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Clipse - Hell Hath No Fury
Re-Up Gang/Zomba (2006) Hell hath no fury like a rap duo scorned. After legal disputes and contractual issues with Jive Records continued to push back the debut of this album, the eventual release of the Clipse's sophomore effort was worth the wait. Fury received the prestigious "XXL" rating from XXL magazine, an honor only six records have received in the "zine's" history. Yet there are few other guest artists outside of the Clipse's inner circle that make appearances - Malice and Pusha T pulled it off virtually alone.
The album, produced entirely by Pharrell Williams, fuses creative drum patterns with strong drug content resulting in a stark contrast that somehow fits perfectly. Tracks such as "Nightmares" and "Keys Open Doors" set Clipse apart from other rappers who tend to focus on a life laced with drugs, money and violence by presenting the same content uniquely. For inventive instrumentals and hooks, along with distinctive chemistry between the duo, Clipse has reserved its spot among greatness in the hip-hop genre.
- Courtney Cox 50 Cent - Get Rich or Die Tryin'
Interscope (2003) Curtis Jackson was offered up to the world as a flawless machine, a maniacal lab experiment Eminem and Dr. Dre created in cold blood with hardcore, staccato rhymes, more male bravado than John Wayne and across the board credibility. He got shot nine times, remember?
"If you get shot and run to the cops - you not like me," he boastfully scorned. Haters are quick to point out that Dre's bangers were so top notch any clown could make said beats into hits. Whatever, 50 came raw and hungry, single-handedly ending Ja Rule's career in three minutes.
During Spike Lee's recent on-campus speech, he called 50's "get rich or die trying" mentality "genocide." While the self-preserving, selfish motives of many a prominent black star, from 50 to Michael Jordan, are short-sighted and often detract from the progress of blacks in U.S. society, you can't tell me "If I Can't" isn't the most gangsta shit ever. Peter Piper picked peppers, 50 Cent popped nines.
- Ramon Ramirez Dead Prez - Lets Get Free
Relativity (2000) Raise your hand if you've ever heard "Hip-Hop" by Dead Prez. For many of you who don't have your hands raised, "Hip-Hop" is the name of that rap song you like but didn't (until now) know the name of. And to the rest, I say what Dead Prez would: Forget y'all.
Free remains to this day the greatest achievement of the alternative hip-hop genre. Combining N.W.A.'s confrontational tone and Public Enemy's beats, they spit some incredibly militant, deeply socially conscious raps. Or hate. Either way, the anger, authenticity and incredible natural ability combined to return angry rap to its political roots, which is, quite clearly, exactly where it belongs.
- Cass 'Money' Luskin Common - Be
Geffen (2005) Be focuses on quality rather than quantity, with 11 solid tracks of lyrical dexterity and sound production from Kanye West and the late J Dilla. With a diverse group of guest artists ranging from John Mayer to The Last Poets, Common's comeback provides the prototype of a contemporary musical hip-hop release. With songs such as street poet narrative "The Corner," the John Legend-collaborating "They Don't Know" and Kanye West's tastefully peppered-in vocals, Common recovers from the perceived failure of Electric Circus, Be's ambitious but hit-and-miss predecessor. The soulful samples, blended with the philosophical words of Common, make Be one of the top albums in recent history.
- CC Paul Wall and Chamillionaire - Get Ya Mind Correct
Paid in Full (2002) Get Your Mind Correct marked the resurrection of Houston hip-hop and mainstream notoriety for the "screwed and chopped" capital of the world. With this effort, a dynamic duo burst on the scene serving up Southern-fried soul and lyrical bravado, bypassing regional and cultural lines across the country. With more than 100,000 units shipped, and no backing from a major label, these two lyricists proved that there was more to the South than just crunk, all the while introducing the world to syrup-sipping, paint-dripping and candy-coated slabs. This work of art did not just provide beats and rhymes, but created an identity for Texas rap, while painting a portrait of Southern culture. Its impact forged a new direction in music, and because of that, it can only be deemed a classic.
- Kevin Jack
Coming tomorrow: Albums 15 - 11
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