26. Peanut Butter Wolf - My Vinyl Weighs A Ton

Amidst a sea of drunken Soul, disoriented scratching and mush-mouthed vocal fragments, Chris Manak has buried a thesis statement deep in his sprawling My Vinyl Weighs A Ton, correlating the hip-hop DJ's creative process to an archaeological endeavor.

Nestled in the center of the album and a mere 24-seconds-long, "Top Illin'" takes liberties with Audio Two's seminal smash hit, distorting its drum break into a vociferous clatter and pairing it with jagged cuts of funk guitar and vocal moan. Breaking a loop down and pasting it into a new composition has been fair game since the dawn of rap music, but recycling a work that is itself a collage of previously used elements becomes "meta" exercise, revealing the producer as both artist and historian.

Dubbing himself "Peanut Butter Wolf," a name equal parts childish and sinister, Manak deals in exhuming forgotten swatches of music and placing them in a familiar context: the hip-hop head nodder. All of the routine elements have been compiled: the cinematic strings, the jazzy organ, the sharp clap of synthesized drums. Yet, an off-kilter sense of humor and precocious enthusiasm has dragged the commonplace into the Twilight Zone. Queasy kazoos and waves of distortion pervert an otherwise danceable tune. Beats sound hollow and cavernous, as if pounded out on an empty barrel in a mossy, underground bunker. Bass lines thud along in a morphine-addled haze, dragging endlessly before getting throttled by record scratching so fast that it's reminiscent of squealing tires and active smoke alarms.

"Tale of Five Cities" is an epic length ode to turntabilism as sport. Loops of soul and funk are jarringly contorted into new shapes and milked to a snail's pace, spawning an oafish and mesmerizing warble. Coupled with the propulsive scratching and constant shifts in beat and tone, the experience is not unlike psychedelia or noise music, that is, capable of evoking physical response and mood. Wolf understands the entrancing quality of his work (and hip-hop as a whole), drawing sonic parallels between the soothing voice of a hypnotist and the rowdy demands of a hype man.

Adjusting to the lulling, narcotic quality of the grooves can be a challenge, especially when the tone can shift from placid to menacing at a moment's notice. Peanut Butter Wolf strives for this disparity, as it expands the range of sounds he can draw from, allowing him to catalog and interpret the art world en masse.

27. Black Sheep - A Wolf in Sheep's Clothing

First impressions make Black Sheep out to be chauvinistic ne'er-do-wells.

Vocalist Andres "Dres" Titus and DJ William McLean fashion themselves as city dwelling Ferris Buellers, keen on left-of-center jazz, casual sex and cold Heineken. Superficial listens only corroborate their claims, but an attentive ear will reveal a crafty team of parodists, capable of lampooning the excesses of contemporary rap, while putting a magnifying glass up to society's absurdity.

Skillfully walking the line between earnest and glib, Dres' vocal flow is a cocky, conversational spoken word, accented by cool kid nonchalance and a penchant for vivid wordplay. His inability to show frustration, even when opining about race-related corruption and feckless rapper wannabes, reflects a deeply perceptive individual beneath the surface of sex drive and materialism. That's not to say that he won't "shoot you with the joint inside [his] zipper," he just won't break a sweat doing it.

His most interesting quirk as a writer is his unorthodox use of double entendre and metonym. Breasts become Vitamin D dispensaries, Nike goes from a sneaker to the verb for motion and the SAT exam becomes "the sad ass truth." His tour de force of figurative language is the verse-long symbol occupying much of "Black with N.V. (No Vision)," which aligns a hopeless and unmotivated life to a Sisyphean nightmare of endlessly washing dishes. Dres paints a complex portrait of the black struggle to find a role in American culture and uses the dish as a physical representation of forced labor, lack of opportunity and indifference.

Rhyme schemes of such a grand scale deserve equally elaborate sonic textures and the duo manages to construct a rich sound from maxed-out organ, unremitting bursts of muffled horn and deep, playful bass guitar groove. Drums are often low in the mix, lending an atmospheric, homemade quality to the affair and tone leans more towards the bouncy, jovial strut of genre pioneers than the sharp-edged sonic collage of East Coast contemporaries. The pool of samples smartly sidesteps sacred cows, instead favoring willfully obscure passages of Canadian prog, New Orleans R&B and contemplative, loose jazz saxophone.

They're even willing to modify their routine to match the targets of their sardonic genre spoofs. "U Mean I'm Not" mimics N.W.A's wah-wah funk guitar and machine gun chatter, while pushing their brutish physicality to the nth degree. It's all pure fantasy, but Dres murdering his extended family for botching breakfast and using his toothbrush is both hilarious and shockingly curt.

"La Menage" sets its sights on the other side of the hip-hop cliché coin: the sex jam. What starts as a racy provocation slowly degenerates into an unsavory four-way, complete with detailed descriptions of engorged genitalia, ambiguously gay gestures and enough prurient behavior to shock the Marquis de Sade. By the time Q-Tip starts his guest verse, we're too gobsmacked to realize how well it subverts the male-oriented sexuality of rap culture.

Though certainly more tongue-in-cheek than austere, a songwriting team willing to take on genre and social shortcomings right out of the gate is nothing short of commendable. It's this enthusiasm and anomalous comedic sensibility that sets A Wolf in Sheep's Clothing apart from the flock.