during the 1990s were not limited to menswear; many women in hip-hop during this time adopted a "tomboy" aesthetic. This trend was exemplified by artists like Aaliyah’s predilection for crop tops paired with oversized pants and outerwear (and iconic outfits like her well-remembered Tommy Hilfiger look.)

Many other female artists donned oversized, menswear-inspired looks, including TLC and their known love for matching outfits featuring baggy overalls, denim, and peeking boxer shorts and Missy Elliott's famous "trash bag" suit worn in her 1997 music video for "The Rain." Speaking to Elle Magazine two decades after the original video release Elliot told the magazine that it was a powerful symbol that helped mask her shyness, "I loved the idea of feeling like a hip hop Michelin woman."

Diddy Launches Sean John

Sean "Diddy" Combs’ launch of Sean John in 1998 was about more than just clothing. Following the success of other successful sportswear brands by music industry legends like Russell Simmons’ Phat Farm, Sean John further represented a lifestyle and a cultural movement. Inspired by his own fashion sensibilities, Diddy wanted to create elevated clothing that reflected the style and swagger of hip-hop. From tailored suits to sportswear, the brand was known for its bold designs and signature logo, and shared space with other successful brands like Jay-Z’s Rocawear and model Kimora Lee Simmons' brand Baby Phat.

 Lil' Kim. Photo: Ron Galella/Ron Galella Collection via Getty Images

Lil’ Kim Steals The Show

Lil' Kim’s daring and iconic styles found a kindred home at Versace with

In 1999, Lil' Kim made waves at the MTV Video Music Awards with her unforgettable appearance in a lavender jumpsuit designed by Donatella Versace. This iconic moment solidified her close relationship with the fashion designer, and their collaboration played a pivotal role in reshaping the landscape of hip-hop fashion, pushing boundaries and embracing bold, daring styles predating other newsworthy moments like J.Lo’s 2000 appearance in "The Dress" at the GRAMMY Awards.

Lil Wayne Popularizes "Bling Bling"

Juvenile & Lil Wayne's "Bling Bling" marked a culturally significant moment. Coined in the late 1990s by Cash Money Records, the term "bling bling" became synonymous with the excessive and flashy display of luxury jewelry. Lil Wayne and the wider Cash Money roster celebrated this opulent aesthetic, solidifying the link between hip-hop music and lavish jewelry. As a result, "bling" became a cornerstone of hip-hop's visual identity.

Jay-Z x Nike Air Force 1

In 2004, Jay-Z's partnership with Nike produced the iconic "Roc-A-Fella" Air Force 1 sneakers, a significant collaboration that helped bridge the worlds of hip-hop and sneaker culture. These limited-edition kicks in white and blue colorways featured the Roc-A-Fella Records logo on the heel and were highly coveted by fans. The collaboration exemplified how hip-hop artists could have a profound impact on sneaker culture and streetwear by putting a unique spin on classic designs. Hova's design lives on in limitless references to fresh white Nike kicks.

Daft Punk and Pharrell Williams. Photo: Mark Davis/WireImage

Pharrell Williams' Hat At The 2014 GRAMMYs

Pharrell Williams made a memorable red carpet appearance at the 2014 GRAMMY Awards in a distinctive and oversized brown hat. Designed by Vivienne Westwood, the hat quickly became the talk of the event and social media. A perfect blend of sartorial daring, Pharrell's hat complemented his red Adidas track jacket while accentuating his unique sense of style. An instant fashion moment, the look sparked innumerable memes and, likely, a renewed interest in headwear.

Kanye’s Rise & Fall At Adidas (2013-2022)

Much more than a "moment," the rise and eventual fall of Kanye’s relationship with Adidas, was as documented in a recent investigation by the New York Times. The story begins in 2013 when West and the German sportswear brand agreed to enter a partnership. The collaboration would sell billions of dollars worth of shoes, known as "Yeezys," until West’s anti-semitic, misogynistic, fat-phobic, and other problematic public comments forced the Adidas brand to break from the partnership amid public outrage.

Supreme Drops x Hip-Hop Greats

Supreme, with its limited drops, bold designs, and collaborations with artists like Nas and Wu-Tang Clan, stands as a modern embodiment of hip-hop's influence on streetwear. The brand's ability to create hype, long lines outside its stores, and exclusive artist partnerships underscores the enduring synergy between hip-hop and street fashion.

A model walks the runway at the Gucci Cruise 2018 show. Photo: Pietro D'Aprano/Getty Images

Gucci Pays "homage" to Dapper Dan

When Gucci released a collection in 2017 that seemingly copied Dapper Dan's distinctive style, (particularly one look that seemed to be a direct re-make of a jacket he had created for Olympian Dionne Dixon in the '80s), it triggered outrage and accusations of cultural theft. This incident sparked a conversation about the fashion industry's tendency to co-opt urban and streetwear styles without proper recognition, while also displaying flagrant symbols of racism through designs.

Eventually, spurred by public outrage, the controversy led to a collaboration between Gucci and Dapper Dan, a significant moment in luxury fashion's acknowledgement and celebration of the contributions of Black culture, including streetwear and hip-hop to high fashion. "Had Twitter not spotted the, "Diane Dixon" [jacket] walking down the Gucci runway and then amplified that conversation on social media... I don't think we would have had this incredible comeback," Sowmya Krishnamurphy says.

A$AP Rocky x DIOR

Self-proclaimed "Fashion Killa" A$AP Rocky is a true fashion aficionado. In 2016, the sartorially obsessed musician and rapper became one of the faces of Dior Homme’s fall/winter campaign shot by photographer Willy Vanderperre — an early example of Rocky's many high fashion collaborations with the luxury European brand.

A$AP Rocky's tailored style and impeccable taste for high fashion labels was eloquently enumerated in the track "Fashion Killa" from his 2013 debut album Long. Live. ASAP, which namedrops some 36 luxury fashion brands. The music video for "Fashion Killa" was co-directed by Virgil Abloh featuring a Supreme jersey-clad Fenty founder, Rihanna long before the two became one of music’s most powerful couples. The track became an anthem for hip-hop’s appreciation for high fashion (and serves as the title for Krishnamurphy’s recently published anthology). 

Cardi B. Photo: Steve Granitz/WireImage

Cardi B Wears Vintage Mugler At The 2019 GRAMMYs

Cardi B has solidified her "it girl" fashion status in 2018 and 2019 with bold and captivating style choices and designer collaborations that consistently turn heads. Her 2019 GRAMMYs red carpet appearance in exaggerated vintage Mugler gown, and many custom couture Met Gala looks by designers including Jeremy Scott and Thom Browne that showcased her penchant for drama and extravagance.

But Cardi B's fashion influence extends beyond her penchant for custom high-end designer pieces (like her 2021 gold-masked Schiaparelli look, one of nine looks in an evening.) Her unique ability to blend couture glamour with urban chic (she's known for championing emerging designers and streetwear brands) fosters a sense of inclusivity and diversity, and makes her a true trendsetter.

Beyoncé & Jay-Z in Tiffany & Co.’s "About Love" campaign

The power duo graced Tiffany & Co.'s "About Love'' campaign in 2021, showcasing the iconic "Tiffany Yellow Diamond," a 128.54-carat yellow worn by Beyoncé alongside a tuxedo-clad Jay-Z. The campaign sparked controversy in several ways, with some viewers unable to reconcile the use of such a prominent and historically significant diamond, sourced at the hands of slavery, in a campaign that could be seen as commercializing and diluting the diamond's cultural and historical importance. Despite mixed reaction to the campaign, their stunning appearance celebrated love, adorned with Tiffany jewels and reinforced their status as a power couple in both music and fashion.

Kendrick Lamar Performs At Louis Vuitton

When Kendrick Lamar performed live at the Louis Vuitton Men’s spring-summer 2023 runway show in Paris in June 2022 following the passing of Louis Vuitton’s beloved creative director Virgil Abloh, he underscored the inextricable connection between music, fashion and Black American culture.

Lamar sat front row next to Naomi Campbell, adorned with a jeweled crown of thorns made from diamonds and white gold worth over $2 million, while he performed tracks including "Savior," "N95," and "Rich Spirit'' from his last album, Mr. Morale and the Big Steppers before ending with a repeated mantra, "Long live Virgil." A giant children’s toy racetrack erected in the Cour Carrée of the Louvre became a yellow brick road where models marched, clad in designer looks with bold, streetwear-inspired design details, some strapped with oversized wearable stereo systems.

Pharrell Succeeds Virgil Abloh At Louis Vuitton

Pharrell Williams' appointment as the creative director at Louis Vuitton for their men's wear division in 2023 emphasized hip-hop's enduring influence on global fashion. Pharrell succeeded Virgil Abloh, who was the first Black American to hold the position.

Pharrell's path to this prestigious role, marked by his 2004 and 2008 collaborations with Louis Vuitton, as well as the founding of his streetwear label Billionaire Boy’s Club in 2006 alongside Nigo, the founder of BAPE and Kenzo's current artistic director, highlights the growing diversity and acknowledgment of Black talent within high fashion.

Listen To GRAMMY.com's 50th Anniversary Of Hip-Hop Playlist: 50 Songs That Show The Genre's Evolution

Across 2023, we've been treated to a shower of fantastic reissues, remixes and/or expansions. From the Beatles' Red and Blue albums, to Pink Floyd's The Dark Side of the Moon, to the Who's Who's Next, the list is far too massive to fit into a single article.

And, happily, it's not over yet: from now until Christmas, there are plenty more reissues to savor — whether they be mere vinyl represses, or lavish plumbings of the source material replete with outtakes.

As you prepare your holiday shopping list, don't sleep on these 15 reissues for the fellow music fanatic in your life — or pick up a bundle for yourself!

X-Ray Spex - Conscious Consumer (Vinyl Reissue)

Whether you view them through the lens of Black woman power or simply their unforgettable, snarling anthems, English punks X-Ray Spex made an indelible mark with their debut 1978 album, Germfree Adolescents.

Seventeen years later, they made a less-discussed reunion album, 1995's Conscious Consumer — which has been unavailable over the next 27 years. After you (re)visit Germfree Adolescents, pick up this special vinyl reissue, remastered from the original tape.

That's out Dec. 15; pre-order it here.

Fall Out Boy - Take This to Your Grave (20th Anniversary Edition)

Released the year before their breakthrough 2005 album From Under the Cork Tree — the one with "Dance, Dance" and "Sugar, We're Goin Down" on it — Fall Out Boy's Take This to Your Grave remains notable and earwormy. The 2004 album aged rather well, and contains fan favorites like "Dead on Arrival."

Revisit the two-time GRAMMY nominees' Myspace-era gem with its 20th anniversary edition, which features a 36-page coffee table book and two unreleased demos: "Colorado Song" and "Jakus Song." It's available Dec. 15.

Coheed and Cambria - Live at the Starland Ballroom

Coheed and Cambria is more than a long-running rock band; they're a sci-fi multimedia universe, as well as a preternaturally tight live band.

Proof positive of the latter is Live at the Starland Ballroom, a document of a performance at the Starland Ballroom in Sayreville, New Jersey, in 2004 — that hasn't been on vinyl until now. Grab it here; it dropped Nov. 24, for Record Store Day Black Friday.

Joni Mitchell - Court and Spark Demos

Post-aneurysm recovery, Joni Mitchell's on a well-deserved victory lap. But it's far more rewarding to analyze her as a musical genius than simply shower her with icon-status accolades.

Joni Mitchell Archives – Vol. 3: The Asylum Years (1972–1975), from last October, is a terrific way to do just that; its unvarnished alternate versions strip away the '70s gloss to spellbinding effect.

Which is no exception regarding the Court and Spark demos, which got a standalone release for RSD Black Friday.

P!NK - TRUSTFALL (Deluxe Edition)

The dependable Pink returned in 2023 with the well-regarded TRUSTFALL, and it's already getting an expanded presentation.

Its Deluxe Edition is filled with six previously unheard live recordings from her 2023 Summer Carnival Stadium Tour. Therein, you can find two new singles, including "Dreaming," a collaboration with Marshmello and Sting. Pre-order it today.

Snoop Dogg - Doggystyle (30th Anniversary Edition)

After his star-making turn on Dr. Dre's The Chronic, 16-time GRAMMY nominee Snoop Dogg stepped out with his revolutionary, Dre-assisted debut album, Doggystyle.

Permeated with hedonistic, debaucherous fun, the 1993 classic only furthered G-funk's momentum as a force within hip-hop.

Revisit — or discover — the album via this 30-year anniversary reissue, available now on streaming and vinyl.

As per the latter, the record is available special color variants, including a gold foil cover and clear/cloudy blue vinyl via Walmart, a clear and black smoke vinyl via Amazon and a green and black smoke vinyl via indie retailers.

Alicia Keys - The Diary of Alicia Keys 20

Alicia Keys has scored an incredible 15 GRAMMYs and 31 nominations — and if that run didn't exactly begin with 2003's The Diary of Alicia Keys, that album certainly cemented her royalty.

Her heralded second album, which features classics like "Karma," "If I Was Your Woman"/"Walk On By" and "Diary," is being reissued on Dec. 1 — expanded to 24 tracks, and featuring an unreleased song, "Golden Child."

The Sound of Music (Super Deluxe Edition Boxed Set)

Fifty-seven years has done nothing to dim the appeal of 1965's The Sound of Music — both the flick and its indelible soundtrack.

Re-immerse yourself in classics like "My Favorite Things" via The Sound of Music (Super Deluxe Edition Boxed Set), which arrives Dec. 1.

The box contains more than 40 previously unreleased tracks, collecting every musical element from the film for the first time, along with instrumentals for every song, demos and rare outtakes from the cast.

Furthermore, an audio Blu-ray features the full score in hi-res plus a new Dolby Atmos mix of the original soundtrack. And the whole shebang is housed in a 64-page hardbound book with liner notes from film preservationist Mike Matessino.

ABBA - The Visitors (Deluxe Edition)

With their eighth album, 1981's The Visitors, the Swedish masterminds — and five-time GRAMMY nominees — stepped away from lighter fare and examined themselves more deeply than ever.

The result was heralded as their most mature album to date — and has been repackaged before, with a Deluxe Edition in 2012.

This (quite belated) 40th anniversary edition continues its evolution in the marketplace. And better late than never: The Visitors was their final album until their 2021 farewell, Voyage, and on those terms alone, deserves reexamination.

Aretha Franklin - A Portrait of the Queen 1970-1974

Rolling Stone didn't recently declare Aretha Franklin the greatest singer of all time for no reason: in 2023, there's nary a pretender to the Queen of Soul's throne.

A Portrait of the Queen 1970-1974 compiles her first five albums of the 1970s: This Girl's In Love With You, Spirit in the Dark, Young Gifted and Black, Hey Now Hey (The Other Side of the Sky), and Let Me In Your Life.

Each has been remastered from the analog master tapes. The vinyl version has a bonus disc of session alternates, outtakes & demos. Both CD and vinyl versions are packaged with booklets featuring sleeve notes by Gail Mitchell and David Nathan. Grab it on Dec. 1.

Fela Kuti - Box Set #6

From the great beyond, Fela Kuti has done music journalists a solid in simply numbering his boxes. But this isn't just any Kuti box: it's curated by the one and only Idris Elba, who turned in a monumental performance as Stringer Bell on "The Wire."

The fifth go-round contains the Afrobeat giant's albums Open & Close, Music of Many Colors, Stalemate, I Go Shout Plenty!!!, Live In Amsterdam (2xLP), and Opposite People. It includes a 24 page booklet featuring lyrics, commentaries by Afrobeat historian Chris May, and never-before-seen photos.

The box is only available in a limited edition of 5,000 worldwide, so act fast: it's also available on Dec. 1.

Kate Bush - Hounds of Love (The Baskerville Edition) / Hounds of Love (The Boxes of Lost Sea)

Kate Bush rocketed back into the public consciousness in 2022, via "Stranger Things." The lovefest continues unabated with these two editions of Hounds of Love, which features that signature song: "Running Up That Hill (A Deal with God.)

There is no new audio on either edition; they feature distinctive packaging, and the latter splits the album into two boxes. Read on here, and pre-order them via Bush's site; they arrive Dec. 1.

The Rolling Stones - December's Children (And Everybody's), Got Live If You Want It! And The Rolling Stones No. 2 (Vinyl Reissues)

These three '60s Stones albums have slipped between the cracks over the years — but if you love the world-renowned rock legends in its infancy, they're essential listens.

No. 2 is their second album from 1965; the same year's December's Children is the last of their early songs to lean heavily on covers; Got Live If You Want It! is an early live document capturing the early hysteria swarming around the band.

On Dec. 1, they're reissued on 180g vinyl; for more information and to order, visit here.

Pink Floyd - Atom Heart Mother (Special Edition)

No, it's not half as famous as The Dark Side of the Moon or The Wall — but 1970's lumpy Atom Heart Mother certainly has its partisans.

Rediscover a hidden corner of the Floyd catalog — the one between Ummagumma and Meddle — via this special edition, which features newly discovered live footage from more than half a century ago.

The Black Crowes - The Southern Harmony and Musical Companion

After endless fraternal infighting, the Black Crowes are back — can they keep it together?

In the meantime, their second album, 1992's The Southern Harmony and Musical Companion, remains a stellar slice of roots rock — as a sprawling, three-disc Super Deluxe Edition bears out. If you're a bird of this feather, don't miss it when it arrives on Dec. 15. 

7 Musical Sibling Rivalries: CCR, Oasis, The Kinks & More

Thirty years ago, a rap music legend began his journey to immortality — and to Martha Stewart.

Most in-the-know music fans were aware of Snoop Doggy Dogg (as he was then known) because of his collaborations with Dr. Dre. First there was "Deep Cover" from the soundtrack of the film of the same name. Then there were his memorable contributions to Dre's The Chronic, which came out in late 1992. 

So the world was primed for Snoop's solo debut Doggystyle when it was released into the world on November 23, 1993. The album sold around 800,000 copies in its first week, and set the stage for Snoop to become a superstar, one who would eventually reach a stage of pop-culture ubiquity that mid-90s rap fans — and those people who saw his scowl on the cover of Newsweek as the literal face of the question of whether rap was too violent — could have never imagined.

To celebrate the anniversary of Doggystyle's release, GRAMMY.com is revisiting the D-O-double-G's biggest and best musical moments. A quick note: this list does not include songs that appear on another artist's album (hey, we had to draw the line somewhere!), so there's no "Nuthin' But A 'G' Thang" or "2 of Amerikaz Most Wanted." And we tried to pull from all eras of his career, so it's not all Doggystyle (though you should, of course, listen to that classic in its entirety). 

So with all that said, here we are: 15 of Snoop Dogg's most popular and most dynamic songs. 

"Deep Cover" with Dr. Dre, Deep Cover soundtrack (1992)

Snoop's very first recorded song — his introduction to the world at large — occurred over a Dre beat so powerful, with a bassline so iconic, that it became the foil for not one, not two, but three classic songs (plus a nasty Biggie freestyle). The duo's lyrical chemistry was undeniable as they traded verses throughout. And, of course, there's the song's chorus, in which Snoop introduced California penal code 187 into the national lexicon.

The track and its video loosely parallel the plot of the movie on whose soundtrack it appears, the absolutely nuts (and surprisingly entertaining) Deep Cover, directed by Bill Duke and starring Laurence Fishburne. 

"Who Am I (What's My Name)?" Doggystyle (1993)

This track wasn't just the world's introduction to Doggystyle — it lets fans know that the Dre-and-Snoop chemistry they'd heard on The Chronic was not a fluke. The track's George Clinton and P-Funk interpolations also showed that Dre was still in his bag, and Snoop's vocal performance was one for the ages. Still in his very early 20s, the rapper was adept at mythmaking, showing the audience how he would "step through the fog" and "creep through the smog" to deliver his charismatic raps.

As if that wasn't enough, the song's Fab 5 Freddy-directed video showed Snoop's sense of humor, as it featured the rapper and his compatriots morphing into literal dogs. 

"Gin and Juice," Doggystyle (1993)

Any rap fan of a certain age can not only spit this song word for word, but also quote pretty much every line in the video ("Snoop Doggy Dogg! You need to get a jobby-job"). Just say the words "Laid back…" to pretty much anyone who is at the age where they can say complete sentences, and you'll get "With my mind on my money and my money on my mind" in response.

The song and video created an image for Snoop that was fun-loving and comic — one that he rode (sometimes in a Chrysler) all the way to a decades-long career as a pitchman, TV host and overall personality that would at first glance seem incongruous for an avowed Crip from Long Beach. Beyond all the myth-making, though, it's just a fantastic song, one that Rolling Stone included in its 100 best rap songs of all time list.

"Gz and Hustlas," Doggystyle (1993)

This Doggystyle highlight begins with a hilarious skit that ends with a funny and profane punchline from a very young Bow Wow. It just gets better from there.

Snoop has said that this is one of his two personal favorites from his debut album. Not unrelatedly, he's also admitted that the whole thing was improvised while he was just checking a mic. And as we'll see on the "Afro Puffs" remix, freestyling Snoop is the best Snoop. That's certainly the case here. The sample of Bernard Wright's "Haboglabotribin" provides the perfect soundtrack for the ride. 

"Murder Was the Case," Doggystyle (1993)

This song is the Faustian tale of a young man who survives a shooting by selling his soul to the devil in exchange for eternal life and a life of riches and success. But, as always with these stories, the protagonist's greed gets the better of him, and the devil gets his due. The narrator ends the story locked up, with only a prison riot to look forward to.

It's a gripping tale that would have eerie real-life resonance when Snoop was actually charged with murder, a charge on which he was famously acquitted. He wrote the song before the incident, a coincidence that affected him so deeply that he decided that "maybe I shouldn't be writing about devilish s— like this."

"Afro Puffs (Extended Remix)" with The Lady of Rage, Above the Rim soundtrack (1994)

Snoop is at his best when he's in the moment — when he's relaxed, freestyling and rapping in his inimitable style about whatever is on his mind. His opening verse on this song is perhaps the quintessential example of that.

He sounds completely at ease, swinging, developing ideas in an unforced way. It's like you're in the studio with Snoop for two solid minutes, watching him warm up and get comfortable. It's a performance style he wouldn't duplicate on any other studio track, even the ones he would also make up on the spot. 

"Woof! (feat. Fiend and Mystikal)," Da Game Is To Be Sold, Not To Be Told (1998)

One of Snoop's first major business and stylistic switches happened in March 1998, when he signed to No Limit Records. What was a Long Beach gangsta rapper doing on a New Orleans label? Well, it turned out to be a pretty great fit, at least on "Woof!"

The track was the second single on Snoop's No Limit debut, and it featured two of the label's stars, Fiend and Mystikal. The Dogg fits perfectly on a track in the label's aggressive, chant-based Southern style (even the track's percussive dog barks manage to add intensity). Snoop adopts a more free rhythmic approach here, perhaps influenced by his all-over-the-beat labelmates. It's fascinating to hear, and it works amazingly well.

"B— Please (feat. Xzibit)," No Limit Top Dogg (1999)

One of the things Snoop is greatest at is, to put it in crass, unavoidable terms, pimp talk. "B— Please" might be his ultimate entry into the genre. This song features a memorable performance by Xzibit and some classic singing from Nate Dogg. And the Dr. Dre beat is instantly memorable. But what really puts the song over the top is the confidence and style with which Snoop orders an unnamed lady to "hem my coat and roll me some dope."

Bonus points go to this track for its sequel, which appeared on Eminem's The Marshall Mathers LP, and which features Em doing a hilarious Snoop impression.

"Lay Low (feat. Master P, Nate Dogg, Butch Cassidy, and Tha Eastsidaz)," The Last Meal (2000)

Yes, Xzibit wrote Snoop's verse on this classic posse cut featuring rapping contributions from the Eastsidaz and Snoop's then-label boss Master P. But that doesn't make the Doggfather's contribution any less smooth. It doesn't prevent Nate Dogg's hook from being an unstoppable ear worm. It doesn't make Dr. Dre's beat any less of a minimalist masterpiece. It doesn't make the Eastsidaz's appearances less effective. And it certainly doesn't diminish in any way the single best part of the song: Master P rapping, "They call me Jed Clampett for all the bread I got/ But they call me Bill Clinton for all the head I got."

"Beautiful (feat. Pharrell Williams and Charlie Wilson)," Paid Tha Cost To Be Da Bo$$ (2002)

Snoop teaming up with Pharrell gave the Dogg a much-needed early aughts career boost. It turned out that Snoop and P made an unbeatable combination, and one that we will see again later in this very list.

"Beautiful" features an instantly memorable beat whose repetitive syncopated rhythms immediately drive into the listener's skull and don't let up until the song is over. Add in Pharrell's so-off-key-they're-somehow-on vocals, and you have a track that stands out even in the era of Neptunes ubiquity. Snoop adds his own style and grace, and, somehow, a (presumably intentionally) charmingly awkward reference to Clueless.

"Drop It Like It's Hot (feat. Pharrell Williams)," R&G (Rhythm & Gangsta): The Masterpiece (2004)

Snoop and Pharrell made a number of great songs, but this is arguably their masterpiece. This No. 1 hit was so popular that even its ringtone version went double platinum. It was also nominated for a GRAMMY. But accolades and numbers are secondary.

What makes this track is the perfect melding of one the Neptunes' greatest non-Clipse minimalist beats with Snoop's laid-back rapping (and a verse from Pharrell in which he bends his approach towards Snoop's to superb effect). Snoop sounds so relaxed that you might miss all the tough talk, which is delivered in his patented stylish way ("Pistol-whip you, dip you, then flip you/ Then dance to this mothaf—in' music we Crip to"). 

"Think About It," Tha Blue Carpet Treatment (2006)

This is the song Snoop chose to demonstrate to his own son that after nearly 15 years in the rap world, he could still hold his own. He couldn't have made a better choice.

"Think About It" is dense, wordy, even "intellectual" — a word Snoop comes back to a few times in the track. It's also a seemingly incongruous mixture of aggressive rapping, where Snoop sounds like he's really pushing himself; with laid-back music reminiscent of 1970s soul. And yet that combination, which could be off-putting, somehow works to the advantage of both elements of the song, supplying the rapping with needed comfort and style; and the music with energy and drive.

"Sensual Seduction," Ego Trippin' (2007)

Sometimes known by its uncensored title "Sexual Eruption," this Shawty Redd-produced track was one of Snoop's biggest chart hits, making it all the way to No. 7 on the Billboard Hot 100. It's also a big left turn for him, featuring Auto-Tuned singing throughout, minus a rap verse in the middle.

The incredibly catchy number started its life as a Shawty Redd solo song called "Drifter," which got leaked and hit the radio. "Snoop wanted to buy that song," Shawty told me a few years back. "At the time, Sylvia Rhone was signing me to Universal/Motown as an artist, and I couldn't sell Snoop that song. So I ended up making ['Sensual Seduction']."

"Young, Wild & Free" (Snoop Dogg & Wiz Khalifa feat. Bruno Mars) Mac & Devin Go To High School (2011)

This track brings together Snoop and a younger weed-obsessed rapper, Wiz Khalifa. But what really makes it a winner is the addition of Bruno Mars, who at that time was in the middle of an absolutely unstoppable run with his crew the Smeezingtons as a hitmaker for both himself and others. This was "F— You"/ "Billionaire"/ "Nothin' on You"-era Bruno, and his composition and hook here is right up there with those pop masterpieces. Snoop and Wiz trade rhymes back and forth with a chemistry that, while perhaps plant-induced, can't be faked.

"I'm From 21st Street (feat. DJ Drama and Stressmatic)," Gangsta Grillz: I Still Got It (2022)

Snoop spent much of the past decade doing unusual one-offs (see 2013's reggae album Reincarnated and 7 Days of Funk, a funk project with DāM-FunK, or 2018's gospel compilation Snoop Dogg Presents Bible of Love, among others). So when he wanted to get back to his rap roots in 2022, he teamed with Gangsta Grillz mastermind DJ Drama to release a mixtape called I Still Got It. The project, and especially this song, more than proves the title correct.

Snoop tears up the Rick Rock-produced beat, sounding more energized and hungry than he has in a while. The subject matter may be somewhat well-trod ground (it's not far removed from his 1994 track "21 Jumpstreet," which could easily have made this list as well), but how he talks about his past, and the intensity he brings to it, shows that Snoop can still produce great music 30 years into his career. 

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If the holiday of trick or treating, pumpkin carving, and decorating your front porch with skeletons is your favorite of the year, then you'll no doubt already have a playlist stacked with creepy and kooky, mysterious and spooky bangers ready to fire up on Oct. 31. But if you want to add a bit of prestige to your supernatural soundtrack, there's another list of Halloween-friendly songs to check out — one that highlights another celebrated annual occasion.

While the GRAMMYs might not yet have awarded Rob Zombie, Jukebox the Ghost, or And You Will Know Us by the Trail of the Dead, it has embraced the odd musical spooktacular in several forms. In 1988, for example, it gave Halloween obsessive Frank Zappa Best Rock Instrumental Performance for Jazz from Hell. A year later, it handed Robert Cray Band Best Contemporary Blues Recording for Don't Be Afraid of the Dark. And it's also dished out goodies (of the statuette, rather than the sweet, variety) to the likes of Mavis Staples' "See That My Grave Is Clean," Chick Corea's "Three Ghouls," and Mastodon's "A Sultan's Curse."

With Halloween 2023 fast approaching, here's a closer look at ten other tracks which left the music industry's biggest awards show completely bewitched.

Stevie Wonder — "Superstition" (1974)

It seems unlikely that Stevie Wonder walked under a ladder, crossed a black cat, or 'broke the lookin' glass' while recording "Superstition" — the squelchy Moog-funk classic kickstarted his remarkable run of 25 GRAMMY Awards when it won both Best Rhythm and Blues Song and Best R&B Vocal Performance Male in 1974. Taken from what many consider to be his magnum opus, Talking Book, "Superstition" also gave Wonder his first No. 1 hit on the Hot 100 in over a decade. And the soul legend further leaned into its supernatural theme in 2013 when he appeared as a witch doctor in a Bud Light Super Bowl commercial soundtracked by the Tamla favorite.

Mike Oldfield — "Tubular Bells" (1975)

Incredibly, considering how perfectly it complements all-time classic horror The Exorcist, Mike Oldfield's prog-rock epic Tubular Bells was recorded long before director William Friedkin came calling. Mike Oldfield, then aged only 19, used a variety of obscure instruments across its two mammoth pieces. Yet, it's the brilliantly creepy Steinway piano riffs which open Side One that are still most likely to bring anyone who experienced the movie's hysteria in a cold sweat. Oldfield was rewarded for helping to scar a generation of cinemagoers for life when a condensed version of his eerie masterpiece picked up the Best Instrumental Composition GRAMMY.

The Charlie Daniels Band — "The Devil Went Down to Georgia" (1980)

The Charlie Daniels Band certainly proved their storytelling credentials in 1979 when they put their own Southern country-fied spin on the old "deal with the devil" fable. Backed by some fast and furious fiddles, "The Devil Went Down to Georgia" tells the tale of a young musician named Johnny who bumps into Beelzebub himself during a jam session in the Peach State. Experiencing a downturn in soul-stealing, the latter then bets he can win a fiddle-off, offering an instrument in gold form against Johnny's spiritual essence. Luckily, the less demonic party proves he's the "best that's ever been" in a compelling tale GRAMMY voters declared worthy of a prize, Best Country Vocal Performance By A Duo Or Group.

Michael Jackson — "Thriller" (1984)

The 1984 GRAMMYs undeniably belonged to Michael Jackson. The King of Pop picked up a whopping 11 nominations for his first blockbuster album, Thriller, and then converted seven of them into wins (he also took home Best Recording for Children for his narration on audiobook E.T. The Extra-Terrestrial). Remarkably, the title track's iconic John Landis-directed video didn't feature at all: its making of, however, did win Best Music Film the following year. But the song itself did pip fellow superstars Prince, Billy Joel, and Lionel Richie to the Best Male Pop Vocal Performance crown. Jackson would also win a GRAMMY 12 years later for another Halloween-esque anthem, his Janet Jackson duet "Scream."

Duran Duran — "Hungry Like the Wolf" (1984)

Produced by Colin Thurston, the man behind another early '80s Halloween-friendly classic, (Bow Wow Wow's "I Want Candy"), "Hungry Like the Wolf" cemented Duran Duran's status as MTV icons. Alongside their much raunchier earlier clip for "Girls on Film," its jungle-themed promo was also responsible for giving the Second British Invasion pin-ups the inaugural GRAMMY Award for Best Music Video, Short Form; it featured on the Duran Duran compilation that was crowned Best Video Album, too. Frontman Simon Le Bon had been inspired to write their U.S. breakthrough hit by Little Red Riding Hood, giving the new wave classic its sinister, and appropriately predatory, edge.

Ray Parker Jr. — "Ghostbusters" (1985)

Ray Parker Jr. not only topped the Hot 100 for four weeks with his ode to New York's finest parapsychologists, he also picked up a GRAMMY. Just don't expect to hear "who you gonna call?" in the winning version: For it was in the Best Pop Instrumental Performance where "Ghostbusters" reigned supreme. The fact that Parker Jr. wrote, performed, and produced the entire thing meant he still took home the trophy. However, Huey Lewis no doubt felt he should have been the one making the acceptance speech. The blue-eyed soulman settled out of court after claiming the spooky movie theme had borrowed its bassline from "I Want a New Drug," a track Ghostbusters' director Ivan Reitman admitted had been played in film footage intended to inspire Parker Jr.

Ralph Stanley — "O Death" (2002)

Traditional Appalachian folk song "O Death" had previously been recorded by the likes of gospel vocalist Bessie Jones, folklorist Mike Seeger, and Californian rockers Camper Van Beethoven, just to name a few. Yet it was Ralph Stanley's 2002 version where GRAMMY voters first acknowledged its eerie a cappella charms. Invited to record the morbid number for the Coen brothers' period satire O Brother, Where Art Thou, the bluegrass veteran won Best Male Country Vocal Performance at the 2002 ceremony, also picking up a second GRAMMY alongside the likes of Alison Krauss, Gillian Welch, and Emmylou Harris when the soundtrack was crowned Album Of The Year.

Skrillex — "Scary Monsters and Nice Sprites" (2012)

David Bowie fans may well feel aggrieved that his post-punk classic "Scary Monsters (and Super Creeps)" was entirely ignored by GRAMMY voters, while the bro-step banger it inspired was showered with awards. The title track from EP Scary Monsters and Nice Sprites added Best Dance Recording to Skrillex's 2012 haul: the asymmetrically haired producer also walked away with Best Dance/Electronica Album and Best Remixed Recording: Non-Classical for his work on Benny Benassi's "Cinema." Packed with speaker-blasting beats, distorted basslines, and aggressive synths, Skrillex's wall of noise is enough to scare anyone off their pumpkin pie.

Eminem and Rihanna — "The Monster" (2015)

Who says lightning can't strike twice? Just four years after picking up five GRAMMY nominations for their transatlantic chart-topper "Love the Way You Lie," unlikely dream team Eminem and Rihanna once again joined forces for another hip-pop masterclass. Unlike their previous collab, however, "The Monster" didn't go home empty-handed, winning Best Rap/Sung Collaboration at the 2015 ceremony. The boogeyman hiding under the bed here, of course, isn't a Frankenstein-esque creation, but the mix of paranoia, self-doubt, and OCD that leads the Real Slim Shady into thinking he needs a straitjacket.

Jason Isbell — "If We Were Vampires" (2018)

While the Twilight franchise may have failed to add a GRAMMY to its trophy cabinet, it did pick up several nominations. But four years after the Team Edward vs Team Jacob saga wrapped up, folk hero Jason Isbell proved mythical bloodsuckers weren't a barrier to awards success. Emerging victorious in only the fifth ever Best Americana Roots Song category, "If We Were Vampires" is a little less emo than the various Twilight soundtracks. Still, as a love song dedicated to wife Amanda Shires, and the quiet acceptance that the Grim Reaper will inevitably end their story, it's certainly no less emotional.  

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