1. Big Boi
2. Shad
3. The Roots
4. Black Milk
5. Curren$y
6. D-Sisive
7. Rick Ross
8. Roc Marciano
9. More or Les
10. Method Man, Ghostface Killah and Raekwon
1. Big Boi Sir Lucious Left Foot: The Son of Chico Dusty (Def Jam)
If it's conceivable for an artist to own five Grammys, sell more than 25 million records and still be underrated, then that man's name is Antwan Patton. Sir Lucious Left Foot finally killed any notion that OutKast's Big Boi and Andre 3000 are not creative equals. Different, yes, but equal. Perhaps it was a disguised blessing that Jive refused to clear Dre's guest verses for Left Foot's final cut (Dre does, however, produce the belligerently funky "You Ain't No DJ," Yelawolf's coming-out party). So overshadowed has Daddy Fat Sax been by his more flamboyant foil, the casual rap listener might get sucker-punched by this big, beautiful bully of a record. Those who'd been paying attention to Big Boi's recent teases ("Kryptonite," "Royal Flush") get their faith affirmed, over Organized Noize's bass-y, spacey layers of sound. This is Plainfield funk by way of Georgia by way of Jupiter. Big Boi began recording Sir Lucious back in 2007, and the care he took in assembling its players, his words and, hell, even the goofy skits shows. The 35-year-old producer-rapper refuses to rest on past success (although the "Hootie hoo!" shout on "Tangerine" is a sly wink to '94), instead warping his flows into the future, fire-wiring soul into computers, and delivering one of the year's most complete experiences, from the apocalyptic bombast of "General Patton" to the hustler grin of "Shine Blockas" (featuring Gucci Mane). "Follow Us," with its hypnotic 808s by Salaam Remi and glam-rock-tinged hook by Vonnegutt, is as poignant as it is fun: "If you sell dope, nigga, stack it when you get it / Can't trick it or spend it until it's gone / That's slippery business, holmes / Go get you a business loan," advises Big Boi, a man with an eye on the trap, a foot on the dance floor, but a mind on the whole world.
Luke Fox
2. Shad TSOL (Black Box)
Whether relating the history of his given name and his family on "A Good Name" or breaking down break-ups on "Telephone," Shadrach Kabango is the rare MC who conveys wisdom without being preachy. More than anything, he's versatile, able to seamlessly switch from fierce, hilarious battle raps on "Yaa I Get It" to heartfelt reflection over the contemplative piano and guitars of "At The Same Time" without seeming contradictory. Shad's candour and conviction shine through every bar of this album. Impeccably produced and expertly written, TSOL points toward a bright future for Canadian rap.
Aaron Matthews
3. The Roots How I Got Over (Def Jam)
One of the best hip-hop records of 2010, the Roots' latest opus is truth in advertising. A masterful blending of mainstream cred (albeit via a crappy late night talk show) and the illadelph sensibilities the group is known for, How I Got Over is their best album this side of the new millennium. "Dear God 2.0" stands defiant, the introspective "The Fire" demands interpretation and best drum break of the year easily goes to "Doin' It Again." At a lean 42 minutes, the album is taut testament of how to overcome in this crazy FUBAR'ed world.
Ryan B. Patrick
4. Black Milk Album of the Year (Fat Beats)
It might seem a bold claim but Album of the Year isn't necessarily a titular brag by Black Milk ― it represents a year of the Detroit rapper/producer's life when death and disease were afflicting close friends and family. But instead of innervisions and mourning, AOTY is more like an exercise in joyful catharsis. While he'll still be a better beat maker than rapper to many, Black Milk's flow and content show significant improvement and his production has an invigorating, sophisticated, psych-rock edge to it. Don't fret ― the neo-soul funk sound of the D is still there, Black Milk's just working it out.
Anupa Mistry
5. Curren$y Pilot Talk (BluRoc)
After brief stints on Master P's No Limit Records and Weezy's Young Money Entertainment, New Orleans native Curren$y (nee Shante Anthony Franklin) bounced from the label in 2007 to do things his way, and it couldn't have worked out better for him. Linking up with Dame Dash's DD172/Creative Control collective and the best producer in the '90s you may never have heard of, Ski Beatz (Jay Z, Camp Lo), Curren$y brings a smooth, weeded out lyrical flow that meshes perfectly with the funk, blaxploitation guitars and crisp drums that Ski cooks up. Best enjoyed with the strain of your choice, Pilot Talk is truly a refreshing listen.
Mark Bozzer
6. D-Sisive Vaudeville (Urbnet)
D-Sisive mines the melancholic territory of his recent output with personal, honest introspection and believable, touching second and third person narratives while mixing it up with the scathing battle raps and braggadocio of his early Eat the Beat days. The pop culture references come fast and furious, rewarding research and repeat listens. Production collaborator Fresh Kils brings banging beats, morose melodies and warped children's tunes to the table with live instruments, Moog and weird sample selections. Vaudeville may be experimental and nerdy, but it still appeals to the average hip-hop head.
Thomas Quinlan
7. Rick Ross Teflon Don (Def Jam)
Just like the kings of the underworld that Rick Ross fashions himself after ― who invest their money in an all-star legal team to ensure they always come out on top ― the boss wisely invests his cash into a production team which includes J.U.S.T.I.C.E. League, Lex Lugar, No ID and Kanye West, whose backing sound accentuates and elevates Ross's cadence. While Ross has aligned himself with many industry heavyweights who make guest appearances on Teflon Don, the album is highlighted by a big improvement in the big boss's lyrical composition, which has come a long way in a short time.
Neil Acharya
8. Roc Marciano Marcberg (Fat Beats)
Long Island-bred underground vet Roc Marciano cut his teeth in the '90s New York scene and other than putting in some well-respected work with Pete Rock and the U.N. and some notable collabos (GZA, Busta Rhymes), Marciano has stayed buried deep in the underground until this year, when he released his debut Marcberg, a standout piece of gritty vintage NYC hip-hop. Entirely self-produced, Roc spits first-hand war reports from the frontlines over his own simple, paranoid production on tracks like the head-nod inducing "It's A Crime" which sounds like it could have easily been crafted by either Preemo or Muggs. Lace up your Timbs and zip up the Triple Fat Goose. It's cold outside and it's time to stand on the corner with Roc.
Mark Bozzer
9. More or Les Brunch With a Vengeance (Villain Worship)
Scarborough rapper/producer More Or Les applies his nerdy humour and witty wordplay to a selection of songs about things people hate, making light of subjects as diverse as dirty bathrooms, shoddy tech guys, poor public hygiene and overzealous bouncers. His simpler, traditional flow is easy to digest even at the higher speeds of "Get Back" with Rhino, an important element for any MC intent on saying something on every song. And he's not skimping on the music either, backed by big beats, throwback grooves, glitchy production, live musicians, and even the Herbaliser. Brunch is served.
Thomas Quinlan
10. Method Man, Ghostface Killah and Raekwon Wu-Massacre (Def Jam)
There's nothing super original on Wu-Massacre, just more of that Wu shit. In an era where rappers are either hipsters with too many feelings or cartoon gangsters who can't go to the grocery store without leaving a trail of bodies in their wake, some classic Wu-Tang street verité is a welcome change. Don't get it twisted. Meth, Ghost and Rae are all still raw street cats who aren't afraid to do some damage, but they're smart enough to keep the level of menace real and understated. The beats are also a welcome throwback. Almost every song on the album is built around a meaty chunk of classic soul. For hip-hop heads of a certain age, Wu-Massacre might have come along to remind them why they fell in love with the genre in the first place.
Chris Dart
2. Shad
3. The Roots
4. Black Milk
5. Curren$y
6. D-Sisive
7. Rick Ross
8. Roc Marciano
9. More or Les
10. Method Man, Ghostface Killah and Raekwon
1. Big Boi Sir Lucious Left Foot: The Son of Chico Dusty (Def Jam)
If it's conceivable for an artist to own five Grammys, sell more than 25 million records and still be underrated, then that man's name is Antwan Patton. Sir Lucious Left Foot finally killed any notion that OutKast's Big Boi and Andre 3000 are not creative equals. Different, yes, but equal. Perhaps it was a disguised blessing that Jive refused to clear Dre's guest verses for Left Foot's final cut (Dre does, however, produce the belligerently funky "You Ain't No DJ," Yelawolf's coming-out party). So overshadowed has Daddy Fat Sax been by his more flamboyant foil, the casual rap listener might get sucker-punched by this big, beautiful bully of a record. Those who'd been paying attention to Big Boi's recent teases ("Kryptonite," "Royal Flush") get their faith affirmed, over Organized Noize's bass-y, spacey layers of sound. This is Plainfield funk by way of Georgia by way of Jupiter. Big Boi began recording Sir Lucious back in 2007, and the care he took in assembling its players, his words and, hell, even the goofy skits shows. The 35-year-old producer-rapper refuses to rest on past success (although the "Hootie hoo!" shout on "Tangerine" is a sly wink to '94), instead warping his flows into the future, fire-wiring soul into computers, and delivering one of the year's most complete experiences, from the apocalyptic bombast of "General Patton" to the hustler grin of "Shine Blockas" (featuring Gucci Mane). "Follow Us," with its hypnotic 808s by Salaam Remi and glam-rock-tinged hook by Vonnegutt, is as poignant as it is fun: "If you sell dope, nigga, stack it when you get it / Can't trick it or spend it until it's gone / That's slippery business, holmes / Go get you a business loan," advises Big Boi, a man with an eye on the trap, a foot on the dance floor, but a mind on the whole world.
Luke Fox
2. Shad TSOL (Black Box)
Whether relating the history of his given name and his family on "A Good Name" or breaking down break-ups on "Telephone," Shadrach Kabango is the rare MC who conveys wisdom without being preachy. More than anything, he's versatile, able to seamlessly switch from fierce, hilarious battle raps on "Yaa I Get It" to heartfelt reflection over the contemplative piano and guitars of "At The Same Time" without seeming contradictory. Shad's candour and conviction shine through every bar of this album. Impeccably produced and expertly written, TSOL points toward a bright future for Canadian rap.
Aaron Matthews
3. The Roots How I Got Over (Def Jam)
One of the best hip-hop records of 2010, the Roots' latest opus is truth in advertising. A masterful blending of mainstream cred (albeit via a crappy late night talk show) and the illadelph sensibilities the group is known for, How I Got Over is their best album this side of the new millennium. "Dear God 2.0" stands defiant, the introspective "The Fire" demands interpretation and best drum break of the year easily goes to "Doin' It Again." At a lean 42 minutes, the album is taut testament of how to overcome in this crazy FUBAR'ed world.
Ryan B. Patrick
4. Black Milk Album of the Year (Fat Beats)
It might seem a bold claim but Album of the Year isn't necessarily a titular brag by Black Milk ― it represents a year of the Detroit rapper/producer's life when death and disease were afflicting close friends and family. But instead of innervisions and mourning, AOTY is more like an exercise in joyful catharsis. While he'll still be a better beat maker than rapper to many, Black Milk's flow and content show significant improvement and his production has an invigorating, sophisticated, psych-rock edge to it. Don't fret ― the neo-soul funk sound of the D is still there, Black Milk's just working it out.
Anupa Mistry
5. Curren$y Pilot Talk (BluRoc)
After brief stints on Master P's No Limit Records and Weezy's Young Money Entertainment, New Orleans native Curren$y (nee Shante Anthony Franklin) bounced from the label in 2007 to do things his way, and it couldn't have worked out better for him. Linking up with Dame Dash's DD172/Creative Control collective and the best producer in the '90s you may never have heard of, Ski Beatz (Jay Z, Camp Lo), Curren$y brings a smooth, weeded out lyrical flow that meshes perfectly with the funk, blaxploitation guitars and crisp drums that Ski cooks up. Best enjoyed with the strain of your choice, Pilot Talk is truly a refreshing listen.
Mark Bozzer
6. D-Sisive Vaudeville (Urbnet)
D-Sisive mines the melancholic territory of his recent output with personal, honest introspection and believable, touching second and third person narratives while mixing it up with the scathing battle raps and braggadocio of his early Eat the Beat days. The pop culture references come fast and furious, rewarding research and repeat listens. Production collaborator Fresh Kils brings banging beats, morose melodies and warped children's tunes to the table with live instruments, Moog and weird sample selections. Vaudeville may be experimental and nerdy, but it still appeals to the average hip-hop head.
Thomas Quinlan
7. Rick Ross Teflon Don (Def Jam)
Just like the kings of the underworld that Rick Ross fashions himself after ― who invest their money in an all-star legal team to ensure they always come out on top ― the boss wisely invests his cash into a production team which includes J.U.S.T.I.C.E. League, Lex Lugar, No ID and Kanye West, whose backing sound accentuates and elevates Ross's cadence. While Ross has aligned himself with many industry heavyweights who make guest appearances on Teflon Don, the album is highlighted by a big improvement in the big boss's lyrical composition, which has come a long way in a short time.
Neil Acharya
8. Roc Marciano Marcberg (Fat Beats)
Long Island-bred underground vet Roc Marciano cut his teeth in the '90s New York scene and other than putting in some well-respected work with Pete Rock and the U.N. and some notable collabos (GZA, Busta Rhymes), Marciano has stayed buried deep in the underground until this year, when he released his debut Marcberg, a standout piece of gritty vintage NYC hip-hop. Entirely self-produced, Roc spits first-hand war reports from the frontlines over his own simple, paranoid production on tracks like the head-nod inducing "It's A Crime" which sounds like it could have easily been crafted by either Preemo or Muggs. Lace up your Timbs and zip up the Triple Fat Goose. It's cold outside and it's time to stand on the corner with Roc.
Mark Bozzer
9. More or Les Brunch With a Vengeance (Villain Worship)
Scarborough rapper/producer More Or Les applies his nerdy humour and witty wordplay to a selection of songs about things people hate, making light of subjects as diverse as dirty bathrooms, shoddy tech guys, poor public hygiene and overzealous bouncers. His simpler, traditional flow is easy to digest even at the higher speeds of "Get Back" with Rhino, an important element for any MC intent on saying something on every song. And he's not skimping on the music either, backed by big beats, throwback grooves, glitchy production, live musicians, and even the Herbaliser. Brunch is served.
Thomas Quinlan
10. Method Man, Ghostface Killah and Raekwon Wu-Massacre (Def Jam)
There's nothing super original on Wu-Massacre, just more of that Wu shit. In an era where rappers are either hipsters with too many feelings or cartoon gangsters who can't go to the grocery store without leaving a trail of bodies in their wake, some classic Wu-Tang street verité is a welcome change. Don't get it twisted. Meth, Ghost and Rae are all still raw street cats who aren't afraid to do some damage, but they're smart enough to keep the level of menace real and understated. The beats are also a welcome throwback. Almost every song on the album is built around a meaty chunk of classic soul. For hip-hop heads of a certain age, Wu-Massacre might have come along to remind them why they fell in love with the genre in the first place.
Chris Dart
