What is an album anymore? As more artists begin to take their careers independent, the idea of a glitzy, major label LP begins to lose its luster. Mixtapes and self-releases have become the new barometer of an artist’s likeability, while the archaic model of signing with a major label then releasing a hyped, polished collection of songs and expecting to move 500,000 physical units has been relegated to history.
This is 2011 and times are a-changin’. Yet, just because we now exist in the Internet age doesn’t mean the Hip-Hop “album” is completely irrelevant. Let members of the first week numbers fan club tell it, major acts still consider albums to be their litmus test to producing quality. And, of course, there were the phenomenal overlooked efforts, too. And there were some not-so-stellar offerings, but we’ll sweep those under the rug.
Albums — in some form or another — are here to stay. Here’s the best of the best that this past year had to offer, whether major or indie. Like all of our lists, the order is irrelevant. Support and pay attention to good music.
The Good: Transporting listeners back to 1992, Thurz didn’t err on the side of caution with the ambitious L.A. Riot. The Los Angelino sought to recapture the events leading up to and during the riot, as well as the general mood of the city during. The opening trio of “Molotov Cocktail,” “Rodney King” and “F**k The Police” are vivid and aggressive representations of that fateful summer. Thurz more than holds his own while sparring with Black Thought on “Riot” and on “Prayer,” Thurz finally cleared the air on U-N-I’s break up.
The Bad: After harnessing a firestorm and energy while recreating what transpired back in ’92, it would have been nice to see Thurz stay in that mind frame a bit longer instead of giving us songs like the playerlistic “Big Ball” and popish “The Killers.” Both are decent songs in their own right, but didn’t ensure the album closed out with the same intensity that it started with.
The Lovely: When the year started a new U-N-I album seemed unlikely even being released; let alone a solo album from Thurz. By switching up the direction of his music and not suffering from the mental fatigue of consistently dropping three verses that a lot rappers encounter when going the solo route, Thurz reinstated his name as one to watch out West and anywhere else he pleases. — MZ
The Good: Big K.R.I.T.’s authenticity is undeniable. There is nothing in Return of 4eva that’s sound fake, or forced. The intense emotion on “Dreamin’” and “American Rapstar” strike a chord with the listener that captivates and swallows them whole. When R4 is spinning, you are Big K.R.I.T. and his life becomes yours as he demonstrates his successful, multi-faceted approach to rap in just about every song. It’s the Mississippi twang that sets R4 apart from the rest of this year’s releases.
The Bad: “Bad” is such a strong word, but the weaker songs on Return of 4eva are simply the ones that aren’t great enough to stand out. “Amtrak,” for instance has a great beat, but K.R.I.T.’s soulful lyrics don’t quite do it justice. Additionally, “Highs and Lows” is another record that’s smooth and introspective, but becomes skippable in the context of the rest of the album. You’re bound to have fluctuation when there’s over 20 songs on the menu.
The Lovely: Overall, R4 is an intense, thought-provoking experience that gels with the listener right out of the gate. His versatility is unmatched, proven by the complex verses laid over perfect, mood-setting beats, all done by K.R.I.T. himself. And despite a few unneeded songs, Krizzle shows his musical growth from 2010’s K.R.I.T. Wuz Here as his lyrics and sound have been refined for future takeovers. — Raj
What: Take Care
Why: 4 Cigs
Label: Young Money/Cash Money Records | Producers: Noah “40” Shebib, Drake, Just Blaze, Boi-1da, Jamie xx, T-Minus, Chase N. Cashe, The Weeknd, Illangelo, Doc McKinney, Supa Dups, Chantal Kreviazuk
The Good: Simply put, Take Care is a blockbuster success in sheer scope. When you fit one of the year’s best R&B songs (“Marvin’s Room”) on an album that also boasts arguably the most titanic rap record of 2011 (“Lord Knows”), you exhibit the work of an artist that has the determination and capacity to pull off both tracks — as well as most of the other variations of pop-rap&b that are packed in between. Drake and his production team (led again by studio guru Noah “40” Shebib) prove equally deft at crafting blare-it-out-your-speakers rap anthems (“Underground Kings”) and stripped-down R&B ballads (“Doing it Wrong”).
The Bad: Take Care is an ambitious album, but with ambition often comes overreaching. At 18 tracks, clocking in just under 80 minutes, Take Care is a bloated affair. Tracks like “We’ll Be Fine” and “Make Me Proud” — not altogether terrible but ultimately inessential records — could have easily been left on the cutting-room floor. Their inclusion makes front-to-back listens difficult in a single sitting.
The Lovely: It’s no wonder Drake named the album Take Care. He remains one of the few rap stars who takes pride in paying attention to the art of album-making. If not as catchy or compulsively listenable as Thank Me Later, Take Care is a mature and nearly fully-realized expression of an artist firmly planted in his artistic zone. Drake’s Hip-Hop remains quite often very melodic and moody. When he promises on “The Ride” that his “Junior and Senior will only get meaner,” you believe him. — Samir S.