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
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.
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