49) Success Is Certain (Royce da 5'9")
48) NoYork! (Blu)
47) Weekend at Burnie's (Curren$y)
46) Riches, Royalty, Respect (Kool G Rap)
45) The Book of David (DJ Quik)
44) The Div (Pac Div)
43) Population Control (Statik Selektah)
42) S.P.T.A. (Said Person of That Ability) (J-Live)
41) A Face in the Crowd (Ed O.G.)
40) Gutter Rainbows (Talib Kweli)
39) Master of Ceremonies (Styles P)
38) Dr. Lecter (Action Bronson)
37) BlackenedWhite (MellowHype)
36) Monumental (Pete Rock & Smif-n-Wessun)
35) When Fish Ride Bicycles (The Cool Kids)
34) Thug Motivation 103: Hustlerz Ambition (Young Jeezy)
33) Setbacks (Schoolboy Q)
32) I'm Gay (I'm Happy) (Lil B)
31) Fear of God II: Let Us Pray (Pusha T)
30) Well Done (Action Bronson & Statik Selektah)
Action Bronson, a chef-turned-emcee, has been one of the more noteworthy newcomers of 2011. A traditionalist's choice, Bronson doesn't bring anything new to the scene (barring a restaurant-load of culinary references); armed with a red beard, a high-pitched voice eerily reminiscent of Ghostface Killah's and a rather familiar mix of braggadocio along with some conscious and introspective sentences here and there, he strives to keep alive the East Coast hip-hop of old. For a journey like that, Statik Selektah is a very suitable partner as his beats also point back towards the 90's, with vocal/instrumental loops backed by familiar-sounding drums.
Selektah has a particular knack for horn samples, check Cocoa Butter, Keep Off the Grass and Miss Fordham Road for reference. A simple, yet enjoyable listen.
29) Goblin (Tyler, the Creator)
2011 was a success story for Odd Future, who's rise from obscurity to infamy was almost as swift as that of Anders Behring Breivik. How they will fare in the longer term remains to be seen, but for now their music comes across as a welcome breath of fresh air, if not a blizzard of sorts.
Goblin is the second instalment in Tyler's trilogy of sessions with his fictional therapist called Dr. TC. The album is a fine summary of both Tyler's and the Wolf Gang's strengths and weaknesses as a whole - at its best it's exhilarating, unique and fresh, in some other cases..quite bland, dull and tiresome. Combining vivid, vulgar lyrics and bleak instrumentals, they're hardly everyone's cup of tea, but they're definitely worthy of a listen, though.
28) Shaolin vs. Wu-Tang (Raekwon)
Shaolin vs. Wu-Tang is Raekwon's fifth studio album. A 2011 album it may be, but pretty much every second of this sounds familiar, a good thing for people of the conservative kind. It's fairly consistent, thematic content being familiar (as previously mentioned), has both standout cuts (Butter Knives, which sounds like a sequel to Knowledge God and Snake Pond is also terrific, both are vintage Wu-Tang) and considerably flawed ones (Rock 'n Roll, say hello!) There's nothing wrong with Rae employing a varied cast of mostly lesser-known producers (The Alchemist is the only really widely-known producer here), but not involving RZA in the albums is a strange move since the album very obviously strives to sound like its predecessors.
'tis a minor issue, though. Coming two years after the great Only Built 4 Cuban Linx II, the album is no masterpiece, but prolongs the Chef's good run.
27) Golden Era (Del tha Funkee Homosapien)
Golden Era is appropriately named - the contents indeed reflect that golden-era Oakland sound (think Hiero, Souls of Mischief, The Pharcyde). It's a simple enough album, the beats play second fiddle to Del's rhymes, they're not bad but it would seem they exist solely for the purpose of existing - so as to avoid this being an a cappella album. The album is a rollercoaster ride lyrically though, Del comes correct on that front. It's a good album but serves as a tease of sorts - whilst it's enjoyable for the moment, it does make one wish for more - namely a sequel to Deltron 3030.
26) Cats & Dogs (Evidence)
Cats & Dogs is Evidence's sophomore solo album. I had not heard any of his work beforehand, but I did learn of his reputation as an intelligent and thoughtful emcee, something which was confirmed by listening to the album. It's a consistent album flowing at medium pace, the instrumentals are consistently enjoyable, be it the majestic The Red Carpet, the Premier-produced You or something else. Evidence's lyrics are predominantly introspective; indeed, most of his verses seem to be inspired by his own experiences (as said by himself in It Wasn't Me.)
Then there's missing 13th track and the concept behind it, quite an interesting move. All this makes for a solid album, hear this out.
25) The Wonder Years (9th Wonder)
9th Wonder's been around for a while now. Be it Little Brother or be it any emcee whose album has been graced by one or more of his smooth, soulful productions, 9th has carved himself a solid reputation of a reliable, talented veteran soundsmith. With The Wonder Years, he finally has a full-fledged album of his own as well, and it's a treat: A consistent, smoothly flowing batch of delicious backings dripping with good vibes, a trademark of 9th's, with vocal and lyrical assistance from a rather colourful set of guest artists including Erykah Badu, Kendrick Lamar and Raekwon among others. This rather wonderful album comes across as something of a sibling of Phonte's Charity Starts at Home. A good year for the Little Brother camp.
24) The Promise (Freestyle Fellowship)
With ten years passed from their most recent album and twice as much from their debut, Freestyle Fellowship return with a Promise. As brought out by the introduction, the promise in question regards them having sworn "never to fall the fuck off". I daresay they stay true to their word here - whilst there's not much (not sure if any) new in terms of subject matter, the Fellowship returns with the familiar display of lyrical gymnastics. The instrumentals are also enjoyable, a likable mix of both more contemporary-sounding backings (Such as the fantastic opener, We Are) and classic FF-style grooves that stay true to their jazz roots (Know the Truth). All in all a vibrant, enjoyable new release from the West Coast veterans.
23) Camp (Childish Gambino)
Childish Gambino is the rapping moniker of Danny Glover, an U.S. TV personality/comedian. A sharp tongue he has indeed, but tackling issues ranging from neglect to poverty to relationships among other things, this album is quite far from a joke of any sort. Sonically speaking, 'tis an eclectic album, doesn't really resemble anything else I heard in 2011. As for Glover's rapping, technically he's no great emcee, but what he lacks in technique he more than makes up for with a vast array of clever metaphors and punchlines. On paper, this album wouldn't look like possibly being much good, but Glover makes it work - as previously mentioned, he's not an overtly great (as in technically adept) rapper, but he's passionate, he's charismatic and he's candid; that's what makes this album work.
22) Cole World: The Sideline Story (J. Cole)
Roc Nation's apex consists of three J's - Jay-Z, the owner, needs no introduction. There's Jay Electronica, the self-designed elusive vagabond whose debut album has already slipped into Detox-territory. Then there's J. Cole. Cole World is an album somewhat characteristic of a young artist - Cole sounds hungry throughout, voicing his aspirations and frustrations and recalling all sorts of hopes, trials and tribulations (for example, Sideline Story and Breakdown) it comes across as quite a sincere-sounding, emotional album. Cole showcases his versatility - as a producer he's responsible for the vast majority of the album, which sounds quite vibrant and delightful, but he's also more than able to tell a tale, with a noteworthy knack for witty metaphors and punchlines. This is a very solid debut, Cole working his way into the starting line-up, then.
21) PL3DGE (Killer Mike)
PL3DGE is the Southern veteran's fifth album and it's quite a serious affair. It's a mix of social commentary/critiqué and some more leisurely themes with the former making this album worth one's while (such as the Funkadelic-sampling Burn and That's Life II) with Mike spitting venomous, vitriolic and clever lines with a focused flow. The beats are likable enough, on the first half of the album there are some sweet horn samples and hard-hitting drum loops are found throughout. All in all, this is a solid and consistent enough release from a talented, experienced and emotionally charged artist.
20) All 6's and 7's (Tech N9ne)
All 6's and 7's is another well-picked title - over the course of 24 tracks Tech lays down a tale of the strange world beneath his dome, encompassing themes of insanity, leadership and success among others. It's not hugely cohesive - much a rather a grand mess - hence the title. The album can come across as bland and mediocre at first, but repeated listens prove this completely wrong (the same goes for the instrumentals, which I eventually found quite fitting, beforehand I had found them quite appalling). There's a horde of notable features here, but rather than working as a gimmick they complement the album without taking the shine off Tech. Tecca Nina himself is in great form throughout, being a well and truly incredible emcee both regarding his flow and lyrical prowess. Might say this again. Incredible. There it is. Very worthwhile.
19) Relax (Das Racist)
Das Racist, an alternative rap group leaning towards dadaism (among other things), has been one of the most interesting new acts in recent times. Occasionally brushed off as 'joke rap', comedy does play a role in their music, but deep down it's a very clever album. Beneath the surface are quite a few serious themes, the more obvious parodies supported by occasional great lyricism spiced up by odd non-sequiturs, satire, obscure cultural references, wordplay and punchlines. Bringing a very welcome collection of new, fresh music, Das Racist combine entertainment and substance, making the ridiculous worthwhile without sacrificing intelligence.
18) Rhythmatic Eternal King Supreme (Reks)
The third album by criminally underrated East Coast emcee Reks, Rhythmic Eternal King Supreme is another album pointing the way to the East Coast of the 90s. The lyrics cover a lot of personal issues alongside Reks' contempt for many contemporary emcees. Reks' abilities are on point, his both his flow and lyrical abilities are admirable. The production (DJ Premier, Pete Rock and Hi-Tek are present among others) gives the album a pretty cohesive sound, which is not to say that it lacks standouts - Kill 'Em is definitely a highlight cut for its unique concept. All in all, a very consistent album, definitely one to hear for fans of vintage East Coast hip-hop.
17) XXX (Danny Brown)
"You gon' get exposed like an up and coming model", exclaims Danny Brown on Monopoly. That's one example of his wordplay, one of the things along with his flair, peculiar voice and something I'd call "crackhead swag" that make him a very entertaining rapper, possibly even a heir to Ol' Dirty Bastard, albeit with better technical skills. There's nothing aesthetically pleasing about this album - it's filled with gore, grotesque and whatnot from beginning to end here, the beats also sound more like some strange dystopian crack den for the lack of a better word. The previous sentence can be understood in more than one way, though - nothing was said of the quality - if you can stomach music like this, it's the ride of your life, vibrant and buzzing all the way through. This is something like what I'd imagine a trip through medieval Singapore like - flamboyant, occasionally repulsive and, regardless of the impression it leaves, ultimately memorable.
16) L.A.B.O.R. (One Be Lo)
L.A.B.O.R. is a continuation of One Be Lo's penchant for acronyms, standing for Language Arts Based on Reality. It's an eloquent and well-picked title, as Lo's flows touch all sorts of subjects under the sun, with a lot of social commentary/critique (the music industry earns many mentions, for an example). The themes are very familiar and ever-present ones for hip-hop, but Lo's skills keep this from descending into your average bunch of generic tirades. He really is an exceptional emcee, armed with an arsenal full of punchlines, allegorical tales and a unique knack for double entendres. The instrumentals make for solid and enjoyable backings, nothing unnecessarily flashy here. All in all, this is a complex, cryptic album, one that might take light years to fully discover. If lyricism is your thing, the contents of this labor should certainly be to your liking.
15) The R.E.D. Album (The Game)
Littered with guest appearances, sporting the familiar LA themes, personal tales and tracks that simply make for good hip-hop, The Game's fourth album, The R.E.D. Album is business as usual, pretty much. Whilst he (arguably) hasn't succeeded in reaching the heights of The Documentary (in three attempts), it's still a solid release. Game can be outshined by guest artists on more than one occasion, but he's passionate and emotionally charged, which (along with some real tight production) maintains the momentum. Some of the cheesy and pointless R&B crooning during the latter half of the album makes for a slight slump in quality and also results in the album being too long and look more like a collection of songs than a cohesive album, but that is a minor dent - it's an enjoyable release and certainly one of the more noteworthy L.A.-bred albums of the year.
14) Random Axe (Random Axe)
Random Axe is a the eponymous debut album by the supergroup consisting of Sean Price, Guilty Simpson and Black Milk. It finds all three members in fine form with the emcees showing off fine chemistry. Black Milk is also at the top of his game, supplying hard-hitting, vivacious drums and weaving them together with sparse samples of different origin to make up enigmatic, occasionally eerie, occasionally exuberant soundscapes. The subject matter mostly regards the members' disdain for shit contemporary rappers, a topic familiar enough, however their confidence on the mic and penchant for humorous-in-a-sinister-way punchlines keep up the momentum. Relaxed yet militant and deftly-produced, Random Axe is quite the treat, coming across as something of a banquet held for celebrating boom bap.
13) The Greatest Story Never Told (Saigon)
The Greatest Story Never Told. Ambitious title. The good thing is it actually lives up to it (only to an extent, though, of course, as such a gargantuan phrase is near impossible to live up to completely) as Saigon's life thus far (with the saga regarding this album playing one of the lead roles) has been quite the tale - Story had been in production since about 2005 and was due to be released in 2007 only to be halted by label troubles. It does sound (slightly) dated, but it's a minor blemish really. Just Blaze, responsible for most of the production, is in fine form, bringing his trademark work to the table (triumphant brass and delicate piano loops both present, among other things). As for this great Tale itself, Saigon rolls open a largely personal narrative of his rags-to-the-cell-to-riches story mixed with social commentary of different sorts. He might be a serious emcee, but thankfully that doesn't mean his tale declines into a monotonous, scathing sermon, instead he sounds vigorous and sharp throughout. Not all of it is gloom and doom either, with the soulful, upbeat Clap being a highlight. All this makes for a very consistent, well-crafted album, with the bonus track's title very suitably summarising its sole flaw (Too Long). Well done to Saigon for finally breaking out of Detox-territory (unlike, say, Jay Electronica).
12) Hot Sauce Committee Part Two (Beastie Boys)
Beastie Boys seem to exist in a time zone of their own. They're hardly sounding contemporary, but they're not sounding like a group whose debut album came 25 years ago either.
Their sound is still very much 1980s, both in terms of style or lyrical content, yet quite invigorating. It'd be harsh to say that they're resting on their laurels, but they certainly bask in their veteran status, resulting in a laid-back album driven by warm, fuzzy grooves. Crossing quite a few genres, Hot Sauce Committee Part Two is a relaxed, groove-laden, jovial trip to Memory Lane.
11) MacheteVision (MarQ Spekt & Kno)
"From the rubble of a post-apocalyptic Hip-Hop landscape littered with bloodied man-purses and tattered skinny jeans, two men emerge as the law in a lawless land. Armed only with battle-worn machetes and gritty instrumentals, MarQ Spekt & Kno of CunninLynguists will descend upon The Temple of Auto-Tune on October 25th to lead one final push in eliminating the remaining scourge and returning high-minded filth to its rightful place in the Pantheon of Rap."
This is how MacheteVision was announced. It's a fitting text - from the ruthless title track Spekt comes across as a man with a mission, technically adept and mentally focused. His militant rhymes are given shelter by Kno's production, who has a penchant for the sublime, crafting instrumentals that are both rough and militant, yet ethereal and lush, finding a perfect balance between grit and beauty. The features are solid enough as well. Made to put lacklustre hip-hop to the sword, MacheteVision is indeed a sharp, well-crafted effort. And it's not even Kno's major contribution of the year...
10) End It All (Beans)
End It All is Beans' fifth solo album. I knew nothing of him before randomly stumbling upon a mention of the album and a glance at his bio sparked some interest. And what a find it's been! Beans dropped producing on this in order to fully concentrate on the lyrics. Both that extra work and his slam poetry background shows, as the entire album is a relentless barrage of tongue twisters. The producing team also do a fascinating job, this really is a peerless album, filled with quirky rhythms, delicious basslines, electronic tidbits and oddball sound effects. Whilst I'm certain there's a lot of meaning and substance behind the lyrics, I for one haven't even gotten round to deciphering them - listening to this album simply for the sake of doing so is fascinating enough! Thoroughly left-field, an under-the-radar avant-rap gem, to be blunt, this album is just fucking wonderful. Not even its brevity manages to be its bane. After hearing this, acquainting oneself with Antipop Consortium's body of work looks like an obligation.
9) Charity Starts at Home (Phonte)
Another landmark in Phonte's career (as his debut solo release), Charity contains some of the most soulful hip-hop of the year. 9th Wonder's good vibes are recognisable throughout most of it (the man produces four tracks). Phonte is a warm, confident and lyrically proficient wordsmith, and in fine form over the course of the album as well (the following line, quoted from Everything is Falling Down, is quite a good way to put it - "being dope is always in fashion". The features are also few yet strong, with the likes of Elzhi, Big K.R.I.T. and Pharoahe Monch bringing their A-game to the table. "I've taken the sour grapes of Wrath and made Cheerwine" is a quote characteristic of the album - Charity Starts at Home is conscious hip-hop that ultimates a mix of social commentary/critiquly retains a positive edge.
8) The Dreamer/The Believer (Common)
After flopping with 2008's Universal Mind Control, Common returns to form with The Dreamer/The Believer. Collaborating with No I.D. seems to have played a big role in the man's renaissance, as they seem to complement each other to make up a fine final product.
Indeed, the album owes as much to No I.D. (who utilises quite a few familiar samples and makes them sound fresh, mixing sounds up to create a persistent wave of vivacious, vibrant sounds) as it does to Common, which is not to disrespect his input, of course. Common admittedly focused more on good vibes than lyrical complexity, which does result in a few fairly bland moments, but on the whole his charisma and character makes most of it click. The three major features (Nas, John Legend and Maya Angelou) all add some much-needed variety. Spearheaded by such great tracks as the golden boom-bap of Ghetto Dreams, The Dreamer/The Believer is a warm, heartfelt album, certainly welcome in these days and times.
7) Watch the Throne (Jay-Z & Kanye West)
It's always a joy to watch artists revel in their success - not only bask in the glory, but take that emotional high and keep making great music. Jay-Z is more of the conservative kind, but he's a progressive enough artist, whilst Kanye has been one of the most innovative forces in hip-hop for a while now, driven by his ambition (and, of course, talent). You could claim Kanye's influence is more obvious here - from the artwork to the occasionally orchestral, occasionally dabbling in prog-rock and dubstep and at all times bombastic sound, the album flaunts its pomposity and often flirts with kitsch quite unabashedly (which all fits with 'Ye's persona, always striving to push the limits). It's not hugely consistent, though, as some tracks don't quite have that 'zap!' effect, but the majority of this album is among the most vital (rap) music of the year. Sampling dead artists and them labelling them featured acts (Otis Redding, Curtis Mayfield) is a slightly odd nuance, it must be said. A still breathing feature act, Frank Ocean, makes two noteworthy appearances though (particularly on the mesmerising No Church in the Wild). There's social commentary, probably a bit of cryptic messages and inside-jokes here and there, but that's outweighed by the braggadocio which references expensive brands by the ton. When watching the video to Otis, one can't really even complain about that braggadocio - they're just having (very expensive) fun. Mystical, littered with gold and a variety of trinkets, Watch the Throne is like a venture into a modern Rococo palace, a near-Caligulan experience, littered with trinkets, vices, glamour and swag.
6) Section.80 (Kendrick Lamar)
The idea to make Section.80, the Tale of Generation Y, apparently came to Kendrick Lamar in a dream via the words of 2Pac. It's a thoughtful, sincere album with a strong concept but Lamar's wicked lyricism steals the show. Kendrick relies on an inner circle of producers for most of the time (the sole exception is HiiiPower, produced by J. Cole), a shrewd move as the chemistry between his raps and their beats is immaculate. The album mostly consists of subtle and dreamy, somewhat nocturnal soundscapes (such as the generational anthem A.D.H.D), albeit the more organic-sounding Rigamortis, a microphone obituary of sorts, is a notable exception. Kendrick Lamar has been hailed as a Messiah for the West Coast, whether he'll fulfil his potential is to be seen but the makings are certainly there, well worth keeping an eye on this lad.
It's amazing to think that Section.80 probably is just the start of the journey.
5) W.A.R. (We Are Renegades) (Pharoahe Monch)
Ever since stepping to the stage as one half of Organized Konfusion in 1991, Pharaohe Monch has been one of the most potent lyricists out there. W.A.R., his third solo release (coming 12 years after his first, 1999's Internal Affairs), continues his high standard of quality control. It's a (rather vague) concept album, taking place in a something of a dystopian wasteland in 2023, with Pharaohe the savior of mankind. At least that's how I understood it. Subject matter varies from the Arab Spring to ghetto issues to warmer moments. Occasionally militant, occasionally poignant, occasionally both; the backings vary accordingly. Monch himself has lost none of his skills over the years, supplying cutthroat rhymes track to track. Another high quality offering from a master of the microphone.
4) Return of 4Eva (Big K.R.I.T.)
Big K.R.I.T. is proving to be the foremost contemporary connoisseur of vintage southern rap.
With a mellow voice, candid-and-sharp lyricism and a great ear for beats, K.R.I.T. is one of the most talented producer-emcees out there. What's amazing about Return of 4Eva is that pretty much all of the 21 tracks stand out as equals and the album doesn't feel one bit too long. Some pieces still deserve to special mention, though, with Dreamin' and The Vent being particularly splendid thoughtful tracks and the remix to Country Sh*t has two fine features and a bassline fatter than a KFC Family Bucket of fried chicken drenched in a pond of oil (contrary to that last description though, the song is far from nauseating!). What's even greater is that this is a free album, one could call K.R.I.T. an ear philanthrophist for this! I find it very fitting that one song here is called Time Machine - this album, whilst sounding very fresh, is a voyage back to albums like Soul Food, Ridin' Dirty and Southernplayalisticadillakmuzik. It's a great release, and with 4Eva & A Day and Live from the Underground on the way, 2012 looks set to be an even bigger year for K.R.I.T...stay tuned.
3) Oneirology (CunninLynguists)
Oneirology is the scientific study of dreams. Thinking of this, already the cover art is terrific.
Then there's Kno, whose eclectic, layered, cinematic music does evoke visions of a dark blue, occasionally violet-toned, star spangled skyline and provides a perfect companion to the emcees' verbose verses. From a thematic standpoint much of this is also incredible, with the song cycle standing for a sequence of dreams (check Hard as They Come for a great example, where the three verses are spit by three different vices respectively). A very complex, and very rewarding album, Oneirology is a masterpiece, aesthetically a truly stimulating experience.
2) Black Up (Shabazz Palaces)
I never knew what became of Digable Planets. That is until I discovered, that one of them, formerly known as Butterfly (Ishmael Butler) had formed a group called Shabazz Palaces which released its debut album, Black Up, in June 2011. The other member is a multi-instrumentalist hailing from Zimbabwe, Tendai Marare. Together they made one of the most interesting hip-hop related projects I've seen in a long time. Most of Black Out is a hazy, subtle mix of electronica, boom-bap, psychedelia, ethnic music and jazz, which suits Butler's mystical, layered lyrics perfectly. His lyrics leave much open to interpretation and there's much to discover in the verses, there are afrocentric references, there's a psychological touch to this, exploring different emotions and depths of the mind. Butler also lashes out at sell-outs, racism, Orwellian record labels, visionless emcees and shallowness in general. He comes across as a griot or shaman of sorts, uttering cryptic and hypnotical incantations. Daring and innovative without sacrificing aesthetic integrity, Shabazz Palaces really are something special.
NUMBER ONE BECKONS!!
oh wait...
1) Undun (The Roots)
The Roots are one of hip-hop's prime examples of longevity. From their 1993 debut and onwards they've always continued to expand artistically, weaving together a string of wonderful albums in the process. Undun, the first time they try their hand at a concept album, is another landmark. It tells the story of a Redford Stephens, a symbolic character with whom different people across the globe can relate to - he strives forward in a manner as good as he can with the options on hand, and ultimately fails. The album rolls out his demise in reverse, starting out with the flatline in Dun. ?uestlove and Black Thought are visionaries who make this album into something really special, the latter probably responsible for the musical vibe of the album, which is immense - bleakness and hopelessness hasn't sounded this lush in a long time. Black Thought's lyrics are also tremendous most of the time, with the few guests also adding to the album (Big K.R.I.T. drops another stellar verse here). Instead of simply telling the tale, Undun treads a way less obvious path, instead showcasing different emotions and nuances of the mind over the course of that journey - it finds Redford experiencing hope, intention, nostalgia, hopelessness, stubbornness, confusion and ultimately acceptance of one's fate and subsequently wondering how will people remember him. It's premature to call an album a classic, but Undun has seasoned veterans plying their craft with intent and the result is a sublime album, a masterpiece.
Three honourable mentions (albums that are only partly related to hip-hop, but still deserve a mention courtesy of their quality:
* Nostalgia, Ultra (Frank Ocean)
* Volcanic Sunlight (Saul Williams)
* The Less You Know, the Better (DJ Shadow)
Cheers!
