YC the Cynic - GNK [2013]

It's always refreshing to hear a young hip-hop artist debut strongly, and that's exactly what YC the Cynic (now known as Kemba) does on GNK. The Bronx rapper is clearly a student of the classics, as there is a litany of references to artists such as Tupac, A Tribe Called Quest, and Biggie. GNK is not something to put on during a party - the album is mostly dark. YC the Cynic's rapping and producer Frank Dank's beats are both mostly ominous or introspective. 

Run the Jewels - Run the Jewels 2 [2014]

Run the Jewels was one of the best albums of 2013 and Run the Jewels 2 continues that trend of high quality. It's hard to tell which record is better, but that doesn't matter because both are fantastic. Outside of Gangsta Boo's feature verse, which is a step below El-P and Killer Mike's typical standards on "Love Again", there is really nothing to complain about.

Amani + King Vision Ultra - An Unknown Infinite [2020]

An Unknown Infinite by Amani and King Vision Ultra is full of gems - two of the most striking being "Scrapes" and "Shaft In Africa". The songs have very different lyrical approaches, the former scattering through free-form imagery and the latter containing poignant socio-political commentary. Amani is the principal emcee of the album, but "Scrapes" is exclusively occupied by the words of Elucid, a rapper who recently reached new creative heights alongside Billy Woods in Armand Hammer's Shrines. As the eerie chimes, bass, clicks, and clacks of "Scrapes" sound off, it's hard to imagine a better environment for Elucid's hoarse voice. Producer King Vision Ultra's creation is the unnerving calm after the storm - an ominous, desolate search through rubble, debris, and unhinged doors. Elucid rips through the tension with mystifying poetic transit. It's winter, then summer - "The jazz is free, the noise is love / You wear me out, I drag my tongue" - there is no defined structure as the East New York emcee crafts fractured vignettes of his surroundings. As the first full song of the album, "Scrapes" is a bold and appropriate introduction: Amani and King Vision Ultra would fit in extremely well on any playlist containing Backwoodz Studioz artists like Armand Hammer or ShrapKnel. 

Tame Impala - Currents [2015]

"Let It Happen" was a lovely single. It was also an announcement of a change that seemed almost inevitable for Tame Impala. The song is extremely groovy and drenched in synths. While it wasn't a world away from past Tame Impala songs it was definitely not strictly within the psychedelic rock label one could apply to Tame Impala's first two albums. This shouldn't have come as a shock, as Kevin Parker had always spoken about his admiration for pop music in particular. His recent masterpiece, Lonerism, was clearly more pop-leaning than Innerspeaker or the past Tame Impala EPs. 

Terrace Martin - Velvet Portraits [2016]

Terrace Martin garnered the attention of many by being a key part of Kendrick Lamar's masterpiece, To Pimp A Butterfly. Although Martin's contributions to Lamar's record were phenomenal, Velvet Portraits leaves a lot to be desired. It is clear that Martin is an accomplished musician, but this is an album that bores more than it hits. 

Cannibal Ox - The Cold Vein [2001]

Had Cannibal Ox continued making records as incredible as The Cold Vein, they could have ended up being the underground experimental version of Mobb Deep. Two New York City-based emcees telling stories of the dangerous reality of their neighborhood backed by transformative production. El-P's beats are perfect for Vast Aire and Vordul Mega's street tales and battle raps. They put the listener right in the emcees' grim and unforgiving concrete world. The instrumentals could be used in the soundtrack for a gritty post-apocalyptic urban film. El-P's dark, aggressive, and futuristic soundscapes are idiosyncratic. Nothing sounds close to it, not even El-P's own Fantastic Damage released the next year. El-P has proven to be quite versatile in his long career, and The Cold Vein is definitely one of his peaks.

Run the Jewels - Run the Jewels [2013]

In October 2012 at the Howard Theatre in Washington D.C., Killer Mike opened up for GZA. The rapper was hot off the release of one of the best rap albums in recent memory, the El-P-produced R.A.P. Music. During his thunderous set, Killer Mike announced that he was working on rap collaboration with El-P. The news was met with cheers, but perhaps not as much as one reading this in retrospect would expect. This is likely because there is a good chance that at least half of GZA's audience did not know who El-P was. Killer Mike had already shown he had great rhyme chemistry with El-P on "Butane" (R.A.P. Music) and "Tougher Colder Killer" (El-P's Cancer 4 Cure), but what their fans did not know was just how satisfying Run the Jewels - the album and the group in general - would end up being.

Goodie Mob - Soul Food [1995]

Considering that they were closely associated with OutKast and released an album as incredible as Soul Food, one could argue that Goodie Mob is a bit overlooked. Of course, Still Standing is also great, but Soul Food, true to its name, is one of the most soulful, heartfelt hip hop albums ever created. There is also the issue of Cee Lo. It is great that he went on to obtain a good amount of fame, however, it is also a bit weird that he is primarily known for dressing odd and pop-soul singles like Gnarls Barkley's "Crazy" to those who don't know about Goodie Mob. It would be less weird if his performance throughout Soul Food wasn't so colossal. Big Gipp, Khujo, and T-Mo are good emcees, but Cee Lo's rapping, which can be strikingly melodic, is what puts this album over the top. It is one of the greatest performances of any rapper from any era period. Listening to Cee Lo seemingly freestyle through his stunning verse of "Goodie Bag" is evidence enough of his staggering talent. 

Adrian Younge - Something About April II [2016]

When Something About April II was released in January 2016, Adrian Younge was on a roll. He had produced a great album for Souls of Mischief (There Is Only Now) and produced what might be Bilal's best album (In Another Life). Additionally, the multi-instrumentalist's work was the source of the samples of the solid PRhyme album and he also worked on two albums with Ghostface. 

Souls of Mischief & Adrian Younge - There Is Only Now [2014]

There Is Only Now is the best Souls Of Mischief album since the classic 93 Til' Infinity. Even though Montezuma's Revenge was solid, this record blows it out of the water. Adrian Younge's instrumental work is extremely well done. There is no sampling - the "beats" are all live instrumentation. Sonically, it sounds like something that could be from a seventies movie, though the biggest influence here is clearly the work of David Axelrod. Younge's arrangements have lots of tastefully played bass, strings, keys, and flutes. 

Flying Lotus - You're Dead! [2014]

The evolution of Flying Lotus has been marvelous. Each album has been different from the last and from 1983 to Cosmogramma, all maintained or surpassed the producer's high standards. Flying Lotus' sound has a myriad of elements. It can be glitchy, jazzy, hip-hop structured, and even psychedelic. This distinct style has made him stand out as one of the most interesting artists of his time. 

Herbie Hancock - Head Hunters [1973]

Head Hunters is an album that deserves the immense popularity and praises it has received since its 1973 release. Herbie Hancock has a fantastic discography overall, starting off with his hard bop and post-bop Blue Note releases in the sixties such as the excellent Empyrean Isle but as soon as you hear the bass line, guitar licks, and overall theme of the incredible "Chameleon", it's extremely obvious why this is his most popular album. In short, Head Hunters is fun, funky, and groovy as hell. "Watermelon Man" is somehow even more infectious than "Chameleon". The track envelops the listener in an addicting aural equivalent of walking through rainforest animal chirps and buzzes and its bassline is fantastic. "Sly" features Hancock and Bennie Maupin freaking out on keys and sax respectively. It almost seems like Maupin's impressive solo was only conceived as a challenge to Hancock, whose impressive playing is the highlight of much of the song's runtime. Head Hunters is a vibrant jazz-funk album that consistently delivers.

Janelle Monáe - The Electric Lady [2013]

Janelle Monáe's full-length debut, The ArchAndroid, was one of the standout releases of its year and The Electric Lady is a worthy sequel. The lead single ("Dance Apocalyptic") was a take on Andre 3000-inspired brand of pop music that missed the mark. Thankfully, the rest of the album does not sound like this, as Monáe continues to play with a wide range of styles. She delves into Jackson 5-like soul with powerful vocals on the wonderful "It's Code" and sounds equally at home in the cinematic, sultry string-driven atmosphere of "Look Into My Eyes". "Givin' Em' What They Love" has more great Monáe singing and a stellar feature from Prince, who provides a strong guitar solo. The Electric Lady really hits its stride in Suite V, with the blatantly "I Can't Help It" (Michael Jackson, Stevie Wonder) influenced "Dorothy Dandridge Eyes" and the infectious "Can't Live Without Your Love" being two of Monáe's best songs. The former has gorgeous scatting from bassist Esperanza Spalding and it is a crime of the highest order that the latter was not pushed as a single. The smooth instrumentation and catchy, succinct hook of "Can't Live Without Your Love" had the potential to do wonders for Monáe on R&B-centered radio stations. The existence of duller tracks like "Primetime" or "We Were Rock & Roll" means that The Electric Lady is ultimately not on the level of The ArchAndroid, but it's still a very good album.

Anderson .Paak - Malibu [2016]

The key to Malibu is that there is plenty of variety in how aspects of groove, soul, and occasionally even jazz course through Anderson .Paak's music. The album does genre-hop, though not to the extreme of something like Janelle Monáe's The ArchAndroid. .Paak walks the tightrope between neo-soul, hip-hop, and R&B. Something like that could be an absolute train wreck, but thankfully the musician has the skill to do it all well. He is a great singer and a solid rapper. "Put Me Through" is imbued with classic soul and the song right after it, "Am I Wrong", switches things up to a much more contemporary club atmosphere. Despite the radical difference between these two songs, the transition works perfectly - a testament to .Paak's talent.

Moonchild - Please Rewind [2014]

Moonchild is a Neo-Soul trio based in Los Angeles, California. Their sound is very jazzy, often featuring great keyboard playing that dominates stellar tracks of Please Rewind such as "The Truth" or "All The Joy". The trio's sound is clearly heavily influenced by Neo-Soul greats such as Erykah Badu. They are students of the mellow jazz and funk-based Neo-Soul sound that was making waves in the second half of the 90s and early 2000s.

Dr. Lonnie Smith - Evolution [2016]

Organist Dr. Lonnie Smith's Evolution is filled with loads of groove. It begins with "Play It Back", a stunning Smith original. Pianist Robert Glasper drops in to blaze through an incredible solo. Jonathan Kreisberg provides funky guitar licks and Smith takes center stage near the end of the tune with a ridiculously soulful solo. The strong rhythms make it hard to sit still while listening.

Caetano Veloso - Transa [1972]

Except for parts of "Soy Loco Por Tí América", Caetano Veloso's self-titled debut album was entirely sung in Portuguese. It's an exceptional record, full of strings, horns, and a distinct, somewhat quirky atmosphere that is very representative of the Tropicália sound of the sixties. Transa has Veloso leaving much of this past style behind, opting for a much less orchestral presentation and much more English lyrics. The strings, horns, and Tropicália psychedelia are gone, replaced by a relatively traditional band: acoustic/electric guitar, bass, and percussion.

Curren$y - Pilot Talk III [2015]

Curren$y is a mixed bag. It's clear that he has an impeccable ear for beats. It's also admirable that he doesn't seem to make any concessions for contemporary mainstream appeal. This is a man who left Cash Money - he makes the type of music he wants to make. None of his albums or mixtapes are badly produced from an instrumental point of view. The majority of them, with some exceptions, fall into the awkward area between good and bad. 

Marcos Valle - Viola Enluarada [1968]

What makes Viola Enluarada stand out in the Marcos Valle discography is that his sound is mostly devoid of the joy that typified past releases. There are occasional signs of that signature sunny Brazilian happiness ("Viagem"), however, Viola Enluarada is full of lyrical and musical melancholy. It's an excellent recording with fantastic arrangements that feature great use of piano and occasional participation from woodwinds. Viola Enluarada is a fine choice for Valle's best album, but those who were drawn to his work off the strength of something like the lighthearted "Samba de verão" may be a bit surprised by things like "Eu". "Eu" has Valle and a guitar in an extremely somber settling. The musician is alone in his room, failing to distract himself from thinking about lost love. "Homen do Meu Mundo" is another downtrodden number in which he laments on how the world is plagued with war and sadness. While things are generally quite mellow, early in the album Valle and his then-wife Ana Maria Valle both shine over the rapid piano lines of the addictive "Próton, elétron, neutron". Clocking in at just thirty-six minutes with nothing but great tracks, Viola Enluarada is the peak of the more introspective side of Valle's songwriting.

Marcos Valle - Previsão do tempo [1973]

Arguably the best album in a stellar catalog, Previsão do Tempo is a key MPB ("Música Popular Brasilera") record of the seventies. By the time Marcos Valle released this album, he was already ten years deep into his career, having released an impressive bossa nova debut in 1963 (Samba Demais). Valle eventually started to move away from the more pure bossa nova of Samba Demais and Previsão do Tempo is the crown jewel of this departure. As can be heard towards the end of one of Valle's most beautiful songs, "De Repente, Moça Flor", keys often give the album a slightly psychedelic feel. On the catchy "Mentira", his embrace of funky guitar licks and groovy keys yields great results. Emotionally Previsão do Tempo has a nice range, containing playful moments like "Nem Paletó, Nem Gravata" and somber atmospheres like that of "Samba Fatal". Opening with the brilliantly political and melodically strong "Flamengo Até Morrer", Previsão do Tempo is an excellent album from front to back.

Stan Getz & João Gilberto - Getz / Gilberto [1964]

Getz / Gilberto is easily the most well-known album in the United States to feature the Brazilian legend. The large non-Brazilian popularity in comparison to the rest of João Gilberto's fantastic discography has much to do with the fact that this album has the definitive English version of the most popular bossa nova song, "The Girl From Ipanema". "The Girl From Ipanema" has an iconic performance from Astrud Gilberto, who pops up again for another arguably definitive performance on "Corcovado". Like "Corcovado", every song of Getz / Gilberto is a Brazilian standard, the majority being composed by Antonio Carlos Jobim with lyrics from Vinicius de Moraes. Stan Getz' playing is not at its most adventurous here, but it doesn't have to be. The smooth saxophonist does a great job of complementing Gilberto's genre-defining bossa nova guitar, and if that wasn't enough, Jobim himself drops in to play piano occasionally. Everything is delicate and beautifully played and every musician involved is a master of the hypnotizingly light bossa nova style. This album is a perfect gateway to the rest of Gilberto's excellent work and bossa nova in general. Getz / Gilberto is essentially listening for anyone who has ever wanted a laid back jazz record.

Elis Regina & Antônio Carlos Jobim - Elis & Tom [1974]

The combination of Elis Regina and Antonio Carlos Jobim really should have lasted for more than one album, because it worked out perfectly. Elis & Tom is arguably the best album of either artists' discography. Every song of Elis & Tom is an exemplary version of classic Jobim compositions. Regina's voice is gorgeous and emotionally compelling. It's obvious why her irresistibly bubbly recording of "Águas de Março" with Jobim is so well known, but the dynamic rendition of "Corcovado" is just as impressive. The melancholic strings and soothing bossa nova guitar of "Corcovado" are excellent. Jobim, who can be heard on vocals, guitar, and piano, outdid himself with the arrangements. The record never does too much, there is a tasteful amount of space and simplicity to let Regina's divine voice shine. Elis & Tom has a perfect balance between happier, more upbeat tunes like "Fotografia" or "Brigas, nunca mais" and more mellow string or piano focused numbers like "Soneto da separação" and the stunningly beautiful "Modinha". No bossa nova or Brazilian music collection is complete without Elis & Tom, a record that set a ridiculously high standard for the many artists who would eventually record their own versions of these stellar Jobim tunes.

Novos Baianos - Acabou Chorare [1972]

Happiness radiates from Acabou Chorare on a level that is extremely hard to match or replicate. Every single song, even the relatively slow title track, feels unmistakably light-hearted and fun. The album has so much energy that it would be hard to believe that the band did not have a fantastic time recording it. The guitar-work is top-notch, with the majority of the tunes featuring catchy rhythms and great acoustic or electric solos. Moraes Moreira and Paulinho Boca de Cantor are both great singers, but Baby Consuelo is somehow even more infectious as she takes lead on both "Tindo Trincando" and "A Menina Dança". It does not matter if you speak Portuguese or not - you need to hear this classic.

Gal Costa - Gal Costa [1969]

Gal Costa's March 1969 self-titled release is the perfect balance of everything that makes her an extremely compelling artist. It is not a coincidence that this album falls right in between two albums that are stellar in their own right but do not display as many aspects of the Brazilian singer. Domingo, released with Caetano Veloso in 1967, was an album of bossa nova perfection. Despite how fantastic it is, Domingo may be a bit too mellow for those who want edge and rock in their music. On the other hand, in Gal, released in December 1969, the artist is in what would end up being her most erratic state on record. Relative to the rest of her discography, the singing at times borders on organized chaos. It is a fantastic record instrumentally and vocally, but if one prefers Domingo, it may just be a bit too freaky. Gal is definitely not the record one would expect after listening to Domingo or any of the classic bossa nova releases. 

Gal Costa & Caetano Veloso - Domingo [1967]

Domingo was the beginning of the careers of two Brazilian legends, Gal Costa and Caetano Veloso. Undoubtedly influenced by the definitive bossa nova record, João Gilberto's Chega de Saudade, Domingo is another arguably perfect example of the Brazilian genre. Veloso and Costa's voices are like a perfect summer breeze: soft, relaxing, and beautiful. The tunes are short and simple, with arrangements that usually feature a classic bossa nova style guitar accompanied by woodwinds or strings. Those who crave some of the psychedelic sounds that these artists would embrace later in their career should look elsewhere but at 31 minutes, Domingo is an album that is remarkably easy to return to and appreciate in its totality. A great starting point for those wondering what bossa nova is all about.