Best Hip-Hop Records of 2012
An Excerpt From 2012: A Year In Review
By Nathan G. O'Brien on Scene Point Blank
Now
in its fifth decade of existence, hip-hop is, and has been for many
years, the most culturally impactful and socially relevant form of music
in the entire world. Whether you’re fan of the art form or not, it
would be foolish to deny this absolute truth. But perhaps what’s even
more foolish is to attempt to narrow down a list of the past year’s best
hip-hop records to a manageable size. Yet, that’s what I, lover of rap
music, self-proclaimed know-er of it all, and apparent seeker of
self-inflicted punishment has haphazardly volunteered for once again.
(And this time around I’ve even tossed in a second list of just mixtapes
to follow.) Clearly I love this stuff. Clearly I hate myself. And
with that, I present to you The 20 Best Hip-Hop Records of 2012…
Apollo Brown & OC – Trophies
D.I.T.C.
crew member OC returned alongside up ‘n’coming producer Apollo Brown
with an outstanding album that might just be the sleeper of the year.
The premise is as alluring as it is basic: Apollo produced simplistic
sample-based boom-bap and OC blessed it with his conciliatory no-frills
delivery. You won’t find any traces of crunk, trap, thizzle, #swag, or
purple here.
Trophies is 16
tracks of pure unadulterated East Coast-style hip-hop, and it’s
outstanding. The next time you hear someone loosely throwing around a
term like “real hip-hop,” play them this record.
El-P – Cancer 4 Cure
Whether on the mic himself or behind the boards for
Cannibal Ox, Aesop Rock, Murs, Mr. Lif, or
Cage,
El-Producto has been consistently creating stellar hip-hop music for
nearly twenty years now. In 1997, as part of the now legendary trio
Company Flow, he was responsible for one the most important rap records of the ‘90s,
Funcrusher Plus.
And in five year increments he has dropped a solo album that is not
only one of the year’s best records in hip-hop, but the best in all of
music. (See
Fantastic Damage , '02 and
I’ll Sleep When You’re Dead, '07.) The same can be said of his third, and most recent,
Cancer 4 Cure. Intact
are the recognizable distinctions El-P has spent the last decade
perfecting: meticulously-crafted futuristic sound collages and densely
congested beats—sci-fi-informed and bass heavy—balanced with
hard-hitting lyricism that zigzags between paranoia, self-deprecation,
braggadocios chest pounding, and metaphorical witticism.
Cancer 4 Cure isn’t
just good hip-hop; its good music. Like the hook in the lead-off single
“The Full Retard” goes, “You should pump this shit like they do in the
future.”
Gangrene – Vodka & Ayahuasca
According
to Wikipedia, “Ayahuasca is a brew of various psychoactive infusions or
decoctions,” the effects of which are “massive spiritual revelations
regarding (your) purpose on earth…a spiritual awakening and what's often
described as a rebirth…access to higher spiritual dimensions and making
contact with various spiritual or extra dimensional beings who can act
as guides or healers.” In layman’s terms, or rather, in terms that most
rap fans would clearly understand, it’s some shit that gets you really
fucked up. Forming once again as Gangrene,
Alchemist and
Oh No dropped
Vodka & Ayahuasca; a
sample-heavy blunted cornucopia of movie, TV and druggy interview
clips, psychedelic acid rock, and ghostly organ and string arrangements.
As a duo, the two fuse their production styles in an impressive
fashion, but when it comes to rapping, the best verses come courtesy of
guest spots from
Kool G Rap, Roc Marciano, and
Evidence. (See also:
Odditorium EP)
Guilty Simpson & Apollo Brown – Dice Game
At this point it’s probably safe to anoint Apollo Brown the new king of boom-bap. Perhaps recognizing that the greats (
Pete Rock, Lord Finesse, Large Professor, Showbiz, DJ Premier, J-Dilla,
etc.) didn’t have to go great lengths to layer their beats, Apollo
flexes an uncanny ability to create incredibly enthralling bangers from
basic sample flips—organs, strings, and brass are his modus operandi.
Guilty Simpson is a hulking presence on
Dice Game. He doesn’t attempt any lyrical mathematics; rather just
straightforward rhyming. “Dear Jane” is a metaphorical ode to the herb
and one of the album’s best tracks. It’s here that he shows his growth
as a lyricist; sticking to the subject matter throughout the entire song
rather than going off-topic or playing the word-association game as he
has in previous work. The next time you hear someone loosely throwing
around a term like “real hip-hop,” play them this record. (Sound
familiar? I did that on purpose.)
I Self Divine – The Sound of Low Class Amerika
I Self Devine is not only the unsung hero of
Ryhmesayers Entertainment,
but in many ways, underground hip-hop as a whole. As far as RSE goes,
he’s the most traditional street-level rapper on the label. Setting
himself apart from his peers, I Self takes a utilitarian approach to
songwriting; largely skipping the misogyny, homophobia and gun-clapping
subject matter that plagues most street-level hip-hop. Instead he takes
it upon himself to narrate the current state of “lower-class” society
and provide a historical telling of how things got this fucked up.
The Sound of Lower Class Amerika is the latest in an impressive catalogue—one that includes several
Micronauts records, a superb outing with
DJ Abilities as
Semi-Official, and the underrated, yet unforgettable
Self Destruction. Against a backdrop of beats provided by
Jake One, Vitamin D, Benzilla and others, I Self conveys messages of community, class warfare and social injustice in the United States. (See also:
Culture Series mixtapes)
Kendrick Lamar – good kid, m.A.A.d. city
People seem to feel very strongly about Kendrick Lamar’s rap oeuvre,
good kid, m.A.A.d city—they
either love it, or, they hate it. And you can’t really fault either
side, as that’s just how polarizing a record it is. On one hand it’s a
superbly crafted concept album with meticulously-written lyrics and
pacing; and on the other, it’s a self-righteous, self-indulgent vanity
project with twelve-minute rap songs. Personally, I wasn’t about to
allow an album to be called “instant classic” when it hadn’t even been
released yet. So admittedly, I went into the first couple spins with
some trepidation, and truthfully, wasn’t all that impressed. But now,
after having spent a considerable amount of time with it, I can no
longer deny it;
good kid, m.A.A.d city has
fully grown on me. Am I ready to concede that Kendrick is “the savior
of hip-hop,” as many fly-by-night critics are implying? Emphatically,
no. But did he indeed create one the best rap records of the year?
Without a doubt, yes. That being said, I believe the best songs on the
album are the ones that fall in line with traditional rap
music—“Backseat Freestyle”, the
MC Eiht feature, “m.A.A.d city” and “Swimming Pools.”
Killer Mike – R.A.P. Music
Released only one week prior, and playing like a companion piece of sorts to
El-P’s Cure 4 Cancer, R.A.P. Music shows the Atlanta based
Dungeon Family veteran
as an invigorated and fresh-breathed emcee on verge of finally breaking
through. Over a backdrop created entirely by El-P, Killer Mike spits a
potent mix of politics, personal tales and hardcore G-talk. Aside from
appearances by
Bun-B, TI, El-P
and a couple lesser-known emcees, Mike goes at it alone, and the result
is unified and striking. Considering El Producto’s on the beat, it’s
hard to call this Southern rap. That being said, in the aptly-titled
“Southern Fried”, Mike lays down Dungeon Fam-esque rhymes about Killer
Hill and strip clubs, while El does his best to direct the beats
appropriately—not exactly
‘playalisticadillacmuzik but close enough.
La Coka Nostra – Masters of the Dark Arts
Masters of the Dark Arts
marks the return of La Coka Nostra, a rap supergroup who had originally
assembled sometime in ’05 as a much larger entity than they are today,
boasting members of
Nonphixion, Special Teamz, a reunited
House of Pain, and misdirected “rappers” from
DMS. (The NYC crew normally associated with thug-ish metalcore.) Since then, they have trimmed the fat so to speak—
Everlast has departed, presumably to go back to making less than mediocre acoustic-guitar-folk-blues-rap or whatever, and
Big Left’s (of DMS) contribution is limited to a singular verse. That is not to say there aren’t an few key guest spots (
Vinne Paz, Sean Price, and
Thirsten Howl III all make appearances) but it’s primarily the group’s core—
DJ Lethal and emcees
Ill Bill, Slaine and occasionally
Danny Boy—making most of the noise this time around.
Master of the Dark Arts is a pluperfect union of bombastic boom-bap, record scratching, and
realism-based hardcore rhyming. Head-banging is absolutely required.
Large Professor – Professor @Large
Large Professor, at twenty plus years in the rap game—including being a decisive emcee and production presence on
Main Source’s 1991 classic,
Breaking Atoms—has created beats for a number of hip-hop’s most revered acts, including
Nas, A Tribe Called Quest, Slick Rick, Big Daddy Kane, Eric B & Rakim, and
Mobb Deep. So it should come as no surprise then that
Professor @Large
sounds like a product of the Golden Era NYC. The entire album was
produced by Large Pro, and on the majority of the songs, he’s the only
rapper, save a few notable appearances by guest emcees. Specifically
Cormega and
Tragedy Khadafi on “Focused Up.” Cormega also appears on the album closer “M.A.R.S.” alongside
Action Bronson, Roc Marciano and
Saigon.
Lil Flame & Termanology – Fizzyology
Lil Fame of
M.O.P., going
by his producer moniker “Fizzy Womack” and Boston emcee Termanology
originally intended to work on a Termanology solo album but at some
point midway through the recording process Fame had ended up spitting
verses and hooks on nearly every track. They realized that hewing an
entirely collaborative project as a duo could result in a milestone
record, benefiting both artists. And thus, in the new-ish trend of
combined names,
Fizzyology was
born. Anyone that’s familiar with M.O.P. knows what Fame is all about on
the mic—cotton-mouthed gangster-isms straight from the dark alleyways
of Brownsville—and there is no shortage of it here; he comes as
hard-rhymed and imposing as ever. But Termanlogy turns in some of the
record’s most impressive verses. During his best moments, Term has the
uncanny ability to make the listener feel weirdly uncomfortable. Songs
like “The Greatest”, “Lil Ghetto Boy” and “It’s Easy” make you feel
guilty for being privy to his bumpy life story. And all the
autobiographical details of his painful upbringing come to head on
“Family Ties.” (See also:
1982 (Statik Selektah & Termanology)-2012)
Masta Ace – MA_Doom: Son of Yvonne
MA_Doom is the latest offering from veteran NYC emcee Masta Ace. All of the beat selection comes from
MF Doom’s instrumental mixtapes series,
Special Herbs.
So while none of the beats are new, it’s fresh to hear Ace masterfully
breathe new life into them. Be warned though; those looking for a
return to the furor of
Slaughtahouse, this is not it.
Son of Yvonne
is a tribute to Ace’s departed mother. Over the course of the album
Ace raps stories of his upbringing under her watchful eye as he weaves
his way through a life immersed in hip-hop’s developing years—from
DJing, to graffiti, to rapping, to touring and all parts in-between. MF
Doom does make one appearance on the mic, alongside
Big Daddy Kane on “Think I Am.”
Meek Mill – Dreams and Nightmares
Although
Dreams and Nightmares
is billed as Meek Mill’s debut album, the truth is he’s already a
household name in the rap world. This comes on the strength of some
very solid, financially-backed mixtapes which have produced radio hits,
and a high-flying presence on the
Maybach Music Group's Self Made
compilations. So instead of judging this by the outdated standards of
debut albums, consider it the latest in an already impressive body of
work—this one just happens to have a price tag on it. While the
majority of the production would fall in line with trap music, it’s what
Meek is actually saying that really sets him apart from the pack. No,
he doesn’t do much to distance himself from the negative stereotypes
associated with rap music, but he balances it with numerous moments
where the listener gets to see his vulnerable side. On the album’s most
distressing track, “Traumatized” he details the murder of his father at
a young age, and how he struggles with the desire to avenge his death.
Meek's raps are the strongest when he flexes an anxiousness in his
cadence. The sense of urgency on songs like “In God We Trust”, “Real
Niggas Come First” and the second half of the title track is—and it
sounds strange saying this—
classic Meek Mill. (See also:
Dreamchasers 2 mixtape)
Oh No – Ohnomite
Ohnomite is the result of beatsmith and emcee Oh No—the younger brother of
Madlib and son of singer
Otis Jackson—being granted unmatched right of entry to the
Rudy Ray Moore/Dolemite audio archives. This included legendary material from
The Human Tornado, Petey Wheatstraw, the
Dolemite Soundtrack and
a multitude of previously unreleased and alternate acapellas and
instrumentals. Oh No was given free rein to sample and manipulate it
any way he see fit. The end result is a trunk-rattling chaotic
burlesque of witty lyricism and gritty beats assembled from the nastiest
fragments of funk, soul and Blaxploitation. Carrying the familiar
resonances of
Gangrene, Evidence and
The Alchemist rejoin forces alongside Oh No on “Real Serious." The track piggybacks on some of the best moments of
Vodka & Ayahuasca.
And perhaps sponging worthy collaborators from his brother, Oh No also
brings aboard a few emcees that contributed to some of Madlib’s finest
moments; with
MF Doom, Guilty Simpson and
Phil Da Agony from
Strong Arm Steady all featured on separate tracks. (See also:
No-Ashes w/Chris Keys.)
P.O.S. – We Don't Even Live Here
It’s
questionable whether what P.O.S. does can even be called hip-hop
anymore, inasmuch as his music transcends across genres. It’s not on
the same level of mass appeal as say, the
Beastie Boys, but quite similar in that he employs a multifarious approach to art. The Twin Cities veteran emcee describes his fourth album
We Don’t Even Live Here as “an anarchist dance party.” And that’s pretty much on point, as
this record is bursting with anti-establishment lyricism and beats
rooted in punk rock, techno, trap, and, well, yeah, regular hip-hop too.
The hook to the lead-off single, “Fuck Your Stuff” pretty much sums
the overall feel of the album: “My whole crew is on some shit/Scuffin’
up your Nikes—spittin’ on your whip/Kickin’ out your DJ—rock it, then we
dip/We don’t watch the replay.”
Reks – Straight, No Chaser
Where Reks’ previous albums have featured beats from a variety of producers,
Straight, No Chaser is produced entirely by longtime collaborator
Statik Selektah. The
Lethal Weapon-inspired “Riggs and Murtaugh” shows
Action Bronson and Reks trading verses against a
RZA/Wu-like backdrop. On the title track, Reks and guest emcee
Slaine spit bars over a twisted downbeat that's been looped with minimal keys, recalling
DJ Premier’s work with
Jeru the Damaja.
And the same can be said of the posse cut “Such a Showoff”, which
features Statik scratching across hard-hitting boom-bap, while
Kali, JFK, Termanolgy,
and Reks channel the rap ruckus of the ‘90s. On that note, Statik also
deserves credit for keeping alive a key ingredient of hip-hop that has
been all but abandoned by the current crop: turntablism. Even when his
beats are substandard, he keeps things stirring by showcasing his
scratching ability. And as usual, he has an unsullied skill for
crafting hooks made up of clever samples and cuts. Key notables on this
record include the
Beastie Boys in “Autograph,”
Common in “Sit/Think/Drink”, and
50 Cent in “Cancel That.” (See also:
Rebelutionary)
Roc Marciano – Reloaded
Reloaded is
one of those albums that, despite months of me patiently anticipating
the release of, still took me completely by surprise. And in turn, I
find it difficult to explain to people what exactly it is about this
record that makes it so damn good. A Google search will result in
numerous 500+ word essays on it, but from my standpoint, it’s a
disservice to the genius of Roc Marciano to try and spoil this for those
who haven’t heard it yet. Roc has the type of vocal accent and flow
that pulls you in, demanding your astute attention. Pair that with his
alluring production and the end result is an hour’s worth of engrossing
headphone music that sticks with you long after it’s over.
Reloaded
is faultless soundtrack to a train ride through the city—managing to
sound experimental while still exhibiting evident nuances of classic New
York hip-hop.
Sean Price – Mic Tyson
Amidst
a period of rap music that could be theorized as “in transition” it’s
clear that Sean Price is confident and comfortable in his, let’s say,
non-transitioning
role. And that’s not surprising, seeing as how his emergence in the rap
game came in the early ‘90s as part of the rough ‘n’ rugged supergroup,
Boot Camp Clik. It was a time
when emphasis was placed more on mic prowess rather than personality and
marketability-driven hooks. Over beats from the likes of
Evidence, Alchemist, 9th Wonder, and
Khrysis, Price spits street lyricism with a poignant and venomous deliverance seldom heard these days.
Mic Tyson isn’t
so much a statement, as it is an affirmation: Sean Price doesn’t make
rap songs for the MTV Jams/BET set. Also, he'll smack the shit outta
anyone actin' like a rapper. On “Pyrex” he raps, “A whole lot of shots
will follow after I bust your snotbox with the Ciroc bottle.”
SpaceGhostPurrp – Mysterious Phonk: The Chronicles of SpaceGhostPurrp
While
lyricism may not be SpaceGhostPurrp’s greatest strength, his YOLO-esque
black male self-awareness, laughable ignorance and misogyny-laced
rhymes only distract mildly from the overall feel of
Mysterious Phonk,
as it tends to one of hip-hop’s chief qualities: escapism. Production
wise, Purrp’s beats are Southern-tinged, foggy head-nod-ers that borrow
heavily from
DJ Paul or anything chopped-n-screwed, and fit nicely alongside contemporaries like
A$AP Ty Beats—they are, for lack of a better term,
purp’d the fuck out. To people who loved hip-hop before sippin’ syrup and blowing back hydro became the norm,
Chronicles probably
doesn’t scream “best of”—and traditionally speaking, no, Miami’s
SpaceGhost isn’t the most gifted rapper—but as a dual-headed monster—his
real prowess is as a producer—he has created one of the year’s most
cohesive, and I’ll just go ahead and say it,
best hip-hop albums of the past year.
Strong Arm Steady & Statik Selektah – Stereotype
Returning to the singular producer formula they last used on 2010’s
Madlib collabo
In Search of Stoney Jackson, Krondon, Mitchy Slick and
Phil Da Agongy,—the California cliq known as Strong Arm Steady—teamed up with Beantown production workhorse Statik Selektah for
Stereotype.
Although the title may imply otherwise, the contents therein which are
not as formulaic as one might expect; which is not surprising in regards
to SAS, as despite a steady work rate, they come different every
outing. With Statik cruising by on autopilot throughout a few other
recent releases, it’s nice to see him step away from Preemo-esque
boom-bap for a change. Here he steered into a vibrant soulful direction
that mirrors the laid-back West Coast approach taken by SAS and various
guest emcees.
Wu-Block – Wu-Block
While there are appearances from other members of
Wu-Tang Clan and all of
D-Block (also known as
The Lox,)
Wu-Block is first and foremost a
Ghostface Killah and
Sheek Louch project. Fairly free of any surprises,
Wu-Block
finds Ghost and Louch delivering all the crack-bagging, gunplay and
material goods-based rap you’ve come to expect from these two veterans.
Wu-Block are at their thuggiest on the
Method Man feature “Pull the Cars Out.” The three emcees spit gutter-worthy rhymes over a molten-hot banger co-produced by
The Furturistics and
Phonix Beats.
Ghostface raps in typical fashion, “Every hood spot, they know
me/Loyal females who can’t just give me the twat; they show me/Like I’m a
big stock broker on Wall Street/I said ‘Naw, I’m that big drug dealer
from 4E.’” Despite guest spots from the likes of
Masta Killa, Raekwon, Inspectah Deck, GZA, Cappadaona, Jadakiss, and
Styles P
what’s most impressive is how well Ghost and Louch work as a duo;
clearly claiming ownership of the Wu-Block name and guiding the
direction of the album.
Honorable Mention: KRS-One –
The BDP Album, Showbiz & AG –
Mugshot Music, Skyzoo – A Dream Deferred, Smoke DZA –
Rugby Thompson, Vinne Paz—God of the Serengeti
Please check out Scene Point Blank's entire 2012: A Year In Review feature here.
