Truth be told I love doing lists and ranking things, as does any other Hip Hop head. I feel like it is in the nature of a head to systematically rank things when it comes to Hip Hop. Whether it'd be top rappers, top producers, top beats, top verses, top moments in Hip Hop or even top name brands worn by rappers who like to rap about that sort of stuff.
Anyway, like I said before, I had a somewhat turbulent 2016, but I had a lot of good music to accompany me through that year. Here are the projects that I discovered and listened to throughout the course of last year. I hope you find at least one project or song that you didn't about before. I really tried, within the last year of 2016 especially. To try and find lesser known artists as well as projects from said artists to listen to. A few of my picks you won't find any on any other year end list as a ranked top pick (at least the ones I've seen) so without further ado let's get to number 16 which is...
#16. Trapo - Shade Trees
Hailing from Madison, Wisconsin (not exactly what I picture when I picture "hip hop cities" but they have a scene there it seems.) Trapo is a young up and coming rapper who deserves to be on EVERYBODY'S radar. What I like about Trapo is that he has a deep, attention grabbing voice that forces you to listen to what he has to say, it's very easy to just tune out a lot of rappers now a days but not Trapo, you will be drawn in to his lyrics by his delivery. Take the song "In the Shade" for example, where Trapo starts rapping you can instantly pick up on every single word that he is saying. And he definitely stands out from the beat but in a good way. His energy and delivery pack a powerful punch that allows his story and more importantly his lyrics to be put at the forefront of his more rap centric songs.
Cover Art for "Shade Trees"
Another thing on "Shade Trees" that I enjoy is how Trapo effortlessly switches from singing to rapping at the drop of a hat, makes for catchy refrains, hooks and bridges throughout the album. The song "Meeting Mariah" is a great example of what I am talking about (by the way all the song titles for examples of what I'm talking about will be linked.) In addition to that the production Trapo raps pretty well over the smooth laid back beats as well as the more upbeat type of production, danceable variation of production and everything in between (like boom bap type beats) as well as beats to just "chill or vibe" to. I notice Trapo is privy to rapping or singing over to slower Drake or OVO type music which is where I really saw the shortcomings of Trapo as an artist.
Now Trapo is a very young artist, he's only 18 (at the time of me writing this) so obviously he has some growing to do both musically and personally. But I have to call them out because I want to, this my blog son. Anywho, Trapo has a lot of lulls in his songs on the track listing, songs sometimes go on for too long and should've been cut short 2 minutes ago. At times I would check on the song playing like "damn this ain't end yet?" but I did like the production so that's what saved the overly long songs for me and stopped them from getting on my nerves like the 2nd half of the opening track "Love Is". If it had ended before the 2nd half of the song it would've been the perfect introduction to this project. The biggest downside to this project is that sometimes the songs feel like they're 10 minutes when they're really like 3 or 4 minutes. In addition to downsides about "Shade Trees", Trapo is sort of a basic rapper lyrically speaking, but he does touch on deep topics like love and violence in the inner city, but his delivery and sound of his voice is what give him that extra edge that compels me to continue to listen through to the end of his project as well as the smooth production on this project.
All in all, if you're a fan of the new age sing-songy vibe music like PARTYNEXTDOOR, The Weeknd or anyone from the OVO camp like Majid Jordan or Drake, give this project a listen. Trapo is going places as he continues to mend and perfect his sound and the dude's only 18 (at the time I am writing this) like I said but given a couple more projects under his belt and he'll be a monster musically.
Favorite Track: Jam Up
Listen to "Shade Trees" here.
#15. Meek Mill - DC4
Meek Mill. Even if you've been marginally paying attention to Hip Hop within the last 2 years or so you know Meek Mill has been on the butt of a lot of internet jokes. This is due to his one hip hop tiff with everybody's favorite Canadian rapper Drake. Long story short, Drake released a very
Cover Art for "DC4"
I wrote all of this background info and context to tell you that part of the reason I enjoyed this album is cause of where I was and how I experienced the release of DC4. Of course the music on here is good but the hype, build up, and expectations that I saw in Akademiks stream by people who both loved and hated Meek Mill made me very interested in this project and when it dropped and my dirt low expectations were exceeded, I was impressed. Only really by one song mind you but impressed nonetheless by the consistency of the songs in the track listing. With only really 2 songs I don't like "DC4" proves that Meek Mill has come out unscathed, unharmed and most importantly unchanged from the internet relentlessly making a joke out of him. It proves that Meek is for the streets and that while the internet is very important in this day and age, if the music bumps, and just sounds good in general, while people may not forget they will definitely admit when an artist did good. And on DC4, Meek did good.
What I like about "DC4" is that Meek comes through doing what Meek Mill does and doesn't try to be anything he's not. He's got the banging, thumping beats, almost all the features knock it outta the park, from Tory Lanez on "Litty" to Don Q on "Lights Out" most of the features bring their A game on DC4 and really add to the track they are on.
And to quote Feefo from Dead End Hip Hop "This bump in the whip". For those who don't know what that means, it means it is great music to play while driving around in your or someone else's automobile.
This project isn't without its flaws though. First off, I want to talk about Nicki Minaj on the song "Froze" with Lil Uzi Vert. Her verse on that song is just...no. I hate it. She single handedly ruins like one-third of this song with her verse. And I understand that (at the time) they were dating but God damn Meek should've just left her verse off if he couldn't get her to re-record her verse. What I'm saying is, I hate Nicki's verse on "Froze". Another thing that annoys me about "DC4" is that Meek hardly switches up his flow. I would've preferred if he slowed down his flow on the song "Blue Notes" to further match the slow guitar strings. It seems like Meek stays in one mode, or tone or emotion throughout the entirety of the 14 tracks on here. It's really the production and features that provide the most distractions and deviations from Meek's one type flow. In addition to that, I know the song "You Know" is more or less a "song for the ladies" but I can do without Meek trying to croon at me. When this song was playing on DJ Akademiks live stream, Meek was quickly nicknamed "The Meeknd" (combining Meek Mill and popular R&B/Pop singer The Weeknd's names) and hilariously enough, the name sticks cause Meek is in full R&B mode on here and it just doesn't work. Even if Meek doesn't like Drake, it doesn't help that he was going for a sound that Drake has pretty much got down to a science. Not the greatest moment on "DC4". Also, some of the content on this project can get very repetitive at times. I would've preferred Meek to have more social commentary on current issues like he did on that Funk Flex freestyle [Freestyle Linked Here] where mentioned the water in Flint, Michigan.
However, overall, I can't lie that there isn't a certain swag or charisma that Meek has behind his voice. Like he's rapping about what he has, but in a way that's like "Yo, you can go out there and get this shit too! Let this be your motivation" I feel like Meek wants to inspire on "DC4" just as much as he wants to stunt on this project and that's pretty noble of him. I like it.
Check out this project if you like a modern trap sound with a rapper who's always on 10 and who's voice matches the energy of the more upbeat songs.
Favorite Track: Blue Notes
Listen to "DC4" here.
#14. ScHoolboy Q - Blank Face LP
Cover Art for "Blank Face LP"
I was so hype to finally have this project release. I remember playing ScHoolboy Q's guest verse on A$AP Ferg's song "Let It Bang" (Q's verse is linked) in anticipation and being so hype in threads! And ultimately "Blank Face LP" was good, I have specific memories playing songs like "Neva CHange" in the truck with my Dad after we worked for 12+ hours inside a Walgreens.
But forget all that, this made my top 16 for a variety of reasons. For instance, on "Blank Face LP" there are nice, jazz inspired instrumentals throughout the album and I believe this project has the best production of any ScHoolboy Q project to date. Song's like "Groovy Tony/Eddie Kane", "JoHn Muir", and "Blank Face" all have some of the most layered, dense and most of all beautiful instrumentals that really serves to enhance the vividness of Q's lyrics about the streets. Also, lyrically speaking, Q is at his best in my opinion, spitting on everything from police brutality, to gang violence and of course no rap album is complete without boasts about being the dopest rapper in the game. There are few other rappers featured on "Blank Face LP" other than Q himself, but most notably the 2 rapper features that stand out the most are Jadakiss on "Groovy Tony/Eddie Kane" and Vince Staples on "Ride Out". Both contribute absolutely excellent verses respectively. Especially Jadakiss when he says "Gettin' high watchin' NBA league pass" which is just hilarious and so relatable as well. Most of the features, be it singers or rappers or otherwise, in general knock it out of the park entirely. From Vince Staples on "Ride Out" to SZA on "Neva CHange" to Traffic on "Tookie Knows II" almost all the features bring the HEAT! And that's a great thing cause I think if a feature gives it 100% percent effort it shows that the featured artist not only respects their own craft but they respect the artist whom they are featuring for as well.
In contrast however, I thought Blank Face LP's track list was a bit too long, I would've shaved off exactly 5 tracks (Those tracks being "TorcH", "Lord Have Mercy", "WHateva U Want", "Big Body" and "Str8 Ballin") matter of fact, let me show you how I would've arranged the track listing for this project.
Blank Face LP track listing as arranged by Joe
- THat Part (Black Hippy Remix)
- Groovy Tony/Eddie Kane (feat. Jadakiss)
- Kno Ya Wrong (feat. Lance Skiiiwalker)
- Ride Out (feat. Vince Staples)
- By Any Means
- Dope Dealer (feat. E-40)
- JoHn Muir
- Neva CHange (feat. SZA)
- Black THougHts
- Blank Face (feat. Anderson .Paak)
- Tookie Knows II (feat. Traffic & TF)
- Overtime (feat. Miguel & Justine Skye)
"Overtime" is a pretty cool, laid back song. My problem with it is the placement of it in the track listing. If it had been tacked on as the very last track as sort of a bonus track sort of deal than it would've been no big deal. But I hate the fact that "Overtime" is smack dab in the middle of the dramatic title track where Anderson .Paak is singing about making it past 25 as well as the realities of realizing your dreams (bars), and the very very very gangsta "Tookie Knows II" where Q and friends are talking about "We might die for this shit nigga". "Overtime" just simply doesn't belong between those two songs as it's a very made-for-radio rap song about fucking, literally Q's main hook in the song is "I wanna fuck right now" which, there's nothing wrong with, but I think when you have to heavy songs like "Blank Face" and "Tookie Knows II" "Overtime" just doesn't fit for me. Sure, you can look at it like sort of an interlude but I think it's a ill-fitting interlude if anything.
The more upbeat danceable tracks (Big Body, WHateva U Want) seem corny to me and I didn't like them. In addition to that, I didn't like the hook to "Str8 Ballin" I thought it was way too repetitive but not in a catchy way, more of an annoying way.
In conclusion however, Blank Face LP is what I think is Q's best work to date. From the features, to the instrumentals, to the samples and everything in between, Q comes through with his most fully realized project to date. Definitely worth a listen to all fans of Hip Hop.
Favorite Track: JoHn Muir
Listen to "Blank Face LP" here.
"Trust The Shooter" does have its flaws though. Remember what I said about "Rap On Steroids" beat being run-of-the-mill? Well, that's the production on this album for the most part. Don't expect any beat on here to really jump out or grab you, the beats on here really just serve as a canvas for Royce to paint insane imagery within his witty punchlines and bars. And speaking of production, the last, bonus track, "Digest It", the beat, is fucking horrible. Not even Royce's bars or flow could have saved that beat. That song really is the only real dud song on this otherwise solid project. But once again, it's at the end and Royce made sure to label it as a bonus track so thankfully you don't have to listen to it more than once if you don't want to.
Once again, only bars and lyrics on this one, don't expect catchy sing-songy hooks like Kid Cudi's "Pursuit of Happiness" or anything to that effect. The melody and catchiness of this project is severly lacking and this project feels more like a love letter to hip hop heads who enjoy lyrical acrobatics and spectacles more so than anything else.
Overall, it's 11 tracks (I say 11 tracks cause I hate that bonus track so much I ain't even gonna count it) of concise, dope bars from a veteran in the Hip Hop game. This project unfortunately got overlooked cause he was pushing his "Layers" album more than this tape, but if you ask me "Trust The Shooter" is wayyyyyy better than "Layers" as "Trust The Shooter" lets Royce be his "spitterific" self while on "Layers" he has to be concerned with song crafting when in reality Royce is at his best when he's just going off, rhyming on a beat. Not hook singing or any of that. He's at his best when he's just kicking straight bars, and that's what this project showcases the best. Royce's kicking the illest rhymes he can think of.
Favorite Track: Savages
Listen to "Trust The Shooter" here.
I'd prefer it if more newer rappers were like Maxo Kream. Still talking about whatever they want to talk about, whether it'd be drugs, guns, women etc. but still rhyming at a high level. Take the song "Shop" off of "The Persona Tape" for example. The subject matter is very run-of-the-mill, it seems like every rapper has the drugs on deck for sale. But the distinction is Maxo is still lyrical with it, where he's not sacrificing his rhyming just because he's talking about a certain subject and it works well here on this project and his other projects too. (Maxo Kream's best project to date is still MAXO 187, which I HIGHLY recommend you check out here.)
Along with his high capacity for rhyming, Maxo's production compliments his down south charisma perfectly especially the songs "Comin Dine" and "Karo" off this project. Really good southern fried production on there. As well as shit that just bangs especially the opening track "Choppas".
Maxo's subject matter on this project does get somewhat tiresome on this project as there isn't anything of substance on here. Sure, Maxo blatantly calls himself a "piece of shit" and shows some level of self awareness, mentioning that's he's drug dealing cause he just got evicted (on the song "Shop") or trying to provide some sort of justification as to why he's doing the things he does, but he doesn't dwell on it for any sort of extended period of time at all, which I would've preferred if he did.
All in all, I think this mixtape makes for really good casual listening (something to just throw on in the car as your riding around town) really nice, modern trap production in addition to Maxo rapping circles around other rappers talking about literally the same thing. I don't have a problem with what rappers are talking about in their raps it's how they're saying it and a lot of the time they are talking that drug talk in the most lazy way possible. Maxo does talk that drug talk but in a very entertaining way that does one thing. Fucking RHYME words. Which is what rappers are supposed to do. Not just let the beat do all the work for them. And that's why I like this project so much, offering a lot of replay ability as well as lyrics at the same time.
Favorite Track: Big Worm
Listen to "The Persona Tape" here.
What I love most about this album is that it is proof that you don't have to sacrifice, musical quality or catchiness to deliver a conscious message. T.I. proves you can have both in hip hop music.
My biggest problem with this album is that a lot of the best songs on here I've heard before. T.I. released an EP back in September of 2016 called the "US or Else EP" with 6 songs. These 6 songs also appear on this album (and for good reason too, that EP went relatively overlooked) and those 6 songs end up being the best on the album which is rather unfortunate but if it means more people can hear those songs then I'm all for those 6 songs making an appearance on this album.
In general, check this album out for dope, modern trap beats with a dope, powerful political message.
Favorite Track: Switchin' Lanes (feat. Trev Case & Big K.R.I.T.)
Listen to "Us Or Else: Letter To The System" here.
Enter Westside Gunn, a New York resident who, a series of mixtapes called "Hitler Wears Hermes" crafted and cultivated his sound that eventually culminated into his debut album "FLYGOD".
The best way to describe "FLYGOD" is a golden, blood stained, uzi. Luxurious, yet extremely grimy and dangerous. Westside Gunn evokes the early 90s/late 80s New York, vintage boom bap sound. With vinyl crackling in the background of songs like "Gustavo". Gunn revives that classic East Coast sound without making it sound dated or making it sound like a cheap nostalgia grab. Gunn achieves this by sampling and flipping old, sometimes classical, sometimes soul samples of various artists to give "FLYGOD" a ghetto fabulous type feel. And it works, in a good way. My point is, Westside Gunn has mastered the grimy, New York boom bap sound. This album makes you feel like you are in New York in the dead of winter with the FRESHEST pair of Timberlands. It's a good thing trust me.
Sidenote: The 12th Track "Mr. T" on this album (FLYGOD) is Beat of the Year 2016.
One thing I will say about "FLYGOD" is that it specializes really in one specific sound. That sound being that classic, vintage boom bap sound from New York in the late 80s/early 90s. If you're more into the modern sound with 808s, booming bass and what not then steer clear of this project. This project is for a very specific type of hip hop listener who enjoys the more traditional sound of hip hop rather than today's more poppy, experimental sound.
Also, Westside Gunn's voice does take some getting used to if you're not used to a strong New York accent like I was. His delivery can seem annoying first, almost as if it's a kid trying out his best grown up gangster impression, but once you get adjusted and used to hearing how Westside Gunn's voice. "FLYGOD" makes for a very enjoyable, but I can totally see how Westside Gunn's voice could be a challenge getting used to for first time listeners.
IF you can't get past Westside Gunn's more nasally tone and delivery, then listen to his brother Conway who is featured all throughout "FLYGOD". Conway's voice and delivery of his rhymes are more in line with how the average gangster rapper would sound. I specifically recommend checking out Conway's project Reject 2 here. Lots of heat on that tape from Conway.
There are also some tracks that I feel are clearly better than others on this project. I feel like there are a few too many tracks on this project and if I had my way I'd wittle the track listing down to what I feel are only the best tracks and the outro.
FLYGOD track listing as arranged by Joe
Overall, I do recommend everyone listen to "Mr. T" if only for that GORGEOUS beat, but really if you like grimy, New York, east coast type hip hop than this is for you. It does lean more on the backpacker side of hip hop but it's a good thing cause "FLYGOD" is smooth as well. The rhymes are there but Westside Gunn has a certain smoothness in the way he delivers his rhymes that doesn't feel like he's bombarding you with rhymes like a Royce Da 5'9" does. Which is good.
Favorite Track: Mr. T
Listen "FLYGOD" here.
Enter Kweku Collins and his project "Nat Love". The first thing right off the bat I notice about this guy is that he's very personal and topical with his lyrics (meaning he picks a song topic and makes the lyrics directly about the song title, for example the song "Stupid Rose" references roses, love etc. In "Vanilla Skies" w/ Taylor Bennet, Taylor makes a direct reference to the weather), yet still makes them (his songs) catchy enough to sing along to. Take for instance, the song "Death of a Salesman" my favorite track on the album. It has a VERY infectious hook that has a GODLY melody. I can easily catch myself humming this just out of nowhere. It's really a great melody, but during his verses on the song, at first it seems like he's talking about himself and his family, but upon closer inspection, Kweku is talking the United States, it's treatment of poor minorities (specifically black people) and death in general. This is evidenced by lyrics such as "See, I have this uncle Sam, and I hate his ass so much" which, at first it seems like he's just talking personally about his family but like I said, there's layers and levels to Kweku writing ON TOP of dope song writing, which is great, and should give you MORE than enough reason to check out Kweku Collins' Nat Love out.
But, in case you need a little bit more convincing, even though he's singing he's also rhyming very proficiently throughout this entire album. This is evidenced by the first and last track where he is rapping to very sparse beats, whilst still keeping a very nice, pleasant-to-listen-to flow.
And going back to the Kid Cudi comparison, I can honestly say I think he's better than Kid Cudi in a lot of ways. Even old Kid Cudi back then. Kweku is just able to touch on a variety of sociopolitical topics as well personal topics pertaining to his love life. With Kid Cudi, I felt like he was too bogged down in the "Woe is me" concept, which I'm not putting down or complaining about, the artist should make what they feel, but I feel like the world is bigger than that and that and artist can look at the world, make judgements on it through song, and yet still relate it back to themselves. Similarly to how Kendrick Lamar did that on his 2015 album "To Pimp a Butterfly". I prefer a "let's look at what's happening around us and see how it affects both me and you."
However, in general, I think Kweku Collins deserves to be mentioned in the same breath with a Anderson .Paak or D.R.A.M.. Very good singing voice and good rapping style that easily totes the line between hip hop and R&B.
Give Kweku Collin's "Nat Love" a listen if you enjoyed Anderson .Paak's "Malibu" or "Yes Lawd!. OR If you enjoyed any early Kid Cudi OR If you like a bit more singing in your hip hop then usual.
Favorite Track: Death of a Salesman (prod. by oddCouple)
Listen to "Nat Love" here.
What I love about this project is how Rapsody raps about positivity but in a genuine way, that doesn't feel like I'm being preached at or being forced to feel good (i.e. "Coloring Book" no shots, just facts) so I really appreciate that the most about "Crown EP".
Another thing I enjoyed about "Crown" was the beats that Rapsody spits over on this. I love this nice, jazzy production that does not overtake Rapsody's lyrics. Instead, the production makes for the perfect canvas for Rapsody to spit over. The production doesn't get old either, it's varied enough in its loops to keep the beats interesting yet the beats aren't too eccentric enough to the point where the project is just totally in-cohesive or a mess. At only 10 tracks. Each track is unique, needed, and concise, none of the tracks run too long or overstay their welcome. The track listing and length of this project is perfect.
One thing I've never really enjoyed with popular female rappers, like Nicki Minaj for instance, is that sometimes I feel alienated as a male listener when Nicki is rapping about more feminine subjects. Not trying to make myself a victim or anything (lord knows there's WAY more guys than girls in the rap game) but when Nicki Minaj, Trina or Lil Kim start rapping in explicit detail about fucking some dude, I just lose interest as a man, maybe I'm sexist, maybe I'm some sort of other "-ist" but whatever it is, it disinterests me when sexual acts seems to be rampant through out a rapper who happens to be a woman's lyrics.
What I like about Rapsody is that she raps to both men and women, often times, female rappers start to alienate the male listener and I get why, but Rapsody's lyrics make it so that everyone can rap along with her for the most part with exception of the song "Through with Him"and a few lines here and there. And I believe all female rapper's should rap more like Rapsody on this project with a wide variety of topics that not just a specific group of people can relate to.
But yeah, overall, Rapsody is the best female rapper in the game and one of the best rappers out period. Her take on Desiigner's "Timmy Turner" with "Tina Turner" is brilliant. And her cover of Solange's "Mad" is great! Please Do NOT sleep on this EP. All the features (Raphael Saadiq, Anderson .Paak, Ab-Soul & Moonchild) all do their thing and add just enough to the EP without in anyway detracting from the project as a whole.
Please, please, please check "Crown EP" out if you like albums like Kendrick Lamar's "To Pimp a Butterfly", Mick Jenkin's "The Water[s]" or any other Jazz type inspired Hip Hop. All the songs on here are QUALITY. Trust me.
Favorite Track: OooWee (feat. Anderson .Paak)
Listen to "Crown EP" here.
OR. It goes like it did with A Tribe Called Quest and this album. Which was making a final album that doesn't sound like a cheap nostalgia grab but instead keeps the core sound of A Tribe Called Quest that made them popular in the first, and updates that core sound for the year of 2016.
The instrumentals on this album are layered and rich. Protip: live instrumentals will ALWAYS trump studio instruments ALWAYS. Cause Music started out with live instruments and on top of that the live element has an x factor that has yet to be captured in computer made instrumentals.
Lyrically speaking, Q-Tip, The late Phife Dawg, Jarobi, Busta Rhymes & Consequence all bring their A game on this final album. It's so crazy how new this sounds while still being true to the ATCQ sound from The Low End Theory and Midnight Marauders, I was honestly surprised that there wasn't a bad song on this thing.
In addition to that, all of the features are expertly placed, from André 3000 on "Kids" to Anderson .Paak on "Movin Backwards".
As for the young people reading this blog, do be warned about this album. If you like strictly modern trap music (a la Maxo Kream, Meek Mill, etc.) or just music with a modern 2016-2017 now than this album definitely isn't for you. It is inaccessible in a way that. It is strictly A Tribe Called Quest sound. So, if you're not familiar with Tribe (you should be) than this may take you by surprise.
Overall and in general, while this album may be a relatively safe pick at #7, this album is quality through and through. It deserves ALL the praise it has been getting. I know Phife Dawg would be proud with this one. A Tribe Called Quest...I thank you for the music. A truly great finale of an album from A Tribe Called Quest.
Favorite Track: Enough!!
Listen to "We Got It From Here...Thank You 4 Your Service" here.
So, it shouldn't be a surprise that the best rapper, who's really in the game now (by really in the game, I mean going platinum off pure album sales, and not that new rule of streams counting toward sales. Just. Pure. Sales.) dropped one of the best projects of 2016, and this project isn't even like a main project that the artist has been working years to release. No, these are LEFTOVER tracks fam, LEFT OVERS.
My question is, how in the world is a rapper's leftover tracks better than half the projects that came out in 2016? How Sway?
While Kendrick's 2015 project "To Pimp a Butterfly" was excellent (and if, for some awful reason you have not listened to "To Pimp a Butterfly", please do so right now) it didn't necessarily guarantee that the songs that did not make that 2015 album were going to be decent. But, when you drop such high quality, completed songs, even the ones that didn't quite finish cooking are somewhat guaranteed to be potentially great. And that is the case here.
So how is "untitled unmastered" as a whole? Well, Kendrick sounds just as focused here, as he was on "To Pimp A Butterfly." Everything to love about Kendrick is on full display here. The production on here is pretty damn great for a god damn throwaway project! The very thought that these tracks were just sitting around somewhere in someone's hard drive, and that they were never going to see the light of day or get released to the public, that very thought makes me sick to my stomach. To think that I could've missed out on these phenomenal songs, it both saddens and distresses me. Such musical greatness should never be denied to the world.
One song in particular I want to discuss from this compilation album is "untitled 05". "untitled 05" is just...I have no words, amazing, spectacular, wonderful, fantastic...all those words, they aren't good enough. This was my most played song of the year 2016 with 200+ plays at this point (according to iTunes, but I'm sure it's more) I absolutely love this track and the others on here as well. But "untitled 05" is just everything I love about hip hop and more on full display here. I seriously cannot stop praising this track, and I just recently (like a month ago lol) found out about the deeper meaning in the lyrics of "untitled 05" via rap genius and it just took the song to a whole other level for me. I will listen, and will continue to listen to "untitled 05" for the rest of my life. Already bought "untitled unmastered" on vinyl and I'm pretty sure it is saved to my iTunes cloud (whatever that is) so I can confidently say that I will be in fact listening to "untitled 05" forever. Just lyricism, production, emotion filled delivery, an amazing guest verse, a little back and forth between Kendrick and fellow TDE rapper Jay Rock, a divine chorus from Anna Wise. Production from both Terrace Martin and Sounwave. A thumping, yet groovy, yet ominous bassline played by Thundercat. It's all great on here. Guess which track I'm going to name as my favorite from this project.
Another positive too, is that the production is more modern on here (example: "untitled 02") so it can be more accessible for listeners who enjoy a bit more of the modern trap sound. However, "untitled unmastered" is still very similar to "To Pimp a Butterfly" as it keeps a core jazz sounds, but just has added elements of trap music mixed within the production.
The only bad thing I can say about this supposed throw away project is that there is a live version of the 3rd track on this album "untitled 03" that Kendrick performed on the last episode of Comedy Central's show "The Colbert Report" that is leaps & bounds better than the studio version played on here. I was disappointed by the version that appeared on this album only because I had heard that live version on "The Colbert Report" prior. And the live version simply had way more aggressive, emotional energy. Nothing is changed except the tone of Kendrick's voice in the live version but boy does it make ALL the difference in the song.
I will link the version that Kendrick performed live on "The Colbert Report" here. And I will link the studio version of "untitled 03" here and I want YOU to tell me which is better? Which version of "untitled 03" is more powerful? More visceral? Which version makes the hairs on the back of your neck stand up? When you compare the two versions, I think one can see how I can easily be disappointed with the studio version of "untitled 03".
Overall though, Kendrick is batting at a thousand right now and "untitled unmastered" is proof of that. Even when he doesn't even fully flesh out songs, it still sounds like greatness and better than most albums that dudes put in 2 or 3 years to craft. This man is literally dropping greatness like it's nothing, and that's insane, in a good way. Kendrick Lamar that dude right now and I think that people WANT Kendrick to fail (when I say fail, I mean put out a mediocre or subpar project or a project that isn't as good as his last 2 albums) so they can be like "Hahahaha SEE he's not as good as you think!" and that's honestly very pathetic because I feel like if an artist consistently puts out excellent, quality work as well as continue to improve and experiment with different sounds throughout each album, I don't see why anyone would want to see that artist put out a project that is not as quality as the rest of his/her discography. It doesn't make sense to me, but then again people are just plain weird (no shots, just facts.) But yeah, I may sound like a stan but Kendrick has it right now, he's got the torch right now of the new school of hip hop and he's running with it right now. And I think EVERYBODY right now is anticipating what he's going to do next. Whatever it is, I know he's going to be alright with whatever he puts out to the world next, whether they like it or not, it won't matter as long as he (Kendrick) is okay with it.
Favorite Track: untitled 05 | 09.21.2014.
Listen to "untitled unmastered" here.
Joey's is easily able to combine his charisma with his lyrics to give his delivery an extra, enthusiastic punch. You can tell, Joey sounds hungry on "iiiDrops" like someone said he sucks and he can't make music and that he'll never make it in the rap game. Well, if anyone ever said that. They were wrong.
Joey Purp came out with the best project coming from Chicago in 2016. Yes, better than Chance's, Noname's, Jamila Woods's, Kanye's, Sterling Hayes's, Brian Fresco's, Vic Mensa's, and even Saba's respective projects. Not putting them down though as all their projects were good but not as good as Joey's. I believe Joey was the most underrated MVP of Chicago last year along with Kweku Collins, whom I mentioned earlier.
As for "iiiDrops", it starts off great and the quality stays consistent all the way through with the exception of 2 songs. The production on here is top notch, with booming drums, soulful vocal samples and triumphant sounding trumpets. "iiiDrops" production is an amalgamation of a new school rapper taking elements from early Kanye West style production as well as other more soulful production styles of the early 2000s and the 2000-2010 decade in general. There are so many sounds on "iiiDrops" that just remind me of sounds from the 2000s but doesn't sound dated, take for example the song "Girls @" with Chance The Rapper. The beat to that song reminds me of Kellis' Milkshake song, which is a good thing. I can clearly see where Joey gets some of his influences from.
But then you get songs like "Photobooth" which sound new and experimental in addition to sounding like nothing like anything from the past decade. "iiiDrops" is incredible in that it draws from many different sounds throughout each track but it still retains a strong sense of cohesion, and at only 11 tracks this is an impressive feat to pull off.
But special shoutout to the opening track "Morning Sex". When those, trumpets and drums kick in, it really does feel like you're waking up to your partner/significant other/tinder date giving you a warm awakening. Joey knows to kick off a project and I hope he continues with the great openers in future Joey Purp projects.
The only 2 blunders or blemishes on this otherwise perfect project are the songs "Say You Do" and "Kids". Now, "Say You Do" isn't actually that bad of a rap song, it simply doesn't work for me. Joey is rapping about hooking up with some girl, and the odd latin jazz sample is unpleasant to my ears. I feel like I'm listening to a beat that doesn't know if it wants to be smooth or laid back or uptempo and danceable. The beat just ends up sounding awkward to me, like I don't enjoy the "Say You Do" beat in my ear at all, and I usually love jazz based hip hop but not "Say You Do". Joey is rapping, but it's not enough to save the song for me, so I deleted the song from the mixtape and I honestly think it's with "Say You Do" deleted.
As for "Kids", I just hated that auto tuned hook. Joey, please, please, please don't ever use auto tune again, just stick to your regular singing voice, or get a guest singer to do your sung hooks cause the hook to "Kids" isn't it. I understand and appreciate you taking risks Joey. You took a risk and it failed, and didn't work out. So, I don't want that to happen again, cause "Kids" is yet another track that I deleted from my playlist of "iiiDrops" and I believe the project is better for it. With "Say You Do" and "Kids" deleted, this project is flawless.
In general, however, this mixtape is gold, son. This made me a Joey Purp fan. Joey be knocking his features out the park too. Check the song "Ots (feat. Joey Purp)" (which I linked in my other post) and the song "Visions (feat. Joey Purp)" too and he bodies them both. And he improved a lot too as an artist. If you listen to his last tape "The Purple Tape" that he released back in 2012 that tape was GARBAGE. So, only listened to "iiiDrops" and future Joey Purp projects from now on. I only recommend checking out "The Purple Tape" out of morbid curiosity cause the best thing about Joey's 2012 tape is that there's a really funny roasting skit in the middle of the tape that lasts for a good while. The whole track is just Joey and his friends joking on each other, the jokes are pretty funny too!
But yeah, "iiiDrops", best tape out of Chicago in 2016, check it out, I think everybody can at the very least appreciate something about this mixtape.
Favorite Track: Cornerstore (feat. Saba & theMIND)
Listen to "iiiDrops" here.
The reason I mention their previous project "BetterOffDEAD" is because the Flatbush ZOMBiES are competing against themselves because they crafted such a unique sound on that mixtape and with this upcoming "3001" debut album. I figured this album would build up the sounds heard in "BetterOffDEAD" but Erick The Architect (one of the 3 rappers of the Flatbush ZOMBiES, as well as the groups main in-house producer) for some reason, decided not to, or couldn't use samples for this project, and as a result the production is less hard hitting than on "BetterOffDEAD" but upon re listens, I realized "3001" wasn't a step down from their previous projects but rather a step sideways, a step in a new direction. Flatbush ZOMBiES discography is very small at only 3 official project. (Including this one "3001") so it makes sense for Flatbush ZOMBiES to want to branch out and experiment with different sounds. Once I realized, that "3001" wasn't the "BetterOffDEAD" Pt. 2 that I wanted, but rather it's own entity as an album. I began to listen to "3001" without my expectations on what I thought "3001" was supposed to sound like.
It was with that new mindset that I began to appreciate "3001" for what it was as an album.
What I love about "3001" is every song is essential on here. No loose fat or tracks to be removed or taken out here. From Track 1 to 12 it's all essential and on top of being essential, it makes the project very cohesive and concise which is a great thing. You can keep your 1 hour and 20 minute projects with insane amounts of filler and songs that are there just to fill out a track listing. I'll take a short 8 song project over those overly long projects any day of the week.
Zombie Juice , another member of the Flatbush Zombies trio who only raps, has greatly improved lyrically and flow wise a lot from the first mixtape that Flatbush Zombies released called "D.R.U.G.S."(released back in 2012). It really helps the project out that there are no weak links (Flatbush ZOMBiES is a trio of rappers consisting of Zombie Juice, Erick The Architect [who is the in-house producer for most of the beats for the ZOMBiES] & Meechy Darko by the way)
In addition to Zombie Juice, Meechy Darko (another member of the trio) drops some of the best verses I've heard from him so far (see the songs "This Is It" and "New Phone, Who Dis?"). I swear Meechy has not dropped ONE bad verse since he came out with Flatbush, it's a wonderful thing.
As for the production, it starts out hype for the first 6 tracks of the project, then the next 6 tracks of the project are very mellowed out and chill, which might turn off some people away from this album if they are the type of people who prefer their music to be consistently upbeat throughout a whole project.
Besides Erick not using any samples for this album, and the production for most of "3001" lacking that little extra kick that was really successful when used in their last mixtape "BetterOffDEAD". The fan voicemails at the end of the last song "Your Favorite Rap Song" only needs to be listened to ONCE after that, just cut it off after Meech is done with his verse cause they go from funny to cringe real fast.
So, all in all, I want to reiterate that "3001" isn't a step down from their last project it's a step sideways in a new direction for them. They were trying out a new sound for a more mellowed out result and they achieved it for the most part. I've replayed this whole album a bunch of times and it works for active listening and passive listening as well. I can put it on in the background and ignore it or I can put it on and really pay close attention the lyrics. And for me, that's the beauty of this project. The way I listen to this album in different listening styles, and my enjoyment of the album isn't effected in the least bit. Which is very and is a good thing. And for me, replay value is the biggest thing when it comes to these lists, and I'm always listening to at least one song off here so here it is at #4.
Favorite Track: This Is It
Listen to "3001: A Laced Odyssey" here.
But on Run The Jewels 3 it's much more than just about being apart of the "fuck shit" squadron as Killer Mike & El-P dive more into the political side of things with songs such as "2100" with featured artist BOOTS or "Thieves!" with featured artist Tunde Adebimpe. Both songs take a long hard look at the sociopolitical climate of the United States and in both of these songs (and others are on the album) Killer Mike & El-P sense a change coming in the form of a revolution, even El-P directly states this on the final track "A Report to the Shareholders / Kill Your Masters" where he raps that
While I don't agree with Melonhead (that's my nickname for Anthony) all the time, he was right on the money with this quote. Run The Jewels drops so much quality, that their "okay" content is just miles ahead of the next rappers "best" content. (no shots, just facts)
The more upbeat danceable tracks (Big Body, WHateva U Want) seem corny to me and I didn't like them. In addition to that, I didn't like the hook to "Str8 Ballin" I thought it was way too repetitive but not in a catchy way, more of an annoying way.
In conclusion however, Blank Face LP is what I think is Q's best work to date. From the features, to the instrumentals, to the samples and everything in between, Q comes through with his most fully realized project to date. Definitely worth a listen to all fans of Hip Hop.
Favorite Track: JoHn Muir
Listen to "Blank Face LP" here.
#13. Royce Da 5'9" - Trust The Shooter
What I love most about Royce is that you can always rely on him to bring bars to any beat that he is on. Whether it'd be a modern trap beat or a classic, DJ Premier sample style, boom bap beat. Royce's flow is versatile enough and Royce's bars are clever enough to maneuver through any style of hip hop beat. Sometimes it gets to the point where Royce's bars are saving an otherwise mediocre or not so special beat. Take the song "Rap On Steroids" for example. The beat on that song isn't anything special, almost sounds like a leftover beat that didn't get picked up by any rapper who heard it previous to Royce, but what does Royce do with this beat? Raps. His. Ass. Off. (Along with Black Thought, who, for the record, is one of the greatest living MC's today, don't let him being on Jimmy Fallon's show fool you. That man has BARS.) And it makes this song, and most importantly the beat sound hot. See, even if the beat isn't that special, if a rapper is going in on said beat, than I'll rock with it. And that's what Royce does, bring bars to any beat and so if you want lyrics and witty punchlines to decent to great sounding beats (There's seriously no weak tracks on here besides the one bonus track at the end, but I have the excuse of not listening to it on repeated listened cause it is just a bonus track after all) than this project is for you.
Cover Art for "Trust The Shooter"
"Trust The Shooter" does have its flaws though. Remember what I said about "Rap On Steroids" beat being run-of-the-mill? Well, that's the production on this album for the most part. Don't expect any beat on here to really jump out or grab you, the beats on here really just serve as a canvas for Royce to paint insane imagery within his witty punchlines and bars. And speaking of production, the last, bonus track, "Digest It", the beat, is fucking horrible. Not even Royce's bars or flow could have saved that beat. That song really is the only real dud song on this otherwise solid project. But once again, it's at the end and Royce made sure to label it as a bonus track so thankfully you don't have to listen to it more than once if you don't want to.
Once again, only bars and lyrics on this one, don't expect catchy sing-songy hooks like Kid Cudi's "Pursuit of Happiness" or anything to that effect. The melody and catchiness of this project is severly lacking and this project feels more like a love letter to hip hop heads who enjoy lyrical acrobatics and spectacles more so than anything else.
Overall, it's 11 tracks (I say 11 tracks cause I hate that bonus track so much I ain't even gonna count it) of concise, dope bars from a veteran in the Hip Hop game. This project unfortunately got overlooked cause he was pushing his "Layers" album more than this tape, but if you ask me "Trust The Shooter" is wayyyyyy better than "Layers" as "Trust The Shooter" lets Royce be his "spitterific" self while on "Layers" he has to be concerned with song crafting when in reality Royce is at his best when he's just going off, rhyming on a beat. Not hook singing or any of that. He's at his best when he's just kicking straight bars, and that's what this project showcases the best. Royce's kicking the illest rhymes he can think of.
Favorite Track: Savages
Listen to "Trust The Shooter" here.
#12. Maxo Kream - The Persona Tape
One of the reasons I dislike the newer style of rapping is because there is a distinct lack of rhyming, which is basically, what rapping is, rhyming words in a certain rhythm or flow. Rappers have the flow, cadence and rhythm but lack the actual rhyming of words and I dislike like that.
Cover Art for "The Persona Tape"
I'd prefer it if more newer rappers were like Maxo Kream. Still talking about whatever they want to talk about, whether it'd be drugs, guns, women etc. but still rhyming at a high level. Take the song "Shop" off of "The Persona Tape" for example. The subject matter is very run-of-the-mill, it seems like every rapper has the drugs on deck for sale. But the distinction is Maxo is still lyrical with it, where he's not sacrificing his rhyming just because he's talking about a certain subject and it works well here on this project and his other projects too. (Maxo Kream's best project to date is still MAXO 187, which I HIGHLY recommend you check out here.)
Along with his high capacity for rhyming, Maxo's production compliments his down south charisma perfectly especially the songs "Comin Dine" and "Karo" off this project. Really good southern fried production on there. As well as shit that just bangs especially the opening track "Choppas".
Maxo's subject matter on this project does get somewhat tiresome on this project as there isn't anything of substance on here. Sure, Maxo blatantly calls himself a "piece of shit" and shows some level of self awareness, mentioning that's he's drug dealing cause he just got evicted (on the song "Shop") or trying to provide some sort of justification as to why he's doing the things he does, but he doesn't dwell on it for any sort of extended period of time at all, which I would've preferred if he did.
All in all, I think this mixtape makes for really good casual listening (something to just throw on in the car as your riding around town) really nice, modern trap production in addition to Maxo rapping circles around other rappers talking about literally the same thing. I don't have a problem with what rappers are talking about in their raps it's how they're saying it and a lot of the time they are talking that drug talk in the most lazy way possible. Maxo does talk that drug talk but in a very entertaining way that does one thing. Fucking RHYME words. Which is what rappers are supposed to do. Not just let the beat do all the work for them. And that's why I like this project so much, offering a lot of replay ability as well as lyrics at the same time.
Favorite Track: Big Worm
Listen to "The Persona Tape" here.
#11. T.I. - Us Or Else: Letter To The System
One thing I've always appreciated about Hip Hop is its ability to deliver a powerful message while still being catchy and playful. That's exactly what T.I. does in his latest project "Us Or Else: Letter To The System" where he takes today's modern trap sound and adds a powerful, political message underneath all the catchy, popular flows that T.I. kicks all throughout this project. One thing I love about this project is how no track feels like an afterthought. Every track on here is saying something of substance and sounds damn good while doing it. The only track I didn't care was "Picture Me Mobbin'" w/ The Dream. The hook on that song just doesn't work. The Dream's voice annoys me on that song like there's autotune on it and The Dream is literally just saying "Picture Me Mobbin" over and over again over a generic, pop-trap beat that literally sounds like its saying. PLEASE PICTURE ME ON THE RADIO. Which, won't happen for that trash track.
Cover Art for "Us Or Else: Letter To The System"
What I love most about this album is that it is proof that you don't have to sacrifice, musical quality or catchiness to deliver a conscious message. T.I. proves you can have both in hip hop music.
My biggest problem with this album is that a lot of the best songs on here I've heard before. T.I. released an EP back in September of 2016 called the "US or Else EP" with 6 songs. These 6 songs also appear on this album (and for good reason too, that EP went relatively overlooked) and those 6 songs end up being the best on the album which is rather unfortunate but if it means more people can hear those songs then I'm all for those 6 songs making an appearance on this album.
In general, check this album out for dope, modern trap beats with a dope, powerful political message.
Favorite Track: Switchin' Lanes (feat. Trev Case & Big K.R.I.T.)
Listen to "Us Or Else: Letter To The System" here.
#10. Westside Gunn - FLYGOD
I've never been a huge fan of the New York, old school boom bap hip hop sound. Whenever I hear an album like that I get bored. I get tired, distracted or something else my body does to let me know that I do not enjoy listening to this type of music. Not putting boom bap type rap down, it is what hip hop in the modern era evolved from. Without boom bap, I wouldn't be typing about artists like Run The Jewels or Joey Purp, cause all of their music contains traces of that classic boom bap sound that was popular in hip hop music back in the day.
Cover Art for "FLYGOD"
Enter Westside Gunn, a New York resident who, a series of mixtapes called "Hitler Wears Hermes" crafted and cultivated his sound that eventually culminated into his debut album "FLYGOD".
The best way to describe "FLYGOD" is a golden, blood stained, uzi. Luxurious, yet extremely grimy and dangerous. Westside Gunn evokes the early 90s/late 80s New York, vintage boom bap sound. With vinyl crackling in the background of songs like "Gustavo". Gunn revives that classic East Coast sound without making it sound dated or making it sound like a cheap nostalgia grab. Gunn achieves this by sampling and flipping old, sometimes classical, sometimes soul samples of various artists to give "FLYGOD" a ghetto fabulous type feel. And it works, in a good way. My point is, Westside Gunn has mastered the grimy, New York boom bap sound. This album makes you feel like you are in New York in the dead of winter with the FRESHEST pair of Timberlands. It's a good thing trust me.
Sidenote: The 12th Track "Mr. T" on this album (FLYGOD) is Beat of the Year 2016.
One thing I will say about "FLYGOD" is that it specializes really in one specific sound. That sound being that classic, vintage boom bap sound from New York in the late 80s/early 90s. If you're more into the modern sound with 808s, booming bass and what not then steer clear of this project. This project is for a very specific type of hip hop listener who enjoys the more traditional sound of hip hop rather than today's more poppy, experimental sound.
Also, Westside Gunn's voice does take some getting used to if you're not used to a strong New York accent like I was. His delivery can seem annoying first, almost as if it's a kid trying out his best grown up gangster impression, but once you get adjusted and used to hearing how Westside Gunn's voice. "FLYGOD" makes for a very enjoyable, but I can totally see how Westside Gunn's voice could be a challenge getting used to for first time listeners.
IF you can't get past Westside Gunn's more nasally tone and delivery, then listen to his brother Conway who is featured all throughout "FLYGOD". Conway's voice and delivery of his rhymes are more in line with how the average gangster rapper would sound. I specifically recommend checking out Conway's project Reject 2 here. Lots of heat on that tape from Conway.
There are also some tracks that I feel are clearly better than others on this project. I feel like there are a few too many tracks on this project and if I had my way I'd wittle the track listing down to what I feel are only the best tracks and the outro.
FLYGOD track listing as arranged by Joe
- Dunks (feat. Conway)
- Vivian At The Art Basel (feat. Your Old Droog)
- Hall
- Free Chapo (feat. Conway)
- Over Gold (feat. Meyhem Lauren)
- Bodies On Fairfax (feat. Danny Brown)
- Chine Gun
- Omar's Coming (feat. Roc Marciano & Conway)
- Mr. T
- Dudley Boyz (feat. Action Bronson)
- Outro (feat. Bro A.A. Rashid)
Overall, I do recommend everyone listen to "Mr. T" if only for that GORGEOUS beat, but really if you like grimy, New York, east coast type hip hop than this is for you. It does lean more on the backpacker side of hip hop but it's a good thing cause "FLYGOD" is smooth as well. The rhymes are there but Westside Gunn has a certain smoothness in the way he delivers his rhymes that doesn't feel like he's bombarding you with rhymes like a Royce Da 5'9" does. Which is good.
Favorite Track: Mr. T
Listen "FLYGOD" here.
#9. Kweku Collins - Nat Love
I had read a post on reddit about underrated albums of 2016. And as the poster was going about describing the different the projects, this one particular project "Nat Love" stood out to me. Particularly because the OP (Original Poster of the thread) made a bold statement saying that this artist Kweku Collins is reminiscent of an early Kid Cudi but is, in a lot of ways, better than Kid Cudi and I just had to check him out because while I wasn't the biggest fan of early Kid Cudi, I did like Cudi's more well known songs from back in the beginning of his career (songs like "Day N Nite" "Pursuit Of Happiness" etc) and I've always enjoyed sing songy rap to a degree. Not sing songy rap like a Famous Dex or a Lil Uzi Vert is doing but sing song rap like an Anderson .Paak or a D.R.A.M. You know, musically talented, mostly sings, but sometimes that singing derails off into the rapping territory which is a pretty cool thing in my opinion. It's like a nice blur of the Hip Hop and R&B genre that creates this odd pop rap fusion mix. It allows the rappers lyrics to be heard and sung along to. Like the entire song is one big hook, and when it is done well, I immensely enjoy the final product.
Cover Art for "Nat Love"
Enter Kweku Collins and his project "Nat Love". The first thing right off the bat I notice about this guy is that he's very personal and topical with his lyrics (meaning he picks a song topic and makes the lyrics directly about the song title, for example the song "Stupid Rose" references roses, love etc. In "Vanilla Skies" w/ Taylor Bennet, Taylor makes a direct reference to the weather), yet still makes them (his songs) catchy enough to sing along to. Take for instance, the song "Death of a Salesman" my favorite track on the album. It has a VERY infectious hook that has a GODLY melody. I can easily catch myself humming this just out of nowhere. It's really a great melody, but during his verses on the song, at first it seems like he's talking about himself and his family, but upon closer inspection, Kweku is talking the United States, it's treatment of poor minorities (specifically black people) and death in general. This is evidenced by lyrics such as "See, I have this uncle Sam, and I hate his ass so much" which, at first it seems like he's just talking personally about his family but like I said, there's layers and levels to Kweku writing ON TOP of dope song writing, which is great, and should give you MORE than enough reason to check out Kweku Collins' Nat Love out.
But, in case you need a little bit more convincing, even though he's singing he's also rhyming very proficiently throughout this entire album. This is evidenced by the first and last track where he is rapping to very sparse beats, whilst still keeping a very nice, pleasant-to-listen-to flow.
And going back to the Kid Cudi comparison, I can honestly say I think he's better than Kid Cudi in a lot of ways. Even old Kid Cudi back then. Kweku is just able to touch on a variety of sociopolitical topics as well personal topics pertaining to his love life. With Kid Cudi, I felt like he was too bogged down in the "Woe is me" concept, which I'm not putting down or complaining about, the artist should make what they feel, but I feel like the world is bigger than that and that and artist can look at the world, make judgements on it through song, and yet still relate it back to themselves. Similarly to how Kendrick Lamar did that on his 2015 album "To Pimp a Butterfly". I prefer a "let's look at what's happening around us and see how it affects both me and you."
However, in general, I think Kweku Collins deserves to be mentioned in the same breath with a Anderson .Paak or D.R.A.M.. Very good singing voice and good rapping style that easily totes the line between hip hop and R&B.
Give Kweku Collin's "Nat Love" a listen if you enjoyed Anderson .Paak's "Malibu" or "Yes Lawd!. OR If you enjoyed any early Kid Cudi OR If you like a bit more singing in your hip hop then usual.
Favorite Track: Death of a Salesman (prod. by oddCouple)
Listen to "Nat Love" here.
#8. Rapsody - Crown EP
I've never really enjoyed a female rapper's project as much as I have this one. This by far and away my favorite project from an MC who happens to be woman and one of favorite projects of 2016 period. "Crown EP" is a triumph in self love, positivity and most of all, the message that everybody's something and sometimes you need to wear your crown out in public to remind yourself of that.
Cover Art for "Crown EP"
What I love about this project is how Rapsody raps about positivity but in a genuine way, that doesn't feel like I'm being preached at or being forced to feel good (i.e. "Coloring Book" no shots, just facts) so I really appreciate that the most about "Crown EP".
Another thing I enjoyed about "Crown" was the beats that Rapsody spits over on this. I love this nice, jazzy production that does not overtake Rapsody's lyrics. Instead, the production makes for the perfect canvas for Rapsody to spit over. The production doesn't get old either, it's varied enough in its loops to keep the beats interesting yet the beats aren't too eccentric enough to the point where the project is just totally in-cohesive or a mess. At only 10 tracks. Each track is unique, needed, and concise, none of the tracks run too long or overstay their welcome. The track listing and length of this project is perfect.
One thing I've never really enjoyed with popular female rappers, like Nicki Minaj for instance, is that sometimes I feel alienated as a male listener when Nicki is rapping about more feminine subjects. Not trying to make myself a victim or anything (lord knows there's WAY more guys than girls in the rap game) but when Nicki Minaj, Trina or Lil Kim start rapping in explicit detail about fucking some dude, I just lose interest as a man, maybe I'm sexist, maybe I'm some sort of other "-ist" but whatever it is, it disinterests me when sexual acts seems to be rampant through out a rapper who happens to be a woman's lyrics.
What I like about Rapsody is that she raps to both men and women, often times, female rappers start to alienate the male listener and I get why, but Rapsody's lyrics make it so that everyone can rap along with her for the most part with exception of the song "Through with Him"and a few lines here and there. And I believe all female rapper's should rap more like Rapsody on this project with a wide variety of topics that not just a specific group of people can relate to.
But yeah, overall, Rapsody is the best female rapper in the game and one of the best rappers out period. Her take on Desiigner's "Timmy Turner" with "Tina Turner" is brilliant. And her cover of Solange's "Mad" is great! Please Do NOT sleep on this EP. All the features (Raphael Saadiq, Anderson .Paak, Ab-Soul & Moonchild) all do their thing and add just enough to the EP without in anyway detracting from the project as a whole.
Please, please, please check "Crown EP" out if you like albums like Kendrick Lamar's "To Pimp a Butterfly", Mick Jenkin's "The Water[s]" or any other Jazz type inspired Hip Hop. All the songs on here are QUALITY. Trust me.
Favorite Track: OooWee (feat. Anderson .Paak)
Listen to "Crown EP" here.
#7. A Tribe Called Quest - We Got It From Here...Thank You 4 Your Service
One thing that's almost always set up to fail is comeback/reunion albums. When an older artist comes back with their "first album in 1000 years" it can go either one of 2 ways. The first way, and most commonly expected way, is that the artist comes back sounding dated, dusty and washed. The whole comeback project is basically the artist(s) way of saying "HEY! REMEMBER US? NOW GIVE US YOUR MONEY AND WE'LL TRY TO DO AN IMPRESSION OF OUR SOUND FROM BACK IN THE DAY AS A CHEAP NOSTALGIA GRAB BECAUSE WE ARE DEAD INSIDE AS ARTISTS AND ARE SHELLS OF OUR FORMER SELVES. BASICALLY WE ARE WALKING CORPSES WHO DON'T KNOW HOW TO MAKE MONEY ANY OTHER WAY SO WE "CAME BACK" AS A LAST DITCH EFFORT TO MILK THE LAST OF THE MONEY THAT'S LEFT TO OUR NAMES AS ARTISTS. DEATH WON'T CLAIM US BUT NEITHER WILL HOMELESSNESS. HAND OVER THOSE NOSTALGIA DOLLARS AND NO ONE WILL GET HURT WITH QUALITY MUSIC." which is all types of bad.
Cover Art for "We Got It From Here...Thank You 4 Your Service"
OR. It goes like it did with A Tribe Called Quest and this album. Which was making a final album that doesn't sound like a cheap nostalgia grab but instead keeps the core sound of A Tribe Called Quest that made them popular in the first, and updates that core sound for the year of 2016.
The instrumentals on this album are layered and rich. Protip: live instrumentals will ALWAYS trump studio instruments ALWAYS. Cause Music started out with live instruments and on top of that the live element has an x factor that has yet to be captured in computer made instrumentals.
Lyrically speaking, Q-Tip, The late Phife Dawg, Jarobi, Busta Rhymes & Consequence all bring their A game on this final album. It's so crazy how new this sounds while still being true to the ATCQ sound from The Low End Theory and Midnight Marauders, I was honestly surprised that there wasn't a bad song on this thing.
In addition to that, all of the features are expertly placed, from André 3000 on "Kids" to Anderson .Paak on "Movin Backwards".
As for the young people reading this blog, do be warned about this album. If you like strictly modern trap music (a la Maxo Kream, Meek Mill, etc.) or just music with a modern 2016-2017 now than this album definitely isn't for you. It is inaccessible in a way that. It is strictly A Tribe Called Quest sound. So, if you're not familiar with Tribe (you should be) than this may take you by surprise.
Overall and in general, while this album may be a relatively safe pick at #7, this album is quality through and through. It deserves ALL the praise it has been getting. I know Phife Dawg would be proud with this one. A Tribe Called Quest...I thank you for the music. A truly great finale of an album from A Tribe Called Quest.
Favorite Track: Enough!!
Listen to "We Got It From Here...Thank You 4 Your Service" here.
#6. Kendrick Lamar - untitled unmastered
Kendrick Lamar is the best mainstream rapper right now, there I said it. And for good reason too. This man, I feel has everything that it takes to be a great rapper right now. He has the bars, the flow, the delivery, the substance, the banging beats, the laidback beats, he's versatile enough to be on a trap banger, party song like Travis Scott's "goosebumps" talking about putting that "pussy on a pedestal" or getting very political and socially conscious like on A Tribe Called Quest song called "Conrad Tokyo" . What I'm saying is, this man has it all right now, but his x-factor is that he is being promoted on a major label, up there with the likes of a Drake or a Kanye West. Kendrick has the push from the machine whilst still retaining artistic integrity as well as just being a dope rapper, on a technical, lyrical scale, and it's extremely dope to see that.
Cover Art for "untitled unmastered"
So, it shouldn't be a surprise that the best rapper, who's really in the game now (by really in the game, I mean going platinum off pure album sales, and not that new rule of streams counting toward sales. Just. Pure. Sales.) dropped one of the best projects of 2016, and this project isn't even like a main project that the artist has been working years to release. No, these are LEFTOVER tracks fam, LEFT OVERS.
My question is, how in the world is a rapper's leftover tracks better than half the projects that came out in 2016? How Sway?
While Kendrick's 2015 project "To Pimp a Butterfly" was excellent (and if, for some awful reason you have not listened to "To Pimp a Butterfly", please do so right now) it didn't necessarily guarantee that the songs that did not make that 2015 album were going to be decent. But, when you drop such high quality, completed songs, even the ones that didn't quite finish cooking are somewhat guaranteed to be potentially great. And that is the case here.
So how is "untitled unmastered" as a whole? Well, Kendrick sounds just as focused here, as he was on "To Pimp A Butterfly." Everything to love about Kendrick is on full display here. The production on here is pretty damn great for a god damn throwaway project! The very thought that these tracks were just sitting around somewhere in someone's hard drive, and that they were never going to see the light of day or get released to the public, that very thought makes me sick to my stomach. To think that I could've missed out on these phenomenal songs, it both saddens and distresses me. Such musical greatness should never be denied to the world.
One song in particular I want to discuss from this compilation album is "untitled 05". "untitled 05" is just...I have no words, amazing, spectacular, wonderful, fantastic...all those words, they aren't good enough. This was my most played song of the year 2016 with 200+ plays at this point (according to iTunes, but I'm sure it's more) I absolutely love this track and the others on here as well. But "untitled 05" is just everything I love about hip hop and more on full display here. I seriously cannot stop praising this track, and I just recently (like a month ago lol) found out about the deeper meaning in the lyrics of "untitled 05" via rap genius and it just took the song to a whole other level for me. I will listen, and will continue to listen to "untitled 05" for the rest of my life. Already bought "untitled unmastered" on vinyl and I'm pretty sure it is saved to my iTunes cloud (whatever that is) so I can confidently say that I will be in fact listening to "untitled 05" forever. Just lyricism, production, emotion filled delivery, an amazing guest verse, a little back and forth between Kendrick and fellow TDE rapper Jay Rock, a divine chorus from Anna Wise. Production from both Terrace Martin and Sounwave. A thumping, yet groovy, yet ominous bassline played by Thundercat. It's all great on here. Guess which track I'm going to name as my favorite from this project.
Another positive too, is that the production is more modern on here (example: "untitled 02") so it can be more accessible for listeners who enjoy a bit more of the modern trap sound. However, "untitled unmastered" is still very similar to "To Pimp a Butterfly" as it keeps a core jazz sounds, but just has added elements of trap music mixed within the production.
The only bad thing I can say about this supposed throw away project is that there is a live version of the 3rd track on this album "untitled 03" that Kendrick performed on the last episode of Comedy Central's show "The Colbert Report" that is leaps & bounds better than the studio version played on here. I was disappointed by the version that appeared on this album only because I had heard that live version on "The Colbert Report" prior. And the live version simply had way more aggressive, emotional energy. Nothing is changed except the tone of Kendrick's voice in the live version but boy does it make ALL the difference in the song.
I will link the version that Kendrick performed live on "The Colbert Report" here. And I will link the studio version of "untitled 03" here and I want YOU to tell me which is better? Which version of "untitled 03" is more powerful? More visceral? Which version makes the hairs on the back of your neck stand up? When you compare the two versions, I think one can see how I can easily be disappointed with the studio version of "untitled 03".
Overall though, Kendrick is batting at a thousand right now and "untitled unmastered" is proof of that. Even when he doesn't even fully flesh out songs, it still sounds like greatness and better than most albums that dudes put in 2 or 3 years to craft. This man is literally dropping greatness like it's nothing, and that's insane, in a good way. Kendrick Lamar that dude right now and I think that people WANT Kendrick to fail (when I say fail, I mean put out a mediocre or subpar project or a project that isn't as good as his last 2 albums) so they can be like "Hahahaha SEE he's not as good as you think!" and that's honestly very pathetic because I feel like if an artist consistently puts out excellent, quality work as well as continue to improve and experiment with different sounds throughout each album, I don't see why anyone would want to see that artist put out a project that is not as quality as the rest of his/her discography. It doesn't make sense to me, but then again people are just plain weird (no shots, just facts.) But yeah, I may sound like a stan but Kendrick has it right now, he's got the torch right now of the new school of hip hop and he's running with it right now. And I think EVERYBODY right now is anticipating what he's going to do next. Whatever it is, I know he's going to be alright with whatever he puts out to the world next, whether they like it or not, it won't matter as long as he (Kendrick) is okay with it.
Favorite Track: untitled 05 | 09.21.2014.
Listen to "untitled unmastered" here.
#5. Joey Purp - iiiDrops
Joey Purp. Young Purple. Young Jimmy. Young Rasta. Big Willy, his bitch call him "Big Papa". These are lyrics from a highlight track that I was literally just listening to a couple of days ago called "Photobooth", the 5th track on an 11 track masterpiece of a mixtape that explore where Joey is from, who he is, how he got to this point, and where he plans to go in the future.
Cover Art for "iiiDrops"
Joey's is easily able to combine his charisma with his lyrics to give his delivery an extra, enthusiastic punch. You can tell, Joey sounds hungry on "iiiDrops" like someone said he sucks and he can't make music and that he'll never make it in the rap game. Well, if anyone ever said that. They were wrong.
Joey Purp came out with the best project coming from Chicago in 2016. Yes, better than Chance's, Noname's, Jamila Woods's, Kanye's, Sterling Hayes's, Brian Fresco's, Vic Mensa's, and even Saba's respective projects. Not putting them down though as all their projects were good but not as good as Joey's. I believe Joey was the most underrated MVP of Chicago last year along with Kweku Collins, whom I mentioned earlier.
As for "iiiDrops", it starts off great and the quality stays consistent all the way through with the exception of 2 songs. The production on here is top notch, with booming drums, soulful vocal samples and triumphant sounding trumpets. "iiiDrops" production is an amalgamation of a new school rapper taking elements from early Kanye West style production as well as other more soulful production styles of the early 2000s and the 2000-2010 decade in general. There are so many sounds on "iiiDrops" that just remind me of sounds from the 2000s but doesn't sound dated, take for example the song "Girls @" with Chance The Rapper. The beat to that song reminds me of Kellis' Milkshake song, which is a good thing. I can clearly see where Joey gets some of his influences from.
But then you get songs like "Photobooth" which sound new and experimental in addition to sounding like nothing like anything from the past decade. "iiiDrops" is incredible in that it draws from many different sounds throughout each track but it still retains a strong sense of cohesion, and at only 11 tracks this is an impressive feat to pull off.
But special shoutout to the opening track "Morning Sex". When those, trumpets and drums kick in, it really does feel like you're waking up to your partner/significant other/tinder date giving you a warm awakening. Joey knows to kick off a project and I hope he continues with the great openers in future Joey Purp projects.
The only 2 blunders or blemishes on this otherwise perfect project are the songs "Say You Do" and "Kids". Now, "Say You Do" isn't actually that bad of a rap song, it simply doesn't work for me. Joey is rapping about hooking up with some girl, and the odd latin jazz sample is unpleasant to my ears. I feel like I'm listening to a beat that doesn't know if it wants to be smooth or laid back or uptempo and danceable. The beat just ends up sounding awkward to me, like I don't enjoy the "Say You Do" beat in my ear at all, and I usually love jazz based hip hop but not "Say You Do". Joey is rapping, but it's not enough to save the song for me, so I deleted the song from the mixtape and I honestly think it's with "Say You Do" deleted.
As for "Kids", I just hated that auto tuned hook. Joey, please, please, please don't ever use auto tune again, just stick to your regular singing voice, or get a guest singer to do your sung hooks cause the hook to "Kids" isn't it. I understand and appreciate you taking risks Joey. You took a risk and it failed, and didn't work out. So, I don't want that to happen again, cause "Kids" is yet another track that I deleted from my playlist of "iiiDrops" and I believe the project is better for it. With "Say You Do" and "Kids" deleted, this project is flawless.
In general, however, this mixtape is gold, son. This made me a Joey Purp fan. Joey be knocking his features out the park too. Check the song "Ots (feat. Joey Purp)" (which I linked in my other post) and the song "Visions (feat. Joey Purp)" too and he bodies them both. And he improved a lot too as an artist. If you listen to his last tape "The Purple Tape" that he released back in 2012 that tape was GARBAGE. So, only listened to "iiiDrops" and future Joey Purp projects from now on. I only recommend checking out "The Purple Tape" out of morbid curiosity cause the best thing about Joey's 2012 tape is that there's a really funny roasting skit in the middle of the tape that lasts for a good while. The whole track is just Joey and his friends joking on each other, the jokes are pretty funny too!
But yeah, "iiiDrops", best tape out of Chicago in 2016, check it out, I think everybody can at the very least appreciate something about this mixtape.
Favorite Track: Cornerstore (feat. Saba & theMIND)
Listen to "iiiDrops" here.
#4. Flatbush ZOMBiES - 3001: A Laced Odyssey
After releasing (what I still think is) their best project to date "BetterOffDEAD" back in 2013. The Flatbush ZOMBiES trio return with a drug themed, psychedelic album title entitled "3001: A Laced Odyssey" and how it is? Well if you've gotten this far in the list and you'll still reading what I'm typing. (Thank You by the way) Then you would know that this album was pretty good. And what made me put this album in my #4 spot on my projects of the year list for 2016 is because of 2 simple words: Replay. Ability.
Cover Art for "3001: A Laced Odyssey"
The reason I mention their previous project "BetterOffDEAD" is because the Flatbush ZOMBiES are competing against themselves because they crafted such a unique sound on that mixtape and with this upcoming "3001" debut album. I figured this album would build up the sounds heard in "BetterOffDEAD" but Erick The Architect (one of the 3 rappers of the Flatbush ZOMBiES, as well as the groups main in-house producer) for some reason, decided not to, or couldn't use samples for this project, and as a result the production is less hard hitting than on "BetterOffDEAD" but upon re listens, I realized "3001" wasn't a step down from their previous projects but rather a step sideways, a step in a new direction. Flatbush ZOMBiES discography is very small at only 3 official project. (Including this one "3001") so it makes sense for Flatbush ZOMBiES to want to branch out and experiment with different sounds. Once I realized, that "3001" wasn't the "BetterOffDEAD" Pt. 2 that I wanted, but rather it's own entity as an album. I began to listen to "3001" without my expectations on what I thought "3001" was supposed to sound like.
It was with that new mindset that I began to appreciate "3001" for what it was as an album.
What I love about "3001" is every song is essential on here. No loose fat or tracks to be removed or taken out here. From Track 1 to 12 it's all essential and on top of being essential, it makes the project very cohesive and concise which is a great thing. You can keep your 1 hour and 20 minute projects with insane amounts of filler and songs that are there just to fill out a track listing. I'll take a short 8 song project over those overly long projects any day of the week.
Zombie Juice , another member of the Flatbush Zombies trio who only raps, has greatly improved lyrically and flow wise a lot from the first mixtape that Flatbush Zombies released called "D.R.U.G.S."(released back in 2012). It really helps the project out that there are no weak links (Flatbush ZOMBiES is a trio of rappers consisting of Zombie Juice, Erick The Architect [who is the in-house producer for most of the beats for the ZOMBiES] & Meechy Darko by the way)
In addition to Zombie Juice, Meechy Darko (another member of the trio) drops some of the best verses I've heard from him so far (see the songs "This Is It" and "New Phone, Who Dis?"). I swear Meechy has not dropped ONE bad verse since he came out with Flatbush, it's a wonderful thing.
As for the production, it starts out hype for the first 6 tracks of the project, then the next 6 tracks of the project are very mellowed out and chill, which might turn off some people away from this album if they are the type of people who prefer their music to be consistently upbeat throughout a whole project.
Besides Erick not using any samples for this album, and the production for most of "3001" lacking that little extra kick that was really successful when used in their last mixtape "BetterOffDEAD". The fan voicemails at the end of the last song "Your Favorite Rap Song" only needs to be listened to ONCE after that, just cut it off after Meech is done with his verse cause they go from funny to cringe real fast.
So, all in all, I want to reiterate that "3001" isn't a step down from their last project it's a step sideways in a new direction for them. They were trying out a new sound for a more mellowed out result and they achieved it for the most part. I've replayed this whole album a bunch of times and it works for active listening and passive listening as well. I can put it on in the background and ignore it or I can put it on and really pay close attention the lyrics. And for me, that's the beauty of this project. The way I listen to this album in different listening styles, and my enjoyment of the album isn't effected in the least bit. Which is very and is a good thing. And for me, replay value is the biggest thing when it comes to these lists, and I'm always listening to at least one song off here so here it is at #4.
Favorite Track: This Is It
Listen to "3001: A Laced Odyssey" here.
#3. Run The Jewels - Run The Jewels 3
Run the MF'n Jewels! RTJ! Man, I love these guys, honestly. Ever since Killer Mike & El-P linked up back in 2012 for Killer Mike's solo LP "R.A.P. Music" they have been on a tear for the last 4 years now. Releasing quality project after project. RTJ 3 (Run the Jewels 3 for short) is their latest installment in their crusade against "fuckboys" and proving that they are the illest duo to ever do it. (YEAH I SAID IT)
Cover Art for "Run The Jewels 3"
But on Run The Jewels 3 it's much more than just about being apart of the "fuck shit" squadron as Killer Mike & El-P dive more into the political side of things with songs such as "2100" with featured artist BOOTS or "Thieves!" with featured artist Tunde Adebimpe. Both songs take a long hard look at the sociopolitical climate of the United States and in both of these songs (and others are on the album) Killer Mike & El-P sense a change coming in the form of a revolution, even El-P directly states this on the final track "A Report to the Shareholders / Kill Your Masters" where he raps that
"Hey, not from the same part of town, but we both hear the same sound coming"
"Woo!"
"And it sounds like war"
"Woo!"
"And it breaks our hearts"
HOWEVER, do NOT for a SECOND think RTJ 3 is just some boring, professor's lecture, preach fest. No, RTJ 3 is chalk full of upbeat, danceable tracks with both El-P & Killer Mike spitting some of their most clever and intricate flows to date. Take the song "Legend Has It" for example. Which is the BEST example back and forth in rap that I can think of. When one hears "Legend Has It" you cannot say that these 2 MC's do not have any sort of chemistry. You can feel the camaraderie in that song, even if you aren't necessarily catching all their bars. But all that really matters is that is that "Legend Has It" is an EXTREMELY enjoyable song and honestly gets better with every play. And when El-P does that beat switch a certain added instrument. It's just pure fire from there until the end of the song, and then it goes into "Call Ticketron" that also has an INSANE beat and it's just...UGH, I wanna go listen to RTJ 3 right now! I LOVE this album.
When it first came out, I was like "should I put this album on my 2016 or 2017 year end list and I decided that I heard it in 2016, it's going on the 2016 list" and HERE it is. I can geniunely say I enjoyed every track on here, but I do feel that some tracks are stronger than others but only to a slight degree. When you drop fantastic songs, and then follow up with just a really good then another fantastic song, you can tell the difference. Sure, it's not as good as their. But like Anthony Fantano so BRILLIANTLY stated in this gif
 |
| "Even Run The Jewels on a ok day is better than your favorite rapper on a good day" |
Another thing I love about Run The Jewels 3 is that the production is more varied on here than on previous RTJ records (from straight head bobbing, bassy, futuristic bangers [hear: "Call Ticketron"] to somber, more sad production [hear: "Thursday in the Danger Room" with Kamasi Washington] which is a good thing to me. Can't keep making the same album over and over again. This is Run the Jewels 3, not Run the Jewels 2 & 1/2.
But alas, I must point out some flaws I see in this record even if RTJ 3 is perfect to me. I can't ignore the reality of some shortcomings that I myself see in this record.
First, w why did they start with "Down" with Joi as an opener? "Down" is not an opener track it's a "ok here's a more mellow track to calm things down after we just beat your head in with an explosive track" I think they should've just kicked it off with "Talk to me".
Also, one unfortunate thing I've realized about my beloved RTJ is that hooks aren't there strong suits. They can lay down a verse no problem. But big, anthemic, memorable and catchy hooks is something I notice they have a little bit of a problem with. The track "Oh Mama" has a hook that isn't the best, but I still like it. Same with "Panther like a Panther". But RTJ is smart, a lot of the time they just let an instrumental break play in lieu of a spoken word hook or they let someone else sing the hook, instead of attempting a hook themselves cause then you get hooks like "Oh Mama" which, isn't the greatest hook in the world, but I still rock with it. (the hook and the song).
However, overall, I am a Run The Jewels stan. (I became one after Run The Jewels 2) And with this record, it has only solidified and increased my stan-dom of these guys. I know they dropped literally at the bottom of 2016, I thought about putting them on a 2017 list but then I was like "FUCK THAT SHIT". I'm an RTJ fan so it's no surprise they are this high on my list. Even if I prefer RTJ 2 a little bit more (Run The Jewels 2 was religious experience to me, when I heard the bass drop in the first track "Jeopardy" on RTJ 2, that was probably the first and only time I physically felt the music affect my body, like "Jeopardy" sent actual chills down my spine. And not just like "Oh man Immortal Technique's 'Dance with the Devil' gave me chills bro", like no, RTJ 2 shook me, and would not let me go. Although I do love Run The Jewels 3, the time and the place I was when RTJ 2 dropped, RTJ 2 was perfect for me at that time. RTJ 3 is perfect for me too, but me listening to RTJ 2 for the first time was an experience I'd never forget.
Not to mention that RTJ 3 shit blows a lot of the garbage that came out in 2016 outta the water. RTJ 4 for 4 (including R.A.P. Music).
Favorite Track: Call Ticketron
Listen to the greatness that is Run The Jewels 3 here.
#2. Denzel Curry - Imperial
Denzel Curry was favorite new artist of the year 2016. Before "Imperial" I just heard his viral song "Ultimate" that is often played in vines and social media memes. Sometimes people take the song too far though and end up ruining it with cringe. However, after I heard "Imperial" it didn't matter. As I had discovered the greatness that is Denzel Curry, and on top of that, the man had made the double XXL freshman list for 2016 which was great. And what's even more great is that he was featured on a viral freshman rapper cypher with Lil Uzi Vert, Lil Yatchy 21 Savage, Kodak Black, and of course Curry himself. Denzel easily out rapped every rapper on that cypher so I know, that all 33 MILLION people that watched that cypher with Denzel Curry saw that he was clearly the best rapper out of all the freshman there, thus making him look amazing. Cause when you have a diamond and you put it next to a turd, the diamond somehow looks even better, than if you were to put that shiny diamond with other shiny diamonds y'know what I'm saying?
Covert Art for "Imperial"
Any who, how is "Imperial"? Well, it was my 2nd favorite album of the year 2016. So, suffice it to say, it's pretty fucking good. Denzel starts off fire and aggressive as hell with the first half of the track and then slowly but surely switches his sound to a more melodic, more catchy, sing along type of sound and it works brilliantly throughout the album. Furthermore, Denzel's energy and delivery is infectious, every time I hear the opening first few opening lines of the first track "ULT" I have to go do something. The song is very energizing but on the flip side. The songs "This Life" and "If Tomorrow's Not Here" are great songs to relax and mellow out to in addition to demonstrating Denzel's versatility as an artist which is a HUGE plus for this guy and this album.
As for the production on "Imperial", Ronny J's beats (Ronny J produced most of the songs on "Imperial") are, to put it simply, insanely dope. He produced 7 of the 10 tracks on here (on the original version that was released for free not the one on spotify or iTunes or any services such as those.) They serve as the perfect backdrop to Denzel vicious delivery and he knows just when to vary up the beats, drop the bass, switch the beats, take out the drums, add drums and all that. Top tier production on here (see for example the song: "Knotty Head" w/ Rick Ross)
Another thing I really admired about "Imperial" besides the music was the length of the album. It was the perfect length. Great for lots of replays during casual music listening. 10 tracks is all I need. Just make sure all 10 tracks are quality. No need for 17, 18, 19, 20 tracks and all that. Keep it short and concise in addition to making sure it's quality over quantity and not the other way around.
The only thing I didn't like about the album was that Denzel sometimes yells too much, much like Meek Mill. This is most apparent on the song "Pure Enough" which admittedly is the weakest song on the entire album (the original version of the album anyway). Denzel shouldn't have yelled over "Pure Enough's" beat, instead, Denzel should have used the flow and tone that he used on "This Life". Denzel's sometimes animalistic delivery can also be his own downfall and can turn some people off his music, but personally, I don't see how that could happen unless "Pure Enough" is the first song you've heard from Denzel. And if that's the case, I'm really sorry you had such an awful introduction to Denzel Curry.
In general however, this album, not mixtape (This was a free album not mixtape, so people got it confused though) dropped in March of 2016 and hasn't left my rotation since. It's a beautiful thing really.
Can't wait for his next album "Taboo". Denzel is by far and away my favorite new artist of 2016, even though he's not really a new artist since he dropped his debut album back in 2013.
I'm so glad this guy is blowing up, I'm officially a Denzel Curry off of "Imperial" and I think you might be too.
Favorite Track: If Tomorrow's Not Here (feat. Twelve'len)
Listen to the original version of "Imperial" here.
And if you want to hear the 2 songs that replaced the songs "Pure Enough" & "Narcotics". Click here for "Me Now" (one of the replacement songs) and Click here for "Good Night" with Twelve'len & Nell (the other replacement song).
And finally...my number 1 album of the year 2016...
Drum Roll Please.
#1. Danny Brown - Atrocity Exhibition
Well, what can I say? Danny Brown came through. Pure and simple. This man, not only lived up to the hype. He surpassed it, with flying colors.
Cover Art for "Atrocity Exhibition"
I remember reading an interview with Danny Brown before this album and Danny was talking about this album and I specifically remember the final words of that interview. (Click here for the full interview, it is a text only interview by the way) The final words of that interview were so prophetic to me, it was almost like Danny himself knew he had dropped album of the year 2016.
I'm going to word for word copy/paste the last question the interviewer asks because I think the writing on this is so astounding (it's also writing like this that inspires me myself to write.) and like mentioned earlier, the last words of this interview are very prophetic.
"Do you enjoy writing?"
"I expect him to hesitate, to hedge what he says next. I think he might talk about the strain of expectations, or the fear of repeating himself after years in indistinguishable hotel rooms. He doesn't."
"Oh, yeah!" he says. "That's what I like more than anything. The writing part is the funnest part. There's nothing like writing some shit and singing it back to yourself, and thinking, 'I'm gonna fuck 'em up with this shit.'"
"Danny finishes his second tequila. He pauses. Then he squints into the sun, looking East past downtown Los Angeles, past Boyle Heights, over what's left of the LA River. He says it again, quieter this time. "I'm gonna really fuck 'em up with this shit."
"I'm gonna really fuck 'em up with this shit."
Boy, did he fuck me up with this shit. I absolutely adore this album and I truly believe it is album of the year 2016. From the eccentric, one-of-a-kind production by Paul White (and 1 beat from The Alchemist) to Danny's effortless flow and dope lyrics over production that no other rapper could rap over (I seriously couldn't picture any other rapper rapping over 'Atrocity Exhibition's" beats, and that's part of what makes this album uniquely Danny Brown's. Gucci Mane couldn't rap over a beat like 'Golddust' without sounding extremely out of place and possibly off beat) in addition to that, this album makes you feel like you're actually on the drugs with the schizophrenic beats, and Danny's highly vivid, sometimes funny, but more morbid lyrics about drugs and it's effects on him.
Danny faces the harsh reality of drug usage on this album. A lot of rappers rap about drugs but very few capture the grim reality of what it's like to be on drugs. I'd go as far to say "Atrocity Exhibition" is drugs in its own right. After hearing this album for the first time, you'll feel like you've been through something, like you've had an experience. Whether or not that experience was good, depends on the listener but regardless, you will remember this album for better or worse. It's not one of those forgettable albums. Either Danny's voice inflection will annoy you to no end to the point you want to turn off the album or the beats will be too chaotic and busy for your liking. And that's if you dislike the album.
If you love this album, then there's more than enough to celebrate, like the production for instance. The production on here is wild, chill and everything in between, truly a schizophrenic album in a literal sense (compare the song 'Dance in the Water' to the very next song that proceeds it which is 'From The Ground' and see how easily Danny goes from wild & loud to calm and melancholy).
What I love about "Atrocity Exhibition" is that no other album that came out in 2016 sounds like this. It's wild and off the wall and I honestly love it. A lot of other rappers can only capture the smooth, leaned out, feeling of drugs but Danny captures ALL the feelings that drugs give you. From the come down (Downward Spiral) to being on a stimulant like cocaine (Golddust), to having fun on drugs and being on the high of your life (Dance in the Water) to being mellowed out, getting high to take your mind off your troubles (Get Hi). And to finally looking back on it all and reflecting on your life (Hell for it). Danny has actually managed to allow the listener somewhat of an inside look into the mind of a person on drugs, and it's fascinating in the most amazing artistic way.
As far as guest features are concerned there were no bad guest features on this album or any guest feature that derailed this gem of an album. But ONE Earl Sweatshirt clearly shined above the rest of the guests on this album with his MONSTROUS verse that almost makes you think he's talking to someone directly but that is not the case. But man, if Earl ever came out with a diss track toward another rapper, this is what Earl would sound. To put it simply, Earl was unexpectedly extremely aggressive on his verse, but not cartoon aggressive to where, you can tell the person is lowkey faking the aggression. No, Earl sounded realistically pissed. Like someone gave him a parking ticket and he had to use the money he was saving to buy new J's on that parking ticket. I'm talking that level of annoyance but like amplified into rap form.
What I'm saying is, I want another Earl Sweatshirt album, and after listening to his verse on the posse cut "Really Doe" off this album, you'll want want one too. Listen to Earl's verse off "Really Doe" here. (Danny, Kendrick Lamar & Ab-Soul did well in their own right too, but Earl straight snatched that song and made it his, and his verse was really short too but boy it's true what they say "It doesn't matter what you say, or how much you say, but how you said what you said")
Still, not even my favorite album of 2016 can escape scrutiny, even if I personally think "Atrocity Exhibition" is perfect and wouldn't change a thing about it, here are some gripes I've seen about this album that I suppose are valid.
One complaint I've seen about this album (and the biggest complaint in general about this album) is about Danny's high pitched, yelp of a voice. And, for first time listeners, Danny's voice can definitely take some getting used to, but I swear if you can get past the higher pitched voice or get used to it I promise listening to "Atrocity Exhibition"will be a rewarding experience. (And just for the record, Danny Brown does rap in a lower register, in a more conventional voice that sounds more close to your average rapper like on songs like "Tell What I Don't Know" & "From the Ground" so he is doing the high pitched voice on purpose. But if you can't immediately handle Danny's voice on songs like "Downward Spiral" I'd recommend giving the 2 songs that I just mentioned before "Downward Spiral" a listen first to try at least get a beginning feel for Danny Brown.) And if you just lower voice Danny Brown all the time for some reason, listen to the first half of his 2013 album "Old". Nothing but Danny Brown using his deeper, classic rap voice for a whole half (or side) of an album.
But if you just can't get past his higher pitched voice, I see why, it definitely can turn some people off, and in that way, this album is inaccessible.
Speaking of inaccessibility, This album definitely is NOT for everyone. If you like your hip hop more traditional sounding, either with a more boom bap Nas type sound or a southern fried UGK type sound and not really open to experimental type hip hop stay far far away from this album cause you'll hate every second of it. This album's production, while wild, eccentric and eclectic, can also scare off some first time listeners who aren't used to unconventional sounds like on 'Atrocity Exhibition'. And so, to a degree, most of the production on here is generally inaccessible to the average radio listener who would prefer a top 40 on the billboard charts type rapper like a Drake to a more underground, pitchfork magazine, internet famous type rapper like Danny Brown.
Overall though, I loved this album and can't stop saying great things about it, it's wild and different but at the end of the day "Atrocity Exhibition" is still hip hop at its very core, at its very foundation and that's what is so dope about it. It's that Danny has made a genre pushing album that artists in the future can look back and site as inspiration for either a new type of sound or subgenre in hip hop so, it's amazing what Danny has done here. When it's all said and done, Danny Brown will be in influence to the hip hop artists of tomorrow, I guarantee it.
That's why Danny took 3 years between the release of "Old" (his album before "Atrocity Exhibtion") and "Atrocity Exhibition". Danny makes music as if he's going to die tomorrow (as evidenced by various lyrics throughout the album but on the song "Hell for It" he specifically raps "I just wanna make music/Fuck being a celebrity/Cause these songs that I write/Leave behind my legacy") and I think every artist should adopt that "this might be my last piece of art I'm ever going to make so let me give my absolute all to this piece" mentality. Whether it'd be a painter, movie director, actor, musician etc. everyone in those artistic occupations should be dedicated to making their next creation and their next move their best move because as a result it will make for more memorable, quality work all around. And Danny did just that, he made an exhibition to showcase the atrocities of drug use coupled with an out of controlled lifestyle and boy did he pull it off well!
Congratulations Danny, this was one hell of an exhibition. And who would've known an album with the word "Atrocity" in its title would've been my album of the year 2016. Ain't it funny how it happens?
Favorite Track: All of them really, but listen to Ain't It Funny.
Listen to my personal favorite album of 2016 "Atrocity Exhibition" here.
Annnnnnnnnd that's my list! Took long enough for me to write it! Whew! Expect a review on the new Migos record, sooner or later. It comes out the 27th and of course I always (sometimes) wait until the official release date of an album before I put out the review, but you know, release dates in hip hop don't mean much now a days thanks to the internet, so look out a "Culture" review whenever I drop it.
Cool? Cool.
I'm out.
Joe
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