Fat Joe used to have beef with 50 Cent. However, these days, the two are on good terms. In fact, Joe is on good terms with a lot of people. He has proven to be a very positive force in the hip-hop world. Overall, he shows love whenever he can, and it is really great to see. For instance, he was on the BET segment Diggin’ In The Crates, where he revealed his love for Get Rich Or Die Tryin’. Despite having beef with Fif at the time, he can now appreciate what a masterpiece the project is.
“One of the greatest albums of all time,” Fat Joe explained. “And it’s crazy ’cause I had beef with him and I wouldn’t allow myself to hear it, wouldn’t let DJs play it. But I knew that it was G-Unit. Recently J. Cole came out at his concert and said it was the greatest album of all time. Nas came out and said, ‘Yo this changed the game.’ And it’s a fact.”
Fat Joe went on to credit 50 Cent for all of the various facets to the record. Needless to say, you can see his reverance for the artist. “His flows, his melodies, his beats, the energy Hip Hop music had never felt,” Joe noted. “That energy that he was coming with, it was like yo, this is that — you got that dangerous thing to it. He teamed up with Mr. Professional, Dr. Dre and Eminem. See, 50 Cent woulda still been amazing but he’d have came with those New York beats that was really really good, but once again, Dr. Dre makes everything iPic. He makes everything crystal clear. He just gives you that professionalism like you on a podium or something.”
Be sure to let us know your favorite track from Get Rich Or Die Tryin’, in the comments section below. Additionally, stay tuned to HNHH for the latest news and updates from around the music world. We will always keep you informed on your favorite artists.
July is now upon us, which means it is now time to reflect on the best hip-hop albums of the year so far. In any given year, you will have fans trying to make the argument that “this year is weaker than last year.” Or they will try and insinuate that music isn’t hitting like it used to. However, a few months down the line, those same listeners look back on the year that was and come to realize that a lot of great music was released.
So far, 2023 has fallen victim to these same premature criticisms. Although, it is important to remember that there has been more than a few quality releases. Some of the biggest artists have dropped already, and plenty more great albums are on the horizon. Having said that, here are our picks for the 15 best hip-hop albums of 2023, so far.
15. NBA YoungBoy – Richest Opp
If NBA Youngboy isn’t the best rapper in the game, he’s undoubtedly one of the most industrious and relentless artists in the music industry. Ever since his release from house arrest in 2022, the rapper has been making up for lost time with an impressive string of projects. While some of his recent efforts, like I Rest My Case, ventured into new sonic territories, Richest Opp, his third solo venture this year, sees the Louisiana native returning to his roots.
Released as a fiery response to Lil Durk’s Almost Healed, with a hope to go head-to-head on the Billboard charts (as it turned out, Lil Durk was only dropping a single that day), NBA Youngboy is out for blood on Richest Opp. The track “F*ck The Industry” sets the tone for the entire project, as he takes aim at industry heavyweights such as Drake and J Cole, among others. While revenge clearly occupies his thoughts, NBA Youngboy’s vulnerability shines through in songs like “Hurt My Heart” and “Father,” providing listeners with a multi-dimensional portrait of the artist beyond the attention-grabbing controversies. At this stage, Richest Opp stands as a powerful showcase of NBA Youngboy’s skills as an MC, displaying his ability to explore different flows and utilize the elasticity of his melodies to convey a wide range of emotions.
Rap divas such as Nicki Minaj, Latto, Ice Spice, and Cardi B have come through with hot new singles in 2023, however, none of them have given us an album yet. Rather, it’s rising star Sexyy Red who’s delivered what we consider to be the most impactful female hip-hop project of the year so far. Hood Hottest Princess arrived at the beginning of June in its 11-track glory, paving the way for the St. Louis native to reach new heights thanks to co-signs from acts like NLE Choppa and Travis Scott.
Throughout her album, Red connects with Sukihana on “Born By the River,” Juicy J and ATL Jacob on “Strictly for the Strippers,” and of course, Nicki Minaj and Tay Keith for “Pound Town 2.” Her lyrics are characteristically controversial, and in the accompanying music videos we’ve seen so far, the 25-year-old spends plenty of time working on her twerking. While not everyone agrees with her straightforward, NSFW nature, Hood Hottest Princess earned Red an 8/10 ranking from Pitchfork, who have praised her for paying homage to icons like Gucci Mane and Trina.
Amidst the menacing shadows of a RICO case that threatens to lock him away for life, Young Thug seems unfazed, treating it like just another day at the office. Merely a week after his (former?) friend and collaborator Gunna dropped his album, A Gift & A Curse, Thugger wasted no time and swiftly followed up with his third studio album, Business Is Business. Helmed by the talented executive producer Metro Boomin, this latest opus from Young Thug is a treasure trove of previously unreleased gems, songs that had been locked away.
While the project may not venture into uncharted sonic realms, as Thug has boldly done in the past, Business Is Business gifts fans with a seamless auditory experience from start to finish. It’s crystal clear that the industry’s unwavering support for Thug has only grown stronger over the past year, with heavyweights such as Future, Drake, Nicki Minaj, and Travis Scott gracing the tracklist.
The album’s very essence, comprising tracks that Thug safeguarded over the years, serves as a testament to his timeless approach to crafting hits. “Jonesboro” flawlessly marries Metro’s eerie production with Thug’s haunting recollections of Cleveland Ave. And let’s not forget the infectious earworms like “Oh U Went” featuring Drake and “Hellcat Kenny” featuring Lil Uzi Vert, destined to dominate summer playlists.
In the grand scheme of things, Business Is Business does not exploit recent controversies for attention-grabbing rhymes or delve into Thug’s innermost struggles during his recent hardships (for obvious reasons). Instead, it capitalizes on the mounting anticipation surrounding the long-awaited Metro Thuggin collaboration. All things considered, it’s a damn good album.
– Aron A.
12. YEAT – AfterLyfe
Yeat has certainly risen to become one of the most interesting characters in hip-hop today. Overall, he is known for spitting some truly unique flows, all while choosing the most off-the-wall beats. After scoring a huge hit with “Sorry Bout That,” the Oregon artist has been steadily dropping a consistent stream of albums. However, none of them have been better than his 2023 effort AfterLyfe. Over the course of this lengthy tracklist, Yeat gives fans a plethora of unique and new sounds. One could just look at the song “Nun I’d Change” where he gets into cyberpunk territory with the production choices. “Bettr Off” is another banger on the album where Yeat showcases his versatility as well as his ability to craft catchy tracks.
Throughout the album, Yeat doesn’t mind experimenting with sounds and going for more melancholic offerings. The album’s closer “Myself” is a great example of this. Moreover, you can’t help but appreciate how he features alter egos of himself. While some may roll their eyes at this, it is simply a way for the artist to showcase the wild flows he can pull off, seemingly out of nowhere. Even if you hate this style of rap, AfterLyfe is a must-listen. You may just be surprised.
– Alexander Cole
11. Kaytramine – Kaytramine
Kaytranada and Aminé have teamed up as an official duo for their new album, Kaytraminé, which aims to soundtrack listeners’ tropical summer jaunts throughout the next two months. Partnering together for the first time since Kaytranada provided production on three songs off of Aminé’s 2015 mixtape, Calling Brio, the two have given fans a blend of Aminé’s often quirky yet infectious delivery with Kaytranada’s bouncy, varied production. The 11 tracks feature a star-studded group of guest artists including Snoop Dogg, Big Sean, Freddie Gibbs, and more.
Pharrell Williams provides arguably the most interesting contribution, popping up on the album’s lead single, “4EVA.” He lends a groovy chorus that, when meshed with Aminé’s characteristically fun and flirty bars, ties together one of the best songs from the entire project. Add in more highlights across the tracklist like “letstalkaboutit,” and “Master P,” and you’ve got one of the best albums of the year thus far.
– Cole Blake
10. Killer Mike – Michael
Killer Mike brought listeners his sixth solo effort, Michael, in June. The album works to chronicle Killer Mike’s childhood, channeling his musical influences of gospel, soul, funk, blues, and more. He calls the album his “come home moment musically” and a “submission to God,” taking an introspective approach to putting together the pieces of his childhood that have made him the artist he is today. Michael also features various high-profile features from Andre 3000, Young Thug, CeeLo Green, and more.
The LP’s gospel-infused tracks serve as a testimony to his upbringing, featuring messages about learning tough lessons and grappling with the Black experience. Compelling themes of religion, loss, and triumph are woven throughout, making the album stand out in his vast discography. The album also features an array of intricate piano arrangements and choral ensembles, making it a sonically unique offering from the artist. Michael sees Killer Mike explore a more vulnerable, raw side of his lyricism, cementing its place as a fan favorite.
– Caroline Fisher
9. Lil Durk – Almost Healed
Few trap albums this year are as self-aware and hard-hitting as the Chicago MC’s latest offering. Lil Durk’s Almost Healed sees Smruk balance a thin line, loyalty to the streets and acknowledgement of its cyclical pain, with blunt but heart-wrenching detail and skill. “I send money to jails, I send money for funerals, even though they goin’ to hell for all them n***as they killed,” he raps on the track “Pelle Coat.” “You know I’m part of my brother ‘nem forever ever, ever, I’m goin’ to hell.” For every threat to his opposition or bar about his wealth or hedonism, he recognizes his personal flaws and aims to fix them.
Family, friends, freedom, and fame are at the core of the album’s most emotive moments (like “All My Life” with J. Cole) and its most boisterous bangers (like “War Bout It” with 21 Savage). The production elevates these themes with both layered melodic instrumentation and minimal takes on sharp snares and booming bass. Through it all, Durk can’t let go of his past, but finds the knowledge and empathy to make the best out of his situation. It’s a hard contrast to achieve, but one that’s always compelling here.
– Gabriel Bras Nevares
8. Conway The Machine – Won’t He Do It
In May, Conway the Machine dropped off his third studio album, Won’t He Do It. The 14-track record was the first he released under his new independent label Drumwork Music Group after his departure from Griselda. The album also follows his 2022 LP God Don’t Make Mistakes. Listeners watch Conway the Machine count his blessings on Won’t He Do It, trading his signature diabolical bars for verses centered around living the good life. The album also features appearances from fellow Griselda OGs Westside Gunn and Benny the Butcher.
Conway the Machine called the album a showcase of him “in [his] versatile bag,” successfully flexing his affinity for experimentation. The rapper came in hot with the album’s lead single, “Super Bowl,” in February. He tapped Sauce Walka and Juicy J for the track, kicking off the Won’t He Do It with unmistakable levels of energy and lyrical dexterity. Conway the Machine is focused on his most recent release, which serves as the first of a two-part series.
– Caroline Fisher
7. Talib Kweli & Madlib – Liberation 2
Their initial Liberation collaboration emerged at the top of 2007, slyly making its way online as a free download. It was quickly removed and officially released that Spring, and the collision of Talib Kweli and Madlib took Hip Hop by storm. The two acclaimed artists are respected as solo acts, but together, the expectation of excellence floats in the ether. Nearly two decades after Liberation arrived, “The Libs” returned once again for the follow-up, Liberation 2. This project has been anticipated for years, and it was certainly worth the wait.
Madlib’s production credits need no introduction, especially his illustrious collaborative efforts. He’s released projects with emcees like MF Doom, J Dilla, and Freddie Gibbs, etching his way into production royalty. Pair that talent with a Black Star legend like Kweli, and you have a record that ignores trends and focuses on the heart of Hip Hop. “The materialism and debauchery that is stereotypically associated with Hip-Hop has lost some of its luster,” said Kweli via Hypebeast. “Madlib and I have been consistent in our messaging. Never has there been a better time for such honest, message-driven music that pays tribute to the sounds that came before us.”
The album’s message was evident as the spoken word “Assata’s Code” defined the revolution. Amani and Diani, the Rap star’s daughters, make appearances, along with a bevy of talent from Africa. Some familiar names also show face, including Westside Gunn, Q-Tip, Goapele, and a posthumous addition from Mac Miller. This is one you’ll want to spin more than once in any mood, and even if we have to wait another decade, fans are rooting for a Liberation 3.
– Erika Marie
6. Gunna – A Gift & A Curse
There was a lot riding on Gunna’s return to the music world. After having been incarcerated for almost a year in the YSL Rico case, fans were curious about what he would have to say. Overall, his peers as well as former fans were accusing him of being a snitch. Moreover, he was being accused of snitching on a beloved fellow artist in Young Thug. Needless to say, the odds were stacked against him. However, with his comeback tape A Gift & A Curse, Gunna proved that he can stand above his peers when push comes to shove.
Throughout the project, Gunna gives us a ton of insight into where he is mentally. On tracks like “Back To The Moon,” “Back At It” and “I Was Just Thinking,” Gunna takes direct shots at those who have put dirt on his name. Additionally, he gave us one of the best songs of the year with the incredibly catchy “fukumean.” The Atlanta rapper’s hunger throughout the album makes this one of the best listens of the year so far. Naturally, people are going to compare this project to Young Thug’s and Lil Durk’s. These comparisons are valid. However, the context behind this project is a bit different and you have to appreciate Wunna’s ability to overcome adversity.
– Alexander Cole
5. Larry June & Alchemist – The Great Escape
Much like the collaborative milestone we received this year from Madlib and Talib Kweli, two more Hip Hop giants made magic when The Alchemist and Larry June dropped their acid-jazz ladenThe Great Escape. From beginning to end, this joint venture harmonizes perfectly. June’s chilled-out appeal enables Al to transition into his well-known prestige rap aesthetics, birthed from their first serendipitous collaboration on 2020’s “Rainy Night in SF.” Rich with all the offerings that support an emotional landscape of chilled vibes, The Great Escape is just as its title suggests. You may not find the likings of mainstream, radio Hip Hop here, but June’s lyrics sketch rich imagery that elevates to a vivid art form.
That said, what makes The Great Escape stand out can also be its Achilles heel. Each track floats effortlessly from one to the next; however, some may complain that Al’s productions come across too similar throughout. Yet, the creatives seemed to have a purpose behind this, as The Great Escape is a body of work that one can listen to while taking a mental adventure. The dreamy piano melodies, partnered with Alchemist’s perfected rhythms and June’s hypnotic tone, result in a record that does the culture justice.
– Erika Marie
4. Black Thought & El Michels – Glorious Game
Last year, legendary member of The Roots, Black Thought teamed up with Danger Mouse for an acclaimed collaborative album called Cheat Codes. That was the perfect name for an album where it felt like both the production and rapping was so consistently good, it was almost cheating. This year Black Thought teamed up with New York soul band El Michels Affair on a collaborative album called Glorious Game, but Cheat Codes would have been just as fitting of a name.
From the album’s most reserved and intimate points to its most bombastic and lively the production and instrumental performances are rich. The band does a truly wonderful job of assembling dynamic platforms over which Black Thought can work. And work he does, weaving together detail rich stories of street life and meditations on his dramatic come-up. The album is on the shorter side but it’s an all killer no filler approach that will surely leave you begging for more.
– Lavender Alexandria
3. Lil Yachty – Let’s Start Here
For rap fans, the biggest shock of the year so far came when Lil Yachty dropped his new album Let’s Start Here back in January. Without announcing any intent to switch genres, Yachty shifted his style drastically. The album is a Funkadelic-inspired embrace of classic psychedelic rock and soul music. While many rappers from Logic to Vic Mensa to Kid Cudi have tried to crossover into the world of rock music, none do it as well as Yachty.
That comes from Yachty’s clear admiration for the greats of the style. He brings along collaborators like Daniel Caesar, Foushee, and Mac DeMarco to craft a vision of vintage psych rock that feels inspired by the classics without just worshiping them. Opening track “the BLACK. seminole” and closer “REACH THE SUNSHINE” are born of the legacy left by black rap stars but also aim to push their styles forward. From the dense and often genuinely experimental instrumental diatribes to the rousing and unpredictable compositions, nothing about the album even remotely resembles hip-hop. But Let’s Start Here isn’t impressive just because of where Yachty started, because where he ended up is deeply exciting regardless.
– Lavender Alexandria
2. Billy Woods & Kenny Segal – Maps
Using the past to define the present is nothing new for billy woods– he’s been painting an image of his otherwise blurred self with vivid references to long-since overthrown heads of state, violent acts of colonialism left off the history books, and retired football players for nearly two decades. He’s been at it so long that on his new concept album, Maps, woods can use his own songs to present the new. On the album’s opener he references a History Will Absolve Me lyric while evoking the perpetuity of the previously discussed indifference of God. Across the next 16 tracks, woods catalogs his experiences getting back on the road following the coronavirus pandemic and the anxiety, isolation, and listlessness that comes with it.
In making the journey, woods brings along his Hiding Places collaborator, Kenny Segal, for their first effort together since 2018. Across the project, Segal brings a diverse pallet of production that incorporates bleak jazz loops with, at other times, more ominous layered synths and hard-hitting drums. By the end of Maps, woods presents a Philip Marlowe-esque image of himself returning to New York, connecting only with his cat as he looks out at a city that becomes more unrecognizable by the day. Altogether, the combined forces of woods and Segal present another high point in the discography of both artists as well as one of the best hip-hop albums of the year thus far.
– Cole Blake
1. Danny Brown & JPEGMafia – Scaring The Hoes
No other album so far this year is as exciting, creative, complete, or unique as this experimental gem in the underground. Well, to call Peggy and Danny underground at this point probably gives a wrong impression that downplays their impact. Not only do both showcase the talent, skill, and influence they achieved in their storied careers, but they’re coming for the whole rap game’s head here. They’re tired of all the posturing, the weak albums, and the conservative and close-minded sheep mentality both online and in the streets. The duo expresses that with often hilarious and always astounding bars, referencing every corner of pop culture from politics to sports, movies, and more of every notoriety level.
The beats also do the talking, with the most creative sample flips, drum patterns, vocal chops, and addictive melodies you’ll hear all year. JPEGMAFIA and Danny Brown beat hip-hop artists at their own boastful game with the former’s chaotic and uncompromising production and bars and the latter’s idiosyncratic perspective, flow, and delivery. No vision was better executed so far this year than SCARING THE HOES, and other rappers should indeed be scared of this testament to the craft, versatility, and bright future of hip-hop.
– Gabriel Bras Nevares
Which of these albums is your favorite? Let us know in the comments below. Also, let us know if we’re missing anything on this list.
While hip-hop has only just now produced a No. 1 album over halfway through the year thanks to Lil Uzi Vert, R&B started out on a strong note thanks to SZA’s SOS. The TDE artist’s sophomore effort has spent a total of eight weeks championing the Billboard 200, only being beaten out by country star Morgan Wallen’s One Thing at a Time. Aside from the “Kill Bill” singer’s major success, other favorites in the genre have given us noteworthy new releases over the past months too.
Our annual round-up of the year’s best rap albums so far is primarily male-dominated, with Sexyy Red’s Hood Hottest Princess earning her the only woman on the list. R&B, however, has heard incredible new arrivals from our favorite female vocalists, including Kiana Lede’s highly anticipated follow-up to 2020’s KIKI. Of course, we didn’t totally forget about the guys – two of Canada and Jamaica’s finest also left us impressed with their R&B LPs earlier in 2023. Keep scrolling to see which artists made the cut, and let us know who your personal favorites are in the comments.
Not only did Kali Uchis captivate the world with her sensual Red Moon In Venus LP, but she also passed some major career milestones. The songbird’s third studio album debuted at No. 4 on the Billboard 200 with over 55K, marking her first Top 10 entry on the list. Across 15 titles, Uchis connects with Summer Walker as well as frequent collaborators Omar Apollo, and her boyfriend, Don Toliver.
Red Moon In Venus arrived at the beginning of March, and weeks later the bilingual artist went on to perform several tracks from it at Coachella. Both weekends Uchis had arguably one of the best sets, bringing out guests like Tyler, The Creator, and Toliver. Speaking of the Cactus Jack artist, his girlfriend appeared on his Love Sick album’s “4 Me” single prior to dropping her own project.
“‘Red Moon in Venus’ is a timeless, burning expression of desire, heartbreak, faith, and honesty, reflecting the divine femininity of the moon and Venus,” Uchis previously told Consequence of her work. Aside from her vision and vocal talent, the ethereal starlet also produced the opening song, “In My Garden…” on her own.
For Janelle Monae, The Age of Pleasure is more than just an album – it’s a sexual revolution. As we saw throughout her long-awaited LP’s rollout, the Kansas native is feeling more confident and carefree than ever before. Her breasts have been a focal point of the genre-bending work, appearing on the digital cover art, vinyl, and in front of thousands of fans at various live performances over the past few months.
The 37-year-old shared “Float” with Seun Kuti and Egypt 80 as her first single, later following it with “Lipstick Lover.” The latter came along with a salacious teaser video that left the internet lusting after Monae like never before, also confirming her first studio album in over five years. Our personal favorite collaboration on the tracklist is “Phenomenal” featuring TDE’s Doechii, though Grace Jones, Nia Long, Amaarae, Sister Nancy, and CKay make appearances as well.
Daniel Caesar – NEVER ENOUGH
Daniel Caesar’s debut album, Freudian, remains a staple in the rotation of many R&B lovers. Unfortunately for the Canadian, his fame was short-lived after he made controversial comments about race during a live stream that ultimately found him facing widespread cancellation. His sophomore effort, CASE STUDY 01, was largely skipped over as a result, even though it features stunning vocal work from Caesar.
By the time he shared his third LP, NEVER ENOUGH earlier in 2023, the embattled artist had thankfully moved back into the public’s good graces. Caesar teased us with singles like “Please Do Not Lean” featuring BADBADNOTGOOD, “Always,” and “Do You Like Me?” all of which only made fans fall more in love with his dreamy voice. Aside from vocals, the 28-year-old also flexed his producer skills alongside little brother Zachary Simmonds, Sir Dylan, Sevn Thomas, Rami, and Raphael Saadiq.
Kiana Lede – Grudges
The most recently released alum to land on our must-listen list of R&B releases so far this year comes from sultry songbird Kiana Lede. Her follow-up to 2020’s KIKI came in the form of Grudges, an undeniably toxic project that’s perfect for anyone who might be struggling with any pent-up resentment toward an old friend. The 26-year-old immediately catches our attention with “Bitter B**ch – INTROlude” and laces in collaborations with Bryson Tiller, Ella Mai, and Khalid throughout the 18-song tracklist.
During an interview with Vibe, Lede gave some insight into the inspiration behind her sophomore album. “‘Grudges’ actually has multiple meanings in this album. Obviously, there’s the [literal one]. I’m a bitter b**ch [who] definitely [has] grudges. I hold them very well. I’m working on it. I’m in therapy,” she admitted.
“So grudges towards relationships, also grudges just in my life. It’s something that I feel like we all constantly have to work on, whether it’s relationships or within ourselves, within the world,” Lede also told the outlet.
Masego – Masego
R&B music is typically most appreciated in the chilly winter months of cuffing season, but when a Masego song comes on, it’s hard not to fantasize about a romantic trip to the tropics at any time of year. It had been nearly two and a half years since his Studying Abroad project arrived when the Jamaican singer delivered his 14-track, self-titled LP. The former saw him teaming up with a handful of friends including Shenseea and Don Toliver, but on the latter, he operated solo.
Fan favorites on Masego include “What You Wanna Try,” “Black Anime,” and “Sax Fifth Avenue.” Whether you’re seeking to pretend you’re on the beach while tanning in your backyard this summer or need a soundtrack for an evening of dancing with friends, the 30-year-old has you covered with his long-awaited, must-listen record. He’s got a few live performances lined up over the coming months, including one at AfroBeats Festival in August, so fans will even have a chance to enjoy Masego’s new music in person before fall hits.
While hip-hop has only just now produced a No. 1 album over halfway through the year thanks to Lil Uzi Vert, R&B started out on a strong note thanks to SZA’s SOS. The TDE artist’s sophomore effort has spent a total of eight weeks championing the Billboard 200, only being beaten out by country star Morgan Wallen’s One Thing at a Time. Aside from the “Kill Bill” singer’s major success, other favorites in the genre have given us noteworthy new releases over the past months too.
Our annual round-up of the year’s best rap albums so far is primarily male-dominated, with Sexyy Red’s Hood Hottest Princess earning her the only woman on the list. R&B, however, has heard incredible new arrivals from our favorite female vocalists, including Kiana Lede’s highly anticipated follow-up to 2020’s KIKI. Of course, we didn’t totally forget about the guys – two of Canada and Jamaica’s finest also left us impressed with their R&B LPs earlier in 2023. Keep scrolling to see which artists made the cut, and let us know who your personal favorites are in the comments.
Not only did Kali Uchis captivate the world with her sensual Red Moon In Venus LP, but she also passed some major career milestones. The songbird’s third studio album debuted at No. 4 on the Billboard 200 with over 55K, marking her first Top 10 entry on the list. Across 15 titles, Uchis connects with Summer Walker as well as frequent collaborators Omar Apollo, and her boyfriend, Don Toliver.
Red Moon In Venus arrived at the beginning of March, and weeks later the bilingual artist went on to perform several tracks from it at Coachella. Both weekends Uchis had arguably one of the best sets, bringing out guests like Tyler, The Creator, and Toliver. Speaking of the Cactus Jack artist, his girlfriend appeared on his Love Sick album’s “4 Me” single prior to dropping her own project.
“‘Red Moon in Venus’ is a timeless, burning expression of desire, heartbreak, faith, and honesty, reflecting the divine femininity of the moon and Venus,” Uchis previously told Consequence of her work. Aside from her vision and vocal talent, the ethereal starlet also produced the opening song, “In My Garden…” on her own.
For Janelle Monae, The Age of Pleasure is more than just an album – it’s a sexual revolution. As we saw throughout her long-awaited LP’s rollout, the Kansas native is feeling more confident and carefree than ever before. Her breasts have been a focal point of the genre-bending work, appearing on the digital cover art, vinyl, and in front of thousands of fans at various live performances over the past few months.
The 37-year-old shared “Float” with Seun Kuti and Egypt 80 as her first single, later following it with “Lipstick Lover.” The latter came along with a salacious teaser video that left the internet lusting after Monae like never before, also confirming her first studio album in over five years. Our personal favorite collaboration on the tracklist is “Phenomenal” featuring TDE’s Doechii, though Grace Jones, Nia Long, Amaarae, Sister Nancy, and CKay make appearances as well.
Daniel Caesar – NEVER ENOUGH
Daniel Caesar’s debut album, Freudian, remains a staple in the rotation of many R&B lovers. Unfortunately for the Canadian, his fame was short-lived after he made controversial comments about race during a live stream that ultimately found him facing widespread cancellation. His sophomore effort, CASE STUDY 01, was largely skipped over as a result, even though it features stunning vocal work from Caesar.
By the time he shared his third LP, NEVER ENOUGH earlier in 2023, the embattled artist had thankfully moved back into the public’s good graces. Caesar teased us with singles like “Please Do Not Lean” featuring BADBADNOTGOOD, “Always,” and “Do You Like Me?” all of which only made fans fall more in love with his dreamy voice. Aside from vocals, the 28-year-old also flexed his producer skills alongside little brother Zachary Simmonds, Sir Dylan, Sevn Thomas, Rami, and Raphael Saadiq.
Kiana Lede – Grudges
The most recently released alum to land on our must-listen list of R&B releases so far this year comes from sultry songbird Kiana Lede. Her follow-up to 2020’s KIKI came in the form of Grudges, an undeniably toxic project that’s perfect for anyone who might be struggling with any pent-up resentment toward an old friend. The 26-year-old immediately catches our attention with “Bitter B**ch – INTROlude” and laces in collaborations with Bryson Tiller, Ella Mai, and Khalid throughout the 18-song tracklist.
During an interview with Vibe, Lede gave some insight into the inspiration behind her sophomore album. “‘Grudges’ actually has multiple meanings in this album. Obviously, there’s the [literal one]. I’m a bitter b**ch [who] definitely [has] grudges. I hold them very well. I’m working on it. I’m in therapy,” she admitted.
“So grudges towards relationships, also grudges just in my life. It’s something that I feel like we all constantly have to work on, whether it’s relationships or within ourselves, within the world,” Lede also told the outlet.
Masego – Masego
R&B music is typically most appreciated in the chilly winter months of cuffing season, but when a Masego song comes on, it’s hard not to fantasize about a romantic trip to the tropics at any time of year. It had been nearly two and a half years since his Studying Abroad project arrived when the Jamaican singer delivered his 14-track, self-titled LP. The former saw him teaming up with a handful of friends including Shenseea and Don Toliver, but on the latter, he operated solo.
Fan favorites on Masego include “What You Wanna Try,” “Black Anime,” and “Sax Fifth Avenue.” Whether you’re seeking to pretend you’re on the beach while tanning in your backyard this summer or need a soundtrack for an evening of dancing with friends, the 30-year-old has you covered with his long-awaited, must-listen record. He’s got a few live performances lined up over the coming months, including one at AfroBeats Festival in August, so fans will even have a chance to enjoy Masego’s new music in person before fall hits.
Hip hop is celebrating its 50th anniversary this year. The genre of music started as a niche movement in The Bronx, New York, in the early 1970s. Now, hip hop is the world’s biggest genre of music and is greatly impactful on pop culture. The volume and history of hip hop as a culture and genre can be overwhelming for anyone who would like to learn more about it. Today, we’ve compiled a list of seven of the best hip hop albums that one must listen to.
It must be emphasized that this list is not exhaustive and does not even begin to encompass the full scope of hip hop music. These selections attempt to display a wide variety of albums that were important for the development of the genre. Each album on the list has no skippable tracks and is considered iconic in most cultural discussions. Take a look at the list of seven of the best hip hop albums of all time that are essential listens.
An East Coast bias is often understood as hip hop was born in New York, and many of its greatest lyricists come from the area. Even if one favors the traditional hip hop sounds of New York, one cannot deny that Snoop Dogg’s Doggystyle is one of the best hip hop albums of all time. Dr. Dre produced Snoop’s debut album in 1993, establishing the G-Funk sound and paving the way for the entire West Coast. The two established their chemistry on Dr. Dre’s The Chronic, but Doggystyle combined calm and aggressive to completely redefine gangsta rap. Many of hip hop’s greatest artists from all regions cite Doggystyle as an inspiration.
Nas – Illmatic (1994)
Many classic hip hop albums helped shape the New York sound before 1994, but Nas reset the standard for lyricism with Illmatic. The album contains timeless boom-bap production that transports the listener to New York in the 1990s. Nas’s impeccable rhyme style and his storytelling ability raised the bar for the art of rapping. Illmatic’s concise tracklist also set the standard for what qualifies as a timeless piece of art. Nas was only 20 years old at its release, making Illmatic even more impressive.
Ready to Die is one of hip hop’s most iconic albums and is arguably perfect. The Notorious B.I.G. cemented his legacy with his debut album before his untimely passing. Ready to Die solidified Biggie as an all-time great, blending his tough persona with deep thinking and vivid imagery. Ready to Die showcases Biggie’s unique and irreplicable flow and delivery.The album helped shape what a commercially successful hip hop should look like, creating a formula for rappers with crossover appeal. While Ready to Die is distinctly New York, Biggie’s lyrical ability and the album’s appeal transcended location.
Mobb Deep’s The Infamous set the benchmark for rough, rugged, and gritty hip hop music. The dusty yet beautiful production from Havoc and the violent rapping from Prodigy defined a sound of hip hop. While an album like Illmatic helped define the sound of New York, The Infamous created a lane of New York hip hop with its hardcore beats and rhymes. The Infamous was a landmark release for ‘90s rap and remains influential today as its sound permeates the underground scene.
JAY-Z – The Blueprint (2001)
JAY-Z’s name comes up in almost every discussion of the greatest rappers of all time. Many, including Jay himself, consider Reasonable Doubt, his debut album in 1996, his best. However, The Blueprint is an undeniable masterpiece. JAY-Z’s five previous albums showed that he could adapt to the current sound of hip hop and surpass others while doing so. The Blueprint saw Jay leading the charge instead. The album’s chopped and looped samples and JAY-Z’s skillful charisma made The Blueprint such a monumental album.
Madvillain – Madvillainy (2004)
Almost every album on this list was a critical and commercial success that took hip hop to new heights. MF DOOM and Madlib’s 2004 collaborative album as Madvillain defined the essence of underground hip hop. Madlib’s experimental sampling and MF DOOM’s lyrically dense and clever bars were unprecedented. The album’s rapping and production were innovative and influenced a lane of artistry that encourages creativity. Diehard rap fans still celebrate Madvillainy as a classic album, representing the ultimate collaboration between two of the underground’s greatest talents.
Kanye West – My Beautiful Dark Twisted Fantasy (2010)
Kanye West’s fifth studio album is one of the most critically acclaimed albums of modern music. While Ye’s four previous albums are classics in their own right, My Beautiful Dark Twisted Fantasy is his magnum opus. It encompassed the soul, arrangement, musicality, and experimentation of Kanye’s previous albums, skillfully blending genres to create an entirely new sound. My Beautiful Dark Twisted Fantasy was arguably the peak of Kanye West’s lyrical skill, displaying effortless braggadocio and vulnerability. Released in 2010, the album set the bar high for modern music and has influenced contemporary hip hop and beyond.
Brockhampton has undoubtedly solidified itself as the defining boy band of the Gen-Z generation. First meeting on a Kanye West fan forum, Brockhampton (named after the street Kevin Abstract grew up on) has one of the most tight-knit and impactful discographies to date. After releasing The Family and TM at the end of 2022, it seems that the band’s illustrious run has finally ended. Today, we rank Brockhampton’s nine studio albums from worst to best.
9. TM (2022)
Unfortunately, Brockhampton ended with a whimper rather than a bang. When you consider how out of touch numerous members of the group had been since the beginning of the COVID-19 pandemic, it didn’t come as a surprise when fans were treated with the jaded, incomplete project that is TM. Rather than a cohesive experience, TM reads as a colorless collection of tracks that never made previous projects. That said, TM still features a collection of dark and gritty tracks that make it worth a listen. “MAN ON THE MOON” draws the listener in with twinkling synths featuring soothing vocals from Joba and Ryan Beatty. “FMG” toys with distorted synths and a grumbling 808 amidst menacing verses from Kevin Abstract and Dom McLennon. However, these highlights are an exception rather than a constant. Ultimately, TM comes from a group of artists who created the project out of obligation rather than creative freedom.
8. ALL-AMERICAN TRASH (2016)
Technically, this is Brockhampton’s first and only mixtape, ALL-AMERICAN TRASH. It set the groundwork for the Saturation trilogy that arrived a year later. The group came together at a run-down house in San Marcos, Texas, without pinpointing what they would create. Sharing rooms and spending their days creating music, it’s understandable that this project would come from a group of kids who haven’t yet developed creative chemistry.
ALL-AMERICAN TRASH tackled lo-fi, melodic soundscapes that walked a tightrope between hip-hop and soul. As a result, members such as Joba and Bearface have more pronounced appearances on the project. This included an impressive look on the blissful “HOME.” It’s hard to miss the Outkast influences on “MICHIGAN,” blending pitched-down synths with slapshot hi-hats. While there are a few worthy moments from the mixtape, there are far too many slow burners from a group trying too hard to fit into a creative mold.
7. The Family (2022)
The Family was released as a creative counterpart along TM at the end of 2022. While it was released under the name of Brockhampton, it’s essentially a Kevin Abstract album. The Family sees Abstract read from his journal, chronicling the events that led to the demise of hip-hop’s most beloved boyband. He’s brutally honest, stating, “I decided not to show up or show support ’cause I was tryna go solo before we went on tour” on the groovy “All That.”
There’s a bitter aftertaste to The Family. The gorgeous soul samples scream for a chorus from Matt Champion or an exhilarating verse from Merlyn. Abstract doesn’t have to say anything; the absence of the rest of the group (except for Bearface) says enough about where the group is. However, the sendoff is still lyrically touching. From the heart-wrenching outro track “Brockhampton” to the sun-seeking “Good Time,” The Family is an admirable effort from Abstract.
6. Iridescence (2018)
Brockhampton took a left turn after the smash success of the Saturation trilogy. After an exhausting world tour, the group took some time off before creating their most experimental project. Iridescence is a distorted collection of mosh-pit bangers created by a group that just wanted to get back to having fun making music. While it’s nowhere near their best work, the experimental vocal pitching and wild song structures become easier to enjoy with each listen.
However, Brockhampton bites off more than they can chew on much of their fifth record. The balance they achieved on Saturation III is out of whack, as its experimentation often seems directionless. Of course, this reality is understandable, considering the recent departure of frontman Ameer Vann. That said, there are occasional moments when the chaos finds its way through the clutter. “TONYA” is one of Brockhampton’s best songs, as the piano chord-ridden intro gradually morphs into a momentous banger. “J’OUVERT” and “NEW ORLEANS” expresses the group’s inner rage at the world around them.
5. Saturation (2017)
Brockhampton’s sudden progression from ALL-AMERICAN TRASH to Saturation left hip-hop fans dumbfounded. Leaping from lo-fi melodies to unapologetic bangers, the collective unequivocally found their sound on their first installment of the Saturation trilogy. After the group moved from San Marcos, Texas, to Los Angeles, they immediately worked on their debut album. As Bearface put it, “Music was being made all of the time. You could wake up at 6:00 a.m., and somebody would be making something.” The group’s endless labor would send waves across the US music scene.
From the braggadocios “GOLD” to the shimmering melodies on “SWIM,” there’s an overarching message of self-confidence. The production chops of the project are the stand-out element, as the lyricism is far more naive and cringeworthy than in their later works. However, Saturation stands out as Brockhampton’s most essential record, catapulting them from suburban streets to the limelight of Hollywood.
4. Ginger (2019)
Their fifth studio album, Ginger, was nowhere near the group’s initial plan for the record. Back in June 2019, Abstract told GQ, “We want to make a summer album.” Ten seconds into “No Halo,” this notion was promptly thrown out the window. Brockhampton struggles to navigate the world around them on Ginger, further expanding on the experimental sampling on Iridescence. In many ways, the record feels like a fully realized version of what Iridescence was meant to be.
Some of Brockhampton’s best tracks to date are on Ginger.’Joba screams out on “Dearly Departed” while Dom delivers his most heartfelt verse on the backend. “Boy Bye” is one of those tracks that will drive aspiring producers crazy; the plucky lead melodies and eclectic sampling make it a much-needed banger on a somber project. Ginger is top-heavy and occasionally meandering. However, undoubtedly, it’s another solid addition to their discography.
3. Saturation II (2017)
Released only two months after the first Saturation installment, Saturation II saw Brockhampton fully capitalize on its notoriety. Swiping away the notion that great music takes a long time to perfect, the project saw Brockhampton brush up on many subtle flaws in the first installment. The lyrics aren’t falsely self-indulgent, and the production feels far more poignant than ever. With the group in a creative flow, diving right back into Saturation II rather than sitting on Saturation proved wise.
Once again, Brockhampton is finding subtle ways to blend the worlds of Outkast and Frank Ocean. “Jesus” and “Summer” are gorgeous, while “Gummy” and “Tokyo” ditch the pretty boy act for wonky bangers. The chemistry had taken a notable leap, as members more frequently traded mid-verses bars. While Brockhampton’s discography never shied away from attacking dark subject matter, Saturation II remains their most gleeful project.
2. Roadrunner: New Light, New Machine (2021)
The sixth project from Brockhampton, Roadrunner: New Light, New Machine was their most introspective record. Much of the narrative struggle is centered around Joba, who’s processing the tormented aftermath of his father’s suicide. “Does mental illness run in the family? Did you even care about me?” Joba asks these damning questions amid beats more subtle than what appeared on any of the Saturation projects. Roadrunner opts to package its messaging with quality rather than quality, coming in at 13 tracks.
Roadrunner is genre-bending and unpredictable from start to finish. “I’ll Take You On” brings in Charlie Wilson for background vocals on the lovesick and triumphant cut. “Buzzcut” sees Merlyn take the forefront, with Danny Brown delivering a feature. In fact, Roadrunner is the first project that sees Brockhampton incorporate features, a welcomed change to the scenery of their sound. Bouncing from soulful pop ballads to trap bangers, Roadrunner compacts everything great about Brockhampton.
1. Saturation III (2017)
Saturation III feels like a grandiose culmination, the creative prime of a group already at the top of the mountain. While previous projects often lacked a certain element, whether surface-level songwriting or wallpaper production styles, the final installment of the Saturation trilogy finally saw Brockhampton bring it all together. Excluding the brief interludes, the record only features 12 tracks, which aids in the cohesive nature of the record. Brockhampton’s pen game is at its peak on Saturation III. Ameer, Dom, and Merlyn have improved on all fronts. This is especially notable on bangers such as “Boogie” and “Bleach.”
In many ways, “TEAM” feels like the perfect send-off, as it symbolically blends the two contrasting sides of Brockhampton. Bearface is once again the outro star, as his harrowing vocals are layered with a screeching electric guitar. In summary, every member is given room to shine.
Mac Miller‘s death sent tidal waves through the music community. Heavily touted as a unique talent and intimate soul, his journey was left tragically unfinished. Openly addicted to drugs and dealing with depression, Mac was an example of why artists often struggle with the limelight. However, the flawed figure had a noticeable impact on any collaborator he worked with. Growing up in Pittsburgh, Miller was born to a creative family that enhanced his musical interests. By age six, he was already learning the drums and the piano.
The rapper was spitting rhymes on the school bus by his freshman year of high school, orchestrating random jam-out sessions where his buddies acted as impromptu drum sets or hi-hats. The Pittsburgh outfit would continue to hone his craft, releasing his breakout mixtape K.I.D.S at only 18 years old. Soon, making large-scale connections and signing a record deal with Rostrum Records, he released his debut studio album, Blue Slide Park, in 2011.
For all of Mac’s faults, he was one of the most influential artists of our generation. Mac was more than just a rapper, improving leaps and bounds as a vocalist or multi-instrumentalist throughout his career. With his last few albums being his best work, Mac is one of hip-hop’s biggest “what if” stories.
10. Blue Slide Park
His debut studio album, Blue Slide Park is a noticed maturation from the lyrical and production sound of his mixtapes. Mac is impressively able to find his distinctive voice throughout the 46-minute record. The project is famously known for receiving a scathing 1.0 mark from Pitchfork. However, that rating has since been disproven. Employing a timeless sound, tracks like “Party of Fifth Ave” or “PA Nights” still sound just as fresh today.
Additionally, the record sold 145,000 in its first week, shooting straight to #1 on the Billboard charts. Blue Slide Park is full of egotistical, party-rap bops. While it’s far more surface-level than his later releases, it’s an admirable full-length debut. A direct shoutout to his upbringing in Pittsburgh, it’s a transition album from his fun mixtapes to his later, more mature records.
9. Best Day Ever
The follow-up mixtape to his hit day-view mixtape K.I.D.S, Best Day Ever saw Mac Miller strip down his sound to appeal to his hoards of new fans. Bringing in fellow Pittsburgh rapper Wiz Khalifa, the mixtape was ultimately an attempt to mold himself into a household mainstream rapper. The result is mixed from front to back, as cringeworthy choruses and forced verses are undeniably present throughout the album.
However, Best Day Ever still features much of what made early-era Mac Miller great. It’s braggadocios, groovy, and has plenty of timeless bangers such as “Donald Trump” and title track, “Best Day Ever.” While Best Day Ever is mixed better while seeing Mac improve on his technical songwriting chops, it’s missing the uniqueness or nostalgic bite of K.I.D.S.
8. K.I.D.S
Iconic, nostalgic, and downright fun. The debut streaming mixtape from Mac, K.I.D.S is a coming-of-age collection of boom-bap rap and jazzy beats. Even on his early mixtapes, he had proved that he wasn’t in the game to sound like everyone else. Sampling the likes of Empire of the Sun and Nas, he displayed an inherent knack for utilizing great sounds.
Throwing the listener in the headspace of a sunny day riding a bike with friends, K.I.D.S is a 47-minute middle finger to what’s to be expected of him. Ditching high school or the traditional college route, Mac idolizes smoking weed or being with women. He and his friends are driving around town without a destination, searching for the next high of childhood. Purposefully goofy, he flexes as any other indulgent teenager would.
Clearly listening to hip-hop from the West to the East Coast, Miller integrates the two styles into an eclectic blend. Tracks such as “Nikes On My Feet” and “Kool Aid & Frozen Pizza” are much the latter, with Joey Bada$$‘s influence written all over them. However, tracks such as “Knock Knock” and “The Spins” very much contain the freedom or spontaneity of a West Coast track. While he hasn’t found his distinctive sound, Mac still finds a way to make K.I.D.S sound uniquely him.
7. Macadelic
While Blue Slide Park was largely devoid of features, Macadelic saw him work with plenty of collaborators. From Lil Wayne to Kendrick Lamar, Mac sounds far more comfortable when able to rely on the energy of others to create in comparison to Blue Slide Park. Taking a noticeable step up in the lyrical department, he comes off as a rapper who’s more confident about the subject matter he’s rapping about.
Mac Miller is unsettlingly dark and pensive on Macadelic, talking about his addiction to codeine and questioning religion. He puts it all on the table, throwing away the façade that his drug and fame-filled lifestyle was an endless fever dream. Some of Mac’s essential hits appear on the record, such as “Loud” and “Fight the Feeling.”
Macadelic suffers from the common theme of Mac’s early records of being far too long. Surpassing the hour mark, it’s a tedious front-to-back listen. However, he’s able to use the run-time to express more stylistic range than ever. Hopping from Soul to Trap-based influences, it was his most unpredictable record to date.
6. Watching Movies With The Sound Off
Mac’s second studio album, Watching Moves with the Sound Offwas his most experimental record. Playing around with ethereal beats and vocal pitch shifting, it was his most psychedelic record, as well. Mac recruited the likes of Clams Casino and The Alchemist to curate his sound. In an interview with Complex, Mac described the record as “very introspective and very personal, so it’s kind of throwing it all out there and seeing what happens.” After settling into the “weed rapper” persona for a few years, the 2012 release marked a significant crossroads in his career, where he could distinguish his narrative from that stereotype.
With guest features from the likes of Action Bronson, Earl Sweatshirt, and Schoolboy Q, Mac was an established force in the music industry by this time. Additionally, the features seemed to compliment his grittier narratives far better than on previous projects. He focuses far more on his vocal delivery on the project, which he’d been struggling with previously. Initially aspiring to be a singer before becoming a rapper, it’s no wonder he began venturing into different vocal pallets at this career stage.
While Watching Movies with the Sound Off is a little lengthy, plenty of memorable moments remain stuck in my head ten years later. You have Earl’s verse on the back end of “I’m Not Real,” or the trippy summertime vibes of “Someone Like You.” There’s no question that some of his best tracks appeared on this album. From warped reverb guitars to psychedelic synths, the record was his most cohesive and mature project.
5. The Divine Feminine
Mac’s fourth studio album,The Divine Feminine, ties together grandiose vocal harmonies and airy piano chords for his most pleasant-sounding record to date. Featuring some absolute slappers, we have some great features from Anderson Paak and Kendrick Lamar. Full of earworm choruses, “Dang!” and “God is Fair, Sexy Nasty” are two of his best tracks. Mac focuses more than ever on his psychedelic blend of jazz and hip-hop on The Divine Feminine. In many ways, the production techniques on this record would be fully realized on Swimming.
As is implied by the title, Mac is narratively focused on his relationships with women throughout The Divine Feminine, or as he puts it, “the feminine energy of the planet.” Referencing his past relationship with Nomi Leasure in contrast to his current relationship with Ariana Grande, he reflects on the subtle differences between the two experiences. Grande later confirmed that “Cinderella” was about her.
The Divine Feminine is a sonic and narrative contrast to Good A:M. Peeling back the many layers of love, it replaces hard-hitting bops with introspective grooves. In retrospect, it feels like the project that cemented Mac as a multi-creative force rather than just your other mainstream MC.
4. Good A:M
A banger-filled follow-up to Watching Movies with the Sound Off, the project sees Mac noticeably progress in terms of his ability to create a narratively engaging project. While he remains fully engaged in the pure hip-hop era of his career, Good A:M would be the last (relatively) straightforward rap project from Mac Miller. In many ways, Good A:M is a homecoming to his early rap days. The production mirrors his early mixtapes, showcasing a significant improvement from Mac.
In his most cohesive record up to this point, he discusses topics regarding addiction, fame, and personal growth. Mac states: “White lines be numbing them dark times / Them pills that I’m popping, I need to man up / Admit it’s a problem, I need a wake up / Before one morning, I don’t wake up.” In retrospect, it’s another harrowing line that showcases how he was self-conscious about his shortcomings.
Good A:M bounces from beautiful jazz-rap samples to reverb-filled trap bangers. He recruits the likes of Chief Keef and Lil B for the latter, who each deliver a refreshing change of pace on their respective tracks. While the project suffers from a common thread of overstaying its welcome, this doesn’t weigh down the record to the same extent as past projects. Good A:M is a pleasant mix of moody and hype songs that signaled his outstanding growth from Blue Slide Park to the Fall of 2015.
3. Faces
Initially released in 2014, Faces was re-issued to streaming services in 2021. A firm fan favorite, the mixtape was finally released as a retrospective celebration of his life. As Mac Miller’s astounding eleventh (and best) mixtape, the record is peppered with topics surrounding our mortality and his personal struggle to discover meaning. Up to this point, Faces sees Mac as more unfiltered and raw than ever.
While Faces is officially a mixtape, it certainly feels like a full-length experience. Running just past the 90-minute mark, the jazz-adjacent jams feature iconic Miles Davis samples and bass guitar riffs from close friend Thundercat. Oddly enough, the album feels more relevant now than in 2014. The leisurely and abstract nature of the production better mirrors present-day hip-hop styles than those relevant back when Faces was released.
An even more tragic listen when consumed with the context of Mac’s death, it almost feels as if Mac is accepting of his approaching demise on the record. “Grand Finale,” the final track off of the mixtape, sees Mac claim that it would be the final song he would ever put out. Full of fantastic features, we see common contemporaries such as Earl Sweatshirt and Vince Staples on the record. Hauling in a West Coast collective of MCs, Mac’s pen game is at its peak on the mixtape.
2. Swimming
Mac Miller’s fifth studio album, Swimming, was his most vulnerable record. It had been a rough six months leading up to the record’s release. Mac was arrested for a DUI, as he references in “Hurt Feelings.” Recently breaking up with Ariana Grande, the album contains a definite “me against the world mentality.” Mac explores his loneliness amidst a pool of emotions, feeling as lost as ever at 26.
There’s an apparentTo Pimp a Butterflyinfluence on Swimming, as Mac integrates groovy jazz basslines on the likes of “Ladders” and “Self Care.” Of course, this isn’t the first time Mac toyed with Jazz or Soul influences. In fact, Swimming feels like a project he had built up to throughout his career trajectory. Take The Divine Feminine, where Anderson Paak and Kendrick Lamar-featured tracks add in falsetto horns and rapid tempo drums.
Swimming is a fully realized version of the eclectic blends of Jazz-Rap that Mac Miller had been going for in the past. The record is so fascinating in that, in many cases, the sound directly contrasts with Mac’s lyricism. The music acts as a therapeutic escape for him, masking him from the reality of his mental state. However, this isn’t a concurring theme from start to finish. “Perfecto” is far more melancholic, as Mac references Grande with the line, “She put me back together when I was out of order.” “2009” features earnest, piercing piano chords as he sighs, “I don’t have it all, but that’s alright with me.” Swimming is arguably the best sounding project in his discography.
1. Circles
It’s both tragic and beautiful that Mac’s only posthumous release would be his best project. Circles is precisely that. Reflective and harrowing, the record was intended to be a narrative companion to Swimming. He completed the vast majority of the project before his sudden passing. It took composer-producer Job Brion to complete the mixing process of the record. On Circles, Mac Miller is swimming in a despondent loop, living on a high tossing him into the same fortuitous cycle of drug use and depressive episodes.
While Mac seems wholly lost on Swimming, Circles seems to see him find his footing a bit more. He’s more conscious of the inherent ebbs and flows of life or accepting the trends that have led him to his current mental state. On “Surf,” he states, “It’s more when I’m standin’ in crowds that I’m feelin’ the most on my own.” He continuously references this juxtaposition throughout Circles, repeating “good news is all they wanna hear” on the isolating “Good News.”
Circles was meant to symbolize a new sonic direction for the Pittsburgh-born rapper. Dreaming of one day being a singer before his rap career took off, the record felt like a new stage in his astounding evolution as an artist. Predominately indie-folk, Mac Miller raps less than ever on the record. The one exception is “Blue World,” a rare moment of clarity and contentment amidst stuttering vocal samples. In retrospect, Circles is the best form of closure fans could’ve asked for.
Tyler, the Creator has long been a marquee name in the music industry. First blowing up off of the wonky New-York-based banger “Yonkers,” the Los Angeles-born-and-raised artist would soon found music and entertainment collective ‘Odd Future.’ Undeniably himself, he’s never been one to hold his tongue. With the spotlight on him in his early 20s, he wasn’t one to shy away from controversy. For example, he was banned from the UK for his “derogatory” and “offensive” lyrics. However, his unwavering insistence on being himself would soon curate the artist a cult-like fanbase.
Calling Tyler the most controversial rapper of the early to mid 2010s hews far closer to fact than opinion. Tyler’s raspy voice meshed with grimy bangers on his earlier records, such as ‘Bastard’ and ‘Goblin’. Rapping amidst distorted drum patterns and screeching guitar riffs, his sound blended the soundscapes of New York and Los Angeles. The confident MC and producer is well-known for his “do it yourself” personality. From riding bikes around Santa Barbara to pioneering a distinct clothing style, he’s captured the imagination of an entire generation.
As Tyler references on ‘Call Me If You Get Lost,’ he really began to hit his stride around the age of 25. Releasing the controversial “Cherry Bomb,” he began to approach his career with a higher level of intent. This would bleed over into a new era for Tyler, beginning with “Flower Boy.” While he toyed with blends of pop and soul on previous records, songs such as “See You Again” and “911/Mr. Lonely” would force fans to take him more seriously. He would go on to release ‘Igor’ and ‘Call Me If You Get Lost’. Both projects ended up winning Grammys for Rap Album of the Year.
Now approaching the Spring, Tyler fans will know that he has a tendency to release every 2 years over the Summer. While there’s been rumblings of a disco record, Tyler publicly refuted this over Twitter. Fans will have to keep guessing about what’s next for one of the most talented and influential artists today.
Tyler, the Creator performs onstage during 2022 Made In America at Benjamin Franklin Parkway. (Photo by Theo Wargo/Getty Images for Roc Nation)
7. Goblin
Considering the sudden rise of the eclectic ‘Odd Future,’ ‘Goblin’ represents the first album that was highly anticipated from Tyler. Many of you may be surprised to see this record at the bottom of our list. In fact, ‘Goblin’ features both two tracks that established him as more than just an oddball internet personality. “Yonkers” is a 808-induded NYC banger, with menacing lyrics such as “I slipped myself some pink Xannies and danced around the house in all-over print pannies.” Tyler has stated that he’s never really been into drugs. However, the purposefully dramatic songwriting added to the aura and mysticism of his fame.
“She” proved that Tyler didn’t need to rely on rapping to create hits. It featured melodic vocals from Frank Ocean, 80s synths and a heavy bass. It had thousands crying out the lyrics at concerts around the world. Frank Ocean wouldn’t be the only Odd Future member on the record, with the likes of Domo Genesis and Hodgy making appearances on multiple tracks. However, Tyler purposefully keeps the feature list limited in order to draw attention to his songwriting.
‘Goblin’ very much has its flaws as an overall record. As he attempts to redefine himself amidst lofi beats and piano chords, the frequent result is tracks that feel under-produced, or are a flat-out mess. Similar to his debut mixtape, Tyler lashes out in anger through multiple personas throughout the record. However, the production doesn’t represent that in as cohesive of a manner compared to ‘Bastard.’ While he doesn’t stick the landing, it’s still an important record in his discography.
6. Bastard
Tyler’s debut mixtape, ‘Bastard’ predated much of the Odd Future hype and drama. Releasing the project at 18 years old, Tyler is very much existing in his own world rather than attempting to adhere to mainstream sounds. The production is purposefully messy, and his rapping dabbles into overtly offensive or “out of pocket” lyricism. However, there’s a certain appeal to the frankness of it all. Tyler’s messy voice was highly distinctive from the rest of the Odd Future collective, meshing well with the “ugliness” of the production on the record.
‘Bastard’ sees Tyler take a swipe at multiple aspects of his life. Whether it be his negligent father or the overall toxicity of the rap industry, he’s angry from start to finish. Distorted 808s and rugged synths parallel this emotion from start to finish, making for a cohesive listen. Tyler paints himself as a menacing, villainous character while rapping about dark topics such as kidnap or murder. At times, it’s hard to tell whether he’s playing a character or just being himself. However, it’s a record where he dives into the darkest corners of his mind.
Created on a limited budget, ‘Bastard’ is a stark contrast to the polished quality of his recent work. Therefore, it’s an essential listen for any new Tyler, the Creator fans who want to learn about how he matured both artistically and personally.
5. Cherry Bomb
Tyler’s fourth studio album, ‘Cherry Bomb’ is an awkward record that symbolized the transition phase of his career. Wanting to prove he was more than a rapper, ‘Cherry Bomb’ sees Okonma hone in on his producing and singing. More soulful than ever, the likes of Kali Uchis and Charlie Wilson contribute features. Opting to focus more on sound and less on lyricism, the result is a mixed bag.
‘Cherry Bomb’ mixes the old and new eras of Tyler. He doesn’t want to let go with the old version of himself. However, the consistently muddy and painfully mixed beats come off as worse than his older works, such as on the wild title track “Cherry Bomb.” As previously mentioned, he’s looking to root his soul influences into more of a soul-based sound. However, the result is more so an impersonation of those soundscapes rather than something that’s genuine. “Find Your Wings” and “Perfect” are charming enough, but pale in comparison the pop-soul blends on ‘Flower Boy.’
Ultimately, ‘Cherry Bomb’ was the record Tyler needed to create in order to eventually get to ‘Flower Boy’ and ‘Igor.’ His uninspiring singing would morph into the exhilarating vocal pitching on ‘Igor.’ The chord-filled tracks that were lyrically surface level would inspire him to hone in on his songwriting on ‘Flower Boy.’ Point beating, ‘Cherry Bomb’ represented the metamorphosis into who he is today.
4. Wolf
‘Wolf’ is the first record that hints at more of a conceptual, mature Tyler. More vulnerable than ever about his trying childhood, he opens up about his complex relationship with his father. On “Answer,” he’s torn between hating his father, yet knowing that “when I call, I hope you pickup your phone” amidst layered guitar strings.
A stark departure from his first two records, his third studio album is more glossy from a mixing perspective. However, his natural rapping voice doesn’t mesh with the new sonic ideas. To put it simply, his rapping and production levels don’t meet the levels he would set on projects. In many ways, ‘Call Me If You Get Lost’ symbolizes Tyler redefining the flaws on this record.
Even if ‘Wolf’ feels like an awkward departure from the “messy” days of his music, there’s still numerous quality tracks on the record. “Tamale” is goofy in the best ways possible, with a mystic chorus that somehow works. “IFHY” features Tyler’s main inspiration, Pharrell Williams. The colorful synths blended with Pharrell’s voice makes for one of the standout moments in his entire discography. Tyler experiences the full spectrum of infatuation with his love interest, repeating the phrase “I f**king hate you, but I love you.”
Tyler The Creator performs during the 2022 Forecastle Music Festival at Waterfront Park. (Photo by Stephen J. Cohen/Getty Images)
3. Call Me If You Get Lost
Traveling from Geneva to Paris, ‘Call Me If You Get Lost‘ is a collage of experiences from Tyler. Mirroring the aesthetics of 80s European films, Tyler takes on the alter-ego of Sr. Baudelaire to aid to the theme of travel. The listener is taken across the world as he curates a banger-focused mixtape from “Lumberjack” to “Lemonhead.” His lavish lifestyle puts the audience into a dreamy setting, as he unequivocally boasts about his extensive car and jewelry collection.
While his previous two albums drifted from rap into more conceptual, genre-bending releases, ‘Call Me If You Get Lost’ sees Tyler return to his roots. After falling out of love with rap, he described how working with Westside Gunn reinvigorated his love for the genre. In fact, intro track “Sr. Baudelaire” samples a Westside Gunn beat as he introduces us to his pristine world. Bringing the likes of NBA Youngboy, Lil Wayne, and 42 Dugg into the mix, he drew many comparisons to Kanye West regarding his ability to maximize the talents of his features.
However, ‘Call Me If You Get Lost’ is more in-depth than a getaway vacation. In fact, all of this boasting is a mask for his broken heart. He exposes the story on “Wilshire” on top of a lofi drum beat. It’s not a straightforward rap album. “Sweet / I Thought You Wanted To Dance” meshes reggae and soul into a groovy 10-minute experience that’s undeniably one of his best. Tracks such as “Wusyaname” and “Hot Wind Blows” sample 70s soul cuts. While “Call Me If You Get Lost” isn’t quite as threaded together or conceptual, it’s a fun vanity project that sees him in peak rapping form.
2. Flower Boy
‘Flower Boy‘ still feels like Tyler’s career-defining record. Up to this point, many argued that his artistic growth after ‘Bastard’ hadn’t lived up to his initial hype. ‘Cherry Bomb’ was met with a predominantly mixed reception, which meant that there was an inevitable pressure on Tyler to deliver with his next project. Fulling diving into the elements of pop/soul that he half-way committed to on ‘Cherry Bomb,’ ‘Flower Boy’ throws the listener into the soundscape of a lonely summer day.
Tyler sings about loneliness throughout the record. Sitting in a room with the sun shining through, he’s waiting for someone to “call me sometime.” However, the emphasis on the record is absolutely on the sound rather than the lyrics. Love-stricken and lonely, his music is rooted in sunny days biking around the park. Growing up listening to the likes of Stevie Wonder or Marvin Gaye, their influence is apparent throughout the record.
From “find some time to do something” to “can I get a kiss, and can you make it last forever,” there are so many quotable moments that stick. As Tyler puts it, his ultimate goal of music to blend ‘pretty’ and ‘hard’ music. ‘Flower Boy’ is the prime example of him doing that. While the record is missing some of the messy kinks that would distinguish his sound on ‘Igor,’ it’s drop-dead gorgeous from start to finish.
Tyler, the Creator performs on day 3 of Wireless Festival 2022 at Crystal Palace Park. (Photo by Burak Cingi/Redferns)
1. Igor
‘Igor‘ is Tyler, the Creator’s best album. In our opinion, it’s really not close. In fact, Tyler himself agrees with us. During an interview with Rick Rubin, he said this was the first record he created where “when people told me they liked it, I said “I know””. While ‘Flower Boy’ saw Tyler tone down his radical ideas in favor of a smoother record, ‘Igor’ is the best of both worlds. The character ‘Igor’ originates from Frankenstein. His deformed body represented a symbolic threat to the politeness of society. Tyler takes the frame of this character to archetype the overall record.
Integrating wonky vocal pitching and distorted drums with soft soul chords, ‘Igor’ sounds like Tyler more than any record before or after it. Darting from rap bangers such as “What’s Good” to the rapid punk drums on “New Magic Wand,” the 2019 record was one of the best breakup albums of the decade. The 40-minute experience was initially met with a mixed reception. However, it’s cocooned into being widely accepted as his best work. Hidden features add to the unpredictable initial listening experience. From the shocking contribution from Kanye West on “Puppet” to the Kali Uchis’s mellow vocals on “I Don’t Love You Anymore,” not explicitly putting their names on the album aids to the idea that ‘Igor’ is meant to be experienced from start to finish.
‘Igor’ Would Be The Perfect Movie Soundtrack
With Tyler openly speaking about his desire to one day direct films, it’s no coincidence that ‘Igor’ is structured like the soundtrack to a saddening romantic film. ‘Igor’s Theme’ begins with static synths, as if we’re being introduced to an 80s film. The album transitions through every stage of love to acceptance. Tyler falls in love on the groovy “I Think,” to then feeling like he needs a “New Magic Wand” to make this person love him, to finally accepting his loss on “Gone, Gone / Thank You.” ‘Igor’ is his best record from both a sonic and thematic perspective.
Let us know how you would rank Tyler’s albums in the comments below!
