For starters this is not meant to be a piece for dickriding purposes (no homo), it’s simply an examination of facts that lead to an opinion of an artist’s worth and impact on an ever-changing game. Secondly, this is not meant to be a simply biography and therefore there is an assumption that readers are familiar with this artist’s career and don’t need a recap. With that said I submit to you, the hip hop community, that the artist of the decade, the artist who best represented hip hop, as well as took it to new levels, is Kanye West.
To anyone who’s been around the game recently, it’s clear that Kanye West has made a huge impact. From his soulful production, to his big ego, to his unique style, the Chi-town native has established himself as a staple in hip hop. What was once a young producer desperate to even get a guest verse has turned into a powerhouse in the rap world, doing everything from producing entire albums for big name artists, taking down the legends with guest verses, and creating albums that push the envelope further than we’ve ever seen. The most important quality in any rap artist is originality, and no one can deny that Kanye is as original as they come. His influence is seen in many of the young artists now coming up from his clothing (which is, albeit, questionable), his performance style (which is nothing short of rockstar-esque), his production (he brought back, yes, brought BACK, the method of sped up soul samples), and his lyricism (which is probably his most impressive improvement over time). While other artists have dropped classics and sold more records, no one in the last ten years has had the amount of quality material that Kanye has and no one else has been as consistent as Kanye. In fact, consistency might not even be the right word as Kanye has developed so much in this decade that his inconsistency is probably more impressive considering that when most artists change their style, they fail, but with Kanye change has only brought more greatness and it’s kind of fitting that his first real breakout came in the form of a single called “The Truth”.
The year was 2000 and Roc-A-Fella Records was reaching its peak. Jay-Z was riding out the success of “Vol. 3” and readying “The Dynasty” when the Roc’s beast Beanie Sigel released his first album, “The Truth”. Setting off the album was a title track that saw the Broad Street Bully putting to rest any questions of his ability to career himself in the game. The beat was raw, grimy, and sounded like it was straight out of the streets of Philly. The man behind the boards was Kanye West, a young producer who had done little more than a few Harlem World tracks, but the presence was immediately noticed. So fitting was the beat that it helped the album get past that “your label mates ain’t shit without you status” that Memphis Bleek had suffered through. What was most impressive about Kanye’s introduction to us was his uncanny ability to match beats with the artist. No one else has been able to construct a song in such a way that it perfectly fits the artist. Whether it was the Beans track, “Overnight Celebrity” for Twista, “Guess Who’s Back” for Scarface, “Selfish” for Slum Village or “Encore” for Jay-Z, Kanye always knows exactly how to create the perfect marriage between MC and beat. With “The Truth” he provided the backdrop of a hustler on the streets. On “Overnight Celebrity” he used the violins to complement Twista’s rapid-fire flow. “Guess Who’s Back” had that perfect southern drawl even with its soulful base. The pianos on “Selfish” were Slum Village to a T, and “Encore” is the stadium sized anthem track that Jay-Z needed to go out on. Ye’s production value is unmatched in a game where far too often an artist overpowers a beat or vica-versa. Case in point is DJ Premier. Premier can make a beat that damn near anyone can sound good on, regardless of that artist’s true lyrical talent (see Group Home and Afu-Ra), but production alone can’t carry a track. On the flipside you have the always-criticized Joe Budden, whose lyrics are arguably the best in the game, but whose production has been part of the reason why he’s never been able to achieve success (that and the bullshit label politics, and the low I.Q. levels of the zombies who buy music). Kanye will take an artist and create a beat that allows them to do their thing without sacrificing anything in the process. And when the lyrical abilities of the artist are in question, he’ll simply craft a masterpiece and drop a dope guest verse on it (see Dilated People’s “This Way”). However it isn’t just production that has made Kanye the artist of the decade, as beats alone cannot make a star. Over the years the once playful child-like rhymes of Kanye have become full blown 16 bar darts that make us all press rewind time and time again.
Back when “The College Dropout” dropped, it was nothing short of a masterpiece and a game changing album. From the skits to the samples to the flow and lyrical content of this Chicago MC we saw a shift in the way hip hop was made, from the simple “beats to the rhymes” style of the golden age to a true song composition that Kanye brought us. Even though we already had cinematic albums such as Raekwon’s epic “Only Built 4 Cuban Linx”, the lyrical skills of the Wu-Tang were NEVER a question, even from the beginning. But with Kanye, even those who loved his debut still criticized his somewhat immature lyrics, even though he had some very conscious political and social messages on the album. He certainly wasn’t at Eminem-level immaturity, but he didn’t seem to take himself that seriously and his somewhat corny flow and Ludacris-style accentuating of lines was something that everyone thought could use improvement. He clearly heard his critics and silenced them with “Late Registration”, where he upped his lyrical game about 1000 times past the level he was at with “The College Dropout”. But always being one step ahead of the game, he not only went above and beyond lyrically, he blew open the doors musically by adding full-on orchestras and creating not just songs, but symphonies with tracks like “We Major” and “Gone”. The latter of these tracks has not only clearly defined movements, but a final verse that proved that the youthful Kanye could tear apart a microphone when given the chance. He had come a long way since “The New Workout Plan”. Around this time, Kanye went from being the producer everyone wanted making their beat to the rapper everyone wanted to drop a guest verse. This has certainly elevated in recent years with him gunning for Jay-Z’s spot as the rapper you know will drop the hottest guest verse on every track he touches. His track record in the past two years has been untouchable with his contributions to “Go Hard”, “Put On”, “Swagger Like Us”, “Make Her Say”, “Run This Town”, “Kinda Like a Big Deal”, “Knock You Down”, “Maybach Music 2”, and he was the clear winner on “Forever”. While four years ago it was a known fact that if you saw Jay-Z as a featured guest you knew you would be hearing one of the sickest verses of the year, and while two years ago that title belonged to Nas, it’s no question that the last two years have found Kanye at the top of the guest feature list. To overcome such disbelief from people with regard to his lyrical ability, this producer disproved everyone from Damon Dash and Jay-Z to his biggest critics who thought he was nothing more than a dope producer. But lyrics and production alone can’t elevate someone to superstardom status, what an artist also needs is recognition and poise. And clearly from his complaints about Grammy nominations to his assessment of George Bush, no one on the corner has swagger like Ye.
The first lesson rappers learn apparently is that they are the best rapper ever in the universe. It’s kinda hard to believe that when every single rapper is saying it, yet Kanye not only believes it, he proves it, time and time again. Raised in a wealthy home he has never exactly been humble, but well it’s one thing to let your music speak for itself as he did for so many years behind the boards, it’s another thing to be in the spotlight and have the ability to not just boast lyrically on record but also in public. Kanye West embodies the idea that “I’m your favorite rapper’s favorite rapper” and he does it with such confidence and with such a resume to back it up that it’s damn near impossible to deny. The difference between Kanye and every rapper who claims to be the greatest is that Kanye isn’t just the greatest rapper, he’s the greatest producer as well, something that no other artist in the history of rap has been able to claim. You have great producers, like DJ Premier and Marley Marl, but when have they rhymed? You have producers like Dr. Dre and Pete Rock, who rhyme but aren’t known for their lyrical skills (in the case of Dr. Dre he doesn’t even write his rhymes most of the time). Then you have full on producers/rappers like J Dilla and Madlib, who although they certainly can rock a mic, are best known for their beats with their rhyming playing second to their work on the keys. Madlib and Dilla are the types who rap so as to not merely be creating albums full of instrumentals (which Madlib has done anyway). You have rappers whose lyrical abilities are easily beyond the scope of 98% of the rappers out there, and although everyone has their opinion about who the best rappers are, people like Jay-Z and Nas got lyrics for days and are certainly at the top of the game when it comes to metaphors, narratives, flow, and knowledge. But they don’t have any beats under their belt. Premier doesn’t have any quotable verses. Kanye has both. Kanye has beats which are unquestionably some of the greatest of all time and verses which are unquestionably quotable for years to come. With that comes the back up of the claim that he is as big as he thinks he is, because he has done it all, and he’s done it better than anyone else in the game right now.
Kanye has changed the game, in some ways by bringing back traits of the golden age, and in other ways by pushing the game in new directions. For starters he brought back the idea of one producer working with an artist on an entire album, something that had just about died out when he resurrected the concept on Common’s “Be”. Whether it was groups like Gang Starr, a record like “Doggystyle”, or the era of Wu dominance when RZA composed their classics, hip hop had begun to fade away from the one producer album. In an age when less is more turned into more is more, you saw commercial releases targeting every big name producer they could find to fill the teaser sticker for an album cover. With the exception of Clipse having the Neptunes run their show, no one in hip hop was letting the musical magic be handled by a single person. In 2005 Common released an album that both created a comeback for the rapper who had been exiled to left field after “Electric Circus” as well as re-introduced the brilliant concept of having one beatmaker oversee an entire record. What’s come from that has been artists like Sene and Fashawn bringing in Blu and Exile respectively to create their projects, as well as Blaq Poet electing to have DJ Premier run his show. There are still artists who elect to have a project run over by 17 different producers but the stigma of relying solely on one beatsmith to construct a record has been overturned by the brilliance that Common and Kanye brought. At the same time Kanye has pushed the rap game way past its roots, making golden age purists bullshit in the process, but opening doors to those who may have thought they didn’t have what it took to be a “real” rapper. Certainly without Kanye’s movement into the electronic world with “808’s and Heartbreak” we wouldn’t be hearing from Wale or KiD CuDi as both of their styles have a distinct electro feel. When Kanye announced that his fourth album would be mostly, if not entirely, auto-tune the rap community was a bit perplexed and when he performed “Love Lockdown” we all took a huge gasp. What the fuck was this singing bullshit and where were the soulful bangers and hyped up verses? The album that followed was either going to be a huge success or an epic failure, as most artists who switch their style up look silly by encompassing something that are not (see Lords of the Underground, yes, they released an album a couple years back). Hip hop is one of the toughest places to reinvent yourself and other than a couple artists who have shredded their old image and fooled the world with a new one (Lil’ Wayne), most are just left behind to question why they thought they could change their style and expect to still make hits. Kanye on the other hand managed to completely exit rap and create what is best described as a pop album which not only was incredible on its own, but allowed for future artists to explore other forms of music to incorporate into their style of hip hop and the result has been brilliant albums from artists such as the aforementioned Kid CuDi and Wale, both of whom have tracks that are far from hip hop but still work in a way that screams hip hop culture.
Part of swagger is not only the perception people have of you through your actions but also the image that you portray. Hip hop has gone through fashion changes from the disco era flashiness, to the Fila jumpsuits, to the gold chains and Africa medallions to the hoodies and tims to the flashy Puff Daddy suits to the all-black-everything. Some artists set the trends while others follow the trends. Whether or not the trends are good ones, they are nonetheless a giant part of hip hop culture. The Puff Daddy era of flashy everything was certainly one of the lower points in this culture but it was also a time that was filled with a lot of great party music and takes us all back to a prosperous time. What Kanye West did, whether for better or worse, was introduce the skinny jeans, tight clothes look that has been prevalent in hip hop for the past few years. Now granted some people have taken it a little too far, including Kanye himself who allowed pictures to be taken of him with highly questionable individuals, as well as Lil’ Wayne who thought the skinny jeans trend meant he could actually open up about being a homo as if that is somehow acceptable in hip hop (Biggie, Kane, Brand Nubian, as well as a shitload of others would HIGHLY disagree with that), but you can’t deny the impact that the skinny jeans have had on a culture that is all too familiar with being continuously told to pull its damn pants up. Kanye went so far as to ink a deal with fashion mogul Louis Vitton for a line of sneakers as well as with Nike for a line of questionable sneakers, thus cementing his position as “Louis Vitton Don”. Again, his fashion choices may not be the best and they might not be appropriate for hip hop, but they have been undeniably influential in a culture that is so conscious of fashion.
As important as artists such as Jay-Z, Talib Kweli, Nas, and even 50 Cent have been to this decade, there is no question that Kanye West has done more for hip hop than all of them combined. With his production dominating the world of beats, to the emergence of his lyrical dominance, we have seen an in-house label producer turn into a rap superstar. From his first hit “Izzo” to his most recent appearance on a track where he arguably bodied his “big brother”, Kanye has been owning every aspect of the hip hop world and he hasn’t been afraid to go against the grain to do so. There aren’t many artists who would have taken the chances he has taken or accomplished the goals he has set for himself, but he has managed to go way past any expectations that may have been set for him and has done it without any real missteps along the way. No sophomore slump, no lyrical faux pas, no dark periods (talent wise), and no losses of credibility, Kanye West has done what no other artist this decade has been able to do, everything.
Tuesday, December 15, 2009
Thursday, December 10, 2009
Top 10 (15) Albums of 2009
As we reach the end of 2009 it is clear that we have just finished arguably the greatest year in hip hop this decade, if not in the entire history of hip hop. While it’s difficult to compare this year to those of past decades due to the immense expansion of hip hop, specifically in the mainstream, the sheer volume of quality releases is still worth noting. This year is highlighted by big name artists dropping some of their best releases, past artists proving that they still have heat, and new talents giving hope to the next generation of rap. Whether it was Jay-Z’s “Blueprint 3”, Raekwon’s “Only Built 4 Cuban Linx Pt. II”, or Wale’s “Attention Deficit”, just about every fan of hip hop had something to be happy about this year. In recent years it’s been sometimes difficult to even construct a top 10 list, this year went above and beyond that and because of that it’s only fitting that the top 10 getting expanded to a top 15. These 15 albums are certainly not the only quality releases of this year but after much consideration it’s clear that these 15 stood out as going way beyond expectations, for a variety of reasons. This list is in no particular order as it was difficult enough to keep it to 15, ranking these would only cause more debate. With that said debate is always welcome and encouraged as at the end of the day, we are a culture of opinion, and have been that way ever since battles began to take place on street corners in New York. I present to you the greatest rap albums of 2009.
Jay-Z – The Blueprint 3 – released 9/11/09
Let’s get the obvious one out of the way. Time and time again, Jay-Z has proven that he is not only the King of New York but the king of hip hop in general. From the time that D.O.A. (Death of Auto-tune) was released we all knew that Jay-Z would be making an album of epic proportions. Boasting production from Kanye West and No I.D. and featuring guest appearances from up-and-comers like Kid CuDi and J. Cole we were all anticipating an album that was sure to get heavy rotation across the country. The immediate reception was mixed with some reviewers saying Jay-Z had lost his way and was trying too hard to imitate the electronic sound that hip hop was heading towards instead of paving his own way like he always had. Complaints about weak beats from Timbaland and accusations that Jay was sounding “lazy” on the mic may have come at the beginning, but after a couple weeks of bumping the album it was clear that Jay had once again created a complete album with replay value for months to come. From the get go it was certainly apparent that this was unlike any other Jay-Z album, with the spacey production and non-traditional hooks but just like every past album, Jay’s rhymes were on point. With the smash singles “Run This Town” and “Empire State of Mind”, soulful gems like “Already Home”, addicting street tracks like “On To The Next One” and a guest verse from J. Cole that brings back memories of Nas on “Live at the BBQ” (cue hatred from purists), The Blueprint 3 cemented itself as a classic album, something that will still be bumped years from now.
Raekwon – Only Built 4 Cuban Linx Pt. II – released 9/8/09
Sequels in hip hop, much like in Hollywood, are usually uncalled for and unnecessary. For years now the hip hop world and Wu-Tang fans have been eagerly awaiting the much-hyped sequel to one of the greatest albums of all time. But with all the anticipation came doubts that it could possibly live up to the legacy that the first Cuban Linx left. All those doubts were blown out of the water when Cuban Linx 2 dropped. The first single “House of Flying Daggers” was already an indication that the Wu was definitely back. The menacing beat and the lyrical slaughterhouse of verses left no doubt that the Wu-Tang was just as strong in 2009 as they were in 1995. The album that followed solidified the Wu as the greatest group of all time, able to grow with the culture as well as call back to what they helped start, Mafioso rap. Even though RZA didn’t handle all the production, J Dilla and Dr. Dre along with Pete Rock and others, were still able to construct a complete piece of work that was nothing short of a cinematic experience. The Rae and Ghost tracks were done in classic R.A.G.U. form, from the back and forth style of “Penitentiary” to the pouring out of Ghost’s heart on “Cold Outside”, and especially to the sexual deviancy of “Gihad”. Guest appearances from Method Man and Inspectah Deck made everyone who had begin to sleep on the Wu wake the fuck up and “Wu Ooh” brought back memories of C.R.E.A.M. The critics who complained the album was too long clearly didn’t realize that the first Cuban Linx was almost identical in length, and those who said the Dre beats left something to be desired were probably already tired from listening to what they thought was a lengthy album. The O.D.B. tribute track was nothing short of a tearjerker and the last song was the perfect reminder that the Wu-Tang is forever, and that when faced with the pressures of living up to a certified classic, the Wu should never be doubted. Oh and “Broken Safety” is easily one of the gulliest tracks to come out in a LONG time. It’s Wu motherfucker! Wu-Tang motherfucker!
Fabolous – Loso’s Way – released 7/28/09
Fans of Fabolous have always argued that his mixtapes are far better than his albums. What they usually fail to realize that is while mixtapes are for the streets, an album has to appeal to the masses, and with that, Fabolous knows how to make a damn good album. While a mixtape is perfect for firing off punchline after punchline, an album needs to be a complete product that is both diverse while maintaining conciseness and direction. With “Loso’s Way”, Fabolous does this brilliantly, somewhat following a storyline that is familiar but always welcome in the rap community, the rise and fall of the crime boss. Fab sets off the album by addressing all his haters and letting them know that he hasn’t lost his shine. Single after single follow and even on the more radio friendly tracks he’s still dropping metaphors that his fans know him for. In all honesty though the best tracks on this album are the “bitch” tracks, the female-focused tracks such as “Throw It In The Bag” and “Last Time”. The track with Ne-Yo “Makin’ Love” is hypnotic to the point that you KNOW many a babies are being conceived to it. There are just the right amount of guest appearances, mostly left to hook gods Trey Songz, The-Dream, and the aforementioned Ne-Yo. The production is spread out but nonetheless flows smoothly from track to track. And for those who think Fab is all about the women, “There He Go” will remind them that he can still bring that lyrical heat. The final track is a story that shows the depth of Fab’s talent. From baby-making tracks, to lyrical clinics, to vivid storytelling, this album combines every good thing about hip hop into a perfect package.
Cam’ron – Crime Pays – released 5/12/09
Face it people, the days of Purple Haze, The Diplomats, and Heatmakerz are over. But that doesn’t mean that Cam isn’t still on top of his game. Most critics felt as though this was more like a mixtape than an album but don’t let the length or amount of tracks fool you, this is a solid album from start to finish without any throwaway tracks or verses. It is a little long at 73 minutes, but Cam will keep you entertained the entire time. His signature flow and wordplay are at top notch levels as he makes some of the simplest lines not only witty but raw and dirty. Whether he is detailing his past business forays on “I Get It In Ohio”, inventing new slang on “Curve”, bringing nothing but raw rhymes on “Cookin’ Up” or being the raunchy disgusting Cam we all know and love on “You Know What’s Up”, Cam’ron never fails to impress the listener with his broad range of lyricism. The skits on this album are quite funny even after the first few listens and with a track that’s actually subtitled “No Homo” it’s clear that while Cam might not always take himself seriously, he knows damn well how to make a good song. The best evidence of this is the ridiculously dirty but highly catchy single “Cookies & Apple Juice” which has quite possibly the most hilarious hook along with equally humorous verses. A surprising entry for those who say Cam is all play is “I Hate My Job” which, although seemingly out of place for someone who supposedly makes thousands from hustling, deals with the problems of finding work in a recession and the depression of a 9 to 5 meaningless job. Finishing off the album with a tribute to the deepest of places is only fitting for the man who loves pink. It’s no “Purple Haze”, but “Crime Pays” is certainly a solid effort from one of the most consistent MCs in the game.
Clipse – Til The Casket Drops – released 12/8/09
For their entire career the Clipse have exclusively used Neptunes production. This time around they decided to expand and the decision couldn’t have been better. While the Neptunes still bless their third album with a handful of tracks, that signature sound that Chad and Pharrell were once known for has started to fade, not to take away from the quality of production, but there are no “Grindin”s on this album. With that said we have quite possibly the most consistent and complete Clipse album to date. There is already hate being spewed about the electro influenced dance tracks like “All Eyes on Me” but again these fans are looking for mixtape Clipse and not album Clipse. Some of the most powerful tracks are actually made for the club on this release, such as “Counseling” with a smoothed-out beat, a brilliant hook from Pharrell and laid-back topical verses from Pusha and Malice. Also the uplifting track “I’m Good” is much needed in this time of economic recession. No matter how depressed you are you can’t help but raise up with the beat the Neptunes provide. Clipse also brought back what was once a staple on every rap album but has gradually faded, the reggae track. While it might seem out of place it actually fits quite perfectly as not only a P.S.A. about snitching but a throwback to the days of Mad Lion gracing every damn album he could get on. The most noticeable thing about this album is maturity, which has turned Clipse from the kings of coke rap to elder statesmen looking back on their past transgressions and hoping to offer advice to the young’ns on how to stay away from the game. But don’t except the coke raps to be nonexistent as “Never Will It Stop” with Re-Up gang affiliate Ab-Liva is a testament to just how insane these guys can be with their metaphors and Malice drops what might be the verse of the year on the single "Popular Demand". Just barely making it before the new year, this Clipse album is arguably their best to date and certainly their most mature and complete.
Slaughterhouse – Slaughterhouse – released 8/11/09
The concept was simple, bring 4 of the hottest MCs together on one track, and end a feud between two of them in the process. What started off as one of the greatest posse cuts in history turned into a supergroup that went above and beyond the expectations of anyone, probably even its own members. Most people know the story by now, Joe Budden recruited Royce Da 5’9”, Crooked I and Joell Ortiz to do a track called “Slaughterhouse” and what came from that was the idea that the 4 would create an entire album, much like everyone had wished the Four Horsemen would have done years ago. The difference is that Slaughterhouse actually made the album, and it was proof that 4 heads really are better than 1, especially given the record label bullshit that every single one of them has been through. Not just lyrical tracks without hooks or good production, the Slaughterhouse album found these 4 MCs working together perfectly, weaving in and out, providing actually songs instead of just a lineup of verses. The opening track set off the concept perfectly with each member introducing themselves and what followed were commercial smashes, club bangers, and straight up hardcore battle rap tracks. While some think the album took a downturn near the end, it still provided one of the best retrospective tracks on hip hop and where it’s been and where it’s at now. Normally with this many talents on one album one will shine above the rest but there is no clear MVP here as each MC seemed to almost get better from the competition of the other three. This album proved that sometimes it’s better to gang up than it is to keep going solo because raw talent is raw talent and egos can get put aside to craft a memorable listening experience for the fans of everyone involved.
Wale – Attention Deficit – released 11/10/09
Upon first hearing this album I felt that it was all over the place and therefore difficult to really take in. From obvious club tracks to this new school electro rap to southern drawls I couldn’t quite tell what Wale was trying to do, then I realized what the title of the album was and it all made sense. Since Wale was introduced to the game he remained an outsider with a knack for lyrics, even with his unorthodox flow and interesting choice of beats. His mixtapes took the culture by storm and few have doubted his ability to run laps around a microphone, the question always was could he create a debut that would live up to all the hype, and there was quite a lot of hype. While it might be the most obscure choice for this list, “Attention Deficit” makes it because it does exactly what it says it’s going to do, and it does it quite well. If you are looking for a track to bump in the club you got the Neptunes crafted, Pharrell assisted “Let It Loose”. If you are a southern rap fan then “Mirrors” is your shit. If you are a conscious rap fan, always looking for a message then the controversial “Shades” is your focal point. If you are an i-Tunes junkie who only likes what’s popular then “Chillin” with Lady Gaga is for you and if you want what could be the ultimate anthem, with the most beautiful beat and blessed by a chilling hook then “Beautiful Bliss” with newcomer J. Cole is the track that you won’t stop bumping….believe me, I’ve tried. When Wale isn’t smoothly dropping cool verses over laid back production he is giving you true insight to not only himself but the world, and it’s wonderful to see that when faced with all the hype, Wale can live up to the challenge.
Rick Ross – Deeper Than Rap – released 4/21/09
Correctional Officer Ricky Ross. Quite possibly the most debatable choice on this list, it’s amazing that even after being exposed as the biggest fake in the industry Rick Ross still managed to promote his cocaine-rap as if no one had ever seen the pictures and documents proving he was closer to the police than 50 Cent. But this list isn’t about recovery or else 50 Cent himself would have made it. Whether or not Rick Ross has actually ever even seen an eighth of coke, he still raps like he’s lived the Scarface lifestyle and he does it with such ease that you can’t help but label him rap’s Al Pacino. His flow is as smooth as Biggie and his lyrics are as biting as Pac and right off the bat he attacks everyone who has hated on him and gives a few shots towards the G-Unit camp. The smash single, “Maybach Music 2” with T-Pain and Kanye West is a track fit for an amphitheater with its powerhouse hook and extra powerful production. Nas delivers a nomination for verse of the year on “Usual Suspects” and “Rich Off Cocaine” is the perfect track for driving down the freeway with the top down on a warm summer night, it’s the ultimate “living the high life” joint. The production is solid (thanks to the ever increasingly dope J.U.S.T.I.C.E. League), and Ricky’s rhymes are the perfect template for anyone reaching for the stars, and while the album caught some slack for the seemingly out-of-place “Face”, it couldn’t be a better addition to an album that is just so extra that you gotta love the effort that The Boss puts in to his projects. Whether or not 50 Cent destroyed Rick Ross on the internet and in the media, Rick Ross was no doubt the better MC this year, and this, his third straight album of this caliber, only proves that controversy is no match for consistency.
Ghostface – Ghostdini: The Wizard of Poetry in Emerald City – released 9/29/09
A Ghostface R&B album? The fuck? When Ghost announced earlier this year that his next album would be all R&B and “for the ladies”, most Wu fans took a step back, wondering what the hell that even meant and if it could possibly continue Ghost’s streak of always dropping hot albums (look back on his career, not a single misstep). While many Wu fans were highly disappointed with the finished product (sorry guys, you can’t be hardcore ALL the time), what Ghost delivered was the best love-making album since Stevie Wonder’s “Innervisions”. Ghost has always been known for his soul sampled, R&B-influenced, female appreciation tracks such as “Camay” and “Holla”, but we were always used to one or two per release, not an entire album with such a concept. But what we got was the perfect combination of beautiful love songs mixed with just enough spiteful tracks to satisfy anyone who’s been in a meaningful relationship. The highlights here include “Do Over” with Ghost’s incredibly detailed love letter verses exclaiming his regret for mistakes he made along with a hook and beat that are as modern as it gets but with that throwback sound. The single, “Baby”, is addicting, both from the auto-tune influenced hook and the simplistic beat that still sounds beautiful even though it’s true to hip hop form. The most out-of-place track “Stapleton Sex”, is the Ghost we all know and love, bringing back memories of “Wildflower” and “Wisdom Body” and has been described by the man himself as “porno on wax”. Every track on the album is a fitting tribute to the fairer sex and collectively this is a solid and complete effort for a concept that few thought would actually work out. While Wu fans are still hungry for that “Ice Water” Ghost, any fan of rap that can appreciate the softer side of art, this album is your “Lots of Lovin”.
Souls of Mischef – Montezuma’s Revenge – released 12/1/09
Almost as bad as the skinny jeans trend is the idea that “bringing back the old school” sound when you’re 10 years removed from your high point is a good idea. Whether its backpackers trying to imitate the sound or former big name artists trying to prove they still got it, hip hop has been plagued with average releases that all sound the same, about 15 years too old. When it was announced that Souls of Mischief were dropping a new album almost entirely produced by Prince Paul, immediately there was a question about whether they would fall into the same trap that artists of their time have been doing or if they would show that they caught up to the 2009 sound. What they managed to do, brilliantly, was somewhat of a combination of both. While this is no doubt an album of “true school” sound, it nonetheless fits perfectly into the 2009 mindstate that hip hop is in. With Del the Funky Homosapien hosting, this album is simply pure hip hop. Head nodding beats, back-and-forth rhymes, and cut up samples provide the listener a throwback to the days of early Souls of Mischief but never overdo the “we’re from the old school” template. Conceptually speaking this album is full of gems too like “Tour Stories” and “Postal”. Arguably the best tracks are “Proper Aim” and “For Real Ya’ll”, the latter of the two being the prime example of how to make a golden age track in 2009. From the way the MCs play off each other to the beat to the hook, everything about this track screams hip hop. The Heiroglyphics have always been comfortable in the underground and this album is certainly that, but instead of sounding like every other backpack rap record, they managed to stand out with this release, proving that you can be old school and yet still make a dope album.
Wu-Tang Clan Presents: Chamber Music – released 6/30/09
For starters, this album proved that a Wu-Tang album doesn’t have to just be Wu-Tang. Secondly, this is the closest thing to 36 Chambers since 1993. There. Now that that’s out of the way, this album is an epic release from the Wu-Tang catalogue boasting sinister production, knowledge-filled interludes, and a lineup of MCs that even “The Symphony” couldn’t touch. The combinations of MCs are carefully chosen, like with Raekwon, Cormega and Sean Price all tearing apart “Radiant Jewels”, which is the perfect name for a track so filled with knowledge that even on the eighth spin the listener can’t convert all of it to wisdom. Ghostface, Deck and AZ are another lethal combination on “Harbor Masters” where AZ is on his “Life’s A Bitch” game. In fact the non-Wu MC’s shine the most on this, suggesting that knowing they were going to be featured on a Wu album made them up their game to the highest possible level. What’s most impressive is how a live band was able to capture that raw gritty Wu-Tang sound that originated in choppy samples and dirty drums. And for anyone who thinks RZA fell off his lyrical game, “NYC Crack” is the most Wu-Tang sounding track since the 5 years that the Wu literally owned rap. Highly slept on, this album is what Wu-Tang fans have been asking for since the Clan first crept on the scene, and as the third Wu-Tang release on this list, it’s clear that once again the Wu-Tang Clan Ain’t Nuthin’ Ta Fuck Wit!
Fashawn – Boy Meets World – released 10/22/09
Hands down the song of the year is “The Ecology”, a hip hop sermon that is no doubt the most important thought-provoking track that rap has seen since “Get By”. Off of Cali native Fashawn’s debut, this track is the true definition of hip hop, from its powerful beat to lyrics that would make Chuck D proud of the fact that 20 years after “Fight the Power” there are still MCs that can spread the message that rap was founded on. With that said this rookie teamed up with one of the greatest producers out right now, Exile, to craft an album so complete that it’s almost difficult to believe that this young MC is a mere 21 years old. Fashawn tackled every topic on this album from life on the road to growing up fatherless to representing his home state, and in this day and age when MySpace and blog sites have meant that anyone and everyone is a rapper, he truly stands out as a rookie-of-the-year candidate. The flow of the album is flawless as tracks weave in and out of each other and the lyrics are never outshined by the soulful production of one half of one of the greatest duos out today. We still don’t know a lot about this kid but if this album is any indication, we have another MC whose potential is only growing by the minute and simply put, this album is dope. Don’t sleep on Fashawn.
J Dilla – Jay Stay Paid – released 6/2/09
Posthumous releases typically call up the scraps of an artist who’s family and friends are simply trying to turn a profit by exploiting the death of their loved one (see Puff Daddy) but with “Jay Stay Paid” what we get is an album that proves that had J Dilla still been with us that he would be crushing the scene with his production for years to come. This concept album, presented as a radio show hosted by legend Pete Rock, delivers some of Dilla’s finest work, and provides just the right amount of MCs to keep the listener in tune for the whole time instead of fading in and out and playing back only certain tracks. The weed anthem “Smoke”, while short, highlights Blu as one of the greatest new MCs and “Reality TV” has track of the year written all over it as Black Thought slaughters the beat while referencing damn near every reality show that television has forced upon us. MF Doom rides “Fire Wood Drumstix” almost as good as Jay Electronica once did and Dilla’s brother Illa J elegantly pays tribute to his fallen family member on “See That Boy Fly”. Longtime fans of Dilla will appreciate Frank Nitty’s powerful presence on “Pay Day”. But enough with the MC contributions, these beats are what make the album. Your neck will literally break with “Glamour Sho75 (09)” and if that only causes a cramp then “Coming Back” will surely put you in the hospital with the tears it will induce, being reminiscent of the best track on "Donuts". Crafted perfectly this album is essential to any Dilla fan, both old and new, and is the perfect showcase of the talent that we lost a few years ago.
Cormega – Born and Raised – released 10/20/09
If Nas is the King of Queens, then Cormega is the Prince. Who else could put together an album that includes a three track sequence of DJ Premier, Pete Rock, and Large Professor. While most artists get out of the streets and can only try to imagine what life might be like if they were still there, Mega is very much a product of his environment who has clearly kept close ties with the life he has been forced to live. The narratives on this album are chilling and combined with the wordplay of a seasoned vet, it’s a safe bet that Nas probably wishes he hadn’t had the falling out that he did with Mega. Cormega twists tales of street life while reflecting on the problems that still exist in a way that few MCs have been able to do over the years and he does it with such passion it’s clear that he is as authentic as every rapper wishes he could be. When people talk about New York rap, THIS is what they are talking about, from stories about crime to poverty to messages that every young person needs to hear, this album is the most complete East Coast album in years. Wrapped up perfectly with legends Parrish, Kane, Grand Puba and KRS, Mega gives us everything that one could hope for in a hip hop album. Another heavily slept on album, this is one of the gems that we were blessed with in a year that saw so much greatness.
Mos Def – The Ecstatic – released 6/9/09
Rappers take notice, Madlib is a top 5 producer, and including him on your album can only help catapult it to the top of every hot albums list. For the past few years Mos Def has given us albums that are not only way out in left field (The New Danger) but also as lazy and unfocused (True Magic…where the fuck was the album cover to that) and has never been able to live up to his solid debut “Black on Both Sides”. With “The Ecstatic”, Mos proves that his many styles truly can be mashed together and still come away with a classic release. “Auditorium” with legendary storyteller Slick Rick combines a hypnotic beat with verbal visuals from two of the greatest at delivering narratives. “Pretty Danger” is an example of how having Madlib on the boards is always the best decision that any MC can make as not only does he provide a banging beat but perfectly matches the flow of the Mighty Mighty Mos. The Reflection Eternal cut “History” produced by the late great J Dilla only further makes us hungry for another “Train of Thought” and the beauty of “Roses” is spine tingling. This album is proof that Mos Def is still one of the greatest MCs of our time, even if he is a little misunderstood. This is not an album for hip hop purists but instead an album for forward-thinking fans who can appreciate all styles of music. “The Ecstatic” is just that, and what else would we really expect from Mos?
There you have it. The top 10 (15) albums of quite possibly the greatest year in hip hop history. No doubt some people will disagree with this list, and surely everyone will have an album they feel should have made it, or an album that did make it that shouldn’t have. But at the end of the day these 15 albums most accurately represent the level to which hip hop rose in 2009. We should be thankful that so many artists made so many incredible contributions to this culture, and as we look forward to 2010 we can only hope that hip hop will continue on this streak. Sorry Nas, but in 2009, hip hop is NOT dead.
Why not on ---
50 Cent – Before I Self Destruct – the only reason this album sounded so good was because his last effort was a failure that even Kwame couldn’t have imagined. With that said, 50 may have improved, but he didn’t do anything special with this release, he just gave us what we’ve been waiting on for the last 6 years.
Alchemist – Chemical Warfare – it had solid tracks, some of the best of the year actually, with the brilliant combination of Snoop, Pusha, and Jadakiss and one of the happiest tracks we’ve heard in a while with “Smile” but there was a lot of crap on the album that made it obvious that Alchemist just wanted to prove that he could make any type of beat, and even though he got the best artists of those genres, he shouldn’t have branched out that much because the overall sound was completely unfocused.
Camp Lo – Another Heist – the hardest one to leave off the list. Purely because there were so many other dope releases did this one slip out of the spotlight. The obvious number 16, this album was nothing short of incredible, a perfect throwback to Uptown Saturday Night, and easily their best effort since that album. Perhaps a little too short (how often does THAT get said about a hip hop album) and unfortunately way too under the radar (not that that is relevant) this album deserves to make the list but just barely missed it.
O.C. & A.G. – Oasis – although the pairing of old school artists has happened a couple times recently (Marley Marl and KRS, Craig G and Marley Marl) this was the year that everyone who was no longer relevant in rap decided to pair up to try to make themselves relevant. From Del and Tame One to Buckshot and KRS to O.C. and A.G., this was the year that the former hitmakers teamed up to try to reinvent that classic sound for those new ears who weren’t around during their prime. This album was the best of out all the collaboration efforts so far and was the least desperate to prove that these MCs were “true classic MCs”. The beats weren’t outdated and the rhymes were on point, unlike other artists who have tried this formula, but at the end of the day they just couldn’t compete with the fresh talent and classic artists who have managed to maintain instead of fading away for a few years and then trying to reignite their flame.
Rakim – The Seventh Seal – for 12 years hip hop has been waiting for the return of the God MC, indisputably the greatest MC of all time. From the weakness of “The Master” to the fallout with Dr. Dre fans began to think that this album would never happen. We were finally blessed with the God’s work, and blessed we were, the God certainly has not slipped in his lyrical game but unfortunately this album sounds slightly dated, as if it had been assembled in 2005, reworked in 2007 and finally released in late 2009. By the time November rolled around, nothing short of a Clipse album was going to crack the top 10 (or Souls of Mischief I guess) and so therefore this album does not make the list, even though it probably should. He’s still the God though, still the God MC.
Jay-Z – The Blueprint 3 – released 9/11/09
Let’s get the obvious one out of the way. Time and time again, Jay-Z has proven that he is not only the King of New York but the king of hip hop in general. From the time that D.O.A. (Death of Auto-tune) was released we all knew that Jay-Z would be making an album of epic proportions. Boasting production from Kanye West and No I.D. and featuring guest appearances from up-and-comers like Kid CuDi and J. Cole we were all anticipating an album that was sure to get heavy rotation across the country. The immediate reception was mixed with some reviewers saying Jay-Z had lost his way and was trying too hard to imitate the electronic sound that hip hop was heading towards instead of paving his own way like he always had. Complaints about weak beats from Timbaland and accusations that Jay was sounding “lazy” on the mic may have come at the beginning, but after a couple weeks of bumping the album it was clear that Jay had once again created a complete album with replay value for months to come. From the get go it was certainly apparent that this was unlike any other Jay-Z album, with the spacey production and non-traditional hooks but just like every past album, Jay’s rhymes were on point. With the smash singles “Run This Town” and “Empire State of Mind”, soulful gems like “Already Home”, addicting street tracks like “On To The Next One” and a guest verse from J. Cole that brings back memories of Nas on “Live at the BBQ” (cue hatred from purists), The Blueprint 3 cemented itself as a classic album, something that will still be bumped years from now.
Raekwon – Only Built 4 Cuban Linx Pt. II – released 9/8/09
Sequels in hip hop, much like in Hollywood, are usually uncalled for and unnecessary. For years now the hip hop world and Wu-Tang fans have been eagerly awaiting the much-hyped sequel to one of the greatest albums of all time. But with all the anticipation came doubts that it could possibly live up to the legacy that the first Cuban Linx left. All those doubts were blown out of the water when Cuban Linx 2 dropped. The first single “House of Flying Daggers” was already an indication that the Wu was definitely back. The menacing beat and the lyrical slaughterhouse of verses left no doubt that the Wu-Tang was just as strong in 2009 as they were in 1995. The album that followed solidified the Wu as the greatest group of all time, able to grow with the culture as well as call back to what they helped start, Mafioso rap. Even though RZA didn’t handle all the production, J Dilla and Dr. Dre along with Pete Rock and others, were still able to construct a complete piece of work that was nothing short of a cinematic experience. The Rae and Ghost tracks were done in classic R.A.G.U. form, from the back and forth style of “Penitentiary” to the pouring out of Ghost’s heart on “Cold Outside”, and especially to the sexual deviancy of “Gihad”. Guest appearances from Method Man and Inspectah Deck made everyone who had begin to sleep on the Wu wake the fuck up and “Wu Ooh” brought back memories of C.R.E.A.M. The critics who complained the album was too long clearly didn’t realize that the first Cuban Linx was almost identical in length, and those who said the Dre beats left something to be desired were probably already tired from listening to what they thought was a lengthy album. The O.D.B. tribute track was nothing short of a tearjerker and the last song was the perfect reminder that the Wu-Tang is forever, and that when faced with the pressures of living up to a certified classic, the Wu should never be doubted. Oh and “Broken Safety” is easily one of the gulliest tracks to come out in a LONG time. It’s Wu motherfucker! Wu-Tang motherfucker!
Fabolous – Loso’s Way – released 7/28/09
Fans of Fabolous have always argued that his mixtapes are far better than his albums. What they usually fail to realize that is while mixtapes are for the streets, an album has to appeal to the masses, and with that, Fabolous knows how to make a damn good album. While a mixtape is perfect for firing off punchline after punchline, an album needs to be a complete product that is both diverse while maintaining conciseness and direction. With “Loso’s Way”, Fabolous does this brilliantly, somewhat following a storyline that is familiar but always welcome in the rap community, the rise and fall of the crime boss. Fab sets off the album by addressing all his haters and letting them know that he hasn’t lost his shine. Single after single follow and even on the more radio friendly tracks he’s still dropping metaphors that his fans know him for. In all honesty though the best tracks on this album are the “bitch” tracks, the female-focused tracks such as “Throw It In The Bag” and “Last Time”. The track with Ne-Yo “Makin’ Love” is hypnotic to the point that you KNOW many a babies are being conceived to it. There are just the right amount of guest appearances, mostly left to hook gods Trey Songz, The-Dream, and the aforementioned Ne-Yo. The production is spread out but nonetheless flows smoothly from track to track. And for those who think Fab is all about the women, “There He Go” will remind them that he can still bring that lyrical heat. The final track is a story that shows the depth of Fab’s talent. From baby-making tracks, to lyrical clinics, to vivid storytelling, this album combines every good thing about hip hop into a perfect package.
Cam’ron – Crime Pays – released 5/12/09
Face it people, the days of Purple Haze, The Diplomats, and Heatmakerz are over. But that doesn’t mean that Cam isn’t still on top of his game. Most critics felt as though this was more like a mixtape than an album but don’t let the length or amount of tracks fool you, this is a solid album from start to finish without any throwaway tracks or verses. It is a little long at 73 minutes, but Cam will keep you entertained the entire time. His signature flow and wordplay are at top notch levels as he makes some of the simplest lines not only witty but raw and dirty. Whether he is detailing his past business forays on “I Get It In Ohio”, inventing new slang on “Curve”, bringing nothing but raw rhymes on “Cookin’ Up” or being the raunchy disgusting Cam we all know and love on “You Know What’s Up”, Cam’ron never fails to impress the listener with his broad range of lyricism. The skits on this album are quite funny even after the first few listens and with a track that’s actually subtitled “No Homo” it’s clear that while Cam might not always take himself seriously, he knows damn well how to make a good song. The best evidence of this is the ridiculously dirty but highly catchy single “Cookies & Apple Juice” which has quite possibly the most hilarious hook along with equally humorous verses. A surprising entry for those who say Cam is all play is “I Hate My Job” which, although seemingly out of place for someone who supposedly makes thousands from hustling, deals with the problems of finding work in a recession and the depression of a 9 to 5 meaningless job. Finishing off the album with a tribute to the deepest of places is only fitting for the man who loves pink. It’s no “Purple Haze”, but “Crime Pays” is certainly a solid effort from one of the most consistent MCs in the game.
Clipse – Til The Casket Drops – released 12/8/09
For their entire career the Clipse have exclusively used Neptunes production. This time around they decided to expand and the decision couldn’t have been better. While the Neptunes still bless their third album with a handful of tracks, that signature sound that Chad and Pharrell were once known for has started to fade, not to take away from the quality of production, but there are no “Grindin”s on this album. With that said we have quite possibly the most consistent and complete Clipse album to date. There is already hate being spewed about the electro influenced dance tracks like “All Eyes on Me” but again these fans are looking for mixtape Clipse and not album Clipse. Some of the most powerful tracks are actually made for the club on this release, such as “Counseling” with a smoothed-out beat, a brilliant hook from Pharrell and laid-back topical verses from Pusha and Malice. Also the uplifting track “I’m Good” is much needed in this time of economic recession. No matter how depressed you are you can’t help but raise up with the beat the Neptunes provide. Clipse also brought back what was once a staple on every rap album but has gradually faded, the reggae track. While it might seem out of place it actually fits quite perfectly as not only a P.S.A. about snitching but a throwback to the days of Mad Lion gracing every damn album he could get on. The most noticeable thing about this album is maturity, which has turned Clipse from the kings of coke rap to elder statesmen looking back on their past transgressions and hoping to offer advice to the young’ns on how to stay away from the game. But don’t except the coke raps to be nonexistent as “Never Will It Stop” with Re-Up gang affiliate Ab-Liva is a testament to just how insane these guys can be with their metaphors and Malice drops what might be the verse of the year on the single "Popular Demand". Just barely making it before the new year, this Clipse album is arguably their best to date and certainly their most mature and complete.
Slaughterhouse – Slaughterhouse – released 8/11/09
The concept was simple, bring 4 of the hottest MCs together on one track, and end a feud between two of them in the process. What started off as one of the greatest posse cuts in history turned into a supergroup that went above and beyond the expectations of anyone, probably even its own members. Most people know the story by now, Joe Budden recruited Royce Da 5’9”, Crooked I and Joell Ortiz to do a track called “Slaughterhouse” and what came from that was the idea that the 4 would create an entire album, much like everyone had wished the Four Horsemen would have done years ago. The difference is that Slaughterhouse actually made the album, and it was proof that 4 heads really are better than 1, especially given the record label bullshit that every single one of them has been through. Not just lyrical tracks without hooks or good production, the Slaughterhouse album found these 4 MCs working together perfectly, weaving in and out, providing actually songs instead of just a lineup of verses. The opening track set off the concept perfectly with each member introducing themselves and what followed were commercial smashes, club bangers, and straight up hardcore battle rap tracks. While some think the album took a downturn near the end, it still provided one of the best retrospective tracks on hip hop and where it’s been and where it’s at now. Normally with this many talents on one album one will shine above the rest but there is no clear MVP here as each MC seemed to almost get better from the competition of the other three. This album proved that sometimes it’s better to gang up than it is to keep going solo because raw talent is raw talent and egos can get put aside to craft a memorable listening experience for the fans of everyone involved.
Wale – Attention Deficit – released 11/10/09
Upon first hearing this album I felt that it was all over the place and therefore difficult to really take in. From obvious club tracks to this new school electro rap to southern drawls I couldn’t quite tell what Wale was trying to do, then I realized what the title of the album was and it all made sense. Since Wale was introduced to the game he remained an outsider with a knack for lyrics, even with his unorthodox flow and interesting choice of beats. His mixtapes took the culture by storm and few have doubted his ability to run laps around a microphone, the question always was could he create a debut that would live up to all the hype, and there was quite a lot of hype. While it might be the most obscure choice for this list, “Attention Deficit” makes it because it does exactly what it says it’s going to do, and it does it quite well. If you are looking for a track to bump in the club you got the Neptunes crafted, Pharrell assisted “Let It Loose”. If you are a southern rap fan then “Mirrors” is your shit. If you are a conscious rap fan, always looking for a message then the controversial “Shades” is your focal point. If you are an i-Tunes junkie who only likes what’s popular then “Chillin” with Lady Gaga is for you and if you want what could be the ultimate anthem, with the most beautiful beat and blessed by a chilling hook then “Beautiful Bliss” with newcomer J. Cole is the track that you won’t stop bumping….believe me, I’ve tried. When Wale isn’t smoothly dropping cool verses over laid back production he is giving you true insight to not only himself but the world, and it’s wonderful to see that when faced with all the hype, Wale can live up to the challenge.
Rick Ross – Deeper Than Rap – released 4/21/09
Correctional Officer Ricky Ross. Quite possibly the most debatable choice on this list, it’s amazing that even after being exposed as the biggest fake in the industry Rick Ross still managed to promote his cocaine-rap as if no one had ever seen the pictures and documents proving he was closer to the police than 50 Cent. But this list isn’t about recovery or else 50 Cent himself would have made it. Whether or not Rick Ross has actually ever even seen an eighth of coke, he still raps like he’s lived the Scarface lifestyle and he does it with such ease that you can’t help but label him rap’s Al Pacino. His flow is as smooth as Biggie and his lyrics are as biting as Pac and right off the bat he attacks everyone who has hated on him and gives a few shots towards the G-Unit camp. The smash single, “Maybach Music 2” with T-Pain and Kanye West is a track fit for an amphitheater with its powerhouse hook and extra powerful production. Nas delivers a nomination for verse of the year on “Usual Suspects” and “Rich Off Cocaine” is the perfect track for driving down the freeway with the top down on a warm summer night, it’s the ultimate “living the high life” joint. The production is solid (thanks to the ever increasingly dope J.U.S.T.I.C.E. League), and Ricky’s rhymes are the perfect template for anyone reaching for the stars, and while the album caught some slack for the seemingly out-of-place “Face”, it couldn’t be a better addition to an album that is just so extra that you gotta love the effort that The Boss puts in to his projects. Whether or not 50 Cent destroyed Rick Ross on the internet and in the media, Rick Ross was no doubt the better MC this year, and this, his third straight album of this caliber, only proves that controversy is no match for consistency.
Ghostface – Ghostdini: The Wizard of Poetry in Emerald City – released 9/29/09
A Ghostface R&B album? The fuck? When Ghost announced earlier this year that his next album would be all R&B and “for the ladies”, most Wu fans took a step back, wondering what the hell that even meant and if it could possibly continue Ghost’s streak of always dropping hot albums (look back on his career, not a single misstep). While many Wu fans were highly disappointed with the finished product (sorry guys, you can’t be hardcore ALL the time), what Ghost delivered was the best love-making album since Stevie Wonder’s “Innervisions”. Ghost has always been known for his soul sampled, R&B-influenced, female appreciation tracks such as “Camay” and “Holla”, but we were always used to one or two per release, not an entire album with such a concept. But what we got was the perfect combination of beautiful love songs mixed with just enough spiteful tracks to satisfy anyone who’s been in a meaningful relationship. The highlights here include “Do Over” with Ghost’s incredibly detailed love letter verses exclaiming his regret for mistakes he made along with a hook and beat that are as modern as it gets but with that throwback sound. The single, “Baby”, is addicting, both from the auto-tune influenced hook and the simplistic beat that still sounds beautiful even though it’s true to hip hop form. The most out-of-place track “Stapleton Sex”, is the Ghost we all know and love, bringing back memories of “Wildflower” and “Wisdom Body” and has been described by the man himself as “porno on wax”. Every track on the album is a fitting tribute to the fairer sex and collectively this is a solid and complete effort for a concept that few thought would actually work out. While Wu fans are still hungry for that “Ice Water” Ghost, any fan of rap that can appreciate the softer side of art, this album is your “Lots of Lovin”.
Souls of Mischef – Montezuma’s Revenge – released 12/1/09
Almost as bad as the skinny jeans trend is the idea that “bringing back the old school” sound when you’re 10 years removed from your high point is a good idea. Whether its backpackers trying to imitate the sound or former big name artists trying to prove they still got it, hip hop has been plagued with average releases that all sound the same, about 15 years too old. When it was announced that Souls of Mischief were dropping a new album almost entirely produced by Prince Paul, immediately there was a question about whether they would fall into the same trap that artists of their time have been doing or if they would show that they caught up to the 2009 sound. What they managed to do, brilliantly, was somewhat of a combination of both. While this is no doubt an album of “true school” sound, it nonetheless fits perfectly into the 2009 mindstate that hip hop is in. With Del the Funky Homosapien hosting, this album is simply pure hip hop. Head nodding beats, back-and-forth rhymes, and cut up samples provide the listener a throwback to the days of early Souls of Mischief but never overdo the “we’re from the old school” template. Conceptually speaking this album is full of gems too like “Tour Stories” and “Postal”. Arguably the best tracks are “Proper Aim” and “For Real Ya’ll”, the latter of the two being the prime example of how to make a golden age track in 2009. From the way the MCs play off each other to the beat to the hook, everything about this track screams hip hop. The Heiroglyphics have always been comfortable in the underground and this album is certainly that, but instead of sounding like every other backpack rap record, they managed to stand out with this release, proving that you can be old school and yet still make a dope album.
Wu-Tang Clan Presents: Chamber Music – released 6/30/09
For starters, this album proved that a Wu-Tang album doesn’t have to just be Wu-Tang. Secondly, this is the closest thing to 36 Chambers since 1993. There. Now that that’s out of the way, this album is an epic release from the Wu-Tang catalogue boasting sinister production, knowledge-filled interludes, and a lineup of MCs that even “The Symphony” couldn’t touch. The combinations of MCs are carefully chosen, like with Raekwon, Cormega and Sean Price all tearing apart “Radiant Jewels”, which is the perfect name for a track so filled with knowledge that even on the eighth spin the listener can’t convert all of it to wisdom. Ghostface, Deck and AZ are another lethal combination on “Harbor Masters” where AZ is on his “Life’s A Bitch” game. In fact the non-Wu MC’s shine the most on this, suggesting that knowing they were going to be featured on a Wu album made them up their game to the highest possible level. What’s most impressive is how a live band was able to capture that raw gritty Wu-Tang sound that originated in choppy samples and dirty drums. And for anyone who thinks RZA fell off his lyrical game, “NYC Crack” is the most Wu-Tang sounding track since the 5 years that the Wu literally owned rap. Highly slept on, this album is what Wu-Tang fans have been asking for since the Clan first crept on the scene, and as the third Wu-Tang release on this list, it’s clear that once again the Wu-Tang Clan Ain’t Nuthin’ Ta Fuck Wit!
Fashawn – Boy Meets World – released 10/22/09
Hands down the song of the year is “The Ecology”, a hip hop sermon that is no doubt the most important thought-provoking track that rap has seen since “Get By”. Off of Cali native Fashawn’s debut, this track is the true definition of hip hop, from its powerful beat to lyrics that would make Chuck D proud of the fact that 20 years after “Fight the Power” there are still MCs that can spread the message that rap was founded on. With that said this rookie teamed up with one of the greatest producers out right now, Exile, to craft an album so complete that it’s almost difficult to believe that this young MC is a mere 21 years old. Fashawn tackled every topic on this album from life on the road to growing up fatherless to representing his home state, and in this day and age when MySpace and blog sites have meant that anyone and everyone is a rapper, he truly stands out as a rookie-of-the-year candidate. The flow of the album is flawless as tracks weave in and out of each other and the lyrics are never outshined by the soulful production of one half of one of the greatest duos out today. We still don’t know a lot about this kid but if this album is any indication, we have another MC whose potential is only growing by the minute and simply put, this album is dope. Don’t sleep on Fashawn.
J Dilla – Jay Stay Paid – released 6/2/09
Posthumous releases typically call up the scraps of an artist who’s family and friends are simply trying to turn a profit by exploiting the death of their loved one (see Puff Daddy) but with “Jay Stay Paid” what we get is an album that proves that had J Dilla still been with us that he would be crushing the scene with his production for years to come. This concept album, presented as a radio show hosted by legend Pete Rock, delivers some of Dilla’s finest work, and provides just the right amount of MCs to keep the listener in tune for the whole time instead of fading in and out and playing back only certain tracks. The weed anthem “Smoke”, while short, highlights Blu as one of the greatest new MCs and “Reality TV” has track of the year written all over it as Black Thought slaughters the beat while referencing damn near every reality show that television has forced upon us. MF Doom rides “Fire Wood Drumstix” almost as good as Jay Electronica once did and Dilla’s brother Illa J elegantly pays tribute to his fallen family member on “See That Boy Fly”. Longtime fans of Dilla will appreciate Frank Nitty’s powerful presence on “Pay Day”. But enough with the MC contributions, these beats are what make the album. Your neck will literally break with “Glamour Sho75 (09)” and if that only causes a cramp then “Coming Back” will surely put you in the hospital with the tears it will induce, being reminiscent of the best track on "Donuts". Crafted perfectly this album is essential to any Dilla fan, both old and new, and is the perfect showcase of the talent that we lost a few years ago.
Cormega – Born and Raised – released 10/20/09
If Nas is the King of Queens, then Cormega is the Prince. Who else could put together an album that includes a three track sequence of DJ Premier, Pete Rock, and Large Professor. While most artists get out of the streets and can only try to imagine what life might be like if they were still there, Mega is very much a product of his environment who has clearly kept close ties with the life he has been forced to live. The narratives on this album are chilling and combined with the wordplay of a seasoned vet, it’s a safe bet that Nas probably wishes he hadn’t had the falling out that he did with Mega. Cormega twists tales of street life while reflecting on the problems that still exist in a way that few MCs have been able to do over the years and he does it with such passion it’s clear that he is as authentic as every rapper wishes he could be. When people talk about New York rap, THIS is what they are talking about, from stories about crime to poverty to messages that every young person needs to hear, this album is the most complete East Coast album in years. Wrapped up perfectly with legends Parrish, Kane, Grand Puba and KRS, Mega gives us everything that one could hope for in a hip hop album. Another heavily slept on album, this is one of the gems that we were blessed with in a year that saw so much greatness.
Mos Def – The Ecstatic – released 6/9/09
Rappers take notice, Madlib is a top 5 producer, and including him on your album can only help catapult it to the top of every hot albums list. For the past few years Mos Def has given us albums that are not only way out in left field (The New Danger) but also as lazy and unfocused (True Magic…where the fuck was the album cover to that) and has never been able to live up to his solid debut “Black on Both Sides”. With “The Ecstatic”, Mos proves that his many styles truly can be mashed together and still come away with a classic release. “Auditorium” with legendary storyteller Slick Rick combines a hypnotic beat with verbal visuals from two of the greatest at delivering narratives. “Pretty Danger” is an example of how having Madlib on the boards is always the best decision that any MC can make as not only does he provide a banging beat but perfectly matches the flow of the Mighty Mighty Mos. The Reflection Eternal cut “History” produced by the late great J Dilla only further makes us hungry for another “Train of Thought” and the beauty of “Roses” is spine tingling. This album is proof that Mos Def is still one of the greatest MCs of our time, even if he is a little misunderstood. This is not an album for hip hop purists but instead an album for forward-thinking fans who can appreciate all styles of music. “The Ecstatic” is just that, and what else would we really expect from Mos?
There you have it. The top 10 (15) albums of quite possibly the greatest year in hip hop history. No doubt some people will disagree with this list, and surely everyone will have an album they feel should have made it, or an album that did make it that shouldn’t have. But at the end of the day these 15 albums most accurately represent the level to which hip hop rose in 2009. We should be thankful that so many artists made so many incredible contributions to this culture, and as we look forward to 2010 we can only hope that hip hop will continue on this streak. Sorry Nas, but in 2009, hip hop is NOT dead.
Why not on ---
50 Cent – Before I Self Destruct – the only reason this album sounded so good was because his last effort was a failure that even Kwame couldn’t have imagined. With that said, 50 may have improved, but he didn’t do anything special with this release, he just gave us what we’ve been waiting on for the last 6 years.
Alchemist – Chemical Warfare – it had solid tracks, some of the best of the year actually, with the brilliant combination of Snoop, Pusha, and Jadakiss and one of the happiest tracks we’ve heard in a while with “Smile” but there was a lot of crap on the album that made it obvious that Alchemist just wanted to prove that he could make any type of beat, and even though he got the best artists of those genres, he shouldn’t have branched out that much because the overall sound was completely unfocused.
Camp Lo – Another Heist – the hardest one to leave off the list. Purely because there were so many other dope releases did this one slip out of the spotlight. The obvious number 16, this album was nothing short of incredible, a perfect throwback to Uptown Saturday Night, and easily their best effort since that album. Perhaps a little too short (how often does THAT get said about a hip hop album) and unfortunately way too under the radar (not that that is relevant) this album deserves to make the list but just barely missed it.
O.C. & A.G. – Oasis – although the pairing of old school artists has happened a couple times recently (Marley Marl and KRS, Craig G and Marley Marl) this was the year that everyone who was no longer relevant in rap decided to pair up to try to make themselves relevant. From Del and Tame One to Buckshot and KRS to O.C. and A.G., this was the year that the former hitmakers teamed up to try to reinvent that classic sound for those new ears who weren’t around during their prime. This album was the best of out all the collaboration efforts so far and was the least desperate to prove that these MCs were “true classic MCs”. The beats weren’t outdated and the rhymes were on point, unlike other artists who have tried this formula, but at the end of the day they just couldn’t compete with the fresh talent and classic artists who have managed to maintain instead of fading away for a few years and then trying to reignite their flame.
Rakim – The Seventh Seal – for 12 years hip hop has been waiting for the return of the God MC, indisputably the greatest MC of all time. From the weakness of “The Master” to the fallout with Dr. Dre fans began to think that this album would never happen. We were finally blessed with the God’s work, and blessed we were, the God certainly has not slipped in his lyrical game but unfortunately this album sounds slightly dated, as if it had been assembled in 2005, reworked in 2007 and finally released in late 2009. By the time November rolled around, nothing short of a Clipse album was going to crack the top 10 (or Souls of Mischief I guess) and so therefore this album does not make the list, even though it probably should. He’s still the God though, still the God MC.
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