Rank Your Records Noisey is the series in which we ask musicians to retrace their careers putting their albums in order of preference.

The preliminary planning of this piece has led to some problems, because asking Bassi Maestro to make order in the vast sea of his vast discography seemed a titanic-speak of twenty-six discs, counting EPs, two discs with the collective history Business Sano (Bass, Supa, I laugh MC, Dj Zeta) and the only one of Dublinerz disc (musical project of Bass with Supa and Lord Bean).
So we decided to limit the standings to ten discs.
Eventually, though, it was inevitable, with so many records and so many classic assets scattered in such composite, expand the look and take stock of the situation in general, getting to even discuss disks not included in the ranking.
Whenever Bassi spoke to me of a disc ended up talking about another of his hard, perhaps for thematic and stylistic affinities, and so in the end it came out one virtually full spectrum of the entire discography of rapper and producer Milan.
Toto: I would say that at least one disk with the collective must be put, and I would choose Crossover because it is a very important album in his own way.
Noisey: Let me crowded out, I had questions ready about Sano business and I have to improvise.
It was the last album we've done as a collective, marks a bit 'the end of a historical period that coincides with the last tour we did together.
Some of us, at that time, were very focused on the music and others began to work on other things.
It is a most important record for us and for the general public, probably, although those who listen to us since day one you probably remember it.
Well, Dj Zeta however, is always part of my live and turn always together.
Instead Balordi [Clique of Balordi, or CDB nda] occasionally appear and also play on their own, reinventing the classics.
Clearly, music is not their main motivation at the moment because they have other jobs and interests, but they are always on the piece: just a whistle and they come.
In fact it is a very important piece, marked a little 'the story of all.
The beat, now classic, is Zeta.
Okay, okay-I'm not syndicating your choices-but I have listened to you compulsively for years and this was one of my favorite records.
I put it in the top ten because it's hard when I took stock of the situation at that time I had arrived at thirty, I was a very special life linked to music and study, I recorded and I produced, but at the same time was also a historical period in which musically there was nothing.
It was a drive in an old dark period for hip hop Italian, and made music without great prospects.
still contains the classic and deserves to be in the standings.
[In my opinion Bassi was particularly unfair in the placement.
Apart from "giorni matti" which is the piece delivered to posterity, deserves to be remembered the spectacular intro of the disc and also the banger that closes, "'73 Class" AG]
The eighth place will turn up their noses at many: Group photo.
I foresee already a slew of angry comments below the post.
So Photo Group is a very immature disc of rap and writing level ...
Come on, a song like "foto di gruppo" the early stage you define it?
A song like "foto di gruppo" is not immature, it is my greatest classic and I'm delighted, but still writing and interpretation of the disc is still not in my potential level.
Well, it is very nineties, many similarities in the closing verse, addressed to classic songs ... There's also "cosa resterà", however, the piece with Raf sampling.
So many things, riascoltandole, I would have redone from scratch; surely the disc has a lot of shortcomings, just a delivery level.
Out of curiosity, I do not know if it's Ranked [spoiler: there], but against the admirers what do you think?
They are two very similar records, thematically and sound.
Against the estimators it would also recovered only for "Piccolo Bassi"
Against the estimators in fact it is a record that has the same Group Photo deficiencies.
And I think if you are fond of "Piccolo Bassi" is a matter of age, it is not very good-indeed, in hindsight is a very nave song.
I understand that many people there you can find in an affectionate way, because there is not the end all born in the ghetto and they need to be told how many doses masquerading and how much smoke was sold at school.
At the seventh ... then put it in seventh place for my people, the EP I made with Ghemon and Marco Polo.
This is certainly a well-written disc, where there are many aspects-serious ones and those fooling around-and I must say Ghemon remains one of the best rappers in Italy in terms of delivery and write.
It was just an exchange of ideas quickly and accurately to make a record with Mark, which is one of the producers for us the strongest ever, because it was he who proporcelo.
You know, now take it for granted, but five, six years ago, for us it was a very important job.
Marco is not one who works with dogs and pigs provided that give a penny, indeed.
It is one who can not do tricks, and the fact that he did it to propose a collaboration from which then started a great tour for us was really nice.
The "Stronzate e musica" piece was written in New York.
We made fifteen dates in three weeks, it was a very intense and beautiful time; initially in the tour it also had to be Torae who then failed to leave for the storm in New York.
They both knew him to against our, Ghemon felt with him by e-mail and I had met several times when I was on tour with The Beatnuts.
Once I visited him at home and I played a bit 'of things, including "L'amore dov'è", who had come out recently.
The piece he liked it and offered me a three-way collaboration.
I think this record is your most experimental, and I will quote because inside there will understand, it is one of your few pieces of love along with that with Ghemon.
"Hip-hop is not suitable ... I said so ..." You know, I think it's also a generational issue.
Your point of view is important, but then everyone is obviously linked to different discs also based on personal experience and age, one of seventeen who reads this ranking probably will not agree on anything.
In the sixth put Background position, if only to reconsider it, we say, because I realized that I have never given the weight which instead was awarded to him by the people.
Background When I did I was convinced it was a good album, but I did not realize the potential of certain pieces, like the piece with Medda, obviously the same S.I.C.
I realized only after twenty years, what stays in the heart of the listeners, and I'm very proud.
It is one of the most violent parts of the Italian rap, with one of the best delivery of which has been recorded.
In the third verse you take it with livorosi journalists, those who deal with rap rap because they are unable to do so.
It was born in a time when print magazines had some weight in shaping the tastes of the audience, in the absence of other landmarks.
You know, the trouble is that many journalists who deal with rap is that they are extremely frustrated that they can not with the music and they take it with the musicians.
Yes, "Everyday" was one of the first Italian pieces to have a extrabeat very pronounced.
Shit, we were the first to do a lot of things (laughs).
Geez, I will call you to do the double in my live!
Satisfy my curiosity, but the earth shakes is really dedicated to dissing J Ax?
Yes, but so is not needed, because I disproved million times, are the stuff of internet ...
It's a bit 'like "ho un amico", which for the Youtube commenters should be dissing a ... Mondo Marcio, I think?
As if then the rapper could not have friends no rapper, that song could be devoted to your neighbor ... Yes, according to internet that piece is dedicated to Mondo Marcio!
Although we have not worked for a while 'time with Marcio however we always felt, we exchanged opinions on American records output to tell you.
On the fifth put you tap Music, the EP I made with Dj Shocked.
Shocked I think is the most important Italian producer of a sound level because a Shocca beat you recognize him anywhere.
Among other things with that record we reported a while 'to light the figure of Maury B, old MC of Diffusion Next, they were years that officially are not exposed to the public.
In the piece with Maury B, the original sound, to hit above all the passion that puts us in the interpretation of the stanza.
Yes, you see exactly who has pledged to write it.
hopefully a bit 'of younger people have gravitated towards the Next Diffusion after hearing it.
It was a very important piece for all: for me, for Ghemon for Shocca and also for our listeners.
Now five years old but was a disc which was followed by a period of rest.
I see it as a very dense album, the shortest of the stuff that I put around, and that already has projected me into a series of more current sound is a mix level both at the production level.
For example, there was the piece with Gu Pequeno, already slower and in line with the stuff that came out at the time, such as those of Rick Ross, even when the trap was not there but it was already in that direction.
Even the piece with Psalm has almost three million visualizzazioni.S, even that went very well, with video shot in Sardinia, which was his idea.
Consider then that the time was not a million views as it can happen in a week today.
Also I am proud of the hard packaging, very minimal and essential, of Mecna.
The lettering, however, has had a hand Luca Barcelona, Lord Bean.
About Lord Bean, it was made automatic association: you remember the mega-posse track you did with twenty rapper, "Tutti quanti"?
About experiments, in that record there was also "pluristellato", you chose as a single-in a somewhat 'suicide.
Yes, "pluristellato" was a piece a bit 'difficult, but the video was really cutting edge because no one at the time was the lyric video; Mecna has done a great job.
I'm sorry to repeat it one more time, however, boys: on certain things we were really too far ahead, mettetevelo in the head!
As for the piece itself, I really like it because it brings out the part of my freer, playful rap, freestyle.
Third, I Classico because in this last album I find myself.
If the replay now say, 'Look at that bar, that productions that figate.'
There are pieces inspired by the sound of the moment, a little 'more minimal, such as "La Bomba" which aligned itself to "Simon Says" by Pharoahe Monch, the robe of the period.
There are so many Biggie sample to the disk because I had an awareness of wanting to do hip-hop to 100%.
I felt mature, I see I came in just to maturity and setting well-defined, and not by chance that record has marked many of the generations coming after us.
With champion Jim Henson Muppet Show, a classic.
I tried to listen to them again, but I guess so.
You broke the clich from the last disc in the first place!
I did not think, after so many projects, I still have the strength to do such an important record, a level of writing, production, feat.
I reworked and reinterpreted the things that did not convince me, it's all very studied and nothing left to chance.
I think this record is 100%, from the graphics processing to collaborations.
very diverse collaborations: in both we find Fabri Fibra Vegas is Jones.
And at this point I can not help but wonder what you think of the new wave of Italian rap (we now renamed as well, no?).
Of course then I my taste, and Vegas is one that I like a lot because it's very lyrical writing, plays a lot with the metric, is very versatile, as Meek Mill in America to tell you: it is one that you can do both hit both the more introspective piece.
Well, according to me it is the most interesting record I've done because it's all mine.
Written while traveling to Europe, recorded by himself, mixed by himself, without feat.
Inside there are the banger G-Unit style and even more introspective pieces, there are the spoken and the skit played, everything just as I like it.
I am particularly proud of Hate because without video, without commercial pressures or YouTube, we still managed to make a classic, and it stays in your time.

From Vice