Top 10 Hip-Hop/R&B albums of 2011

Man, it's taken me a lot of hip-hop to get me to this point.  I remember the days (what, like 2 years ago?) when I my hip-hop library consisted of Kid Cudi and Kanye.  Most of my appeal to hip-hop in those days was based on a prolonged exposure to the few artists that I did listen to.  The only reason I liked Cudi and Yeezy were because I had listened to them enough around friends that I was able to understand what they are about.  Any other hip-hop seemed pretentious, or caricaturistic, or simply inaccessible to myself.

But over the last few years I slowly added more artists to my collection of "hip-hop that I enjoy".  At first, barely a single artist a month could make that cut -- any more was too much for me to stomach.  But as I added more artists, I was capable of enjoying even more.  Different styles of production, different kinds of flows, different lyrical material and strategies - things that just didn't catch my attention before were now much more apparent that my view of hip-hop as a whole had grown.  Eventually, the flood gates opened and my playlists and library are filled with hip-hop that I absolutely love.

The thing is, I didn't really get hip-hop at first.  I didn't have the context to feel excited about it.  Now I hear a mixtape, and in a single song I will get excited about who produced the beat, where a certain sample came from, or how a certain line may be a reference to a line that another rapper did over the same track.  All of this before I even consider the musical aspect of the song: the melody, the beat, just the way it makes you move.  Anyways, I've talked enough about how awesome hip-hop is, without further ado - here are my top 10 Hip-Hop/R&B releases of 2011. (Note - I'm combining Hip-Hop and R&B because often (especially nowadays) they can be quite indistinguishable.  Artists like Drake often have songs that are almost completely R&B, and if I allow him into the mix, I might as well mix the two).

10. Zion I & The Grouch - Heroes In The Healing of the Nation

These guys' best asset is their producer, AmpLive.  They've got great flows and all, but AmpLive makes the album interesting throughout, never allowing a song to sound redundant.  The rapping itself lends itself to great times in limited exposure, but it isn't the kind of stuff you want to leave on repeat.

9. ASAP Rocky - LiveLoveA$AP

Again, the production is really what makes this album killer.  And don't get me wrong, the production on this is absolutely wonderful.  Clams Casino is largely responsible for this, but other relative unknowns even from Rocky's clan are also able to make killer beats.  Put Rocky's slow swagged out voice on top, and you have yourself a recipe for some dope music.

8.  Open Mike Eagle - Rappers Will Die of Natural Causes

God, I really just feel like Open Mike Eagle channels Del on The Processional.  Truth is, I can't always feel this kind of rap, it just doesn't always work for me.  But when it works, its awesome -- OME's ability to make a slow hip-hop song like The Processional a perfect party song is great, and I wish more people gave this kind of hip-hop credit even if it is outside of the norm.

7.  Big K.R.I.T. - ReturnOf4Eva

Big Krit, the dirty south's current best hope.  Krit's strength lies in his ability to make bumping bangers like Country Shit while able to make the chiller tracks that reveal something about the character of Krit himself.  Best parts of this album are Krit's surprising depth in his more honest tracks, and his references to previous southern classics ("You gotta get up get out and get something" is a line from Outkast's first album), while the weak parts are simply the filler of songs.  At 21 songs, I don't expect anyone to be completely solid, but I really just wish he made it shorter.

6.  CunninLynguists - Oneirology

The boys of CunninLynguists sure know how to turn a phrase.  They've got great lyrics that always impress me, and will probably impress you.  The entire album feels like it has heavy bass flowing through it in a near monotone fashion, which for some songs causes an incredibly big feeling.  It also allows for great moments towards the end of a song such as Anna Wise crooning "Don't give me that bullshit" at the end of Darkness.  However, the bass-heavy production leaves much of the album feeling stagnant, and I really wish there was more diversity in the production.

5.  Mr. Muthafuckin' eXquire - Lost in Translation

 
Alright, so I'm just going to warn you now:  there is a solid minute of this album that is nothing but the sound recording of eXquire getting head from what I can only assume to be the classiest of ladies.  There is no beat.  There is some rapping.  The girl raps a little before uhh... yeah.  Okay - ignoring that, eXquire is damned talented, and you can see it in songs like No Time, a five and a half-minute hook-less epic where eXquire raps about his legitimacy while changing his flow every minute.  It's really excellent and grows on you every time you listen to it.  There is a bit of filler, and the album doesn't feel completely solid -- but when eXquire is on, he is on, and he is like nobody else rapping right now.

4.  Jay-Z & Kanye West - Watch the Throne

Funny thing is, they probably could have done better.  This album has such great production, probably the best out of any hip-hop album in 2011, and I'm not really that sure that this is the best they could have done.  It is no Beautiful Dark Twisted Fantasy -- this album is more club friendly.  But that doesn't change the fact that it is excellent in every aspect.

3.  Drake - Take Care

Take Care is much more like So Far Gone, in that it is a lot darker and not nearly as chock full of radio-ready songs. This is a plus.  Drake's best strength lies in his ability to rap about the 'downside of being famous and capable of wooing any woman' while actually leaving the listener feeling for him.  Even if he is rapping about money, fame, and women, he does it with a level of revealing honesty that is intriguing.  Combine that with his addicting flow and his ability to do both R&B style singing and rapping, and you have Drake's best work yet.

2.  Domo Genesis - Under the Influence

I'm really kind of... disappointed?  Yeah.  Disappointed.  I'm kind of disappointed that Under the Influence didn't get more attention and respect.  It's a great mixtape, and although it's subject-matter is nothing new, the production value and style that Domo has are really some of the best of the year. And most importantly, it is just so much better than Domo's debut release.  As far as what we should expect out of Domo, this flys through the roof.  Not only that, but Domo makes everyone else on his album look great too - songs like Guess Who's Back take a normally painfully mediocre Casey Veggies and make me want to hear more.  The fact that this is a personal triumph for Domo makes this high up on the list. 

1.  The Weeknd - House of Balloons

It's hard for me to place albums that came out so early -- it's easy to forget about them.  The Weeknd got me interested in R&B in a way that Frank Ocean, Drake, and others, couldn't even begin to.  Hauntingly dark production that flawlessly matching the tone of The Weeknd's words create an 'mixtape' that is just feels complete.  One of the best releases of the year to be honest, original yet accessible, twisted yet honest.

Honorable Mentions (Non-Full Releases)
There were two other artist's that came out with material this year as singles that I'm absolutely in love with.

Freddie Gibbs & Madlib
Thuggin'
Deep
Madlib is an awesome producer, though I mainly know him from his collaboration with MF Doom in Madvillain - Madvillainy, which is nearly a modern classic. Freddie Gibbs released a mixtape this year that I wasn't really feeling - but it is redeemed by these two songs, which display Gibbs' to be as real as can be.

Azealia Banks
212
Runnin'
I've told my friends I liken Azealia Banks to Missy Elliot, which I strongly believe.  The thing is though, she has such an incredible voice she can liken herself to almost any artist.  Though most of Runnin' sounds like Missy, she drops a Busta Rhymes level flow in the first verse.  212 has her sounding like Missy, Kreayshawn, and for one moment a spot-on female Major Lazer.  All of this in two songs, compared with an refreshing urban sound and very dancable tracks... I'm really impressed.  I think her album next year is going to be huge.  I could continue to name drop, but the fact is, she is working with some great producers that have both mainstream and underground credibility.

I will be doing two more additional Top 10 Lists of the year for various genre's - keep checking to see what's up.

If you don't feel it you can feel free

So, I was about to write about Mobb Deep, but despite that they are so much more real than any modern rappers that pretend to be hard (Officer Ricky?), I was really holding out for writing about something a little less known.  Luckily, some of my friends were playing some fresh stuff at a party this weekend, and now I have something new I am feeling.

Open Mike Eagle - Rappers Will Die of Natural Causes (2011)

Open Mike Eagle reminds me a lot of Del (of Deltron 3030, Gorillaz, and Del the Funky Homosapien fame) in his brand of intelligent hip-hop.  Some rappers, like Aesop Rock or Immortal Technique, like to show intelligence through conscientious rap - talking about important issues or telling meaningful stories filled with intricate rhymes.  Del and Mike do it without sacrificing their flow, and instead just have abstract rhymes filled with subtle word-play.  In turn, they maintain a spacey sound that is really easy to chill and, at times, party to. 

Standout Track(s):
The Processional (Funeral March)

This is the first track I heard, and definitely the coolest -- a perfect portrayal of how OME does a "party" song.  It isn't some fast upbeat song, yet it is still anthemic. Couldn't find a non-live version, so check this.

Why Pianos Break (ft. P.O.S.)
Ahhh - that beat.  Love that beat. And that flow.  Love that flow.

Also, check this out:
I'm going to start linking completely unrelated tracks at the end of articles that aren't really attached to albums, but remain solidly in my rotation.  Check out Lady Lamb cover Cher.  I know, it sounds lame.  It's awesome.

When's the last time you heard a funky diabetic?

One of the things I insinuated with my blog is that I will usually be writing about slightly lesser-known albums, albums that I think a large part of my audience might not have heard.  If we are referring to the prevalence of an album in mainstream culture, the previous Q-Tip album breaks that code a tiny bit -- and this album completely shatters it.

A Tribe Called Quest - The Low End Theory (1991)

The Low End Theory is often considered by critics for their lists of the top albums of all time -- of any genre.  Some people will argue that the next album Midnight Marauders is the pinnacle of Tribe, but the truth is that both them are incredible albums who's existence prove the legendary status of the group.  As the second album, The Low End Theory was particularly interest in context with all the doubt it was facing -- their first album was good and critically acclaimed, but a bunch of hook-based raps like Can I Kick It would be difficult to still sell as ground-breaking.  They definitely grew.

The album starts off with what I feel to be Tribe's best song of all time.  Excursionshas an amazing beat, and lyrics that allude to exactly why tribe is so groundbreaking -- they closely tie hip-hop to one of it's strong roots in historical black culture, jazz.  And the entire time, Q-Tip and the music itself...they exude this confidence that says Tribe knows it has fully realized the music they were seeking to create when they first put together the group in High School.  The rest of the album continues to shine and radiates this same confidence; listening to it has been a large factor in why I have been on an insatiable hip-hop craze for the past month or so.  Maybe something will break it soon, but if it doesn't, you'll probably be reading about more old-school hip hop in the near future.

Standout Track(s):
Excursions

See above.

Check the Rhime 

Q-tip and Phife Dawg repeat the playful banter of "You're on point..." a few albums later... but it doesn't really stick like it does on this album.

Interesting Fact(s):
The documentary Beats, Rhymes & Life: The Travels of a Tribe Called Quest (named in reference to their fourth album) came out this year, and it documents Tribes entire quest from inception to modern time.  It's fairly incendiary, heh... you should check it out.  It's got a great sound-track.

Also... 1991 was a pretty awesome year for music.  This album, Nirvana's Nevermind, My Bloody Valentine's Loveless.... Proud to be born then.

Bringin' it Back

Q-Tip - The Renaissance (2008)

So, I've been listening to a lot of old-school rap lately.  90's stuff mostly - Tribe, Wu-Tang, Outkast, Digable Planets, UGK, etc.  Going back to the era - I really am amazed by the depth of solid material that still sounds good today.  Most genre's can't offer such a collection of music that doesn't just sound 'old' or simply overplayed.

I also am envious of the days when so many good hip-hop albums were coming out.  Now a days, almost all of the best stuff comes out on mixtapes.  Most (non-free) albums I've heard over the past few years are significantly worse than the artist's mixtapes.  I don't know what changed between now and then - but I'm sure it has to do with the commercialization of rap.  A shame, whatever the reason.

Q-tip, of A Tribe Called Quest, however, came out with an album a few years ago that is more than solid.  It's interesting hearing him grown up - and moving away from jazz influences to ones more R&B-centric (and bringing in a lot of guests to this tune).

Standout Track(s):
Life is Better (Ft. Norah Jones)

I've always been a huge fan of songs that go into name-dropping tangents, rapping off lists of artists and people that influenced, inspired, or simply entertained them.  LCD Soundsystem, Daft Punk, and others have made some of their best songs with the 'gimmick'.  It's refreshing to hear rappers like Q-Tip actually respecting and appreciating other rappers, as opposed to only reppin' Cash Money or the East Coast.  Not surprising for one of the few major artists who was rapping about moving on from the east-west coast rivalries from the 90's, instead of taking sides.

Dance on Glass

God - when that beat comes in... yuh.

Interesting fact(s):
Speaking of the east-west coast rivalry, did you know about the time Tupac fucked with Q-tip at the source awards?  Check it.  Pretty fucking lame to do to one of the more mutually respected figures of the time...  Tupac does sound pretty damn good on this clip though.