aight. initially when i was making this list i was thinking R.A.P. Music would prolly come in around 6 or 7. y’know, i thought it was dope af but nothing THAT special. but, forreal, when i re-listened to this i realised some shit. i realised R.A.P. Music was a classic, lowkey. it doesnt have the widespread critical acclaim and didnt get niggas talking about it like that, but its most definitely an underground classic.
what more could you want from Mike on this b? son dropping gems of all different colours on this project bruh. yawl got Big Beast which is strictly G and Atlanta to the fullest. yawl got some next level knowledge on Reagan, crazy af storytelling on Jojo’s Chillin, some more heartfelt type ish in Untitled and Anywhere But Here. the list goes on and on. diversity is mad nice. gotta give a huge shoutout to El-P for the production too, amazing work. LOWKEY CLASSIC BRUH
this is the first album with classic POTENTIAL of the new generation of hip hop and it will have a lasting effect on hip hop music for years to come. end of.
imma leave it at that. ive said all ive had to say about kendrick previously.
so many kendrick stans and so many kendrick haters i cbf dealing with niggas like that smh
note: pls dont be like “how the fuck you just say Killer Mike album a classic but this the FIRST??” Mike 37 yrs old bruh bruh. aint no new gen there.
yo Frank been on a journey and Channel ORANGE reflects that. all of son’s joints take all its listeners on a journey b. the whole album is just some beautiful shit. i aint really no what to say about this project cos RnB or w/e aint really my area of expertise. i just fucks with this heavy bruh. whole album got a good concept, telling Frank’s story of when he first fell in love and shit. son got a crazy nice voice. killing shit with that falsetto or w/e. production tight af. only three features, Andre 3k blessing us all with a verse.
yo imma say some shit right quick. VAST MAJORITY of GREAT albums got hardly any features on em. obviously theres a few exceptions like The Roots and Kanye, but majority of niggas thats got hella guest verses is cos they aint really got shit to say and they aware they kinda wack.
Frank defs got shit to say. and yeh w/e. Channel ORANGE got some classic potential in its genre. fwm
waaaaaaaaaaayyyyy too many ppl are sleeping on Roc Ma tbh. son is a very very good rapper. Roc just goes in on joints with this menacing flow and he one of the best storytellers in the game right now. he on some darker, more personal ish on this project compared to Marcberg (his debut LP). Listen to Flash Gordon and yawl will get the theme of this album; initially i was gonna quote a line or two from that joint but the entire song is quotable, ya feel me? The beats are pretty bleak but it fits the darkness of Roc’s lyrcis, and you really cant complain about production from Q-Tip and Alchemist. aint a weak joint on here neither, nothing even close to a weak joint on here. Roc kept the features minimal so aint no wack niggas showing up; Ka shows up forreal tho and that man is a fkn beast on the mic. Very good to see two New York Mcs linking up for some dope shit. If you fucks with Raekwon and Mobb Deep and shit like that, then yawl needa cop this album b
yo imma come clean and say that i prolly aint been fucking with El-P like i shouldve been in recent years. what really put me onto him was the work he did with Killer Mike this year tbh. since i been put on tho i have really been fucking with his albums. Cancer For Cure is El-P’s fourth studio album and its prolly his darkest. all his storytelling centred around hella conflicts and shit b. he saying some kinda fucked up shit on here too like he fighting with the darkness on some real shit. forella to me - cant stress that enough - to ME the album sounds like El-P is walking through this post-apocalyptic world in the future or w/e and on his travels he has to do a lot of dark deeds like killing ppl and shit in order to survive and he dealing with a lot of trauma and shit. prolly cos he lost all his stuff in some kinda nuclear explosions that some government officials pulled over some wack shit. but yo thats just ME and i dont think thats what the album is really about but its w/e yo. its some good music either way. also, Killer Mike, Despot, Danny Brown, and Mr MFN eXquire are featured. eX kills it ma, he full bodied that shit bruh.
the progress as a rapper Soulo made since he released LTM is pretty crazy bruh. son stepped up a couple levels for Control System. he improved in every aspect tbh and that allowed him to get across his hella complex ideas a lot better. Ab on some wordy af, higher-level, third-eye thinking type ish. everything he says is intelligent even when hes going dumb and nowadays thats very rare in a rapper. tbh there isnt another MC much like him at all. Soulo defs got a lot of opinions and he aint afraid to let niggas know about em. i aint really one for conspiracy theories but when its delivered in the form of joints like Terrorist Threats i aint finna complain. production hella nice too. TDE producers are pretty huge on the boards. aight. fuck with this shit b
Schoolboy Q is THAT nigga yo. forreal i dont get how anybody can not fucks with Q. he just a cool dude that makes cool af music. hes definitely not a special rapper thats gonna blow you away with his bars, but hes doing him and he got that confidence that yawl cant front on. That confidence prolly best outlined on There He Go. Q got his own style as well, he rapping about the same shit a million other rappers are, but none of em do it quite like him. he on some kinda bay area rap with his own swagga mixed in. it got these gangsta rap elements, weed rap elements, its serious but at the same time its fun, the beats is ridiculous, and the whole way through he fucking your bitch and poppin pills. i kinda feel like theres a few too many songs on here and he prolly coulda cut a few off but its whatever yo. when you got joints like Hands On The Wheel and Druggys Wit Hoes Again, you can sit through/skip a weaker joint. features dope. beats dope. im out. peace xx
yo the big homie MF Doom and Jneiro Jarel linking up as JJ DOOM for what proved to be some pretty dope shit. Key To The Kuffs was hella slept on tbh, didnt get nowhere near the hype of other Doom releases but thats w/e yo. honestly, the first time i listened to this project i was kinda dissapointed didnt think it was all that good. shit seemed hella chaotic and poorly put-together and pretty dull too. shit was just hella complex tho. as i kept listening to it more it was like i was unravelling the beauty of the project bruh. my ears was getting used to the production and Doom was killing shit. Jneiro on some hella unique shit with his production, the sound is on some kinda electronic jazz type ish. heavy synths and percussion choppy as a motherfucker but once you used to it, its crazy nice. Doom is his usual self. he goes in with his complex rhyme schemes and that sharp wit bruh. some of his slang and references kinda different tho prolly cos he been living in London for like a year or some shit.
tight album yo. give it a good chance
aight yo this project only got five songs on it but they all dope af. i wasnt really too familiar with the big homies Hudson and Lunice before this shit neither so it was cool to get something new. aint no rapping just crazy ass production, for all of yawl that was unaware. it wasnt really hip hop production either. i dont think any rapper could go in on these joints and do them justice; Captain Murphy went in on Bugg’n and Kendrick Lamar freestyled over one of them, but i didnt think either of those really worked. there is NO WAY a nigga could go in and body beats like these. there isnt really a way, i can see, to ride these beats either; shit is going all over the place, crazy af. that being said, the EP was short and snappy, and got me vibing hella bad. i mean HELLA bad, like i be swagging out in front of my computer and falling out my chair and then im like fuck it and i just be dancing on the floor, flopping all about like im on my Reggie Evans #NBAjokes
Shame knocked Nas’ Life Is Good right out my top 10. shit was close tho. shit was like Madlib drives and kicks to Gibbs who knocks down a 3 on the buzzer to down Nas in triple OT and NBA.com be slapping that shit with a 5/5 on the Horry Scale #NBAjokes
forreal tho, i think the only reason Life Is Good was in contention for the #10 spot was because of the mad respect i got for Nas, but im not gonna get into that right now.
even more forreal tho, Shame is a beautiful EP. only runs for 15 minutes but thats the beauty of it b. the sheer simplicity of it. damn son. yawl cant front on me and say it aint an extremely enjoyable and peaceful 15 mins. the whole layout/sequence of the EP is so interesting, i aint never really come across any body of music set out like this. imma just drop the tracklist below so yawl can understand what im getting at
1. Shame (ft. BJ The Chicago Kid)
2. Shame (Instrumental)
3. Later That Night (Bonus Beat)
4. Shame (Acapella)
6. Terrorist (Instrumental)
7. The Morning After (Bonus Beat)
8. Terrorist (Acapella)
that some different shit bruh. hard to even call it an EP but w/e. Madlib always leaving instrumentals on projects a la Madvillainy, but to have the instrumental of the last song and then the acapella just another song later is some weird shit that proved to be very clever b. Freddie even left his inner-thug at home when he was in the studio, even if it was for just two songs. Madlib one of my fave producers of all time and he just crafting some beautiful shit on here. say what you will but i really fucked with chilling back to this album b.