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Chrizz's Top 50 Hip Hop Albums Of The Decade

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  • #61
    ^ The production is great

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    • #62
      So many more incredible albums, we have similar tastes
      Turn up the system!

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      • #63

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        • #64
          I'll get the top 10 up asap, it's Old Firm weekend so it's naturally turning into a bit of a sesh & not much free time. Mon the Gers.

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          • #65
            lol I'm a Kilmarnock fan but I hope you's win

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            • #66
              I bet Chrizz is blitzed right now, what a game that was today. Vintage old Firm, loads of great feisty tackles and a great finish.

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              • #67
                Mon the Gers Mon the Gers Mon the Gers

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                • #68
                  Apologies for the wait, it's been a long weekend! Without any fucking about, here's my top ten.


                  10. Nas - Stillmatic [2001; Columbia]


                  It's amazing what a beef can do. Before the infamous Nas-Jay-Z beef Nas sounded like a broken record, releasing a string of mediocre albums and the Illmatic spark seems to be fully out. It could have been the final nail in Nas' coffin, but instead Nas revelled in it and produced some of his best work since the seminal Illmatic LP. The spirit was back in Nas, he had to prove something and he did. Stillmatic contains some of Nas finest lyrical moments, particularly the unheard of Rewind where Nas tells a grizzly assisination story backwards. He sounds confident and hungry, ready to retaliate against a scene which had all but turned its back on him. As a general rule of thumb I don't think diss tracks fit on albums, but Stillmatic is the exception, it's evidence of the frustration and anger that had been missing from the last few years of Nas' career. It's hard to remember now that this could have been Nas' do-or-die album, and like the sign of a great rapper, he flourished when the odds may have been stacked against him and responded with some of the freshest lyrical material full of his typical merciful ghetto stories described in a way that only Nas can.
                  Listen to: Rewind, One Mic, 2nd Childhood, The Flyest


                  9. Viktor Vaughn - Vaudeville Villain [2003; Sound Ink]


                  The master of icognitio MF DOOM turned into Viktor Vaughn for a dense collection of amorphous city stories. It's a collection of stories, not necessarily told in a linear of chronological fashion, with the anti-hero Viktor Vaughn taking us every step of the way. Vik walks us through his persona as a girl-chasing drug-dealing stick-up-kid sociopath with stories where every detail of dialogue is told to us turning Viktor Vaughn into the starring role of a movie. The raps are delivered charismatically in DOOM-typical manner, stumbling over the beats and injecting humour into the most bizarre and threatening situations. A story of survival in a sinister world which could only be told by MF DOOM, constantly testing his ingenuity to create new landscapes unheard of in hip hop and cementing himself as the number one avant-garde rapper.
                  Listen to: The Drop, Lactose And Lecithin, Let Me Watch, Modern Day Mugging


                  8. Kanye West - Late Registration [2005; Roc-A-Fella]


                  Late Registration proved that The College Dropout was not a fluke as Kanye released a notoriously difficult sophomore album. Everything that was great about The College Dropout seemed most pristine and polished, much of which could be attributed to Jon Brion who Kanye hired as co-producer taking Kanye's music to that next level. There's something about Kanye West's delivery that is naturally so spot on, you're smiling with him at the obvious similes and feeling his pain on the slower, emotional tracks. He's not a wordsmith in the general sense, not the type of MC that will go toe to toe with rivals; but there's a lyrical prowess that Kanye has that speaks to people. It's personal, relatable - never pretentious or condescending. He does sound a better rapper on the album too, he sounds more comfortable on this more musical landscape really proving himself against those that may have labelled him as gimmicky on The College Dropout. It's like a good book, when it comes to the end you don't want it to finish but when it does there's a warmth and satisfaction that made it all worth it.
                  Listen to: Drive Slow, Roses, Celebration, Gone


                  7. Clipse - Hell Hath No Fury [2006; Arista]


                  Clipse' highly anticipated follow up to Lord Willin' was part of a long, well-documented battle with their label Jive Records. It's reflected in their rhymes, and shows Malice and Pusha in a much darker light then their previous album. It seems that it was worth the wait, and worth the battle. They shine in the cloudier environment, with frustrated rhymes discussing the hip hop scene and label politics. The Neptunes production is once again spot on, the beats murkier than their previous effort but really emphasise the mood of the album. They haven't lost any of their brash confidence, it's now just chanelled in a different direction, and while the grinding references are still aplenty, the topics they touch on are more diverse and let's the duo spread their wings and appeal to a crossover market that was perhaps unthought of before. It's a synth nightmare of an album, full of cold-blooded rhymes, combining together to make an electromagnetic masterpiece. Tongue-twisting and quick-witted as ever, but with another added dimension, this will surely go down as Clipse' seminal LP.
                  Listen to: Momma I'm So Sorry, Mr. Me Too, Hello New World, Trill


                  6. Jay-Z - The Black Album [2003; Roc-A-Fella]


                  Initially billed as Jigga's farewell album, it was bound to hold some amount of significance. Inevitably, the retirement wasn't to be but it doesn't take away from some of Jay-Z's most lyrical work. It plays through almost autobiographically, documenting career highs, defining his style and full of typical, but thoroughly justifiable Jay-Z braggadocio. The Black Album is the celebration party in Jay-Z's journey from hip-hop everyman to international superstar. As introspective as he can be, but still with that confident nonchalance that attracted people's ears in the late '90s. It's his grown-man album, a mature Jay-Z who has aged as gracefully as any other rapper in history. His rhyme skills are undeniable: catchy but not watered down, well thought out but not undecipherable. What would have been a monumentous goodbye is now a highlight of a legendary catalogue, a collection of his favourite producers with that added Jay-Z magic.
                  Listen to: Threat, Moment Of Clarity, 99 Problems, My 1st Song


                  5. Jay-Z - The Blueprint [2001; Roc-A-Fella]


                  It took Jay-Z until 2001 to get the balance correct: the balance between street and girls, between bragging and modesty, between wack beats and hot beats. And by god, did he get the balance correct. The Blueprint not so much snatched the King Of New York crown, but gave it residence for the forseeable future. It's not an album that's going to give you mind twisting metaphors, or push the boundaries in production - but that's not to say it's middle of the road rap. It's just so spot on. The production is smooth and clear, using some of the industries best producers and flipping soul samples to echo everything Jay-z raps. It's an album you stick on whenever, from back to front it showcases Jay-Z as the best MC to enter the 2000s, as he bounces over the beats in a slickly profound way that became the most recognised flow in rap. The way he discards his foes is not a hollow dismissal, it's done with a confidence that he knows he can't be touched in terms of lyrically, popularity, sales or appeal. The Blueprint is Jay-Z at the top of his game, a step ahead of his peers and quite rightfully "running this rap shit".
                  Listen to: Takeover, You Don't Know, Heart Of The City, Song Cry


                  4. Ghostface Killah - Supreme Clientele [2000; Sony]


                  Supreme Clientele was arguably the first of many Ghostface Killah events that would singlehandedly keep interest in the Wu-tang Clan alive. After a string of dissapointing sophomore Wu LP's it was up to Ghostface to raise the bar again with a spectacular effort that established a new highly appealing Ghostface style. The way in which Ghostface delivers his lyrics in unparalleled in rap, it's the distinctive nasally tone that just sounds so commanding, he twists his way over the tracks in a way that only he can. His vivid storytelling is mixed with a confounding spontaneity that would is now a world-known trademark Ghostface Killah style. The production is handled outwith The RZA's control (he only produces three tracks) and this perhaps helps Ghostface to spread his wings in a way that he hadn't done before. Although the mood stays stictly Wu with help from all of the Clan's appearance on vocals. The true star, as has been with previous Wu efforts, was always going to be Ghostface. His ruggedness was unquestionable, his slight weirdness attracted new fans and his verbal dexterity gave Wu fans just another reason to love him.
                  Listen to: Nutmeg, One, Ghost Deini, Child's Play


                  3. Eminem - The Marshall Mathers LP [2000; Aftermath]


                  The Marshall Mathers LP demands your attention from the word go. It's a long, twisted album full of dark-thoughts told in a way that will raise eyebrows and give the middle-class something to complain about. Rap controversy reached new heights, The Marshall Mathers LP made Straight Outta Compton look tame with some of it's topics - murdering girlfriends and raping moms placed in between graphic violence, homophobia and drug abuse. However, it's not being controversial for controversy sake. Eminem displays his ridiculous talent for writing, it's the words of a confused, frustrated artists struggling to adjust to the grand levels of fame found through The Slim Shady LP. This is a more personal album that its predecessor, a dark journey into the inner thoughts of a tortured genius. He doesn't sound like he's waiting for a reaction, it's seems more as though he's got a lot to get off his chest and channels his most depraved secrets and fantasies into fast hard-hitting rap narratives that still show the skill from when he was unsigned and hungry. Perhaps the most important rap album of the decade, it also ironically cemented Eminem as one of the most recognised men of the decade and divided rap fans across the world. A stunning sophomore album that gave rap a new crossover appeal through his socially satirical, graphic lyrics.
                  Listen to: Stan, The Way I Am, Marshall Mathers, Kim


                  2. Cannibal Ox - The Cold Vein [2001; Definitive Jux]


                  It's hard to believe that The Cold Vein is almost ten years old. It's evidence to the albums testament that it doesn't sounds aged; infact quite the opposite. It's almost as futuristic as listening to it for the first time, a sound that hasn't been replicated, perhaps because of the difficulty in making a carbon-coby. The beats, conducted mainly by Def Jux head honcho El-P are dark and industrial, the sound of a rise of the machines in a not too distant future. The beats are surrounded by hypnotic pounding drums inbetween the electronic flashes, groaning samples and grinding synths. Vast Aire and Vordul may not be complete MC's in the Jay-Z/Nas sense, but their originality is what seperates them from the crowd. They paint pictures of poverty-stricken city life, but it's not just a doomsday pictures as their are beautiful senses of romanticism throughout. They'll go off on tangents that adds to the spontaneity and authenticity, this isn't a polished and pristine masterpeice but one where you admire the flaws as they add to the unconventional and uncompromising profile that The Cold Vein creates. A powerful listen that gets more rewarding with every replay.
                  Listen to: Atom, A B-Boys Alpha, Raspberry Fields, The F-Word


                  1. Dizzee Rascal - Boy In Da Corner [2003; XL]


                  Boy In Da Corner is as important to London as Nas' Illmatic is to New York. It was the pinnacle of the sounds of a time record, and now it transcends settings and can fit in the category of timeless. It can be a difficult listen for some hip hop aficionado's, Dizzee borrows heavily from the London grime scene that blended the lyrics of US hip hop with UK Garage beats and basslines. This adds to the appeal of the record, it's a hip hop album that had not been attempted before, that sounds unlike all of its predecessors. The production consists of sonic basslines that shake your insides; it's claustrophobic and unconventional, like the sound of any musical revolution is. The beats take you to the darkest rooms of the highest flats in London's estates, home of the pirate radio stations, drugs, violence and ill-advised teenagers. If you find the soundscape unsettling you're not alone, it is the personification of misguided youth finding refuge in loud abrasive drums and bass. It gives Dizzee Rascal the canvas to paint the ills of his society and personality. His delivery is fast and threatening, but there is that element of doubt and humanity that makes the MC so likeable. His commentary focuses on issues in London estates - the impending threat of violence, shallow tales of misguided love, the pace of illegal raves. You don't know whether you'd cross the road if you saw our narrator or if he'd be as welcoming as he is in his raps. He might flash a smile one minute after his typical cheeky wit, but the next the anger of being in a poverty-ridden urban jungle has him on his knees. It's an honest, eye-opening, boundary pushing record that gets better with every listen. You start judging Dizzee Rascal by his almost childlike moniker and rudeboy accent, you leave with the knowledge of a personal struggle in a dangerous environment and the inner thoughts of one of Britain's great MC's.
                  Listen to: Sittin Here, Stop Dat, I Luv U, Jus A Rascal
                  Last edited by Chrizz; 03-04-2010, 05:02 AM.

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                  • #69
                    Originally posted by Killie View Post
                    I bet Chrizz is blitzed right now, what a game that was today. Vintage old Firm, loads of great feisty tackles and a great finish.
                    Aye was pretty blitzed the whole weekend thanks to Maurice Edu!

                    I'll try and upload some albums during the week troops. WPG - The Streets, Luis - Mr. Lif, get on these asap.

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                    • #70
                      Glad to see a british album rockin the top spot
                      Turn up the system!

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                      • #71
                        Vaudeville Villain & Can Ox

                        Awesome list. I need to listen to Boy In Tha Corner again, it's been years :S

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                        • #72
                          I like your top 3. Well placed, with great representation from a breakthough UK album (Dizzee) Mainstream (Eminem) and Underground (Can Ox). Although, I would have given Can Ox the top spot. That album is just sick.
                          LISTEN TO AND DOWNLOAD MY NEW EP ENTITLED "ĘP" at http://composed.bandcamp.com/ FOR FREE!

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                          • #73
                            Sorry, top 10 list suxed...stillmatic ok, can ox ok, eminem ok, but dizze and kayne not
                            Originally posted by no good27
                            I'm starting to think that X-Plosiv may be god incarnated.
                            Originally posted by MEADOWS_KILLAS
                            Post one more negative thing towards me and ill impregnate every fucking lizzard you have.

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