"And You Don't Stop" - Hip-Hop Listening/Learning Thread!

[Neo]

"I don't know how to start this shit" - Nas (Illmatic, 1994)

Welcome to the Hip-Hop listening/learning thread! In this thread, I'll be posting albums weekly for y'all to listen to and post your thoughts on. The goal of this thread to primarily, expose Reborn to an art form that many of its users ignore. In this thread I encourage you to post your thoughts on the album, perhaps provide on if the album is substantial to you in anyway, and just enjoy the music. Feel free to ask questions at any time, and I'm sure myself or any of the other heads around here (Jericho, Jelly, Simon) will be able to answer them for you.

Origin of Hip-Hop:

In the 1970s, an underground urban movement known as "Hip Hop" began to develop in the South Bronx in New York City. It focused on emceeing (or MCing), breakbeats, and house parties. Jamaican-born DJ Clive "Kool Herc" Campbell was highly influential in the pioneering stage of hip hop music. Beginning at Kool Herc's home in a high-rise apartment at 1520 Sedgwick Avenue, the movement later spread across the entire borough.Herc created the blueprint for hip hop music and culture by building upon the Jamaican tradition of impromptu toasting, boastful poetry and speech over music. (Courtesy of wikipedia)

Other Hip-hop discussion threads:

Ghetto Gospel - Language in Hip-hop

THE G.O.A.T. - The Greatest Rappers of All Time

Without any further ado, let's get this shit goin'. Let's dive straight into the dungeons of rap.

[Neo]

Placeholder to hold each week's album:

Week 1:

Nas - Illmatic

Week 2:

Lauryn Hill - The Miseducation of Lauryn Hill

Week 3:

Snoop Dogg - Doggystyle

Week 4:

Jay-Z - Reasonable Doubt

song timestamps in top comment

Week 5:

Cam'ron - Purple Haze

[Neo]

Week 1:

Nas - Illmatic

Description:

Often cited as one of the best hip-hop albums of the '90s, Illmatic is the undisputed classic upon which Nas' reputation rests. It helped spearhead the artistic renaissance of New York hip-hop in the post-Chronic era, leading a return to street aesthetics. Yet even if Illmatic marks the beginning of a shift away from Native Tongues-inspired alternative rap, it's strongly rooted in that sensibility. For one, Nas employs some of the most sophisticated jazz-rap producers around: Q-Tip, Pete Rock, DJ Premier, and Large Professor, who underpin their intricate loops with appropriately tough beats. But more importantly, Nas takes his place as one of hip-hop's greatest street poets -- his rhymes are highly literate, his raps superbly fluid regardless of the size of his vocabulary. He's able to evoke the bleak reality of ghetto life without losing hope or forgetting the good times, which become all the more precious when any day could be your last. As a narrator, he doesn't get too caught up in the darker side of life -- he's simply describing what he sees in the world around him, and trying to live it up while he can. He's thoughtful but ambitious, announcing on "N.Y. State of Mind" that "I never sleep, 'cause sleep is the cousin of death," and that he's "out for dead presidents to represent me" on "The World Is Yours." Elsewhere, he flexes his storytelling muscles on the classic cuts "Life's a Bitch" and "One Love," the latter a detailed report to a close friend in prison about how allegiances within their group have shifted. Hip-hop fans accustomed to 73-minute opuses sometimes complain about Illmatic's brevity, but even if it leaves you wanting more, it's also one of the few '90s rap albums with absolutely no wasted space. Illmatic reveals a great lyricist in top form meeting great production, and it remains a perennial favorite among serious hip-hop fans. - Allmusic

Lyrics:

http://genius.com/albums/Nas/Illmatic

Do take some of Genius' interpretation with a grain of salt. They're known for overanalysing

In my mind, there is no better album to start this with. Illmatic is heralded by many to be the best Hip-Hop album ever. This album is only 39 minutes in runtime, so it's a very short listen by many standards, but in that 39 minutes is some of the best lyricism and storytelling in the history of the genre. I'll be posting my thoughts and feelings on the album soon, but for now I'll allow Nas to speak for himself.

[Sheep]

I figure I'll spread listening to these out across the week, and I don't have the appropriate terminology to put what exactly I like about a song into words but I listened to the first few and thought New York State of Mind was amazing.

[Simon]

Ahhh, kicking it off with the arguably the greatest Rap Album of all time :]

Life's a Bitch still my fav song on there due to how A.Z. kept up and even had a better verse than Nas himself.

[Jelly]

imho nas paved the way for a ton of rappers today. vic mensa, kendrick, action bronson, j cole, and killer mike all draw influence from nas and illmatic. a lot of rappers that were around before nas have a pre- and post-illmatic style. ive heard it's most apparent with jay z but i havent cared enough to compare his older stuff to his old stuff lmao

damn do i love nasty nas

[TRHStatement]

I'm going to like this thread!

But anyways, no doubt this is a top 10 hip-hop album of all time.

My favorite song though is One Love. Next to NY State of Mind, this is one of the best storytelling on the album.

[Raindrop Valkyrie]

You know, the longer I listening, the more I realized that... maybe I haven't been able to find an appreciation for this type of music, because I don't understand it. Well I shouldn't say it that way, I've always appreciated the genre and this type of music as I do with all forms of art, but, I could never really get into it. I think the reason being that it's hard for me to relate to in some ways. Not knowing a lot of the terminology being used or... really... even truly understanding what life is like outside of the things I've seen. I wonder if this is what causes me to not instantly connect to it like other music I've listened too, moreso than not liking it. Because maybe the reason it's "never been my thing" is it feels like it's not for me. I dunno, it's maybe a silly thing to say, but... I think the only reason I've never really given Rap or Hip Hop a real swing isn't because it's not something I like, but because it's not something I truly UNDERSTAND. I think that's probably the most important thing. That lack of understanding however... it makes me want to understand. To understand what all of these songs mean, what the lyrics truly mean... to understand something beyond the scope of the world I've personally seen. Maybe it's just who I am, but... I always want to be able to understand others and why they love something.

I realized this since a lot of the songs I didn't really connect with like I did others, however, there was one in particular that while I didn't understand every little thing, I understood enough to feel that connection I usually get. And... it made me really wonder if It's really me not liking this genre... or me just not fully understanding. I felt the partial understanding ebb in when "Life's a Bitch" started... and I felt it ebb away as I listened to more. I missed the connection I was feeling the at least partial grasp I had at understanding. I think this is the key to why I've... never given this genre a chance before. Because, It's just got connected to me yet, I've not been able to find my way to being able to fully understand and enjoy it for what it is. and for one Song there... I at least partially felt it. I felt that love I have for the music I relate to hit me. And as it was gone, I sat there for the rest of the time... just wishing that hopefully it'd hit me again. But, I wasn't disappointed that it didn't. I was happy that I connected to something I wasn't really ever sure I could... something that always felt like it would just never be for me in any capacity. That what I definitely find pretty fascinating. So, I'm definitely glad I took the time to listen. That feeling was... a very cool one to have. Thanks for sharing. I think I'll definitely give this thread... a lot more shots in the future.

[Neo]

WEEK 2:

Lauryn Hill - The Miseducation of Lauryn Hill

Description:

Though the Fugees had been wildly successful, and Lauryn Hill had been widely recognized as a key to their popularity, few were prepared for her stunning debut. The social heart of the group and its most talented performer, she tailored The Miseducation of Lauryn Hill not as a crossover record but as a collection of overtly personal and political statements; nevertheless, it rocketed to the top of the album charts and made her a superstar. Also, and most importantly, it introduced to the wider pop world an astonishingly broad talent. Hill's verses were intelligent and hardcore, with the talent to rank up there with Method Man. And for the choruses she could move from tough to smooth in a flash, with a vocal prowess that allowed her to be her own chanteuse (à la Mariah Carey). Hill, of Haitian heritage, rhymed in a tough Caribbean patois on the opener, "Lost Ones," wasting little time to excoriate her former bandmates and/or record-label executives for caving in to commercial success. She used a feature for Carlos Santana ("To Zion") to explain how her child comes before her career and found a hit single with "Doo Wop (That Thing)," an intelligent dissection of the sex game that saw it from both angles. "Superstar" took to task musicians with more emphasis on the bottom line than making great music (perhaps another Fugees nod), while her collaborations with a pair of sympathetic R&B superstars (D'Angelo and Mary J. Blige) also paid major dividends. And if her performing talents, vocal range, and songwriting smarts weren't enough, Hill also produced much of the record, ranging from stun-gun hip-hop to smoother R&B with little trouble. Though it certainly didn't sound like a crossover record, The Miseducation of Lauryn Hill affected so many widely varying audiences that it's no surprise the record became a commercial hit as well as a musical epoch-maker.

Lyrics:

http://genius.com/albums/Lauryn-hill/The-miseducation-of-lauryn-hill

One of my favorite albums ever. Period. Lauryn is an excellent MC all-around, and to many has a place in the GOAT conversation for this album and her work with the Fugees. This album is an absolute staple in the genre, and gained Lauryn respect amongst other rappers as one of Hip-Hop's finest. Thematically, the album is a departure from Illmatic, which is why it was chosen to display a completely different spectrum of Hip-Hop AND to give exposure to, one of, if not the greatest woman in Hip-Hop.

(All the albums are in the bookeeping post for the sake of reducing lag)

[Neo]

JUNE IS AFRICAN-AMERICAN MUSIC APPRECIATION MONTH!

http://pitchfork.com/news/65894-president-obama-declares-june-2016-african-american-music-appreciation-month/

Just in case y'all ain't know. This month is mad important, because it helps recognize the very foundation of music in this country. Y'all can celebrate by listenin' to Jazz, Soul, Funk, or maybe I dunno, Hip-hop.

I'll be posting a nice little mix in celebration of this month pretty soon.

[TRHStatement]

Listening to this album was a first for me. I really enjoyed how personal and deep the album was. Her lyrics about her life experiences with love, career and her family were all well executed. Her singing is really good too. She really was the first to open up the genre to the mainstream world without flaunting her feminine charms, but sharing her stories of childhood and heartbreak. Top 3 songs for me would have to be To Zion, Final Hour & Lost Ones. I also think the title track was a nice way to close out the album.

Regarding her impact on mainstream hip-hop, you really would'nt be able to tell by listening to the album alone until you did some slight research. She was nominated for 10 grammys and won 5 of them and this album remained on the Billboard 200 for a record long 80 weeks (Adele would go and break this following her debut album 21). Even though I will never understand the true impact Ms. Hill had on hip-hop within itself, but she did have "that thing," and it shined oh, so brightly.

[Neo]

Listening to this album was a first for me. I really enjoyed how personal and deep the album was. Her lyrics about her life experiences with love, career and her family were all well executed. Her singing is really good too. She really was the first to open up the genre to the mainstream world without flaunting her feminine charms, but sharing her stories of childhood and heartbreak. Top 3 songs for me would have to be To Zion, Final Hour & Lost Ones. I also think the title track was a nice way to close out the album.

Regarding her impact on mainstream hip-hop, you really would'nt be able to tell by listening to the album alone until you did some slight research. She was nominated for 10 grammys and won 5 of them and this album remained on the Billboard 200 for a record long 80 weeks (Adele would go and break this following her debut album 21). Even though I will never understand the true impact Ms. Hill had on hip-hop within itself, but she did have "that thing," and it shined oh, so brightly.

I'm really glad that you liked the album, fam. Lauryn's impact can be felt, less so musically, and more culturally as you'll have rappers calling back to her and this album constantly. She's an all-time great that's recognized as one by other all-time greats.

[Neo]

WEEK 3:

SNOOP DOGG - DOGGYSTYLE

TW: murder, misogyny, sex

Description:

If Snoop Dogg's debut, Doggystyle, doesn't seem like a debut, it's because in many ways it's not. Snoop had already debuted as a featured rapper on Dr. Dre's 1992 album, The Chronic, rapping on half of the 16 tracks, including all the hit singles, so it wasn't like he was an unknown force when Doggystyle was released in late 1993. If anything, he was the biggest star in hip-hop, with legions of fans anxiously awaiting new material, and they were the ones who snapped up the album, making it the first debut album to enter the Billboard charts at number one. It wasn't like they were buying an unknown quantity. They knew that the album would essentially be the de facto sequel to The Chronic, providing another round of P-Funk-inspired grooves and languid gangsta and ganja tales, just like Dre's album. Which is exactly what Doggystyle is -- a continuation of The Chronic, with the same production, same aesthetic and themes, and same reliance on guest rappers. The miracle is, it's as good as that record. There are two keys to its success, one belonging to Dre, the other to Snoop. Dre realized that it wasn't time to push the limits of G-funk, and instead decided to deepen it musically, creating easy-rolling productions that have more layers than they appear. They're laid-back funky, continuing to resonate after many listens, but their greatest strength is that they never overshadow the laconic drawl of Snoop, who confirms that he's one of hip-hop's greatest vocal stylists with this record. Other gangsta rappers were all about aggression and anger -- even Dre, as a rapper, is as blunt as a thug -- but Snoop takes his time, playing with the flow of his words, giving his rhymes a nearly melodic eloquence. Compare his delivery to many guest rappers here: Nate Dogg, Kurupt, and Dat Nigga Daz are all good rappers, but they're good in a conventional sense, where Snoop is something special, with unpredictable turns of phrase, evocative imagery, and a distinctive, addictive flow. If Doggystyle doesn't surprise or offer anything that wasn't already on The Chronic, it nevertheless is the best showcase for Snoop's prodigious talents, not just because he's given the room to run wild, but because he knows what to do with that freedom and Dre presents it all with imagination and a narrative thrust. If it doesn't have the shock of the new, the way that The Chronic did, so be it: Over the years, the pervasive influence of that record and its countless ripoffs has dulled its innovations, so it doesn't have the shock of the new either. Now, Doggystyle and The Chronic stand proudly together as the twin pinnacles of West Coast G-funk hip-hop of the early '90s. -allmusic

Lyrics:

http://genius.com/albums/Snoop-dogg/Doggystyle

Doggystyle is, in my opinion, the greatest album to come out of the West Coast scene edging out The Chronic 2001, Straight Outta Compton, AND Death Certificate for this title. The last two posts were legendary East Coast albums, so I decided to switch it up. Snoop Dogg, 19 at the time, lays down an excellent performance backed by production from another legend Dr. Dre. This album and many of its songs have become the definition of G-Funk and West Coast Hip-Hop. You've more than likely heard the song "Gin & Juice" before, you've more than likely heard the phrase "Ain't no fun if the homies can't get none", and we all know about the words "Fo' shizzle my nizzle". We have Snoop for popularizing these things. The album's biggest shortcoming is that it is horribly misogynistic, which, sadly, isn't exactly surprising dude to Snoop drawing from Pimp culture, which in and of itself is misogynistic. That being said, this album is still an easy 10/10, and a very important one in Hip-Hop's history, so scroll back up and give it a listen.

(unrelated, but don't forget y'all can discuss the music/ask questions n shit. Especially those who aren't totally familiar with Hip-Hop)

[Vinny]

Week 1:

Nas - Illmatic

Description:

Often cited as one of the best hip-hop albums of the '90s, Illmatic is the undisputed classic upon which Nas' reputation rests. It helped spearhead the artistic renaissance of New York hip-hop in the post-Chronic era, leading a return to street aesthetics. Yet even if Illmatic marks the beginning of a shift away from Native Tongues-inspired alternative rap, it's strongly rooted in that sensibility. For one, Nas employs some of the most sophisticated jazz-rap producers around: Q-Tip, Pete Rock, DJ Premier, and Large Professor, who underpin their intricate loops with appropriately tough beats. But more importantly, Nas takes his place as one of hip-hop's greatest street poets -- his rhymes are highly literate, his raps superbly fluid regardless of the size of his vocabulary. He's able to evoke the bleak reality of ghetto life without losing hope or forgetting the good times, which become all the more precious when any day could be your last. As a narrator, he doesn't get too caught up in the darker side of life -- he's simply describing what he sees in the world around him, and trying to live it up while he can. He's thoughtful but ambitious, announcing on "N.Y. State of Mind" that "I never sleep, 'cause sleep is the cousin of death," and that he's "out for dead presidents to represent me" on "The World Is Yours." Elsewhere, he flexes his storytelling muscles on the classic cuts "Life's a Bitch" and "One Love," the latter a detailed report to a close friend in prison about how allegiances within their group have shifted. Hip-hop fans accustomed to 73-minute opuses sometimes complain about Illmatic's brevity, but even if it leaves you wanting more, it's also one of the few '90s rap albums with absolutely no wasted space. Illmatic reveals a great lyricist in top form meeting great production, and it remains a perennial favorite among serious hip-hop fans. - Allmusic

Lyrics:

http://genius.com/albums/Nas/Illmatic

Do take some of Genius' interpretation with a grain of salt. They're known for overanalysing

In my mind, there is no better album to start this with. Illmatic is heralded by many to be the best Hip-Hop album ever. This album is only 39 minutes in runtime, so it's a very short listen by many standards, but in that 39 minutes is some of the best lyricism and storytelling in the history of the genre. I'll be posting my thoughts and feelings on the album soon, but for now I'll allow Nas to speak for himself.

If Illmatic is supposed to be the entrance to the sea of Hip-Hop, it's well worth the jump.

To be honest, I am on the same boat as Hukuna. I don't understand much of the lyrics, but that's bs. I'm also the guy that doesn't speak Japanese and hear songs in japanese.

tbh, I have no idea why I shyed away from Hip-Hop/Rap, especially since my older brother listens to it A LOT. That's how I recognized "The World is Yours" and "One Time 4 Your Mind", even though I didn't knew 'Nas' name. Hearing the entire album made me interested enough to pay more attention to Hip-Hop.

I didn't really find any songs that "spoke to me" (Perhaps a few lyrics), but then again, I'll never really understand the kind of shit Nas went through in his life, I guess.

I plan on listening the other two albums later, but I hope you'll keep up this topic. One of the problems I've had with Hip-Hop is that I can't remember names, since I wasn't paying attention before.

Let me ask you something Erick:

- What exactly drew you to this genre? Is it because the lyrics speak with you, you grew up hearing it, a combination or something else?

- Would you listen to Hip-Hop that you don't understand? I mean, at least I'm assuming you don't speak portuguese~

[Neo]

If Illmatic is supposed to be the entrance to the sea of Hip-Hop, it's well worth the jump.

To be honest, I am on the same boat as Hukuna. I don't understand much of the lyrics, but that's bs. I'm also the guy that doesn't speak Japanese and hear songs in japanese.

tbh, I have no idea why I shyed away from Hip-Hop/Rap, especially since my older brother listens to it A LOT. That's how I recognized "The World is Yours" and "One Time 4 Your Mind", even though I didn't knew 'Nas' name. Hearing the entire album made me interested enough to pay more attention to Hip-Hop.

I didn't really find any songs that "spoke to me" (Perhaps a few lyrics), but then again, I'll never really understand the kind of shit Nas went through in his life, I guess.

I plan on listening the other two albums later, but I hope you'll keep up this topic. One of the problems I've had with Hip-Hop is that I can't remember names, since I wasn't paying attention before.

I'm real glad that you enjoyed Illmatic, fam. Thanks for takin' the time to listen in.

Let me ask you something Erick:

- What exactly drew you to this genre? Is it because the lyrics speak with you, you grew up hearing it, a combination or something else?

Music in my house, and the houses of my close and extended family was always centered around our identities. Mainly Black genres of music, including West Indian music, with smatterings of chinese.

Hip-hop's been apart of my life for the longest time. There was a decent portion of time where I was a total coconut, and acted like I didn't like it, or anything associated with being black, really. Then I woke the fuck up and came back to the genre that's been in the background for me the whole time. Shit, my first album was DMX's "It's Dark and Hell is Hot." Hip-hop speaks to me, but it really is apart of my culture and who I am.

- Would you listen to Hip-Hop that you don't understand? I mean, at least I'm assuming you don't speak portuguese~

I listen to Hip-hop from Puerto Rico, mainly because my cousin is a rapper (he sucks) and is always tryna get us to listen to it. That's cheating though, since I speak Spanish. I do try to give other hip-hop scenes some shine, though I've found many are missing that something about the art. Maybe because it's not their culture and one they're adopting/choosing to participate in. (The same can be said of a bunch of white rappers here in the US like Sage Francis, Aesop Rock, Atmosphere, etc.)

[TRHStatement]

This wasn't the first time I've heard of Snoop's Doggystyle. Of course I've heard the classics of Murder Was the Case and Gin & Juice, but I've never listened to the whole thing. I'd just have to say, how can you be upset listening to this album? Sad, depressed or somewhat stressed out? This is the epitome of the laid back scene of Cali, which Snoop personifies entirely. His laid back rapping over Dre's take on G-Funk is what makes this album a GOAT. Even the features here didn't disappoint, but that was because they controlled the songs and went in a different direction. When the members form the Dogg Pound appear, the album shifts from the laid back Cali, to the more aggressive "don't fuck with us" type gangsta sound that starts with Murder Was the Case until we get to For All My. When Ain't No Fun comes on, we're back to the laid back side of LA again.

Overall this album is good, probably Snoop's greatest album. But I can say that the transition from the East to West coast was really apparent. Using Illmatic for example, the beats sounded more organic. Like I could picture the trains and traffic associated with New York and being on the corner with Nas in NY. But with Snoop, I can only picture like a kickback or party in the sunset with palm trees in the background. That was normal right?

[Neo]

This wasn't the first time I've heard of Snoop's Doggystyle. Of course I've heard the classics of Murder Was the Case and Gin & Juice, but I've never listened to the whole thing. I'd just have to say, how can you be upset listening to this album? Sad, depressed or somewhat stressed out? This is the epitome of the laid back scene of Cali, which Snoop personifies entirely. His laid back rapping over Dre's take on G-Funk is what makes this album a GOAT. Even the features here didn't disappoint, but that was because they controlled the songs and went in a different direction. When the members form the Dogg Pound appear, the album shifts from the laid back Cali, to the more aggressive "don't fuck with us" type gangsta sound that starts with Murder Was the Case until we get to For All My. When Ain't No Fun comes on, we're back to the laid back side of LA again.

Overall this album is good, probably Snoop's greatest album. But I can say that the transition from the East to West coast was really apparent. Using Illmatic for example, the beats sounded more organic. Like I could picture the trains and traffic associated with New York and being on the corner with Nas in NY. But with Snoop, I can only picture like a kickback or party in the sunset with palm trees in the background. That was normal right?

Definitely normal. The music is very much supposed to give you that scenic West coast vibe

[Neo]

WEEK 4:

Description:

Before Jay-Z fashioned himself into hip-hop's most notorious capitalist, he was a street hustler from the projects who rapped about what he knew -- and was very, very good at it. Skeptics who've never cared for Jigga's crossover efforts should turn to his debut, Reasonable Doubt, as the deserving source of his legend. Reasonable Doubt is often compared to another New York landmark, Nas' Illmatic: A hungry young MC with a substantial underground buzz drops an instant classic of a debut, detailing his experiences on the streets with disarming honesty, and writing some of the most acrobatic rhymes heard in quite some time. (Plus, neither artist has since approached the street cred of his debut, The Blueprint notwithstanding.) Parts of the persona that Jay-Z would ride to superstardom are already in place: He's cocky bordering on arrogant, but playful and witty, and exudes an effortless, unaffected cool throughout. And even if he's rapping about rising to the top instead of being there, his material obsessions are already apparent. Jay-Z the hustler isn't too different from Jay-Z the rapper: Hustling is about living the high life and getting everything you can, not violence or tortured glamour or cheap thrills. In that sense, the album's defining cut might not be one of the better-known singles -- "Can't Knock the Hustle," "Dead Presidents II," "Feelin' It," or the Foxy Brown duet, "Ain't No Nigga." It just might be the brief "22 Two's," which not only demonstrates Jay-Z's extraordinary talent as a pure freestyle rapper, but also preaches a subtle message through its club hostess: Bad behavior gets in the way of making money. Perhaps that's why Jay-Z waxes reflective, not enthusiastic, about the darker side of the streets; songs like "D'Evils" and "Regrets" are some of the most personal and philosophical he's ever recorded. It's that depth that helps Reasonable Doubt rank as one of the finest albums of New York's hip-hop renaissance of the '90s. - allmusic

Lyrics:

http://genius.com/albums/Jay-z/Reasonable-doubt

It took me a bit to get to the GOAT (greatest of all time), but he's finally here. Jay-Z, in my opinion, represents the pinnacle of Hip-Hop in many facets. Reasonable Doubt, his debut album, is without a shadow of a doubt a top-10 of all time HIp-Hop album. (top 3 to me, actually) There's little I can tell you about Jay-Z that he won't tell you himself, so I'm gonna let my main man do the talkin' and y'all stick around for the thread about status as the GOAT and rappers that are in contention for it soon.

[Jelly]

honestly a couple of years ago i disliked jay-z. but then i really just sat down and listened to the blueprint and the black album and i realized i wasnt looking at his music right. he really pushed for hip-hop to become more open in terms of expression. think the transition from say 50 cent to kanye west. overall i'd say jay-z is the man when it comes to staying relevant because he's been doing it for fucking years.

also dead presidents ii is the fucking goat

[Neo]

honestly a couple of years ago i disliked jay-z. but then i really just sat down and listened to the blueprint and the black album and i realized i wasnt looking at his music right. he really pushed for hip-hop to become more open in terms of expression. think the transition from say 50 cent to kanye west. overall i'd say jay-z is the man when it comes to staying relevant because he's been doing it for fucking years.

also dead presidents ii is the fucking goat

Dead presidents II. That Nas sample and the piano. Fuckin' perfect.

Hov is damn good at keeping relevant and making good tunes. Which is crazy, like yeah "good" may not be a good bar for the GOAT since anything less than great is seen as a letdown, but it's mad impressive. 13 consecutive #1 albums is fucking unreal.

[Neo]

We're takin' a break this week while I ready the shit for July's special month.

Get ready, bitches.

[Neo]

TODAY IS DIPSET DAY

Which means, I've got a neat little thread about Hiphop groups coming later today, but for now this week's album is:

Description:

Released within months of Jim Jones' On My Way to Church, the second volume of the Diplomats' Diplomatic Immunity, and another flurry of mixtapes, Cam'ron's fourth album ("Previously written in 2001," as announced in the intro) is evenly divided between strong and weak tracks. This lack of quality control will both provide ammo for Diplomat haters and frustrate Diplomat supporters, even if there's a durable 45-minute album in here somewhere. The backing track of "Girls," a feather-light translation of Cyndi Lauper's "Just Wanna Have Fun," belongs on a teen pop record -- it's such a folly that it makes you wonder if somebody dared Cam'ron to release it. "Harlem Streets" fares only a little better, with the theme from "Hill Street Blues" used to distracting and detracting effect -- perhaps the cues should've taken from Kool G Rap & DJ Polo's "Ill Street Blues" instead. On the other side, a pair of soul-steeped productions from Kanye West ("Down and Out," built on William Bell's "Strung Out") and the West-inspired Pop & Versatile ("Soap Opera," using Smokey Robinson's "Merry-Go-Round") help prop the album back up, and Heatmakerz's rallying "More Gangsta Music" features some of Juelz Santana's infectious youthful energy. Though it has been two years since Cam'ron's last solo album, there's so much Diplomat-affiliated material stuffing the racks that even the most devoted followers must be on the verge of overdosing on the crew's bewildering, nonsensical rhymes. "Cause I feed you well/Every sneaker, hell/You eat Louis, sh*t Gucci, breathe Chanel/Karl Lagerfeld, acting like Gargamel" wins the prize on this release. Inconsistencies and gratuitous running time be damned, a lot of rap fans will be happy just to have another Cam'ron album to devour. Fellow Diplomats JR Writer, Jim Jones, and Freeky Zekey make appearances, along with Twista and Jaheim. -allmusic

Lyrics:

http://genius.com/albums/Camron/Purple-haze

Purple Haze is a classic. Fuck you if you think otherwise. Cam is one of the rappers that holds the mantle "Your favorite rapper's favorite rapper", and this album will definitely show you why. It's a good album, and a decent departure from the last ones featured. It can definitely be considered "essential" listening as a means of understanding each era of Hiphop, but it's often left off such lists for bigger names. Kill Cam won't be gettin' the shaft here, though. Don't forget that all the albums are available for listening on the first page!