KANYE WEST - THE COLLEGE DROPOUT (2004)

In the late 90s and early aughts, before the world ever really knew who he was, Kanye West was merely just a record producer.  He rapped too, and saw producing for other artists merely as his entry point into the music business. It was all just an elaborate ruse for him to do his own thing. Still, industry reaction to his rapping was tepid, and this was the height of the street rap era; nobody wanted to hear a middle class art school dropout rap about his feelings. "The College Dropout" landed in stores on February 10th, 2004. 

1. "INTRO"

There is no way to talk about "The College Dropout" without its skits, which tie the album together. It sets up the concept of the record, which is essentially Kanye speaking to the student body from the standpoint of a dropout who made good on his life sans college degree. 

2. "WE DON'T CARE"

The celebratory track finds Kanye, like a valedictorian, stating his position to the graduating class — they shouldn't care what anyone thinks of them. He spits over a steady drum pattern and chopped sample complemented by children singing.

3. "GRADUATION DAY (SKIT)"

The recurring character portraying a school teacher calls him the n-word, and tells Kanye he's not graduating, at which point the music takes a much darker tone — minor key strokes and a sweeping string arrangement — setting up the rest of the LP.

4. "ALL FALLS DOWN (FEAT. SYLEENA JOHNSON)"

Kanye at his confessional best, acknowledging that his addiction his not wealth; rather, it's consumerism. Over muted guitar licks, Syleena Johnson provides assistance.

5. "I'LL FLY AWAY"
A short rendition of Albert E. Brumley's classic gospel hymn, sung by a then-unknown John Legend. It's more of a skit than a song, but again, sets up the next track, which deals with the themes of escapism. 

6. "SPACESHIP (FEAT. GLC & CONSEQUENCE)
A sample of Marvin Gaye's "Distant Lover" provides the backdrop for Kanye and his comrades to detail needing day jobs to finance their rapping dreams. 

7. "JESUS WALKS"
Over a skittering drumline, West goes in on organized religion, acknowledging that he needs Jesus, but questioning how helpful he'll be. He speaks of the American Midwest — a region filled with its fair share of blight, back in 2004, the same as now — and says that it too, needs Jesus.

8. "NEVER LET ME DOWN (FEAT. JAY-Z & J. IVY)"
J. Ivy — a Chicago native who'd appeared on HBO's Def Poetry Jam — finds himself sandwiched between Kanye and Jay-Z, kicking the rare poem on a rap album. 

9. "GET 'EM HIGH (FEAT. COMMON & TALIB KWELI)"
Kanye recruited Talib Kweli and Chicago hero Common for "Get 'Em High," one of the album's more playful-sounding songs. A very honest and open portrayal of every twenty-something's real life. Kanye, again, showing that he wasn't caught up in the fantasy world of being a rapper.

10. "THE NEW WORKOUT PLAN"
This playful jam should be commended as much for its conceptual ingenuity as its arrangement; it effortlessly transitions from juke to four-on-the-floor Chicago house. 

11. "SLOW JAMZ (FEAT. TWISTA & JAMIE FOXX)"
Kanye's first number one record on the Hot 100, and ultimately the track that put The College Dropout over the top. Paired with Jamie Foxx's surprisingly nimble voice and Twista's rapid-fire flow, "Slow Jamz" became one of the biggest songs of 2004.

12. "BREATHE IN BREATHE OUT (FEAT. LUDCARIS)"
Kanye rhymes over bluesy trumpets with help from Southern rap veteran Ludacris to add a sense of street to the album's sound.

13. "SCHOOL SPIRIT"
A declarative boast about washing his hands of the school experience, surrounded by a  hilarious skit which pokes fun at the post-college experience: the graduate who has to work a menial job even though he/she has a degree. 

14. "TWO WORDS (FEAT. MOS DEF & FREEWAY)"
This Mandrill-sampled cut sees Kanye adding live guitars, piano, a string arrangement and the Harlem Boys Choir, making it perhaps the symphonic high point of the record. What's more, conscious hip-hop and street rap meet on the same track, with Mos Def and Freeway featured. 

15. "THROUGH THE WIRE"
This is the song that started it all. Kanye, post-car accident, rapping with his jaw wired. It's an endearing cut that displays his passion for the craft. His passion for life, too. 

16. "FAMILY BUSINESS"
One of the most soulful cuts on the record, "Family Business" finds Kanye waxing poetic about the loving relationships he shares with his family members. 

17. "LAST CALL"
Kanye's 15-minute rags-to-riches tale about getting signed to Roc-A-Fella. It's really on this last cut, just hearing Kanye talk over the jazzy instrumental, where the brilliance of "The College Dropout" — and the brilliance of Kanye West, the artist — is fully realized. It never gets boring or dull. The music is dynamic, the story is engaging, and Kanye sounds excited just to be living his dream. We were excited just to be living it along with him, on record.

KENDRICK LAMAR - DAMN (2017)

Kendrick Lamar is as close as you can get to being the unofficial Malcolm X of hip-hop music.  His first project release under Top Dawg Entertainment, an imprint under Dr. Dre's infamous Aftermath label (a subsidiary of Interscope), immediately launched Lamar onto the incredibly short list of leaders in rap music.  Following the 2015 release of To Pimp A Butterfly, the entire entertainment industry was waiting on a habitually quiet rapper to speak up on a America that had seen a dramatic increate in racial tension and political division.

1. "BLOOD."
The album opens with a very Kendrick parable set to film soundtrack strings, as he tells the story of helping an old blind woman only to be shot in return. He labels it the struggle between wickedness and weakness, essentially the age-old battle between good and evil. 

2. "DNA."
In ‘DNA.’, Lamar champions black heritage and the culture that’s made him who he is while sardonically dispelling rap stereotypes. He takes another shot at Fox News, airing a soundbite spouting that “hip hop has done more damage to young African Americans than racism in recent years”.

3. "YAH."
A more languid and laid-back, breezy number ‘YAH.’ sees Kendrick pondering race, religion and family as his thoughts meander and overlap. 

4. "ELEMENT."
‘ELEMENT.’ is Kendrick’s latest call-to-arms to his rap rivals. Here, Lamar complains of his lack of competition and aims for a reaction.  

5. "FEEL."
‘FEEL.’ sees Kendrick gazing into the void and isolation caused by his fame and success, describing his detachment from family and friends and disillusionment with “industry promises” and “false prophets schemin'”.  Production-wise, it sounds like Lamar’s ponderings are being haunted by a distant, distorted echo of his own voice.

6. "LOYALTY. (FEAT. RIHANNA)"
The most interesting sounding song to date as Kendrick takes a Bruno Mars sample, speeds it up, chops it, reverses it and somehow makes it sound like ‘California Love’.  It sees Lamar and Rihanna team up for the first time, delivering the first track of bonafide radio single material as the pair bounce back and forth on the importance of trust and, as the title suggests, loyalty.

7. "PRIDE."
Strong P-funk vibes with a hazy overlay, ‘PRIDE.’ pairs Lamar with Steve Lacy (of The Internet fame) and sees him deliver his best Andre 3000 impression at places. A pleasant but pretty forgettable interlude.

8. "HUMBLE."
It’s the perfect attention-grabbing first single and Kendrick need not be humble about that fact.

9. "LOVE."
There’s longing for love, the trappings of money, Lamar even makes reference to his romantic interest not calling him anymore—but, surprisingly, it works.  Guest vocalist Zacari complements Kendrick perfectly. 

10. "XXX (FEAT. U2)."
‘XXX.’ does the pretty much unimaginable in producing an incredible Kendrick/U2 collaboration.  The song descends into smooth lounge-jazz ruminating about the loss of the American dream.

11. "FEAR."
There are many interesting aspects to ‘FEAR.’: the gospel opening, Kendrick speaking in reverse, Lamar raising his most direct religious questions of anywhere on the record.  Yet, somehow, the track hops and skips, switches and changes, but never really settles.

12. "GOD."
‘GOD.’ literally sounds like a victory lap from Kendrick – and it doesn’t sound very Kendrick at all. There’s autotune, crooning and a trap beat. It’s a direct message to any one who thought they could put Lamar in a box as he beats Soundcloud rappers at their own game.

13. "DUCKWORTH" 
One for the hip-hop purists and Kendrick-heads, it provides a back-story for the rapper’s early career and how his label boss nearly killed his dad when they were younger. Kendrick raps before returning to the parable from album opener ‘BLOOD.’, neatly bringing things full-circle.

50 CENT - GET RICH OR DIE TRYIN' (2003)

50 Cent, a young upstart from Queens, New York, put the rap game in a chokehold with the release of his 2003 debut studio album Get Rich or Die Tryin'.  The album was an audio snapshot of a hustler balancing machismo with romance and vengeance with ego. 50 pocked gritty street tales with stitched hooks, mainstreaming a style popularized by his foe Ja Rule and appropriated to boost his own ascent.  Upon release, "Get Rich or Die Tryin'" laid a new blueprint for hip-hop releases. Whereas few artists ventured outside of the major label system to build buzz, the rapper overcame getting dropped by Columbia Records and recovering from nine gunshot wounds to architect a career in the streets. 

1. "INTRO"

With the clang of two quarters and the sound of a gun being loaded, 50 Cent quickly sets the tone of Get Rich or Die Tryin'.  The tone feeds into the money-on-my-mind approach set in stone by the Jiggy era, while gesturing to the aggressive establishment of street credibility that pervades the album.

  

2. "WHAT UP GANGSTA"

A casual flow offsets the devilish rhymes on the album's first proper song "What Up Gangsta," touting a Reef-produced instrumental clipped with thick rimshots and a sliding string sample. 

3. "PATIENTLY WAITING (FEAT. EMINEM)

Where 50 used "What Up Gangsta" to cement his fearlessness, he gets slightly personal on the album's first collaboration, a lyrical onslaught delivered with ease.  A singsong chorus from the Shady Records honcho, who also produced the track, seals the deal, while one-off couplets prove 50's knack for quote-worthy rhymes. 

4. "MANY MEN (WISH DEATH)"

Reenacting his brush with death, 50 sets off album standout "Many Men (Wish Death)" with a brief skit where he's assaulted with gunfire. Soon, the twinkly, brooding instrumental kicks in and the rapper's sung chorus brings the track to life. Hosting one of the catchiest hooks on Get Rich Or Die Tryin'.

5. "IN DA CLUB"

As 50's biggest hit, "In Da Club" married his propensity for unshakeable hooks with strong wordplay. It's wrapped in one of Dr. Dre's pinnacle beats. The track appealed to the hardest thugs while bringing Top 40 to its knees, spanning demographics to dominate the Hot 100 and Hot R&B/Hip-Hop Songs charts for nine weeks. 

6. "HIGH ALL THE TIME"

The rapper has gone on record several times to declare he doesn't mess with drugs or alcohol and lives a straight-edged life. Boasting rhymes about smoking the best marijuana, 50 used the drug to show that even if he doesn't like to fly high, he's still plugged into street culture -- the foundation of the album.

7. "HEAT"

Possibly the greasiest gem on the project, "Heat" is certainly more about the beat than the lyrics. Gunshots carry the rhythm on the organ-festooned anthem accented by deeply troubling threats -- an accouterment to the music at hand. It's one of the catchiest displays of braggadocio, as well a triumphant feat of terror softened only by melody.

8. "IF I CAN'T"

"If I Can't" was 50 at his melodious best, invoking the party hardy reliance of "In Da Club" and applying it to what became the piano-laden fourth single from the album. With Dr. Dre on the boards, 50 indulges in the comfort of luxury on the chorus, capping two-liners with memorable jolts of rhyme.

9. "BLOOD HOUND"

50 may have mastered the hip-hop game at the start of his career, but even he couldn't predict the future even if he declared himself that with his breakout mixtape. With one of the icier instrumentals on the album, "Blood Hound" continues in a hustler's vein that goes at alleged enemies. 

10.  "BACK DOWN"

"Back Down" conveyed how not all hooks were slung alike. As the first song on the album that clearly addresses his beef with Ja Rule, "Back Down" channeled the playful honesty of his underground hit "How to Rob" without the jocularity.

11. "P.I.M.P."

the steel drum-driven song was a solo attempt on the album, preserving the flavor of the remix without losing the focus. The song served as the second-bestselling single from the release. 

12. "LIKE MY STYLE (FEAT. TONY YAYO)"

50 showed his versatility with "Like My Style" featuring G-Unit compatriot Tony Yayo. The Rockwilder-produced zinger is stilted with an offbeat instrumental. It's one of the most challenging cuts on the LP. Fif attacks it with ease, proving that his flow could thrive in any musical environment. 

13. "POOR LIL RICH"

Alliteration rules "Poor Lil Rich," an exercise in grammar that keeps the album alive during its weaker moments. 50 isn't as intent on lacing tracks with skin-burrowing choruses, instead packing the latter half with street paeans. 

14. "21 QUIESTIONS (FEAT. NATE DOGG)"

Fif shows his softer side, posting answerless hypotheticals to his girl about how she would handle his shortcomings. For a man whose foundation is based on using self-actuated aggro taunts, "21 Questions" is a refresher, reminding listeners that there's more than meets the facade. 

15. "DON'T PUSH ME (FEAT. LLOYD BANKS & EMINEM)"

There's a vulnerability to "Don't Push Me" that's undermined by the Eminem-produced aggressor. It's a nod to his past with an unsure look at what lays ahead, a proclivity for second-guessing that pushes the track beyond basic boasting. 

16. "GOTTA MAKE IT TO HEAVEN"

Another hood anthem, "Gotta Make It To Heaven" closes out the tracklist for the standard version of "Get Rich or Die Tryin'." It's not the strongest finale to an album that's dotted with songs that pair surefire hooks with street stories, but serves a purpose, veering into storytelling territory that refocuses on non-50 characters. 

DRAKE - NOTHING WAS THE SAME (2013)

Coming off of the Grammy-winning level of success 2012's Take Care brought him, Drake found himself in a position to become one of the most popular artists in hip-hop and rise to 'a-list' celebrity status.  His infrequent public appearances and occasional music releases through SoundCloud had more than just his core fans wondering what he was cooking up.  The end result was his most cohesive, concentrated body of work to date.  With the standard version of the album lasting only thirteen tracks, Nothing Was the Same placed the unofficial crown atop Drake's head.

1. "TUSCAN LEATHER"
Lasting over six minutes, Drake tears up all three verses with clever and boisterous lyricism.  Unforgettable production from Drake's newly official October's Very Own label imprint seamlessly transitions listeners from the first movement, to the next, and to the last.  

2. "FURTHEST THING"
Now that Drake has impressively summarized his status as a leader in hip-hop, he channels his former musicianship to create "Furthest Thing".  Infectious flows and catchy hooks perfectly fill this underwater-sounding beat.  

3. "STARTED FROM THE BOTTOM"
Arguably one of the biggest highlights from Drake's career, "Started From the Bottom" and the weight it carried upon its release months prior to Nothing Was The Same were easily selected for the LP.  This song is more of an anthemic representation of hip-hop than it is anything else, which is what caused it to transcend all international cultures.  

4. "WU-TANG FOREVER"
The album slows down with the fourth track, supported solely by an infrequent, echoey vocal sample and Drake's team's signature piano and drum combination.  Despite the slower tempo, Drake fills every possible corner with vivid storytelling and sonically appealing rhyme schemes. 

5. "OWN IT"
Track four and five blend together so well, further proving how cohesively complete Nothing Was The Same really is.  Between "Wu-Tang Forever" and "Own It", listeners are completely immersed in the album with the help of golden production.  Drake is still analyzing the various grey areas he is in with his previous lovers.  

6. "WORST BEHAVIOR"
Just before listeners get too comfortable, Nothing Was The Same switches back to boastful in nature and starts shaking car trunks once again.  In "Worst Behavior", the Canadian-born rapper reminds himself how selfish he must be in order to prove to his competition he never needed them. 

7. "FROM TIME (FEAT. JHENÉ AIKO)"
The drums find themselves at yet another struggle for attention against the piano in "From Time".  Los Angeles-born singer Jhené Aiko provides a can't-miss chorus as Drake continues to deliver effective verses in the forms of love ballads. 

8. "HOLD ON, WE'RE GOING HOME (FEAT. MAJID JORDAN)"
As if "Started From The Bottom" hadn't grasped enough people outside of hip-hop, track eight surely filled that role.  OVO in-house R&B duo Majid Jordan, also from Toronto, join Drake in delivering the most culturally transcendent and unique-sounding song of both of their careers.  

9. "CONNECT"
The ninth song begins with Drake getting back into his flow-heavy and emotional lyricism.  The almost lousy-sounding, late night vibe he gives off makes listeners want to hit the left lane in the highway.

10. "THE LANGUAGE"
"The Language" is riddled with heavy-hitting kick drums and a graphic pre-hook which captured the attention of his fans.  His consistency in confidence makes listeners lose track of this album, as any of these songs could be album's single and serve as an introductory.

11. "305 TO MY CITY (FEAT. DETAIL)"
Drake compares and contrasts the 305, or Houston, to his hometown city of Toronto.  Detroit-born artist Detail provides a solid hook as the OVO boss struggles to find a lover and a sense of belonging in either city. 

12. "TOO MUCH (FEAT. SAMPHA)"
Drake and Sampha's "Too Much" is by far the most personable and conscious attempt by either artist. In the twelfth track, Drake discusses his family issues as a result of his massive success over a luscious piano performance which was originally performed by British singer Sampha. 

13. "POUND CAKE / PARIS MORTON MUSIC 2 (FEAT. JAY-Z)"
The album ends with another installment to the historical collaboration that is Drake and Jay-Z.  Having only exchanged rhymes on Drake's "Light Up" back in 2009, the two put on quite the showing in the "Pound Cake" part of track thirteen.  As usual, Drake finds his independent musical pocket as OVO's production team moves its listeners from one half of the song to the other.  

J. COLE - 2014 FOREST HILLS DRIVE (2014)

As the end of 2014 approached, J. Cole's rapidly growing fanbase was becoming increasingly impatient with the North Carolinian rapper.  Born Sinner, his most recently released project at the time, hit the streets in the summer of 2013.  Following the massive success of his second studio album release, Cole focused his time and energy outside of the booth and in the streets of America.  He placed his celebrity status aside and sought to find solutions for the continuously fatal relationship between African-Americans and law enforcement.  Musically, J. Cole fans received, "Be Free," a politically-charged standalone track which served as a response to the shooting of Michael Brown in August.  Cole's evasion of his life as a mainstream hip-hop music artist during the production of his third album is a major reason why it is regarded as an instant classic.  Further, 2014 Forest Hills Drive received RIAA's platinum certification just nine months after its release, most notably without any guest appearances.  

1. "INTRO"
Cole starts off his third album with an abstract concept for a song.  Backed by a mellow, slow-moving piano, "Intro" allows for the open expression of happiness and freedom.  This introductory song shows the audience which themes will be appearing throughout the LP, with the subject matter clearly referencing modern African-American oppression. 

2. "JANUARY 28TH"
Smooth sampling and laid back drums musically kick off 2014 Forest Hills Drive.  Cole wastes no time addressing how he views the entertainment industry as controlling, especially towards African-Americans.  His lyricism on "January 28th" shows that he understands how to balance his conscious frustrations with society without coming off as aggressive or destructive.

3. "WET DREAMZ"
"Wet Dreamz" is a romantic-based track, serving as a reminiscence of Cole's love life back in high school.  The track is familiarly supported by chopped vocal samples, and his vivid storytelling of losing his virginity served as a favorite among Cole fans.  

4. "03' ADOLESCENCE"

The fourth song uses a much more orchestral sound, which creates a largely immersive effect for listeners.  The looped string melody supports Cole's sudden loss of love and struggles with growing into a man.  Continuing the narrative from "Wet Dreamz," Cole's younger self has already experienced so much and is continuing to learn about life's struggles.  

5. "A TALE OF 2 CITIEZ"

The grungy, twangy, metal-sounding, beat of track five catches all listeners off guard for the first time.  Cole boasts his ability to flow over a modern beat, without losing sight of his politically-charged subject material. 

6. "FIRE SQUAD"
This time, Cole rides a smooth, New York-sounding beat as he delivers one of the catchiest hooks of his career in "Fire Squad."  As the song title suggests, Cole takes shots at multiple entities through name dropping and confident critiques of music and entertainment executives.

7. "ST. TROPEZ"
As the second half of the album takes over, the mood shifts to a slow, more focused and conscious perspective.  "St. Tropez" allows for Cole to express his lack of happiness with America as of late, which is complemented nicely by baroque horns and some smooth female supporting vocals.

8. "G.O.M.D."
Yet another impressive display of vocal sampling serves as the backbone for the song's beat.  Cole uses "G.O.M.D." to exaggerate and highlight the country's most popular stereotypes of African-Americans. 

9. "NO ROLE MODELZ"

Undoubtedly the most successful song of the eleven that 2014 Forest Hills Drive, "No Role Modelz" analyses and challenges the female gender roles in modern America.  Despite being romantic in subject matter, the song makes out to be fairly universal for consumption.  

10. "HELLO"
Track number ten recalls an old love of Cole's, which has put him in a self-reflective and depressive state.  Although fairly upbeat, Cole's emotional state is what becomes especially prevalent throughout the entirety of "Hello".  

11. "APPARENTLY"
Another wildly popular loose track from Cole's fourth studio album, song eleven allows for Cole to continue to look at his beginnings and where his life has let him.  He looks at his family's past in terms of a coming-of-age perspective.

12. "LOVE YOURZ"
"Love Yourz" is one of J. Cole's most culturally impactful songs, whose hook chants, "No such thing as a life that's better than yours," with the purpose to inspire hope among an entire generation that he felt needed it more than ever.  Piano runs throughout track twelve and seamlessly into the album's closing song.

13. "NOTE TO SELF"
Lasting nearly fifteen minutes in length, J. Cole gets more than enough off of his chest in "Note to Self".  He takes the time to extend his thanks to those who assisted in 2014 Forest Hills Drive's production and release, but more importantly discusses issues he holds dear to his heart. 

KENDRICK LAMAR - GOOD KID, M.A.A.D CITY (2012)

good kid, m.a.a.d city is the sophomore studio album release by Compton-based rapper Kendrick Lamar.  Between the years 2011 and 2012, Lamar took advantage of his recent signing to music label giant Interscope records by collaborating with other up-and-coming artists at the time such as Drake and A$AP Rocky.  The majority of the album was recorded and mixed in proximity to Lamar's hometown, and in preparation for his first major label studio album release, he insisted that good kid, m.a.a.d city would be billed as a "short film by Kendrick Lamar."  The concept album embraces California's hip-hop and gangsta rap musical styles through his depiction of a teenager wrapped in the drug-infested and gang controlled streets of Compton.  Small skits before, in the middle of, and after each song allow for one of the most cohesive narratives among all rap albums in history.

1. "SHERANE A.K.A MASTER SPLINTER'S DAUGHTER"
The album begins with the introduction of "Sherane," who serves as the romantic motif throughout the story's narrative.  Over some relaxing, slow-moving hip-hop drums, Lamar addresses disregarding the dangers of her family's history of gang-banging in order to achieve sexual pleasure.  As the introductory track continues, Lamar's dysfunctional parents are introduced via voicemail to his cell phone.

2. "BITCH, DON'T KILL MY VIBE"
Perhaps the most pop-culturally and commercially successful song off of Lamar's second LP, "Bitch, Don't Kill My Vibe" purposefully halts the advancement of the album's narrative.  It is one of the only tracks from good kid, m.a.a.d city that is told from the time's present day perspective.  Lamar flows effortlessly with well-placed drums and a mesmerizing guitar sample to bring the song together.

3. "BACKSEAT FREESTYLE"
The third track seamlessly transitions from the second, and the hard-hitting beat is complemented by Kendrick Lamar's 16-year-old self rapping boisterously about the culture he has grown up in.  This track reflects the attitude and beliefs of young people growing up in a corrupt society.

4. "THE ART OF PEER PRESSURE"
Lamar decides to place the album's narrative in the driver's seat by providing a graphic and vivid description of his experiences with peer pressure.  The entirety of the song details a premeditated robbery of someone's house, and how his vulnerable conscience was manipulated into believing this sort of attempt was "necessary" as a teenager in Compton, CA.

5. "MONEY TREES (FEAT. JAY ROCK)"
"Money Trees," the fifth track from Lamar's four-time Grammy-nominated album, summarizes the themes explicitly mentioned in the previous two tracks.  He explains that this song is specifically about lust and the struggle with desires for material things.  His Top Dawg Entertainment labelmate, Jay Rock, offers an additional perspective about the brutalities of Compton.

6. "POETIC JUSTICE (FEAT. DRAKE)"
Lamar links up with Toronto-based rapper Drake to deliver a track dedicated to Sharane, the narrative's romantic focus.  Over a light, airy vocal sample, the two emcee's deliver wooing verses discussing the status of their relationships.

7. "GOOD KID"
good kid, m.a.a.d city's seventh track deepens the story's narrative by describing the immediate aftermath of being jumped by two hooded strangers.  In addition, Lamar uses this track to introduce the concept and theme of realization which sparks his character's initial motivation to escape his neighborhood.

8. "M.A.A.D CITY (FEAT. MC EIHT)"
The LP's eighth song fittingly features veteran hip-hop rapper and Compton's Most Wanted member MC Eiht.  Lamar further illustrates the several horrors he witnessed growing up in the city, some of which were traumatic events that happened to people he was close to.

9. "SWIMMING POOLS (DRANK) [EXTENDED VERSION]"
Serving as the album's lead single, "Swimming Pools (Drank)" addresses the psychological connection between peer pressure and alcoholism.  The club-friendly sonics juxtapose this introspective take on the social pressures and self-defeating attitudes that drive people to drink.

10.  "SING ABOUT ME, I'M DYING OF THIRST"
Track ten is highly unique when compared to the rest of this LP.  "Sing About Me, I'm Dying of Thirst" takes on the perspective of two people very close to Lamar, one positive and one negative.  It becomes clear that this song specifically wasn't intended to not offend people or please others, but was rather to be realistic.

11. "REAL (FEAT. ANNA WISE)"
Anna Wise assists Kendrick Lamar in track eleven with a powerfully delivered and highly catchy chorus.  This song denotes the incredibly important realization that Lamar has come to, which is how important it is to love yourself.  This the first time listeners are exposed to this theme in the album, which comes as a surprise when it is introduced.

12. COMPTON (FEAT. DR. DRE)
Lamar decides to end his storytelling masterpiece with music mogul and fellow Compton native Dr. Dre in "Compton." This closing track is the only song, aside from "Bitch, Don't Kill My Vibe," that is told from Lamar's present-day perspective.  It symbolizes the transformative experience that was Lamar's first studio interaction with Dr. Dre, which Lamar has personally explained to have been the start of his new life.

KANYE WEST - MY BEAUTIFUL DARK TWISTED FANTASY (2010)

My Beautiful Dark Twisted Fantasy is the fifth studio album released by Chicago's one and only Kanye West.  Following the explosion of positive attention received by 2008's 808's and Heartbreak, West released My Beautiful Dark Twisted Fantasy in November of 2010.  As an established hip-hop artist and media personality, West dared to radically change the way he went about creating his next album.  He retreated to a "self-imposed exile" in Hawaii the year prior to the album's release, with hopes to create a more communal recording environment.  The Chicago native's fifth LP incorporated many aspects from his previous pieces, such as the unique implementation of symphonic, soul, baroque, and electro music.  All thirteen tracks progressively bring listeners on an expansive musical journey which explores themes such as celebrity, race, consumer culture, and the idealism of the American Dream.  Kanye West has birthed several classic pieces of music since his career began in the early 2000s, and My Beautiful Dark Twisted Fantasy is undoubtedly one of the highest quality hip-hop albums ever released.

1. "DARK FANTASY"

The album opens with an epic sounding, multi-layered vocal oriented before being brutally interrupted by a hard-hitting beat and West's opening verse shortly following.  Strong production starts from the opening seconds of this LP, which is accompanied perfectly by West's lyrical wit and cleverness.  An effortless vocal transition around halfway through "Dark Fantasy" also prepares listeners for the implementation of multiple unique, personality-filled voices.  Among all studio albums, My Beautiful Dark Twisted Fantasy provides the widest range of emotional presence, which is represented through the drastic use of vocal effects.  

2. "GORGEOUS (FEAT. KID CUDI & RAEKWON)

My Beautiful Dark Twisted Fantasy is informally referred to as one of the greatest modern rap albums because of not only the performance West offers, but also because of his ability to weaponize other artists.  In other words, this LP was groundbreaking for the reason that so many other artists were involved in its creation and each used their contributions effectively.  "Gorgeous" allows Kid Cudi, one of West's newest signees and among the time period's most promising hip-hop artists, to shine fully through a infectiously-catchy chorus.  West and New-York based Wu-Tang Clan member, Raekwon, pridefully boast their sense of style with unforgettable verses.

3. "POWER"

Arguably one of West's most well known songs, which is saying a lot, "Power" turns My Beautiful Dark Twisted Fantasy up to eleven.  It was released in July of 2010, and immediately seemed to have merged West's fanbase and America into one.  Quick hitting claps ride a prominent vocal sample while West attacks social issues he believes people are too afraid to confront in music.

4. "ALL OF THE LIGHTS (INTERLUDE)"

The intensity of "Power" drops off abruptly as the prelude to another highly popular West track, "All of the Lights."  Lasting just over a minute in length, West establishes the melodies through crisp, authentic instrumentation.  His use of strings and piano harmonize and transition perfectly into the vocal sample which marks the beginning of the song.

5. "ALL OF THE LIGHTS"

Despite no features listed on this track, which would be made into a music video and see itself as a single some months after MBDTF's release, "All of the Lights" is a star-studded vocal performance riddled with graphic rhyming and an underlying orchestral presence.  Among the supporting vocalists is Rihanna, who would be later credited as a featured artist when the song eventually was marketed as a single.

6. "MONSTER (FEAT. JAY-Z, RICK ROSS, NICKI MINAJ & BON IVER)

The sixth song officially marks the transition of West's beautiful fantasy into a dark and twisted one.  "Monster" avoids the acknowledgement of any politically correctness in the music industry, and has a beat filled bass and tom drums to darken the mood even more.  Respectively accomplished emcees such as Jay-Z and Rick Ross show their scary side with offensive illustrations of backstabbing and double-crossing.  Queens-based rapper Nicki Minaj had an explosive year with the newfound success of Lil Wayne's Young Money imprint, and West has later stated himself that Minaj's verse on "Monster" was among the most impressive of all time.  Her uneasy, shaky vocals and unexpected changes of tone match perfectly to the instrumental.  Additionally, American indie-fold band Bon Iver provides a notable, fitting outro to the song.  

7. "SO APPALLED (FEAT. JAY-Z, PUSHA T, CYHI THE PRYNCE, SWIZZ BEATZ & RZA)

Each consecutive song in My Beautiful Dark Twisted Fantasy introduces more of some of the most influential artists in hip-hop.  Orchestral strings are brought back in to lighten the mood created by "Monster," however the coexistence of rapid-hitting kick and snare never left.  West recruits his G.O.O.D. Music label signees Pusha T & CyHi The Prynce to trade off impressive rapping skill with veteran New York hip-hop trailblazers such as Jay-Z, RZA, and Swizz Beatz.  For over six-and-a-half minutes, "So Appalled" puts listeners in a trance filled with microphone passing and a constant barrage of lyricism.  

8. "DEVIL IN A NEW DRESS (FEAT. RICK ROSS)

The constant rapping and rapid instrumentals take a well-timed tempo drop, and West's vocal performance adapts perfectly.  Yet another beat with chopped vocal sampling creates such a unique listening environment.  Although making a brief appearance on "Monster," Rick Ross finds a comforting, homestyle flow to pick up the nearly two-minute instrumental break that followed West's verse.  

9. "RUNAWAY (FEAT. PUSHA T)

"Runaway" is a nine-minute song disguised as a lifetime of romantic disappointment, regret, and lust.  Although West pours his emotions out onto the song's chorus Pusha T comes back to deliver another bulletproof set of raps, it is the vocal-less instrumental that creates a nearly unreachable level of immersion.  An overly-simple piano loop, which consists of only one key being played across just four different pitches, floats above an ocean filled with drum-oriented and orchestral instrumentation. After West lays down the chorus for a final time, he uses the remaining four minutes to loosely hum along through a distorted jungle of vocal effects.  "Runaway" is by far the most effective in forcing listeners to lose track of their sense of time and instead focus on appreciating the present moment.  

10. "HELL OF A LIFE"

The tenth track of MBDTF uses a dissonant synthesizer progression to wake listeners up from the transformative experience given by "Runaway." Feeding into one of the central themes of the album, West's opening line explains his newfound infatuation with a porn actress.  Heavily controversial depictions of race and immoral ways of living allow West to finally let go of his virtues and embrace his vices.  

11. "BLAME GAME (FEAT. JOHN LEGEND)"

West depressingly finds himself facing the repercussions after his drug-induced, party-filled experiences of "Hell of a Life."  Emotional strings are dragged out to provide support for the complex piano loop.  His depiction of a toxic relationship filled with lies, cheating, and make-up sex is reinforced through various levels of vocal adjustments.  It is clear to listeners that West's consciousness is frantically searching for solutions to his problems, with different pitches of his distorted voice talking to one another.  

12. "LOST IN THE WORLD (FEAT. BON IVER)"

The tempo changes once again, this time picking back up.  Bon Iver continues their effective contribution to MBDTF by harmonizing with West's cruel and introverted take on society.  The Chicagoan is still struggling to find purpose, and takes advantage of the song's chorus to communicate this.  The multiple layers interconnect to provide an energy-filled showcase of musical expression.  

13. "WHO WILL SURVIVE IN AMERICA" 

The song's title is chanted as track twelve fades seamlessly into the preaching of Justin Vernon, the lead singer of Bon Iver, atop a familiar drum pattern.  Track thirteen serves as less of a song and more as a verbal summary of the previous hour of music.  The analogy of comparing oneself to being lost in a forest to West's lack of sense of belonging is articulated very well by Vernon.  

DRAKE - TAKE CARE (2011)

Take Care is the sophomore studio album released by Canadian rapper/singer Drake.  Released in late 2011, this album transcended the invisible boundaries between rap music and rhythm and blues.  Drake was looking to capitalize off of the success he saw through the release of his first studio album, Thank Me Later (2010), which launched his career from what was initially an internet sensation into the limelight of American popular music.  Drake, who was thriving as a solo artist by the help of veteran emcee Lil Wayne's recently established and highly successful "Young Money Entertainment" record label, was finding growth among his fanbase in less commercial and less traditional ways.  Drake continued to release his work through his "October's Very Own" blog, which had existed since 2006, and had proven to be highly successful in cultivating his fanbase.  In total, Take Care churned out eight promotional singles, three of which came out prior to Take Care's release in November.  The album's balance of cohesiveness with substantiality is what makes it an instant classic, providing hip-hop culture with an unprecedented sense of emotional vulnerability and sonic genius.  Any of the twenty songs have equal potential to be individually digested yet maintain a sense of place and meaning within the LP.

1 "OVER MY DEAD BODY"

The album opens up with a piano-heavy, celebration of success Drake has seen in has career thus far. His vices are boastfully expressed, future intentions are established, and immediately puts readers in a perspective of introversion and musical immersion.

2 "SHOT FOR ME"

Transitioning seamlessly from opening statements made in "Over My Dead Body," "Shot For Me" drags listeners deeper into his emotions.  He shows listeners that he has perfected his ability to distinguish his talent singing for both and rapping, while effortlessly combining the two.  This track serves as an ode to his exes, and further sets the mood for the remainder of the album.  

3 "HEADLINES"

Among the several singles from Take Care which each saw a massive amount of standalone success, this track is undoubtedly the most effective within the context of the album.  Its upbeat nature catches first-time listeners off-guard following the slow and underwater-like sounds of first two songs.  "Headlines" places Drake ahead of all of his peers in the race for success and respect among the rap game.  

4. "CREW LOVE (FEAT. THE WEEKND)"

Along with continuing to flex his lyrical ability, Drake shows the world an artist who he had been collaborating with for the past year or so.  The Weeknd, a fellow Canadian singer with a strikingly similar musical approach, had writing credits and vocal presence on several songs from Take Care and received an official feature on this track.  The album has now slowed down from the pace of "Headlines," and the production quality has not shown a single sign of decreasing. 

5. "TAKE CARE (FEAT. RIHANNA)"

Serving as the LP's title track, "Take Care" features megastar Rihanna, one of Drake's many celebrity romantic interests.  As an obvious sequel to the two's previous collaboration, "What's My Name?," this track brings love and lust into the forefront of the album's theme.  An upbeat, dance-friendly track brings listeners a sense of romantic energy to the album.

6. "MARVINS ROOM"

Continuing on the subject matter of love, this song embodies the style of music that Drake has innovated and since redefined the way people look at hip-hop.  The genre's cemented stereotype of containing strictly unemotional, gangster lyricism was contested with the success of "Marvins Room" and other consciously-centric songs.  The echoey, slow-motion-esque instrumentation fits perfectly with Drake's drunken, regretful phone conversations with lost love.  

7. "BURIED ALIVE INTERLUDE (FEAT. KENDRICK LAMAR)"

Take Care's production and seamless transitioning allows for listeners to easily lose track of which song is which, and instead calls for a more wholesome consumption experience.  Upcoming Californian rapper Kendrick Lamar channels his guilt-filled lyricism to fit perfectly in the musical and thematic context of Drake's album.  Without any assistance, Lamar is able to transition listeners into (arguably) the second half of the LP.  

8. "UNDER GROUND KINGS"

Take Care is now in full effect.  Drake raps swiftly and articulately, through rhymes which describe his lifestyle, attitude and experiences as an upcoming rapper.  Simultaneously, he recognizes southern America as one of his many influences for music by paying homage to UGK, a Houston-based rap group who saw major prominence in hip-hop during the 1990s.  

9. "WE'LL BE FINE (FEAT. BIRDMAN)"

Drake continues his showcase of professional rapping flow and clever lyricism by following up with an equally upbeat and bass-heavy club anthem.  He continues to easily switch from a melodic chorus to bulletproof verses, creating the phenomenon he would later self-proclaim as being, "Drake featuring Drake."  To continue Take Care's theme of celebration of success, one of Drake's early musical mentors ensures to the public that Drake's potential is among the highest of all artists, and that his success has only begun.

10. "MAKE ME PROUD (FEAT. NICKI MINAJ)"

For the third consecutive time, Drake and his team have formulated yet another club-friendly hit; this time featuring Nicki Minaj, Drake's label-mate and (one of many) romantic interests.  This track strengthens the already established themes that Take Care has, while complementing on the separate musical narrative the two have created through previous collaborations (such as "Moment 4 Life").

11. "LORD KNOWS (FEAT. RICK ROSS)"

To add to the star-studded list of features, Drake recruits Floridian-rapper and hip-hop veteran Rick Ross for a head-to-head lyrical onslaught.  The two each deliver impressive, bodacious verses (each minutes in length) over a masterfully sampled beat.  

12. "CAMERAS/GOOD ONES GO INTERLUDE"

The album suddenly halts into a slow-moving, carefree musical space which allows Drake to express his rapping versatility.  He compensates for the lower tempo while still delivering impressive raps before the interlude (once again, almost unnoticeably) transitions into a ballad to a girl he hasn't talked to in a while.  The Weeknd offers luscious back-up vocals in both parts of the track to solidify the lo-fi, underwater feeling established in "Over My Dead Body," "Shot For Me" and "Marvins Room."

13. "DOING IT WRONG"

Without doubt, this is the most immersive and reflective piece of work ever released by Drake.  It is impossible to escape the feelings of guilt, regret and heartbreak he expresses throughout the track.  "Doing It Wrong" allows for Drake to open up about a relationship that will inevitably end, which, in the context of a hip-hop album, was seemingly impossible to successfully implement.  The massive presence of low-end in the song triggers memories and emotions from every listener that would otherwise be buried deep within them.  

14. "THE REAL HER (FEAT. LIL WAYNE & ANDRÉ 3000)

As the emotionally charged "Doing It Wrong" fades out, Drake is now seeking a new lover to replace the one that got away.  Young Money Entertainment boss and highly decorated rap veteran, Lil Wayne, makes his first appearance on Take Care alongside the legendary rap group Outkast's very own André 3000.  The slow-moving mood remains consistent, with Drake continuing to flex his singing range and vocal ability.

15. "LOOK WHAT YOU'VE DONE"

Regarded as one of the most effective pieces of storytelling in modern hip-hop, this 5-minute piece is uniquely structured and effectively performed.  Drake fires off yet another piano-heavy beat, where this time he recollects his experiences of transitioning his life interest from acting to music.  He progressively rhymes about his life in his early twenties, as Lil Wayne aided in launching Drake's career into the limelight of the music industry.

16. "HYFR (HELL YA F****** RIGHT) [FEAT. LIL WAYNE]"

Besides creating a highly influential and infectious acronym to be soon used by many of America's youth, "HYFR" offers itself to be yet another catchy, club hit.  Drake and Lil Wayne continue their hot streak of chart-climbing collaborations with this one.  Drake contextually shows listeners that despite Take Care having been playing for over an hour in length, he still has rap flows and subject matters to parade.  

17. "PRACTICE"

This song takes an intimate, sexual approach to a highly successful 1998 rap song by Cash Money artist Juvenile.  Specifically, this song highlights Drake's unusual ability to connect to a young, modern audience through paying homage to those who influenced him.  Production still hasn't left the ceiling, which puts Drake in a perfect pocket to express his lust for another potential lover.  

18. "THE RIDE"

While not featured, credited writer and frequent collaborator The Weeknd provides layered singing vocals which make up the majority of this songs beat.  Drake smoothly raps in the 3rd person perspective for the majority of the song, admitting to the bad decisions that derived from purely good intentions.  It serves as a moment of "coming full-circle" for both Drake and his listeners, and is where the standard edition of the album finishes. 

19. "THE MOTTO (FEAT. LIL WAYNE) [BONUS TRACK]"

As if "HYFR" by itself wasn't influential enough, "The Motto" has to this day proven to be one of Drake's most culturally impactful and timeless hits.  It features an incredibly addictive drum-line backed by trunk-shaking 808 bass, which is prominent throughout the entirety of the track.  Drake and his mentor team up once again to debut to the country with an expression that would soon join the youth's vernacular: "You only live once" (or YOLO, for short).  

20. "HATE SLEEPING ALONE (BONUS TRACK)" 

To close out the album in appropriate fashion, Drake raps over another immersive beat riddled with slow-moving synthesizer pads.  With seemingly nothing more to say, Drake still manages to pull out substantial and graphic verses to allow for "Hate Sleeping Alone" to be a quality standalone track.