TOP 50 Hip-Hop Albums of All-Time
[Published on 1.17.24]
It is common knowledge that people of the African Diaspora, especially those in America, are among the most resilient in human history. ‘Resilient’ is a word that white society is comfortable layering upon black people, as it carries a strong chin—the ability to survive punishment; pain is viewed as our inheritance, because we can take it.
The word that should be bestowed upon black people is one that carries too much capital for the powers to concede it: innovative. Robbed of their language, education, and religious identity, the enslaved ancestors created negro spirituals. Given dinner scraps, they conjured soul food. With unrequited promises of freedom and economic power in the Jim Crow South, they erected Black Wall Street. With their clothes shredded, bleached, and oversized by the wear and tear of poverty, they threaded the latest fashion. Confronted with mass incarceration and police brutality in inner cities, they spun out hip hop—which just celebrated 50 years.
Hip hop, now the most consumed genre globally, is among the latest crowning achievements for black people. It’s further proof of our magic, and it’s just plain dope. Which albums earned a spot amongst the greatest bodies of work in rap history? Check out the Top 50 Hip-Hop Albums of All-Time below.
CRITERIA/DISCLAIMER: THIS LIST FOCUSES ON WHICH BODIES OF WORK TRANSLATE IN 2024. IT WEIGHS LYRICISM, STORYTELLING, PRODUCTION, EMOTIONAL WEIGHT AND LISTENABILITY. I DIDN’T ALLOW NOTIONS OF WHO “SHOULD” BE ON THE LIST OR HAS TRADTIONALLY BEEN ON THE LIST TO IMPACT THE PIECE. STILL, I’M ALWAYS UP FOR DISCUSSIONS AND CRITIQUES. I LOVE THIS, AND I’D PUT MY LIST AGAINST ANYONE’S. FOR NOW, SIT BACK AND ENJOY THE RIDE.
50. Cadillactica by Big K.R.I.T. (2014)
Someone at Cadillac Motors fumbled the bag big time with Big K.R.I.T. Across his Afro Futurism concept album Cadillactica, the Mississippi rapper describes the many roles a car can play in one’s life. It can be a refuge, hotbox, studio, bar, bedroom, living room, lab, or spaceship—depending on the day. On the spiritual and stirring “Life”, the typically laid back lyricist sets a more urgent tone for this album. It’s much darker this time. K.R.I.T.’s storytelling scrapes the plate when paired with the icon Raphael Saadiq’s vocals and production on “Soul Food.” This is one of many tracks that make this album a southern gumbo of production.
This emcee’s effortless flow, militant messages, and provocative thinking spice up “Third Eye'' and “Mt. Olympus (Reprise).” On the title track, K.R.I.T. kicks a fancy footwork flow that would make the Bone Thugs proud. But make no mistake. With all due respect to his hometown, if there were a third ATLien his name would be Big K.R.I.T.
49. Nothing Was the Same by Drake (2013)
On the tail end of bodying numerous loosie tracks (“Jodeci Freestyle” and 5AM in Toronto”) and bringing a fresh element to impactful posse cuts (“Stay Schemin” and “No New Friends”), Drake’s potential was intriguing. His effective punchlines, easygoing delivery, and singable melodies made him ear candy. He simply couldn’t miss. If 2011’s compelling Take Care was when Drake arrived, this follow-up project proved he was here to stay.
The electrifying intro track Tuscan Leather displays the Toronto rapper’s rapidly improving wordplay. Bored with his own skills, he raps “A, B, I got your CD/ you get an E for eFfort.” Throughout the album, Drizzy doubles down on his strengths including danceable lush production (“Hold On, We’re Going Home”), catchy, moody melodies (Wu-Tang Forever”, and “Connect”), apeshit anthems (“Worst Behavior” and “Started From the Bottom”) and thrilling beat changes (“Come Thru”).
Still, Drake’s at his best when he implements his full repertoire on the record and sprinkles in some shit talking (“Furthest Thing”, “Pound Cake/ Paris Morton Music 2” and “The Language”). British singer Sampha lends his gorgeous vocals to the standout track “Too Much”, cautioning Drake not to take himself too seriously. Nothing Was the Same ensured the rap game had to, for years to come.
48. The Infamous by Mobb Deep (1995)
New York rap duo Mobb Deep’s most infamous line is “there ain’t no such thing as halfway crooks.” Many of their adolescent peers who also robbed, sold drugs and murdered their way to their next meal often disassociate from their crimes. They glamorize the flashy lifestyle they’ve achieved and portray a level of enjoyment from their remorseless acts; Prodigy and Havoc do not. On The Infamous, the duo is aware of what they’ve done, and it keeps them up at night. On “The Start of Your Ending”, they take swigs of hard liquor to hype themselves up for the next robbery. “Eye for a Eye” is a lyrical dice game where Mobb invited Nas and Raekwon in the mix to exchange violent war stories.
Over grimy NY beats, the songs “Survival of the Fittest” and “Shook Ones Part II” explain the trauma that left Prodigy and Havoc with cold eyes and gray hairs before the age of 20. They did what they had to for survival, and they’ll do it again. “Shook Ones Part II” was not only featured in Eminem’s blockbuster biopic 8 Mile, but has become a staple in NY radio freestyle circuits and cyphers. The iconic beat is the caked up soil clinging to black Air Force 1s; it’s the ski mask worn to shroud the perpetrator and protect the victim during a robbery. This titanic instrumental may have overshadowed the rest of Mobb Deep’s catalog, but it’s also the reason they will remain infamous.
47. Supa Dupa Fly by Missy Elliott (1997)
Missy Elliott is one of hip hop’s original disruptors. Her eclectic fashion sense, comic book persona, and nontraditional sex appeal made waves when she burst onto the scene. If her style and bold sound weren’t distinctive enough, Missy’s accompanying visuals looked like something from a sci-fi film. The album’s lead single “Supa Dupa Fly” raised the bar for music videos creatively and made being a weirdo dope as hell. The looped instrumental sounds like a UFO’s final descent before touching down on hip hop’s surface.
Legendary producer Timbaland’s fingerprints are all over Missy’s album. On “They Don’t Wanna F*ck With Me” and “Pass Da Blunt”, he takes his otherworldly drum arrangements to another stratosphere. And she appreciates him. In fact, if Missy had a quarter for every time she shouts out Timbaland on the album, she’d have enough to clear her own ‘Misdemeanor’ charges. But we wouldn’t want that.
Elsewhere, Missy's versatile voice melts into the sultry “I’m Talkin’” and booms loud enough to bang with ferocious femcees Da Brat (“Sock it 2 Me”) and Lil’ Kim (“Hit ‘Em wit Da Hee”). On “Best Friends”, late songbird Aaliyah’s nutritious melodies bring the track from bud to bloom. As acknowledged by Missy’s recent induction to the Rock and Roll Hall of Fame, Supa Dupa Fly introduced us to an artist who thrived on coloring outside the lines.
46. Chicken-n-Beer by Ludacris (2003)
Before rap, Ludacris DJayed and interned as “Chris Lova Lova” on Atlanta radio station 97.5. A chance encounter with producer Timbaland launched his career and changed the course of his life. It’s fitting that Luda got his start seducing the airwaves. His voice is one of hip hop’s most formidable instruments. On the charismatic “Southern Fried Intro”, he enunciates every syllable as he raps in double and triple time. No matter how rapidly he spits, every bar is audible and etched in your memory on the first spin. Luda sets forth his unholy commandments from the jump: thou shall not player hate, thou shall oblige another round of shots, and thou shall happily indulge thine unhealthy appetite for beautiful women.
Speaking of women, Luda surrounds himself with them while submerged in hot tubs and candlelight on the seductive “Splash Waterfalls”; he whips out the boombox and trades champagne for dark liquor on the raunchy banger “P-Poppin.” This album is a lot of fun, but when Luda means business with the bars and flows (“Hip Hop Quotables” and “Diamond in the Back”), he’s a force.
The booming “Stand Up” is the Atlanta rapper’s smash hit that can still tear the club up on command. Before he starred in the blockbuster film franchise Fast and the Furious and gave in to the industry powers (according to Katt Williams), Luda put on for ATL. Chicken-n-Beer is a dynamic mix of all the over the top elements that catapulted the Dirty South to the forefront of hip hop in the 2000s.
45. 2014 Forest Hills Drive by J. Cole (2014)
On 2022’s “Calling My Bluff”, rapper Pusha T admitted, “Sometimes I wish my fanbase was more like J. Cole’s.” This album embodies the quality that makes the North Carolina rapper universally respected: relatability. He authentically takes us back to his roots. Cole clumsily fumbles around with a condom wrapper after lying to a girl in his math class about his sexual experience on “Wet Dreamz.” He envies his flashy, drug dealing friend on “03 Adolescence”, embarrassed at his own “lack of gear” and invisibility to “the girl of his dreams.” He soon learns his friend’s loveless home life is nothing to covet.
Aside from giving us a taste of home, Cole shares how his newfound “B-List celebrity” status is not all it’s cracked up to be. On “Fire Squad”, he takes aim at the white appropriation and gentrification of hip hop. “No Role Modelz” sees him wishing his peers had better mentors and that he wasn’t “too young for [dignified women like] Nia Long.” On “Love Yourz”, Cole realizes reaching new plateaus and buying more material things won’t make him happy. There will always be bigger mountains. He has moved to LA and toured the world searching for something he could only find at his home of 2014 Forest Hills Drive: love.
44. Bandana by Freddie Gibbs & Madlib (2019)
If we’re talking albums, Freddie Gibbs should be universally known as the best rapper on the planet today. His attachment to the street life that colors his verses has held him back. Over the last 10 years, the Gary rapper has released three classic albums and two exceptional ones. Bandana, with longtime collaborator Madlib, is the best of them. The eccentric production, created completely from an iPad, is the perfect contrast for Freddie’s gritty rhymes. It just works.
On the energetic cuts “Half Manne Half Cocaine”, “Massage Seats”, and “Giannis”, we hear Gibbs’s charisma and bravado shine through. The more measured tracks “Crime Pays”, “Situations”, “Practice”, and “Fake Names” are deeper looks into his trauma and insecurities. The silky “Palmolive” featuring fellow coke dealer Pusha T and rapper Killer Mike is the album’s highest point.
Freddie doesn’t have a grandiose vision of himself, his purpose, or his mission. He’s just like us, but just happened to feel forced to sell crack and taught himself to rap like an alien. While his lack of self-importance makes his music accessible, it may also be keeping him tethered to street life. His choices are the only reason we’re not comparing his elite catalog to the greats.
43. Section.80 by Kendrick Lamar (2011)
In West African culture, a griot is a storyteller and historian tasked with maintaining a repository of oral tradition. Set around a humming campfire flame, an ominous voice sets the scene for the manifesto that is Section.80. This album was addressed to the disenfranchised, neglected, exploited, and lawless youth born in the 1980s. There is no shortage of literature or film about the Crack Era. Still, most works are fixated on its adults instead of its newborn babies.
The album is broken into chapters about different forms of abuse and overindulgence. We hear Kendrick’s views on beauty standards and domestic violence on “No Make-Up (Her Vice), gluttony and self sabotage on “Poe Man’s Dreams (His Vice)”, and sexual violence on “Keisha’s Song”. The production is experimental, reminiscent of a carpenter in a wood shop or a chemist mixing new shit in the lab.
The unhinged “Ronald Reagan Era” and “Rigamortus” are products of a man who gives social critiques on his best day and wants to see it all burn on his worst. Section.80 is both a gripping search for answers and an empowered war cry. That duality is what makes this album special. Kendrick Lamar captures it perfectly on the meditative “Kush and Corinthians.” He raps, “I’m humble, I’m loud, I’m righteous, I’m a killer. What I’m doing is saying that I’m human.”
42. Born Sinner by J. Cole (2013)
Hearing J. Cole rap on Born Sinner is like watching Russell Westbrook play back when he shared the court with Kevin Durant. While his talent was raw and unrefined, it was a joy to see him go high octane–willing himself to the basket with aggression. Album opener “Villuminati” is a shot of pure adrenaline. The controversial track addresses his label frustrations, personal battles with temptation, indifference toward gold diggers, and even his former hatred for JAY-Z–who signed him. Imagine explaining that at the weekly board meetings.
Cole foreshadows his ability to pen hits on the timeless “Power Trip” alongside singer Miguel and the ear candy “Forbidden Fruit” featuring Kendrick Lamar. Elsewhere, he establishes himself as fearless and introspective on the somber “Runaway” and simmering “Trouble.” “Crooked Smile” featuring TLC is an empowering anthem urging listeners to love themselves and be true, a consistent theme throughout Cole’s career.
On “Let Nas Down”, the North Carolina native laments allowing label pressure to guide his pen away from dope lyrics and toward radio hits on his previous effort “Sideline Story.” Later, the Queens legend replied with the humble “Made Nas Proud” track. An underdog at heart with the skills of a top dog, Cole’s career has been proof that it’s not how you start; it’s how you finish.
41. American Gangster by JAY-Z (2007)
When attending a pre-screening of American Gangster starring Denzel Washington, JAY-Z was inspired. Most of us are captivated by Denzel’s unique charisma and unforgettable mannerisms, but the Brooklyn rapper actually saw himself in the depiction of drug kingpin Frank Lucas. He saw himself in his measured speech pattern, cold pragmatism, relentless ambition, and violent temper. The film helped him remember his time pitching rocks in the Marcy housing projects–where his insatiable hunger was born–more vividly. The resulting album is a return to form and the most underrated tape of JAY’s career.
This dynamic concept album pops the hood on the vehicle that is Sean Carter. With a level of hunger and weighted lyricism we rarely see from him post-retirement, he lets us into his psyche and internal makeup. He is the ladies man (“I Know” and “Party Life”), troubled youth hungry for a bigger slice (“American Dreamin” and “Sweet”), tunnel visioned tycoon (“Success”), and vilified rapper pointing out societal contradictions (“Say Hello” and “Ignorant Sh*t”); he is them “all wrapped in one”, as he would put it.
On standout track “No Hook”, Carter raps “Please don’t compare me to rappers/Compare me to trappers/ I’m more Frank Lucas than Ludacris.” This project is a time capsule penned by an artist who feels most like himself when immersed in the hustle. As he eloquently rapped on “Dirt off Your Shoulder” years prior, “[he’s] the realest to run it, [he] just happens to rap.”
40. Take Care by Drake (2011)
Aside from being the best hitmaker in hip hop history, we gotta give Drake credit: he’s a psychic. On “Headlines” the Toronto rapper sings “They say they miss the old Drake, girl don’t tempt me.” This is the old Drake we miss. While he isn’t the first melodic rapper (see: Andre 3000, Lauryn Hill, Ja Rule, 50 Cent, DMX, and more), it was a true spectacle hearing Drizzy bring a unique swag to the rap game on his way up. He was unafraid to be sensitive and moody with a backdrop of 808s. He quickly switched from crooning drunkenly over his ex at the bar (“Marvin’s Room”) to delivering braggadocio bars (“Headlines”, “Lord Knows”, and “HYFR”) and back to his bag again (“Doing it Wrong”).
Drake embraces his tears and arrogance across this album. He shares seductive ballads for the ladies (“Practice” and “Take Care”) and pays homage to the women in his life (“Look What You’ve Done”). And it all comes from a real place. Back then, his Young Money labelmates Nicki Minaj and Lil Wayne were there to keep him honest. Embracing his vulnerability on “Crew Love”, Drake triumphantly raps “I think I like who I’m becoming.”
39. Daytona by Pusha T (2018)
Pusha T described this masterpiece as “luxury drug rap”, but it’s much more than that. While many hip hop fans criticize the Virginia rapper for only rapping about drug dealing, it can be argued that this is his strength. Right or wrong, selling drugs is Pusha’s framework and lens for societal critiques. On “Come Back Baby” and “Hard Piano”, he speaks on how he values principles such as honor, belief, self-respect, and keeping high standards.
Push is known for his brash lyrics and abrasive delivery. The surging album opener “If You Know You Know” and “The Games We Play” are provocative statements on authenticity. A product of Kanye West’s infamous “Wyoming Sessions”, the soulful production here is a perfect backdrop for Push’s aggression. With a runtime of 21 minutes—with absolutely no filler or lulls—Daytona may be the most succinct hip hop album ever.
38. Laila’s Wisdom (2017)
Rapsody was born in the wrong era. This North Carolina emcee is unquestionably top 5 all-time amongst female rappers and a top 5 talent today. Chances are you may not know her, but you gon’ learn today. Rapsody cares more about the craft than displaying her body. Her pen is more active than her gyrating hips. Rap will be the first to tell you she enjoys being sexy, but she doesn’t lead with it. Her talent speaks for itself. Laila’s Wisdom is a lyrical masterclass paying homage to her grandmother, who she credits for instilling self-love, passion, and resilience in her DNA. We hear that wisdom reverberate through cautionary tales “Ridin’” and “Pay Up.”
She spills heartbreak and owns up to her toxic romantic habits on “A Rollercoaster Jam Called Love” and “U Used to Love Me.” The impassioned “Black and Ugly” picks up where “Complexion”–her show stopping feature from To Pimp a Butterfly–left off. It speaks on colorism and beauty standards, reinforcing self-love and unshakeable confidence. As proven through her profound verbal sparring with Kendrick Lamar on “Power”, Rapsody is never punching above her weight class.
37. Hard Core by Lil Kim (1996)
To call Lil’ Kim a sexually liberated woman would be like calling platinum expensive in a room full of copper or calling Stevie Wonder a good songwriter. There’d be some truth to it, but it'd be a massive undersell. This bold tape flips the male-centric sexual norms on their head and wields power over the male gaze. Hard Core opens with an audible sex scene on “Intro in a-minor” that steams through the speakers. In Queen Bee fashion, ‘Kim’ is the name being repeated like it’s the only word in the English language—instead of her male partner’s.
On “Big Momma Thang”, her femdom fantasies overpower JAY-Z and Lil’ Cease’s slick rhymes. On “Spend a Little”, Kim recalls being the Bonnie to her man’s Clyde prior to her prison stint—except she was the one bucking shots as he cowered behind her. During the skit “Scheamin’”, she and her homegirl sound like The Wire’s Omar and his assailant rubbing their chins as they plot on the next robbery.
On the posse cut “We Don’t Need It”, Kim challenges the notion that the goal of sex is male pleasure. She sighs as she assertively pushes her male partner’s head between her thighs. The effortless swagger of “Crush on You”—along with Kim’s electric chemistry with Biggie—cements it as a timeless cultural staple.
The playful, name-dropping “Dreams” is derived from the Bedstuy rapper’s “Just Playin’” and influenced Nicki Minaj’s 2018 track “Barbie Dreams.” Kim—hip hop’s originator of colorful hair, provocative clothing, the bad boss *girl* persona, and sexual freedom on wax—is the genre’s most influential lady of all-time. With her foul mouth, her laser sharp lyrics and enough sex appeal to make a monk fall into a cold sweat, Queen Bee is not the woman you take home to your parents; she’s the woman you can’t forget about. And that’s exactly how she likes it.
36. Tha Carter III (2008)
It’s difficult to do justice to how big Lil Wayne was by the time this album dropped. He was ubiquitous. A prolific mixtape run shredding his contemporaries’ beats to dust established him as the top dog in rap. When he featured on their tracks, you half-listened with bated breath until it was his turn to spit. Wayne was so nice that the original version of the album leaked and he was forced to scrap and redo it. The result catapulted his stardom even higher.
On “Lollipop” with the late Static Major—as well as its notable remix—Wayne created the archetype for a hip hop rockstar. “Mr. Carter” was a lyrical display of JAY-Z reluctantly conceding the torch to the Louisiana rapper. “Comfortable” featuring Babyface and “Mrs. Officer” with Bobby Valentino confirmed that some of Wayne’s best work was done alongside R&B hooks. This monumental album release also references Hurricane Katrina’s devastating impact on his home of New Orleans. On “Tie My Hands”, Weezy vowed to put his hometown on his back. By 2008, the rap game had already been there for years.
35. Tetsuo and Youth by Lupe Fiasco (2015)
Lupe Fiasco learned to love breaking the rules. If his failed attempt at hit-chasing on Lasers and the legal battle that followed taught him anything, it was that no one really gives a fuck. Label execs lied for leverage, fans were fickle at best, and your impressive track record wouldn’t stop sponsors from moving on if they thought you’d fallen off. Your best bet as an artist is to unshackle your creativity, make the music you want to make, and cast off the cloak of convention. On Tetsuo and Youth, Lupe swung big and hit a homerun.
The title references Testuo from the classic manga and anime Akira. The album is split into the four seasons and delves into birth, imprisonment, death, and reincarnation. We can even take these themes in the context of art. It is born from the artist and can thereafter be suppressed, shelved, freed, or reimagined. The extended masterclass “Mural” is dizzying and makes you marvel at its sustained potency over nearly nine minutes. Other highlights include “Deliver” featuring Ty Dolla $ign and “Adoration of the Magi” which speak on Chicago’s predatory street culture. This rap masterpiece is influenced by jazz, opera, classical music, and rock. Lupe clearly followed one rule when creating it: break all the rules.
34. Life After Death by The Notorious BIG (1997)
After Biggie’s untimely death at the age 24, hip hop culture had now lost its two brightest stars before they’d begun to live. They were murdered in the span of just six months. The hip hop world needed answers. As a testament to Biggie’s stellar talent, the posthumous Life After Death left the culture with more questions than answers. What was BIG’s true ceiling as an emcee if he could seamlessly outrap Too $hort, Bone Thugs, The LOX, and JAY-Z? With his knack for anthems, what pinnacle of commercial success would he have reached? Who would be the King of New York if he’d lived? After the introspective lines on “Sky’s the Limit” feat. 112, what would a more seasoned BIG sound like even at age 30 or 35?
This album showcases the Bedstuy emcee’s flawless storytelling (“Somebody’s Gotta Die” and “I Got a Story to Tell”), hunger for violence (“N*ggas Bleed” and “What’s Beef”), and haunting paranoia (“My Downfall” and “You’re Nobody (Till Somebody Kills You).” One of life’s greatest tragedies in life is wasted potential. This double album cemented BIG’s place in history and in debates long after his death. In that way he is still alive. However, we are still left wondering: what if his physical life continued?
33. Tha Carter II by Lil Wayne (2005)
Although Tha Carter III was Lil Wayne’s commercial peak, his lyrical prime was undoubtedly Tha Carter II. Rappers from the South are often dismissed as rudimentary lyricists due to the region’s reputation for getting the party started. Region bias confined them to dance inventors and rump shakers who dressed too flashy. Wayne would have no parts of that. On the suave track “Shooter”, he raps “So many doubt cuz I come from the South…If we too simple, then yall don’t get the basics.” Where I’m from, we call that a flawless victory.
Elsewhere, “Fireman”, “Hustler Musik” and “Money On My Mind” spawned multiple slang phrases and cultural references. “Best Rapper Alive” was the first time Wayne believed it was his turn to wear the crown. His legendary career has made his doubters a distant memory. Many of them probably don’t remember their skepticism, but Weezy does. If the soulful hook on “Receipts” is any indication, the legend is still holding onto his own receipts.
32. The 18th Letter by Rakim (1997)
Rakim is one of rap’s true architects and innovators. He is credited for ushering hip hop from ABC rhymes into the modern era, introducing double-time rap and dexterous flows. He did for rap what Julius “Dr. J” Erving did for basketball. Breaking free from longtime collaborator Eric B, the God MC’s main subject matter on this tape is his own mic skills.
Rakim’s boasts about being nice with the pen are endlessly entertaining. On “The 18th Letter (Always and Forever)”, “It’s Been a Long Time”, and “Remember That”, we are treated to nostalgic vibes at the cookout. The buttery beats are easily sliced up and spread across the track by his sharp delivery. Rakim’s game is like a prime Paul Pierce or Dallas Mavericks superstar Luka Doncic. He plays at his own pace, and you still can’t check him. On “The Saga Begins” and “When I’m Flowin”, Rakim cautions us not to rest on his past laurels. He’s just getting started.
31. The Documentary by The Game (2005)
There’s something unique about a young, hungry rapper making his highly anticipated debut. It can’t quite be duplicated in one’s career, like lightning in a bottle. Backed by the legendary Dr. Dre and the hottest rapper in the game 50 Cent, The Game could have easily been overshadowed. Instead, the West Coast rapper seized the moment and carved out his own real estate in the rap game. Signing to Aftermath has its perks. The Documentary features Eminem, 50 Cent, Busta Rhymes, Mary J Blige, Faith Evans, and Nate Dogg. Back then, none of these artists could miss on features—making it more impressive the newcomer held his own.
Still, even on the album singles “Hate it or Love it” and “How We Do”, The Game never takes a backseat. He fights his violent environment, temptation to break the law, and preoccupation with sex throughout. Listening to the album gives the overwhelming feeling you’re watching something special unravel. On the unguarded, Kanye-produced “Dreams”, The Game tells his origin story, concluding: “The war to be a rap legend has just begun.”
30. Lupe Fiasco’s Food & Liquor by Lupe Fiasco (2006)
Let’s face it, there’s no Kendrick Lamar or J. Cole without Lupe Fiasco. Although backpack rappers like Mos Def preceded him, Lupe’s conscious lyricism leading to mainstream appeal was unique. He somehow made being a nerdy skateboarder and anime fan cool in the black community. If you were around in the early 2000s, you’d know how remarkable that is.
Don’t let Lupe’s exterior fool you. He’s not only a top tier lyricist, he’s also from Chicago and with the shits. He goes toe to toe with JAY-Z on “Pressure” and frowns upon the rap game on “Real.” Lupe’s controlled delivery meshes well with Jill Scott’s fervent, roaring vocals on “Daydreamin.” On the chorus of “Kick, Push”–a masterful ode to skateboarding as his escape–Lupe introduces himself to us on his own terms. “Just a rebel looking for a place to be.”
29. Capital Punishment by Big Pun (1998)
With their vast disparity in name recognition, it’s hard to believe the Bronx’s Big Pun released the same amount of studio albums in his lifetime as Brooklyn’s Notorious B.I.G. Though his time in the game was brief, Pun displayed more versatility over one body of work than most emcees can muster over a decade-long career. The Puerto Rican spitter expertly exchanged tight, multisyllabic rhymes and artful alliterations with Black Thought on “Super Lyrical.”
Pun sports a velvet robe and smokes a pipe, spitting sweet nothings to the ladies on “Punish Me”, “I’m Not a Player”, and “Still Not a Player.” On the ominous “Beware”, his face twists into a grin as he reaches for his weapon and stalks his enemies down the block. He’d already given them fair warning. In the judicial system, capital punishment is the state-sanctioned death penalty for committing heinous crimes. In hip hop, Capital Punishment is proof that Pun was capable of murdering any emcee on his best day.
28. Late Registration by Kanye West (2005)
While its predecessor College Dropout is indicative of Kanye’s desperation to achieve his dreams, this album fixates on the pitfalls and limitations that come with that success. “Heard Em Say '' describes West’s survivor’s guilt. He realizes that his newfound wealth and fame won’t cure the societal epidemics that plague his family and community. Fellow Chicago emcee Common shares that sentiment on the urgent runaway note “My Way Home.” “Touch the Sky” is Lupe Fiasco’s shining coronation as a rising star, “Crack Music” compares making records to cooking dope, and “Addiction” depicts Kanye’s battle with his vices. After all, he now has limitless resources to feed them.
On “Gold Digger”, he teams with Jamie Foxx to flip a Ray Charles track into a criminally catchy club hit about–you guessed it–gold diggers. “Roses” and “Hey Mama” are the most personal tracks here. On the former, West grieves losing his family’s matriarch, his grandmother, wondering if she could’ve been cured if he were richer; on the latter, he cheerfully tributes his mother, giving her flowers while she could still smell them.
On the monumental “Diamonds From Sierra Leone” with JAY-Z, Kanye critiques materialism in hip hop–acknowledging that people suffer globally to produce the commodities we enjoy. In true Kanye fashion, he simultaneously doubles down on his materialism and affirms his loyalty to Roc-A-Fella. He raps, “People askin’ me if I’m gon’ give my chain back/that will be the same day I give the game back.”
27. All Eyez on Me by 2Pac (1996)
2Pac just might be the most captivating individual we’ve seen. Whether he was moving crowds onstage, stealing the show on the big screen, channeling the rage of the oppressed, or narrowly surviving gunfire, it was impossible to take your eyes off of him. He was way too raw.
On the night he sustained fatal gunshot wounds, Shakur attended boxing legend Mike Tyson’s match. Now a seasoned sage decades later, Tyson recently delved into his thoughts on spiritual warfare saying “If you are favored by God, you are also favored by the devil.” 2Pac’s life is a testament. Amid being shot in an NY studio and serving time in prison, he was approached by Suge Knight–the head honcho at West Coast powerhouse Death Row Records. Although Suge had a violent reputation, signing with him would get Pac out of prison and arm him with protection in the streets. And by then, he simply didn’t give a fuck.
We hear that same sentiment on All Eyez on Me, which has a dark cloud looming over it. There are bouncy bangers (“How Do U Want It”), gangsta rap anthems (“2 of Amerikaz Most Wanted”, “California Love”, and “Ambitionz Az a Ridah”), and vintage deep cuts (“Life Goes On”). In fact, the entire tape reads like a greatest hits. During his 1994 interview with Ed Goron, Pac correctly predicted that he was “writing the curriculum” for his generation and generations to come. His impact on society, culture, academia and our collective consciousness cannot be overstated. Still one of the most searched people 27 years after his passing, all eyes are still on Tupac Shakur.
26. Black on Both Sides by Mos Def (1999)
While artists such as Tech9 and Ghostface Killah dazzle us with dexterous, complex flows, we wouldn’t call their technique effortless. In contrast, rapping seems to come as easy to Mos Def as breathing. On the rich, empowered Black on Both sides, he rhythmically weaves through heavy subjects such as cultural appropriation (“Rock and Roll”), anti blackness (Mr. Nigga), and generational curses (“Love”). The crude, slick-talking “Ms. Fat Booty” is one of the few moments of levity on the project.
Wise and vigilant from his Bedstuy upbringing, Mos Def steers anyone who will listen away from false bravado and unnecessary flexing for clout. He’s seen shit go left too many times. On the free flowing “UMI Says”, he is hopeful black people will one day achieve freedom and step into their power. This album is a vivid love letter to everything black—his skin, people, culture, home of Brooklyn, and music. Like its creator, Black on Both Sides is fearless, unflinching and full of love.
25. Only Built 4 Cuban Linx by Raekwon (1995)
Amongst the legendary Wu Tang Clan’s roster of elite emcees, my favorite has always been Raekwon. Not only is his wordplay and flow top tier, his gritty delivery carries a credibility that few rappers can match. You can visualize him coldly counting cash, eyes scanning his surroundings, as he pitched product (“Incarcerated Scarfaces” and “Criminology”) in Brownsville, Brooklyn. You can see the young lady “with two-finger rings and gold teeth” from the single “Ice Cream” rolling her eyes at Rae as he spits his verse. RZA’s pristine production shines, polishing the boom bap sound Wu is known for. With the ruthless rhymer Ghostface sharing 14 of the album’s 18 tracks, Only Built 4 Cuban Linx rivals any project in the Wu Tang discography.
24. Doggystyle by Snoop Dogg (1993)
As exceptional as this album is, it may only be Snoop Dogg’s second greatest accomplishment. His greatest feat is his ability to exist outside of any societal boxes. Snoop can meet with the President, smoke weed anywhere he wants, host game shows and cooking shows, appear on Nickelodeon, and make gospel albums. He does all of this while being an active member of the Crips gang. I’m not sure I’ve heard him code switch before. Snoop has found true freedom, and I’m here for it. If you want to free yourself from respectability politics, you name your first album ‘Doggystyle’.
The most serious track on this tape is “Murder Was the Case” which addresses the homicide case he was facing by the time of release. Aside from that, Doggystyle is a West Coast G-Funk party of unlimited liquor, orgies, gun toting, and chronic smoke. “Gin and Juice” still gets the party started till this day. Like Snoop, his debut album is effortlessly cool.
23. 2001 by Dr. Dre (1999)
Imagine you are heralded as hip hop’s greatest producer. Imagine your ingenuity flipped funky samples into a subgenre, called G-Funk, that put your entire coast on the map. Your precise production and arrangement spawned legendary acts like Snoop Dogg, Ice Cube, Eazy-E, and MC Ren. Your debut album was Tha Chronic, arguably the most influential one in rap history. But that was seven years ago, and your solo career has been dormant in the interim. Hip hop is always ‘what have you done for me lately?’ and critics wondered aloud if Dre could send shockwaves through the rap game again. 2001 was his answer.
This album is a software update to the G-Funk swagger that made Dre a household name in the early 90s. Unsurprisingly, the production is incredible–both smooth and head-knocking; call it sweet and salty. While the album is solid all-around, its support beams are clearly its mega-anthems like the Snoop-assisted “Still Dre” and “The Next Episode.” On the banger “Forgot About Dre”, the Compton producer’s prodigy superstar Eminem defiantly rapped “Motherf*ckas act like they forgot about Dre.” After the savant made his critics eat their words, he ensured it would never happen again. His credibility is now so strong that some of us are still looking out for Detox.
22. The Low End Theory by Tribe Called Quest (1991)
Before it was the commercial behemoth of today, hip hop carried a negative stigma to those outside of the culture. With violent and sexual lyrics seemingly glorifying vulgarity, music traditionalists wondered aloud if the genre would be a flash in the pan; many of them quietly hoped it would die. The beauty in hip hop is that it’s not a monolith; A Tribe Called Quest is a critical contributor we can thank for that. The artful act is the antithesis to boom bap and gangsta rap.
On the landmark The Low End Theory, the group introduced jazz to hip hop. Q-Tip and Phife Dawg’s laidback lyrics emanated swag, intellect, and self awareness (“Excursions” and “Butter”). The instrumentals are top tier. “Check the Rhime” has a tantalizing sample of Soul For Real’s “Candy Rain” and “Jazz (We’ve Got)” features elements passed on by Pete Rock. The latter song is one of Phife’s most dazzling verses. Filled with feel good records and liberating deep cuts, Low End Theory turned out to be high vibrational after all.
21. ATLiens by Outkast (1996)
By 1996, hip hop was firmly established in the Northeast and down the West Coast. While conscious rap had a bubbling presence, it was gangsta rap and mafioso rhymes that were capturing the ears of the youth enmasse. ATLiens was the Southern region’s way of kicking down the door and shaking up hip hop. Outkast’s Big Boi and Andre 3000 are an unlikely duo and a match made in heaven, or at least on another planet.
Both are rap aliens who dizzily rap against the beat instead of with it like their contemporaries. They aren’t impressed with violent rhymes or the poisonous agendas that tighten their grip on the collective black psyche. Andre spends most of his time in his head, his imagination the force behind innovative production, deeply personal lyrics, and pointed social critiques. He gets deepest in his bag rapping about exploited young women (“Jazzy Belle”), feeling lost and self critical (“E.T. Extraterrestrial” and “Millennium”), and his dissatisfaction at the state of Hip Hop (“Mainstream”). Big Boi is more relatable, rapping about his mic skills, big cars, sexual exploits and baby mama drama. His wisdom burns brightest on high energy cuts like “Two Dope Boyz (In a Cadillac)” and the title track “ATLiens.” Andre 3000’s extraterrestrial rhymes and Big Boi’s worldly bars take us to another planet without our feet needing to leave the ground.
20. The Black Album by JAY-Z (2003)
Although absolutely no fans believed that this would be a retirement album, JAY-Z himself may have been convinced. On The Black Album, we’re treated to peak level flows (“Moment of Clarity”, “Lucifer”, and “My 1st Song”), creative risks (“Encore” and “99 Problems”) and courageous introspection (“What More Can I Say”, “Moment of Clarity”, and “December 4th”). Aside from delivering some of the best one liners and lyricism in his career, Jay assembled an unprecedented Dream Team of super producers in Pharrell, Timbaland, Swiss Beats, Kanye West, Rick Rubin, Just Blaze and more. In the album’s BTS documentary ”Fade to Black”, Pharrell shared that his goal on “Allure” was to create a vibe akin to the ending of “Carlito’s Way.” Although Jay had more to give to hip hop, The Black Album would’ve been a fitting way to roll the credits.
19. Marshall Mathers LP by Eminem (2000)
Eminem embraces his role as the antagonist. At the peak of his powers, he was a mad scientist so brilliant he forces you to tune into his fucked up concoctions. On “Public Service Announcement” his narrator notes, “Shady doesn’t give a f*ck what you think” and the rapper himself nonchalantly adds “sue me.” Vulgar, hilarious and enraged, Eminem feeds on controversy. His psychotic alter ego, Shady, was born from the Detroit rapper being abused by his mom and bullied in school until he dropped out in ninth grade. Marshall intently read the dictionary multiple times to arm himself with an arsenal of words. An overactive imagination fixated on destruction was his ammo. Eminem’s weapons came in handy on the battle rap scene and on this confrontational album. Having Dr. Dre at the helm of his production didn’t hurt either. Em is at once a pop star (“Slim Shady”), provocateur (“The Way I Am”), and proud troll (“Kill You”). Two decades later, “Kim” and “Stan” represent the highest levels of creativity and storytelling hip hop has to offer. Who could make homicidal ideation and a suicidal skit sound so beautiful? Only the real Slim Shady.
18. Things Fall Apart by The Roots (1999)
Philadelphia has one of the most robust musical legacies of any city in the world. Soulful singers such as Musiq Soulchild, Pink, Jazmine Sullivan, and Jill Scott built their careers on the shoulders of all-time greats like Sister Sledge, Hall and Oates, and Patti Labelle. The famed Roots Picnic music festival shuts down the city each summer and keeps the legacy of quality instrumentality alive; it also gives up and coming artists a platform to grow their fan bases and share the stage with legends. By Things Fall Apart, most musicheads already knew about The Roots. After its release, they knew what the pinnacle of gritty hip hop and traditionalist jazz sounded like moving into the new millennium.
On standouts “Table of Contents Pts. 1 & 2” and “Step into the Realm”, producer and drummer Questlove makes the records approachable with warm instrumentation; Black Thought turns up the heat with intense rhymes. Neo-Soul queen Erykah Badu lends her mystique and rare vocal texture to the love story “You Got Me.” Her assured melodies are an appropriate contrast to Black Thought’s tumultuous delivery. The jazzy “Dynamite!” is the backdrop of a Philly cafe or speakeasy where the coffee is piping hot and the finger snaps are plentiful. Things Fall Apart is the result when artsy theater kids and hip hop purists gather under the same roof.
17. Me Against the World (1995)
After his captivating performance on the quintessential coming-of-age film Juice, many hip hop fans wondered if 2Pac was emulating his disturbed character Bishop in real-life. Countless lawsuits, confrontational public appearances, and his criminal trial dominated the news more than his timeless music. In fact, this album debuted at number one on the charts while the rapper was behind bars. Me Against the World is Pac’s most lyrical and personal record. With millions of people looking to him for leadership, Shakur shouldered more pressure and scrutiny than any 22 year-old should bear. You can feel his weariness from the weight on “F*ck the World” and the soulful title track.
Pac is fixated on dying by the hands of gunfire from his enemies in the streets or from police officers on “If I Die 2Nite” and “Death Around the Corner.” Seeking distraction from his paranoia, he hangs with lovely ladies on “It Ain’t Easy” and throws water balloons at the BBQ on “Old School.” Shakur pays homage to his NY origins on the latter. This album is filled with emotional depth. “Dear Mama” is a heartfelt thank you note to his mother despite their rocky relationship. On “So Many Tears”, Pac stands over his fallen friends’ graves struggling to keep his head to the sky. On an iconic scene from Juice, Bishop reveals that his bleak environment has caused him not to care about anything—including himself. Me Against the World confirmed that Pac was his own man and he cared a whole lot.
16. The College Dropout by Kanye West (2004)
If you could translate grit and determination to the big screen it would likely be the critically-acclaimed Pursuit of Happyness starring Will Smith. Putting those characteristics on wax would be College Dropout. The album’s comedic skits discuss the struggles of being Broke (Phi Broke) and working dead-end jobs. The hypnotic beat on “Spaceships” captures the monotony of minimum wage work. “Making five beats a day for six summers”, Kanye’s work ethic shines. “All Falls Down”–soulfully sampled from Lauryn Hill’s “Mystery of Iniquity”–speaks on how we use material things to bolster our self-worth. “Slow Jamz” is a two-step with your lover to set the mood for your first evening together.
One of the first overtly spiritual anthems in hip hop, “Jesus Walks” sees Kanye jetting toward Jesus while dodging the devil’s clutches. “Through the Wire” triumphantly declares victory over his near fatal car accident. As explored in Netflix’s Jeen-Yuhs (2022) documentary, doubtful label execs also threatened to derail his success. Where would hip hop be if Kanye’s soul samples and ingenuity never saw the light of day? As he stated so eloquently in his Grammy acceptance speech, “I guess we’ll never know.”
15. It’s Dark and Hell is Hot by DMX (1998)
Earl “DMX” Simmons was one of hip hop’s most enigmatic figures. His exterior was hardened by years of enduring physical abuse from his mother, being admitted to a group home at 10, and getting kicked out of middle school. By 15, DMX was homeless–eating out of garbage cans, robbing his classmates, and carjacking to get by. His only family was the stray dogs that befriended him. Though he had a traumatizing upbringing, his heart never closed. In a society where most of us hide from negative emotions, DMX was known for emotional authenticity and passion. His debut album was no different.
The aggressive, head-knocking “Ruff Ryders Anthem” catapulted X to superstardom. “Look Thru My Eyes” and “Get at Me Dog” abrasively declared war on anyone who dared to cross him. The R&B-driven “How’s it Goin’ Down” is a sensual song for the ladies. On the haunting “Damien” and moving “The Convo”, X is approached by the devil and by God–alluding to the spiritual warfare he’d wage for the rest of his life. It’s Dark and Hell is Hot is a pioneering project that paved the way for future artists to explore complex characters and construct challenging creative concepts.
14. The Blueprint by JAY-Z (2001)
By 2001, the coveted crown in the rap game was up for grabs. DMX was fresh off of dominating 1998 with two top tier offerings, Eminem’s Marshall Mathers LP made waves in the rap game, and The Dynasty kept JAY-Z’s name in the conversation. The Blueprint was when Carter separated himself from the pack. The album is a well-rounded body of work featuring hustle rap (“U Don’t Know” and “All I Need”), lyrical displays of excellence (“Lyrical Exercise”), regretful romance records (“Song Cry”), and diss records taking aim at his host of rap rivals and corrupt critics (“Takeover” and “Renegade”). Did I mention this album is filled to the brim with bangers? You couldn’t escape the chauvinistic “Girls, Girls, Girls”, soulful “Heart of the City (“Ain’t No Love”), and optimistic “Izzo (H.O.V.A.) in the summers following this album’s release. Make no mistake, JAY is all business. Whether you are trying to cultivate big money or muscles, The Blueprint is the soundtrack for hustlers.
13. Paid in Full by Eric B. and Rakim (1987)
Sometimes there are qualities that are just embedded in our internal makeup. On the 2002 classic film Paid in Full, drug dealer Money Makin’ Mitch gushes over his love for the hustle. Even if there were alternative, less dangerous lifestyles, he lived and breathed the drug game too much to let it go. Eric B. and Rakim have a similar burning passion—but, for hip hop. You can hear it through Eric’s flawless scratching technique on the staple record “I Ain’t No Joke” and on the extended turntable masterclass “Eric B. is President.” You can see it through Rakim’s vivid lyrics as he writes “graffiti on the wall” on “My Melody.”
Paid in Full is the soundtrack for an 80s house party where the fellas sport windbreakers and high top fades and the ladies wear massive hoop earrings and way too much hairspray. Everyone is doing the running man. The album’s duo is the Shaq and Kobe of rap, with Eric B’s cinematic production setting a solid screen for Rakim’s polished rhymes to get to the basket. This landmark record may be the only one on this list that can be enjoyed by the whole family together. It has the wholesome moments of a sitcom with the potency of a gangster film all in one, crafted for the love of the game.
12. To Pimp a Butterfly by Kendrick Lamar (2015)
The album title To Pimp a Butterfly is a modern-day reference to a classic novel in American literature: Harper Lee’s To Kill a Mockingbird. Published in 1960 at the peak of the Civil Rights Movement, this staple was lauded for its discussion of racial inequality and the general loss of innocence that comes with seeing and knowing more. Kendrick’s unapologetic adaptation explains how two potentially beautiful things (blackness and artistic talent) have been exploited or “pimped” in this country. The album’s most noticeable departure from good kid, m.A.A.d. City is its sound and structure. The album is forged with an array of black musical influences spanning centuries of its lineage including funk, jazz, blues, and soul. Tied together by a poem that accumulates more lines as the project continues, the album follows Kendrick’s journey fighting different forms of temptation as his star shone brighter in the industry. He struggles against sexual seduction on the groovy “These Walls”, amplified by Thundercat’s stellar base guitar work. Bottle in hand, he tussles with survivor’s guilt and suicidal ideation on the chilling “u.”
Throughout this project, Kendrick skillfully plays a host of robust, dynamic characters. He embodies the Devil as “Lucy” on the aforementioned “For Sale? (Interlude)”, Jesus as a homeless man on “How Much a Dollar Cost?”, his wise mother on “You Ain’t Gotta Lie”, and his homies who are thirsty to rob the glamorous, pampered BET Awards stars on “Institutionalized.” The album also explores how many self-defeating behaviors and thoughts are institutionalized and ingrained in black people from their childhood. “Hood Politics” compares the culture of violence rampant in the hood to the power-driven American political system (“Ain’t nothin’ new, but a flu of new Demo-Crips and Re-Blood-licans/ Red state versus a blue state, which one you governin’?”).
Elsewhere on the album are the uplifting, Pharrell-produced Black Lives Matter anthem “Alright” and contemplative “Mortal Man.” In 2017, Kendrick Lamar revealed that he created To Pimp a Butterfly to free himself from the industry’s expectations and from the mental slavery that kept many confined in a cocoon. Archived in the Library of Congress, his work will inspire future generations to break free and find their wings—or in other words, find their voice.
11. The Score by Fugees (2004)
Refugees are people who have fled war, violence, conflict or persecution and have crossed an international border to find safety in another country. Refugee groups often face discrimination and are considered “others” in society. Wyclef Jean, Pras Michel, and Lauryn Hill named their group the Fugees to reclaim the word and espouse otherness. As Haitian-Americans, Wyclef and Pras considered otherness a driving force behind their greatness. Amid violent and sexual lyrics dominating the airwaves, the Fugees introduced a fusion of reggae, neo-soul, and acoustics to the rap game. Their music was urgent, but peaceful. The themes of black empowerment, self-sufficiency, and anti-capitalism are present throughout.
The orbiting single “Ready or Not” critiques repetitive, low hanging subject matter in hip hop, America’s treatment of refugees, the prison industrial complex, and people who assimilate. The album features two renditions of earlier songs: Bob Marley’s “No Woman, No Cry” and Lori Lieberman’s “Killing Me Softly.” The latter single topped the Billboard 100 charts. While Pras and Wyclef’s innovative production set the stage, Lauryn Hill is the star of the show. Her versatility as a soulful songbird and expert emcee were on full display on cuts like “Fu-Gee-La” and “Zealots.” The Fugees’ previous effort Blunted in Reality was indicative of what the South Orange trio saw in front of them. This landmark tape The Score was born from what they envisioned.
10. Midnight Marauders by Tribe Called Quest (1993)
Across this funky album’s first few tracks, the tour guide sets its intention to be “precise, bass heavy, and just right with a bounce meter of 95 BPMs.” We soon learn the inspiration for the album title. ‘Midnight’ is the time hip hop culture comes out to play and ‘Maraud’ means to loot. Their goal was to steal the ears of music fans globally—from their rap contemporaries as well as other genres. This bouncy soundscape accomplished just that. Q-Tip’s sleek swagger and Phife’s hilarious honesty find an ideal home on its jazzy instrumentation.
One of hip hop’s most recognizable beats, “Electric Relaxation” is the pickup line you’d use if you have a burning desire to get slapped. Somehow the laid back production softens the delivery in ways only Tribe Called Quest and influential rap trio Digable Planets are capable of. What can I say? They’re just cool like dat.
9. Get Rich or Die Tryin’ by 50 Cent (2003)
In 1999, Curtis Jackson’s determination was terrifying. On the controversial mixtape track “Ghetto Quran”, he rapped, “If I ain’t rich by 26, I’ll be dead or in jail.” Shortly after the track’s release, 50 Cent was infamously shot 9 times in connection to the record and narrowly survived. There’s a fucked up lesson about visualization and manifestation somewhere in there. Bruised and broken with his mouth wired shut, 50 resolved to face and overcome his fear instead of giving in. He decided to go even harder for his career. By 2003, he signed with Eminem’s Interscope, released this Diamond certified album, starred in a biopic of the same name, and featured on a video game as himself.
On “What Up Gangsta” and “Many Men (Wish Death)”, he grits through the pain and confronts his envious enemies on their front porches. Dr. Dre famously tried to talk Curtis out of including the vulnerable “21 Questions” with Nate Dogg on the album. It became one of his biggest hits; and the party banger “In Da Club” is still globally relevant today. A ruthless competitor, 50 also takes aim at Nas and JAY-Z’s throne as the King of New York on “High All the Time.” Years later, JAY admitted that he’d warned his Roc A Fella artists to quickly release their records before Curtis made his move. He knew once his wave came, he’d have the culture and the radio in a chokehold. Miraculously, 50 Cent’s brush with death didn’t increase his fear of dying. It made him afraid of not living the life he dreamed of.
8. Reasonable Doubt by JAY-Z (1996)
1996 was a crowded year in hip hop. Fugees The Score, 2Pac’s All Eyez on Me, Lil Kim’s Hard Core, and Ghostface’s Iron Man were among the instant classics released. At the time, Reasonable Doubt was criminally slept on. While the album’s contemporaries conjured images of cognac swigs, fast cars, big blunts, and ass shaking, this project was more subtle. With JAY-Z’s buttery flow and Mary J Blige’s rich vocals, the opener “Can’t Knock the Hustle” is akin to lighting a tight Jay with your partner. Carter is far from the loudest person in the room, but on “Politics as Usual”, “Friend or Foe” and the timeless “Dead Presidents II”, he’s the most cerebral. He tackles the popular pillars of mafioso rap with a touch of luxury (“Cashmere Thoughts”) and a glass of champagne (“Feelin’ It”).
The highlife of selling crack is balanced by depressing lows. On the Snoop-sampled “D’evils” JAY wonders if he can be redeemed for his heinous acts; on “Regrets” he tearfully mourns his friends whose lives were lost in the name of building his criminal enterprise. Carter trades bars with Biggie on the grandiose “Brooklyn’s Finest” and with his hungry protege Memphis Bleek on the gritty “Coming of Age.” Smart and understated, Reasonable Doubt was almost lost in the shuffle of hip hop’s most competitive year. Luckily, this slow burn was a drop of oil in the sea of releases. It was bound to separate itself eventually.
7. Madvillainy by Madvillain (2004)
Collaborative success typically results from amplification or complementation—seamless symmetry or discernible differences. Rapper MF DOOM and producer Madlib’s collective Madvillain is the former. They’d both affectionately refer to themselves as weirdos, which permeates their artforms. With his experimental production, Madlib cultivates a colorful world that scoffs at the laws of physics; it pours down the candy coated raindrops Soul For Real sang about. This is the ideal environment for DOOM—a cartoonish character who raps offbeat and creates a collage of outlandish ideas with every verse. This technical wizard refreshingly doesn’t take himself, or anything, too seriously.
Madvillainy is filled to the brim with scenic moments, soulful production, and beats no one else should attempt to rap on. On the film Dark Knight Rises, the intimidating villain Bane observed, “No one cared about who I was until I started wearing a mask.” DOOM’s mask is effectively the opposite. It’s a tool that exterminated his fame before it could grow. It took the focus off of him and fixated it squarely on his art. That approach contributed to his legacy as the greatest underground artist of all-time.
6. Aquemini by Outkast (1998)
On the album’s title track, Andre 3000 recites “even the sun goes down/heroes eventually die/ horoscopes often lie.” This statement is both melancholy and freeing. Change and completion simultaneously create a void and free up space for new things. We should have no regrets as long as we live abundantly since change is inevitable. This album is full of equally profound ideas. On “Skew It on the Bar-B” featuring Raekwon, the duo dares to be different and realizes their haters actually hate themselves. On “Mamacita”, Andre is skeptical of people who prey on the emotionally vulnerable. The jubilant hoedown “Rosa Parks” is a reminder to keep your eyes on the road instead of the rear view mirror. If not, you just might crash.
The album’s deepest moments take place across “Da Art of Storytellin’ (Pt. 1 and Pt. 2).” These tracks travel back to adolescence and explore characters whose oppressive circumstances and limiting beliefs shrink their potential as well as their life span. The contrast of Andre 3000’s reflective rhymes and Big Boi’s present punchlines keeps you engaged. Perhaps both men felt their professional relationship imploding when they recorded this album. Although OutKast’s star didn’t burn as long as we hoped, it damn sure burned brightly.
5. Ready to Die by The Notorious BIG (1994)
With his legendary status and the colossal shoes he left behind, it’s difficult to believe this is the only album Biggie was alive to release. That should be indicative of its impact. While boom bap albums gained notoriety in the streets, G-Funk placed the West Coast in a dominant position commercially. Ready to Die was the East Coast’s answer. The Mtumbe Band-sampled “Juicy” introduced upbeat soul samples and “Big Poppa” added a suave finesse to the New York rap scene; Biggie’s crushing delivery and measured flow were an ideal complement.
Across the album’s span, we see that BIG’s bravado and confrontational nature are born out of necessity. His newfound riches make him a target on “The Warning” and he recalls robbing for his next meal on “Gimme the Loot.” These songs also introduce us to the Bedstuy emcee’s playful nature. Still, it’s not all fun and games. On “Everyday Struggle” BIG shares the daily pressures—fatherhood, dangerous lifestyle choices, self-hatred, and heavy guilt—causing him to contemplate ending his life; those feelings bubble to the surface on the album’s stirring climax: “Suicidal Thoughts.” Ready to Die is the reason BIG’s innate mic skills, larger than life presence, and unmatched charisma will continue to live on.
4. Tha Chronic by Dr. Dre (1992)
Alchemy is the transmutation of one thing (an idea, emotion, object, event, etc) into another. Elite athletes such as Simone Biles, LeBron James and Jon Jones transmute pressure, pain and motivation into physical feats. Serial entrepreneurs and filmmakers like 50 Cent, Berry Gordy, Steve Stout and Issa Rae transmute ideas and imagery to profitable products. Hip hop’s form of alchemy is sampling: the process of including an element of a pre-existing record in an original composition. Fooling around with the funk records he grew up on, Dr. Dre created and popularized G-Funk with the landmark record Tha Chronic.
This album’s audience is the West Coast’s marijuana smoking, gun-toting youngins who enjoy the two stepping of soul and funk records, but carry a more confrontational tone. With crooked police and their peers beating the youth into the South Central LA pavement, the love in those records don’t live here anymore. “Rat-Tat-Tat-Tat” is a violent shakedown that could’ve been prevented if Dre and Snoop were paid on-time by someone who owed them money. The West Coast anthem “Nothin’ But A “G” Thang” has a platinum beat that allows Snoop’s laid back flow and quotables to shine. The hazy standout “F*** Wit Dre Day (And Everybody’s Celebratin’)” established the producer as a force of nature in the rap game. Tha Chronic took Dre’s reputation as a skilled hip hop chemist and transmuted it to his rightful place as the leader of a movement.
3. good kid, m.A.A.d City by Kendrick Lamar (2012)
Fight or flight is an involuntary physiological response to stress or perceived threats, which is a survival mechanism we all share. In other words, whatever is inside of you will come out under pressure and dictate your actions. On the loosie track “The Heart Part 3” released days before this project, Kendrick Lamar unguardedly describes the immense pressure he felt amidst his crowning moment. His West Coast heroes Dr. Dre, Snoop, and The Game had passed him the torch of hip hop and tasked him with reviving a game that was on life support–almost swallowed whole in pursuit of pop radio hits. He also carried the weight of hip hop’s most influential figure, seen “as Pac reincarnated”. In the final line of the song he tearfully asks himself “Will you let hip hop die on October 22 [when your album drops]?” good kid, m.A.A.d City proves that Kendrick’s innate response is to fight.
This album is appropriately subtitled A Short Film by Kendrick Lamar. Like the iconic film “Training Day”, the eventful, turbulent story is somehow a one day ride-along through Southside Los Angeles. Kendrick brings us into his world by rooting us in characters and themes. The rambunctious homies as well as his parents–both wise and hilariously extra–are ever-present influences. The genius here is in the dichotomy. On songs such as “The Art of Peer Pressure” and “Money Trees”, we see that “the homies” are pulling Kendrick further from home to commit burglaries, lust after dangerous women, drink his pain away, and pursue revenge. Through the comedic voicemail skits that thread the album together, his parents are urging him to return home with the family van he said he’d “be right back” with. Ironically, the actions taken with his friends threaten to mentally and physically trap him in his home of Compton, plagued by the poverty, drug, and gang culture he is hoping to rise above.
Kendrick discovers he, his friends, and black and brown children in inner cities across the country feel like food for their environment. On “good kid” he compares violent victimhood and tyranny at the hands of both police and gang members. On its counterpart “maad City” we see how the normalization of drug abuse and violence causes inner city youth to devalue their own lives. After two brushes with death, narrowly escaping arrest, and surviving laced marijuana, Kendrick realizes his time is running out if things don’t change. The culture he is clinging to is where dreams go to die, where potential is smothered like an unwelcome flame in the kitchen.
In the album’s apex, “Sing About Me (Dying of Thirst)” we see that ultimately the disenfranchised youth in Compton–and around the world–are giving in to lawless, chaotic behavior to fill a void. The album’s sobering message is that embracing spirituality and self-love are the only ways to feel whole. good kid, m.A.A.d City is ultimately a spiritual awakening dressed in G-Funk influences, potent storytelling as well as dizzying drums and flows. Let’s face it, we all like it better that way.
2. Illmatic by Nas (1994)
At the age of 17, most of us were fumbling in the dark to find our place in the world. We were awaiting our swim to bigger ponds in college, experimenting with substances, fighting the urge to stuff our faces with Doritos, craving to shed our virginity, and being a pain in our parent’s asses. At 17, Nas was doing all of that while weaving the ultimate tapestry of evocative imagery and lyrically-dense, thought-provoking rhymes. From “The Genesis”, the album thrusts the listener in the midst of the 90’s New York hustle. Slick-talking scammers, predatory pimps and prostitutes, dogmatic dealers, and the brutal boys in blue are all both heroes and villains depending on your perspective. After all, it’s all in the game.
What’s most compelling about Nas is that his enlightenment doesn’t distance him from his neighborhood or culture. He’s Queensbridge for life. His critiques are given because he has witnessed the untapped brilliance and remarkable ingenuity in his community despite the shitty systemic hand it has been dealt. See: divestment, police brutality, indiscriminate violence, the drug epidemic and more. As I watched Nas–now a 50 year-old veteran–surge through his Illmatic verses live at MSG earlier this year, I was somehow even more impressed. How could a teenager encapsulate the pain and pride of inner city life with such precision? What provoked him to compare systematically oppressed people to rats caught in a maze? How was he so moved by the “Yearning for Your Love” sample on “Life’s a B*tch” to go so hard in the paint? Or the “Human Nature” sample on “Ain’t Hard to Tell?” Precocious is the understatement of the century when describing Illmatic. In his own words, “half man, half-amazing” is an understatement for Nas.
1. My Beautiful Dark Twisted Fantasy by Kanye West (2010)
By November 2010, calling Kanye West’s public life controversial would have been a massive understatement. Kanye’s back was pinned to the wall. Instead of continuing to open his mouth, he did what he does best and let his music do the talking. West took a hiatus from public life and retreated to Avex Recording Studio in Honolulu. The resulting album’s strength lies in its inclusion of multiple voices, perspectives, and talents. In fact, the project has less of Kanye than any of his previous releases. He serves as its personal trainer. West creates a communal, collaborative environment to integrate the very best of each of the top tier features. Cemented legends such as JAY Z, Raekwon, Bon Iver’s Justin Vernon are in top form. Hungry newcomers such as Nicki Minaj, Rihanna, Pusha T, and Rick Ross deliver career-making performances that would etch their name among the greats. Masterful producers such as RZA, No I.D., and Mike Dean collaborate with West to craft sounds we never imagined possible.
The production on this project is pristine. Its sound is exquisite enough to be enjoyed in an elegant amphitheater hall and grimy enough to be blasted through headphones or in the whip. Its dynamic nature results from Kanye allotting a different room in the studio to each song–zipping back and forth to work on each when inspired. The audio influences here range from soul sampling to alternative rock to synths and everything in between. Perhaps its most distinctive component is the use of voice as instrumentals. The defiant “Power” is a revolutionary song that appeals to creative freedom and is defined by looped vocals. The most profound line reveals why creators such as Michael Jackson and Walt Disney held onto their child personas. “My childlike creativity and honesty is honestly being crowded by these grown thoughts,” he raps.
On the ghoulish, head-knocking “Monster”, Nicki sprouts more menacing fangs than West and JAY-Z. With lyrical flexes such as “she’s on a diet but her pockets eatin’ cheesecake” and “my money so tall that my Barbies gotta climb it”, the Queen did conquer indeed. As he revealed in his memoir Hurricanes, West boldly challenged Rick Ross to “dig deeper” and rewrite his “Devil in a New Dress” verse. On the final version, you can see Rozay gritting his teeth as he fires absurd brags such as “so many cars DMV thought it was mail fraud” and “getting 2Pac money twice over.” On the opulent “Runaway”, West knows deep down his lustful, egotistic nature will drive his partner away, but that doesn’t make it hurt any less. The lovely synth breakdown at the end of the song is a soft current that gently pulls your subconscious thoughts to the forefront of your mind.
On the auto tune heavy “Gorgeous”, Kanye defines hip hop as “a euphemism for the new religion. The soul music of the slaves that the youth is missing.” Alluding to the school to prison pipeline, he adds “the school’s closed and the prison’s open.” He crafted this ambitious album to inspire young creatives, movers, and shakers to create the world they want to see—even if it takes destroying the current one.
