15. Rock Box (1984)

For all you sucker MC’s perpetrating a fraud / Your rhymes are cold wack and keep the crowd cold bored / You’re the kind of guy that girls ignored / I’m driving Caddy, you fixing a Ford…” 

“Rock Box,” the third single from Run DMC’s 1984 debut Run-D.M.C., shattered norms by fusing Hip Hop with rock, a bold leap from disco-slick rap. Produced by Larry Smith and Russell Simmons, its beat roars—Eddie Martinez’s heavy guitar riffs and blistering solos crash over thumping drums, crafting a sound raw and revolutionary. Run and DMC rhyme with fierce swagger, their tag-team flow sharp, spitting playful boasts, each verse riding the guitar’s gritty edge. Released when rap was still defining itself, “Rock Box” paved the way for Run DMC’s later rock-rap triumphs like “King of Rock” and “Walk This Way” with Aerosmith. This track’s fusion sparked a new path, its crossover vibe hinting at the trio’s future global reach. Not their biggest hit, it’s a pivotal cut, blending street rhymes with rock’s snarl, proving Run DMC could break molds early. Every spin still shakes, a dope blueprint for rap’s bold evolution.

14. Hit It Run (1986)

“I’m the devastating mic controller D.M.C / And can’t nobody mess around with me” 

“Hit It Run,” from Run DMC’s 1986 album Raising Hell, crackles with B-boy zest, a vibrant cut from their prime. DMC raps solo, his rhymes sharp with Hollis pride, weaving bold boasts and slick wordplay, each line landing with confident snap. Run’s beatboxing drives the hook, his percussive bursts locking tight with DMC’s flow. Dropped amid the trio’s chart-topping run, “Hit It Run” radiates fun while keeping street edge, a lesser-known banger that hums with life. Not as huge as “It’s Tricky” or “Walk This Way,” it’s pure joy, DMC and Run sparking magic.

13. It's Like That (1983)

“You know it’s like that, and that’s the way it is / Because it’s like that, and that’s the way it is…” 

“It’s Like That,” Run DMC’s 1983 debut paired with “Sucker MCs” on cassette, hit like a spark that lit their path and shifted Hip Hop’s course. Produced by Larry Smith and Russell Simmons, its beat—stark 808s, sharp snares—cuts deep, a raw pulse for Run and DMC’s rhymes. The duo trades verses in their signature back-and-forth, spitting social commentary on struggle and street life, Run’s quick flow locking with DMC’s bold cadence. Each line bites with Hollis truth, no sugarcoating, just reality laid bare. Jam Master Jay’s minimal scratches keep it grounded, pure rhythm and word.

A breakout success, it thrust Run DMC onto the map, its lean sound steering rap toward a grittier edge. Dropped when Hip Hop was still young, “It’s Like That” carries the weight of a genre’s pivot—less disco, more street. Not their flashiest, it’s a classic for its impact, raw delivery, and social sting, a dope first step that still resonates.

12. My Adidas (1986)

“My Adidas, walk through concert doors / And roam all over coliseum floors / I stepped on stage, at Live Aid / All the people gave, and the poor got paid”

“My Adidas,” from Run DMC’s 1986 album Raising Hell, struts as a bold B-boy anthem, doubling as Hip Hop’s first major product nod. Produced by Rick Rubin and Russell Simmons, the track’s beat slams—fat 808 kicks, crisp snares, and a minimalist groove that pulses with street cool. Run and DMC spit verses with swagger, their rhymes praising their signature shell-toe sneakers, not as a sell-out but a salute to the culture that birthed them. Run’s rapid bars weave with DMC’s steady flow, each line a love letter to Adidas’ three stripes.

Whether commercially nudged or pure passion, it’s a classic—beat banging, rhymes tight, pure B-boy soul. Dropped in Run DMC’s golden run, “My Adidas” vibes like a block party, its infectious energy landing a deal with Adidas itself. This dope tribute still kicks, timeless and true to rap’s roots.

11. Darryl And Joe (1985)

“I’m the rapper of the year and this the year of the rap / And I’m never drinking beer, it’s champagne at the tap / And I’m cold making money on a regular basis / Pullin out, knockin sucker MC faces” 

“Darryl and Joe,” from Run DMC’s 1985 album King of Rock, rolls out as a gritty sequel to their debut smash “Sucker MCs,” keeping the raw vibe alive. Produced by Larry Smith and Russell Simmons, the track’s beat is pure—booming drum breaks, stark and unadorned, letting the rhymes breathe. Run and DMC dive in with straight-up fire, their verses packed with sharp boasts and attitude, Run’s quick flow darting around DMC’s commanding bars. No hooks, just relentless rhyming, their tag-team style tight as ever. Jam Master Jay lights up the turntables, his scratches—crisp cuts and vocal stabs—ripping through, adding a jagged edge to the rhythm.

Released in Run DMC’s rising arc, “Darryl and Joe” distills their early magic: two MCs and a DJ, no frills, all skill. It’s a deep cut that bangs hard, capturing the trio’s knack for raw cyphers, a dope nod to rap’s roots that still shakes with unpolished heat.

10. Run's House (1988)

“Name is Run my son, number one for fun / Not a gun, that’s done, and get done by none / The other act, in fact, ya just wack I kill (Why?) / It’s fun, my son, and Run heads the bill!” 

“Run’s House,” from Run DMC’s 1988 album Tougher Than Leather, roars as a defiant claim that the Hollis trio still ruled, even as rap’s landscape shifted. Produced by Davy DMX and Run DMC, the track’s beat bangs—hard-hitting drums, a funky bassline, and vocal chops that echo with street swagger. Run and DMC trade verses with relentless fire, Run’s rapid rhymes weaving sharp boasts, DMC’s voice booming with authority, each line a reminder of their mic dominance. The iconic hook—“Whose house? Run’s house!”—lands like a battle cry, staking their claim loud and clear. Jam Master Jay’s scratches, slicing in with precision, keep the rhythm razor-tight.

Dropped when new acts like Public Enemy and N.W.A were rising, “Run’s House” captures Run DMC refusing to fade, their hunger undimmed. It’s not their subtlest cut, but its raw energy and bold attitude hit hard, proving they could still shake the game. Every spin feels like a Queens block party, the trio’s chemistry electrifying, a dope anthem that keeps their house standing tall.

9. Jam Master Jay (1984)

“J-A-Y are the letters of his name / Cutting and scratching are the aspects of his game / So check out the Master as he cuts these jams / And look at us with the mics in our hands / Then take a count, 1 2 3 / Jam Master Jay, Run-D.M.C” 

“Jam Master Jay,” from Run DMC’s 1984 debut Run-D.M.C., stands tall as a vibrant tribute to their DJ, Jason “Jam Master Jay” Mizell, affirming the group as a trio, not a duo. Produced by Larry Smith and Russell Simmons, the track’s beat hits with raw punch—booming 808s, sharp snares, and funky guitar riffs that vibe with Hollis grit. Run and DMC spit verses with fierce pride, hyping Jay’s turntable mastery, Run’s rapid flow meshing with DMC’s commanding presence, each line a nod to their partner’s essential spark. Jay delivers, his scratches—crisp cuts of funk and vocal stabs—steering the rhythm, the crew’s pulse.

Released as Run DMC broke through, this cut locks in their unity, Run’s rhymes, DMC’s voice, and Jay’s decks in perfect sync. It’s not the album’s biggest banger, but shines for its focus, honoring the DJ’s art when MCs took the spotlight. “Jam Master Jay” pulses with Hip Hop’s early soul, a dope anthem of three forces unstoppable together.

8. King Of Rock (1985)

“I’m the king of rock, there is none higher / Sucker MC’s should call me sire / To burn my kingdom, you must use fire / I won’t stop rockin’ till I retire”

“King of Rock,” the opening salvo from Run DMC’s 1985 album of the same name, thunders with a bold fusion that propelled the trio to Hip Hop superstardom. Produced by Larry Smith and Russell Simmons, the track’s beat merges rap’s grit with rock’s snarl—crunching guitars, booming drums, and a driving bassline that hits hard. Run and DMC spit with commanding swagger, their rhymes claiming the throne with brash boasts, Run’s rapid flow syncing with DMC’s deep bark. Each verse pulses with crossover fire, their tag-team style radiating mass appeal. Jam Master Jay’s sharp scratches slice in, adding street edge to the rock-rap blend.

Released as Run DMC’s star soared, “King of Rock” amplified their reach, its universal vibe rocking crowds from Hollis to stadiums. Famously performed at 1985’s Live Aid, it proved rap’s global pull. Not their subtlest cut, it’s a fan-favorite for its raw power, capturing Run DMC at their peak—kings blending genres with unmatched charisma, forging a path for Hip Hop’s explosive rise.

7. Down With The King (1993)

“Sucka emcees could never swing with D / Because of all the things that I bring with me / Only G-O-D could be a king to me / And if the G-O-D be in me, then the king I be” 

“Down with the King,” from Run DMC’s 1993 album of the same name, marks a gritty resurgence after 1990’s lackluster Back from Hell. Teaming with Pete Rock & CL Smooth, the track—produced by Pete Rock—vibrates with a soulful boom-bap pulse: warm horns, tight drums, and a funky bassline that nods to Hip Hop’s roots. Run and DMC trade verses with renewed hunger, their rhymes blending regal boasts and street wisdom, Run’s sharp cadence weaving through DMC’s resonant growl. Pete Rock and CL Smooth’s guest bars add extra flavor, their flows locking in with the Hollis duo’s vibe. The iconic video, packed with cameos from rap’s elite, amplifies its celebratory feel—spot them if you can!

Dropped in Run DMC’s late-career push, this standout cut recaptures their fire, proving they could still hang with the ‘90s wave. Pete Rock’s lush production elevates their lyrical snap, crafting a banger that feels both nostalgic and fresh. Not their prime, but “Down with the King” reigns as a dope return, pure Hip Hop royalty.

6. Raising Hell (1986)

“Kings from Queens from Queens come Kings / We’re raisin hell like a class when the lunch bell rings…” 

“Raising Hell,” the title track from Run DMC’s 1986 landmark album Raising Hell, surges with a rock-infused edge that outshines even its monster hit “Walk This Way” for sheer grit. Produced by Rick Rubin and Russell Simmons, the beat roars—jagged guitar riffs, pounding drums, and a funky bassline that slams like a Queens street fight. Run and DMC rip through verses with electrifying swagger, their tag-team rhymes weaving sharp boasts and playful jabs, Run’s rapid flow bouncing off DMC’s commanding bark. Each line crackles with their peak confidence, owning the mic like untouchable kings. Jam Master Jay’s scratches add a razor’s edge, slicing into the instrumental’s raw power.

Dropped when Run DMC were redefining rap’s reach, this cut captures their knack for blending Hip Hop’s pulse with rock’s snarl, no compromise. The production goes hard, its heavy riffs and tight rhythm demanding speakers quake, a perfect frame for the duo’s lyrical fire. Not the album’s biggest single, “Raising Hell” is a HHGA favorite for its relentless vibe, Run and DMC at their dopest over an instrumental that bangs eternal. Gotta love it—a track that still raises hell every spin.

5. Together Forever (Live) (1984)

“It’s like that y’all, and we don’t stop the body rock / Now it’s together (forever) forever (together) / Run-D.M.C. and we’re tougher than leather / We’re making and breaking and snatching and taking / The deal’s for real we could never be faking…” 

“Together Forever (Live),” captured in 1984 and featured on Run DMC’s King of Rock era releases, pulses with the unfiltered essence of early Hip Hop. Recorded live, the track’s beat—produced with Larry Smith’s touch—leans on a stark, dope 808 kick and snare combo, its simplicity a raw canvas for Run and DMC’s lyrical relay. The duo trades rhymes with seamless swagger, Run’s rapid-fire bars slicing through DMC’s booming delivery, each verse stacked with Hollis bravado and sharp boasts. No hooks, no fluff—just pure mic work, their voices crackling with the energy of a packed crowd feeding off every word. Jam Master Jay’s light scratches punctuate, keeping the rhythm tight and alive.

This cut, born in Run DMC’s ascent, feels like a cypher frozen in time—two MCs locked in, spitting for the love of the craft. The live vibe, raw and unpolished, amplifies their chemistry, every rhyme a nod to rap’s street roots. It’s not their flashiest track, but its straightforward dope-ness hits hard, embodying Hip Hop’s core: beats, rhymes, and a crew in sync. “Together Forever” bottles the trio’s early magic, a perfect slice of their stage-dominating prime that still bangs with unyielding soul.

4. Hollis Crew (1984)

“Microphone master, super rhyme maker / I get def as the others get faker / It’s me, D.M.C. in the place to be / And I still got the same old harmony / I’m the devastating mic-controller / The word wizard and the chief rock roller…”

“Hollis Crew,” from Run DMC’s 1984 self-titled debut, rolls out as a fierce extension of “Sucker MCs,” channeling the raw spark of their 1983 live cut “Here We Go.” Produced by Larry Smith and Russell Simmons, the track’s beat hits hard—booming 808s, stark snares, and a lean pulse that screams early Hip Hop grit. Run and DMC spit with relentless hunger, their rhymes stacking boasts about their Queens turf and mic supremacy, each verse a verbal jab at wannabes. Their tag-team flow, sharp and unpolished, carries the same live-wire energy as a Hollis block jam, with Jam Master Jay’s minimal scratches slicing in for extra edge.

This cut keeps the vibe of “Sucker MCs” alive, refining the duo’s brash style while nodding to their stage roots in “Here We Go.” It’s pure crew pride—Run’s quick bars dart, DMC’s deep voice anchors, and Jay’s turntables hum, all rooted in Hollis loyalty. Dropped when Run DMC were still rising, “Hollis Crew” captures their early fire, no frills, just rhythm and attitude. Not a headline-grabber, it’s a fan-favorite for its dope simplicity, a snapshot of a trio building rap’s new school with every rhyme.

3. Beats To The Rhyme (1988)

“Beats to the rhyme, the rhyme I just made / Party at the jammie til lights the night fade / Trooping for the feature we all get paid / So let’s go…”

“Beats to the Rhyme,” from Run DMC’s 1988 album Tougher Than Leather, pulses with a lean, commanding energy that captures the trio’s street-bred swagger. Produced by Davy DMX and Run DMC, the track’s beat is a masterclass in minimalism—sharp 808 claps, a funky guitar riff, and a bassline that rumbles low, leaving space for lyrical heat. Run and DMC trade verses with razor precision, their rhymes flexing vivid boasts about mic dominance and Hollis roots. Each line snaps with their signature tag-team flow, Run’s rapid cadence weaving through DMC’s deeper punch, every bar a celebration of rhythm and wordplay. Jam Master Jay’s subtle scratches—slicing Run’s own “Hit It Run”—add texture, tying voice to beat in a tight loop.

Dropped as Run DMC navigated fame’s peak, the song reflects their knack for keeping it raw amid growing polish. It’s not their loudest hit, but its stripped-down groove, built on James Brown’s “Funky Drummer” vibe, hits hard, a nod to rap’s core—beats and rhymes, no fluff. The track’s clarity lets the duo’s chemistry shine, their verses painting a crew unfazed by rivals, spitting with a grin and a fist. Every listen pulls you to a Queens corner, where Run DMC ruled with mics and turntables.

“Beats to the Rhyme” thrives in its focus, a DJ’s gem that vibrates with Golden Age grit. Its influence echoes in rap’s love for tight loops and sharp bars, proving Run DMC could evolve yet stay true. Spin it, and the rhythm still grabs, pure Hip Hop distilled to its essence.

2. Peter Piper (1986)

“His name is Jay / To see him play / Will make you say / God damn that DJ made my day” 

“Peter Piper” grooves as a vibrant salute to Jam Master Jay’s turntable mastery, blending playful lyricism with razor-sharp craft. Produced by Rick Rubin and Russell Simmons, the track’s beat pops with a funky pulse—bright bell chimes, tight drums, and a buoyant bassline lifted from Bob James’ “Take Me to the Mardi Gras.” Run and DMC weave verses like a street storytelling duo, spinning nursery rhymes and fairy tales—Jack and Jill, Little Bo Peep—into clever boasts, their rhymes flipping childhood fables with Hollis wit. Each line honors Jay’s DJ finesse, his scratches slicing through with precision, a rhythmic dance that elevates the track’s joy.

Run’s quick cadence darts around DMC’s steady baritone, their tag-team flow seamless, every bar a nod to their synergy and Jay’s wizardry. The instrumental, lean yet infectious, lets Jay shine—his cuts, from vocal snippets to drum breaks, add flair without overpowering. Dropped in Run DMC’s breakout year, “Peter Piper” radiates the trio’s peak confidence, their ability to make serious skill feel like a block party. No chorus needed—the rhymes and scratches carry it, a perfect balance of lyric and rhythm.

This isn’t a chart-smashing single; it’s a DJ’s delight, a love letter to Hip Hop’s roots where the turntable was king. Its playful edge—nursery rhymes turned rap anthems—shows Run DMC’s range, grounding their street cred in pure fun. Spin it, and Jay’s decks spark, Run and DMC’s bars bounce, crafting a track that’s timeless, every note and rhyme clicking like a well-spun record. “Peter Piper” celebrates the heart of the trio’s magic, a flawless cut that keeps the party live.

1. Sucker MCs (1983)

“Two years ago, a friend of mine / Asked me to say some MC rhymes…” 

“Sucker MCs,” dropped in 1983 as the B-side to “It’s Like That” on cassette, launched Run DMC’s reign and sparked Hip Hop’s new school era. Produced by Larry Smith and Russell Simmons, its beat strips rap to raw bones—thudding 808 kicks, crisp snares, and a bare pulse that shuns the funk and disco of rap’s past. Run and DMC attack with fierce synergy, their rhymes shredding “sucker MCs” with sharp boasts and Hollis grit. Run’s smooth flow weaves with DMC’s deeper growl, each verse a taunt, dismantling posers with youthful bravado. Jam Master Jay’s light scratches punctuate, letting the duo’s bars dominate, pure and unfiltered.

This track carved a new path, its stark sound breaking from old-school flash to redefine rap’s edge. That iconic beat—simple, relentless, unmistakable—became a cornerstone, echoing in the work of LL Cool J, Public Enemy, and countless others. It’s not complex, but its power lies in clarity: rhythm and rhymes, no excess. Released when Run DMC were scrappy unknowns, “Sucker MCs” vibrates with the hunger of a group rewriting rules, their Queens roots pulsing in every line. No chorus clutters it—just a cypher’s worth of bars over a drum machine that hits like thunder.

Its influence stretches wide, shaping Hip Hop’s leaner, harder future, a spark for the genre’s Golden Age. Decades on, that beat still jolts speakers, instantly familiar, a call to nod heads and spit along. “Sucker MCs” doesn’t just endure—it burns, a pivotal classic that captures Run DMC’s first roar. Every listen pulls you back to 1983, when three kids from Hollis flipped a cassette into a movement, their raw energy laying tracks for rap’s bold new road.