We took the time to compile a list of some of Dilla’s memorable work, while some of his closest friends sound off on what makes each track so personally special to them. Let’s take a brief journey into the sounds that shaped an entire generation of music, and influenced a million more aspiring producers. For those that are familiar with the tracks, smile and bob your head nostalgically. To those who are unfamiliar; listen closely to how it should be done. Any Dilla fan knows his beats are best served at full blast, so we hope you got your sub-woofer. Turn it up!

“We're definitely big fans of J. Dilla's work…not only was he a great producer, but a really daring one; always experimenting and trying to keep his beats on the edge. Too few beat makers stick to that rule [of always being innovative]. It means taking risks and always renewing yourself, looking forward not backwards no matter what. It was an honor that he sampled us [for Slum Village’s “Raise It Up”]. There's a lot of his tracks that we like, but 'Vivrant thing' and 'Breath & Stop' share that same kind of organic ,almost animal funkiness that'll bring ladies to the dance floor in a minute.” – Thomas Bangalter, Daft Punk

“My favorite Dilla beat is 'Runnin'' by The Pharcyde. I was blown away the first time I heard that joint. I was personally going through a rough time and somebody, I think my mom, was saying, 'You can’t keep running from your problems.' So that hook just really got to me. Another favorite beat is 'The Light' by Common. Just the way [Dilla and Common] worked together was definitely something special, and you hear it in every track they did.” – Dave New York, manager

“'Workinonit' on J. Dilla’s Donuts is one of the first [of my favorites] that comes to mind. He really did it with that one. A lot of Hip Hop producers are good at making a 'verse beat' and a 'chorus beat' and going back and forth between the two, but this track was arranged to the point where it was actually a song without needing a rapper on top of it to stay interesting. [There was] a lot going on. It was probably the song that made me come to him with the idea of putting out his Donuts beat tape as an album, even though I knew there were tracks on there that he would want to shop to emcees…which I insisted he still do with the tracks if he wanted, and he did eventually do it.” – Peanut Butter Wolf, Stones Throw Records founder and artist

“I honestly can’t say I have one favorite, there are so many…damn… That’s like asking me who’s my favorite kid…quote me on that! [Laughs]” – DJ Rhettmatic, The Visionaries, artist and collaborator

“Phat Kat’s 'Don’t Nobody Care About Us'…it’s like a Detroit anthem for the Hip Hop scene. Whenever that joint play in the club everyone’s hand go up! Plus, I like the beat; it’s a whole different sound I never heard with that sample.” – Black Milk, artist and collaborator

“J. Dilla produced 'Stand to the Side' and 'Where Do We Go' on Quality, 'Little Brother' on The Hurricane Soundtrack and 'Roll off Me' on Right About Now. I was on the Jaylib album and I have released countless freestyles off Dilla beats. Early in my career, his beat tapes would float around. Working directly with him he was mad passionate but when it came time for the mix he was hard to reach, at least for me. It took me years to realize that in his mind, he made the beat the way he wanted it to sound. There was nothing else to be done except for someone to get on it. That confidence in your own ear is something that Hi Tek and I learned from J. Dilla.” – Talib Kweli, artist and collaborator

“Aw man. [I have] too many [favorites] to mention. The first thing that comes to mind is the Spacek 'Eve' remix...or on a more technical note, the way he drop the beat out to match the syncopated words on 'Untitled' [by Slum Village]. You know,the 'T3!...Ba-Tin!' part? …With him, it was about the subtle genius. Of course I have a next-to endless list of beats that blew my mind the first 100 times I heard them...But you probably do too.” – Wale Oyejide, artist and collaborator

“One of my favorite tracks is 'Shake it Down” off of Welcome to Detroit. I just like how clean it sounded. And I liked that track 'Heavy' off the Jaylib [Champion Sound], but musically, he took 'Shake it Down' to a new level. He had that fly element. That song embodied everything that Dilla was to me. Some people try to pigeon hole Dilla as a Hip Hop producer, but as an emcee he was so real. He knew people wanna hear about everyday topics…on some real shit.” – Guilty Simpson, artist and collaborator

“I don't know if I can narrow it down to one song, but the whole 48hours album [is my favorite], not because it's our project [with Dilla] but because of the time it signifies. This is when he officially went from Jay Dee to J. Dilla, not just with us, but on paper and all! We had ?uestlove of The Roots come in and play the drums live. What’s really crazy is [all of the other instruments] Dilla played live! All the instruments, the break downs at the end where he does the same melodies from the song and flips them in different style of music...crazy! And even more important, this was a time when all the things we talked about as childhood friends was coming to light...he had got Slum in pocket and now it was time to take his two closest friends and try to build something that was less about music and more about friendships and all of us gettin' it in at the same time...man I miss that shit…I miss my nigga.” – Frank, Frank N Dank, artist and collaborator