The Most Bumping Album of All Time (Dr. Dre: The Chronic)

When the idea came along to do a series of articles about the most bumping albums of all time, I knew what album would win from the moment it was suggested. "The Chronic" was a textbook example of "bumping," with it's pumped up bass, dance-inducing grooves, and relentless hooks. It shook my windows, it moved my body, and it implanted itself in the part of my brain that stores memorable music.
From the opening track, The Chronic burst through the gates with a carnival of sounds that seemed to pound on every door in the neighborhood, alerting the city that something was going down. It had a timeless style that was perpetually modern, even with lyrics that checked the early 90's time period during which it was recorded.
"F- wit Dre Day" dropped like a meteor, forever changing the landscape of rap. The synthetic, funkafied, booty-shakin' sound that dominated West Coast hip hop was born. And Dre was at the center, producing, rhyming, and generally laying down superior product like Walter White from Breaking Bad. 
"Let Me Ride" was a hit. As Dre described a day in his life, the bass line and drums combined to create a tune that brought visions of convertible hoopties doing 10 miles an hour through rough neighborhoods of LA. This tune was a perfect example of Dre's use of PFunk samples. He went so far as to call his own style "GFunk" with the G being for "gangsta," rather than the P for "Parliament."
The next song I called "Break'em Off Something" rather than the real title which contained a racial slur. It was a song about the black community fighting back against the people who don't recognize the struggle of African Americans. As a peaceful person, I never supported any piece of art that incites more hatred, division, or violence... but the beat continued the relentless bump attack.
"Nuttin' but a G Thang" was one of the most notable hip hop riffs of all time. Once again, Dre called on samples of PFunk to create another hit.  Once again, it worked. It was on this tune that Snoop confirmed the score... Reminding Dre that it's "gotta be bumping."
"Deez Nuuuuts" started with Snoop pranking some girl. The joke lead to an aggressive, funky assault by the ultimate rap duo. Once again the lyrics were arrogant, taunting, and celebrated thug life... But it was bumping.
"Li'l Ghetto Boy" laid down the struggle of growing up in the streets. It lamented the fact that people were carrying guns rather than handling their differences the old fashioned way. This wasn't my favorite track on the album, but the message was much more positive than some of the others.
"Who's the Man With the Master Plan" was another attempt at averting a title with a racial slur. This song celebrated Dre's arsenal of firearms. The beat was still worthy of the title bumping, but not a track I would put in the top 5 on the album. "Rat-tat-tat-tat-tat" was about gang warfare, and promised if anyone stepped to Death Row, they would find themselves on their backs. The beat was steady and bumping, and the onomatopoeia used in the chorus and title was clever.
"The $20 Sack Pyramid" was a skit based on the skits found in the PFunk records of the 70's.
"Lyrical Gangbang" featured some of the other Death Row label mates such as RBX and Korrupt. In fact, I don't think Dre rapped on the track at all. But he undoubtedly provided the beats.
"High Powered" brought back the classic west coast synthesizer riffs. The song was halfway over by the time RBX jumped on and rapped with Daz. In a flash the tune was over. 
"The Doctor's Office" was another skit. Not appropriate for children.
"Stranded on Death Row" brought Snoop back into the fold, and featured RBX, Korrupt, Bushwick Bill, and Lady of Rage as well. The raps were from the perspective of prisoners facing death.  With nothing to lose, they talked a strong game.
Biting off PFunk again, "The Roach" served as an outro and pro- marijuana party tune. Most of the track just featured a Parliament Funkadelic sample and a bunch of rappers discussing their level of intoxication. 
"B's Ain't S*#%" was another song on the feminists top 40. Hoho. Typical of the gangsta rap era, the song celebrated sex without love, passion without feelings. When the song faded and the album was over, I reflected on the number one most bumping album of all time. 
With no experience or interest in slinging rocks, pimping ho's, packin' nines, and smoking cops, what did a guy like me get out of an album that was so violent, sexist, and vulgar? Well, to be honest, the album came out during my rebellious early teenage years, and I thought the curse words, sexual innuendos, and machismo were cool. But at the heart of it was the production and the beats. Dre had an uncanny ability to pick the coolest hooks from his influences and beef up the bottom. By dropping in more low end, adding some punch to the drum track, and polishing the edges, Dre dropped track after track of window vibrating, ass shaking, party music that reached far beyond the hard core rap fans, into suburbs and small towns across the world. Even now, 2 decades later, when I asked my friends what their "most bumping" album was, the suggestion of the Chronic emerged as the favorite within seconds. It simply had more bump than Siamese Camels. When it came to "bumping," Dr. Dre dominated. 
It's been a lot of fun writing about the most bumping albums of all time.  I beefed up my music collection with a whole lot of bass and rediscovered some of my favorite hip hop, funk, and alternative albums. I hope you did as well.