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best-rap-album-of-the-2000s-ii Best of 's Old School Hip Hop & RnB Mix | Throwback Rap & RnB Dance Music #8.  top songs of the s. younger days. When Radiohead’s Kid A came out on October 2, , many people headed to a brick-and-mortar record store and handed over $16 in cash to buy the album on CD—and if they wanted to listen to it on the go, they popped that CD into a Discman. When the same band released In Rainbows in , many of those same people headed to the internet and paid whatever they wanted, then listened to it on a computer file on their phone. Best Rap/ Hip-Hop Albums of the s - ThoughtCo. Now www.- · The Best Hip-Hop Albums of the s Slum Village - Fantastic Vol.2 Two of the three masterminds behind Fantastic Vol.2 are no longer   If you want to post something related to Best Rap Albums s on our website, feel free to send us an email at contact@www.- and we will get back to you as soon as possible. How do I know whether the content in Best Rap Albums s is true or not? We are researching products, conducting hands-on tests, studying market research, reviewing consumer feedback, and writing up all our findings into digestible yet comprehensive reviews our audience will find helpful. All product lists are hand-picked, researched, or tested by us!. An artist who almost always knew how to title an album, Marshall Mathers introduced the world to abum massively offensive alter-ego Slim Shady on 's The Slim Shady LPhe introduced us to the man behind the madness on The Marshall Mathers LPand he took a look at the impact Eminem the artist had on the world with The Eminem Best rap album of the 2000s ii. The tough New York rap and West Coast gangsta rap that dominated the '90s continued into the early s, but they eventually made way for other scenes and subgenres to take over. Archived from the original on Te 9, In fact, we feel Hip Hop Is Dead easily belongs among the best half of his albums. November 30,

Retrieved August 6, Archived from the original on August 27, February 24, Archived from the original on June 28, Archived from the original on October 10, USA Today. Gannett Company. February 7, December 8, January 29, Archived from the original on March 26, Chicago Tribune. Archived from the original on April 6, Seattle Post-Intelligencer.

Hearst Corporation. January 19, Archived from the original on February 6, Archived from the original on July 13, Retrieved December 2, The Recording Academy.

November 30, Archived from the original on December 3, Retrieved April 26, Archived from the original on June 29, Archived from the original on June 22, Archived from the original on November 13, Retrieved December 5, Prometheus Global Media. December 7, Archived from the original on December 10, Retrieved December 7, Archived from the original on Retrieved February 12, Retrieved December 30, Archived from the original on November 28, Retrieved November 29, Archived from the original on March 22, Retrieved May 12, Later albums would find him getting more and more pop-friendly, but Back for the First Time is overall pretty raw.

It's the Ludacris album of choice if you want him at his hardest and least frilly, and it remains a grand introduction to one of the most charismatic rappers of the early s. Eve came into the s swinging after her breakthrough debut album Let There Be Eve Ruff Ryders' First Lady and her standout verses on Ruff Ryders' first two Ryde or Die compilations, but it was 's Scorpion that established Eve as a superstar and one of the seminal rappers of her generation.

With a Dr. Dre beat and a Gwen Stefani hook on "Let Me Blow Ya Mind," Eve was able to leave her mark on the mainstream Gwen would return the favor three years later by having Eve guest on the Dre-produced "Rich Girl" , but don't let that song overshadow the rest of Scorpion.

Eve loads the album with menacing bars, and the bold, dark production of most of the album only makes her sound more sinister. Dre shows up again on "That's What It Is," which goes as hard as any of the Dre-produced hits of the era. A good 15 years at least before Run The Jewels, El-P was running underground rap as a member of Company Flow, a producer, a solo artist, and the co-owner of the Definitive Jux label.

Not a million miles away from the Deltron album, El's production on The Cold Vein pulled from the boom bap and turntable scratches of the '90s, but in a way that was cinematic and psychedelic and sounded like it was from the future. Vast Aire and Vordul Mega rise to the occasion with wordplay and tongue-twisters that are just as mind-bending as the production, and they always manage to talk about real shit, even when they sound surrealist on the surface.

Jay-Z made a name for himself rapping alongside Jaz-O and then Big Daddy Kane in the late '80s and early '90s, but took his time when it came to making his own album. And while he was watching and waiting, the young Queensbridge rapper Nas released his debut album Illmatic , an instant-classic that received a now-legendary score of five mics from The Source and changed rap forever. Jay took obvious notes from Illmatic and sampled a line from it when he finally released his own debut album, 's Reasonable Doubt.

Gone was the fast-rapping Jay-Z of the Jaz-O days and in his place was an artist with a smoother, grittier style who told real-life stories of life on the streets in Brooklyn over some of the finest production of the era courtesy of Ski, Clark Kent, Illmatic contributor DJ Premier, and others. Jay-Z intended for Reasonable Doubt to be a classic, and it was, but it wasn't the instantly-game-changing album that Illmatic was and it couldn't compete with the flashy, pop-crossover "Jiggy Era" that Puff Daddy started to lead after Biggie's tragic death.

So Jay-Z went in an increasingly pop direction, and by the time of his single "Hard Knock Life Ghetto Anthem ," he wasn't just competing with the "Jiggy Era," he was starting to take over. Going pop in the late '90s and early s also meant getting dissed by other rappers, among them Prodigy of Mobb Deep and Nas, whose feud with Jay-Z was about to boil over as Jay-Z geared up for his best album since Reasonable Doubt , The Blueprint.

Months before its release, Jay made Hot 97 Summer Jam history by debuting "Takeover," a diss track aimed at Prodigy and Nas, during his set, alongside a childhood photo of Prodigy in dance clothes on the big screen.

The finished version of "Takeover" ended up on The Blueprint , and the studio version proved it to be not just a brutal diss track but also a genuinely great song, and one of many on The Blueprint.

Production came largely from Just Blaze and Kanye West plus Bink, Timbaland, Eminem, and others , and together they established a rich, soulful production style that would dominate rap for years. Unlike his previous guest-filled albums, Jay carried the album almost entirely by himself, and he never lost steam.

The only guest appearance came from Eminem on "Renegade," and look, Nas is right, Em out-rapped Jay on the track, but Jay still packed some of his finest rhyme schemes into that song.

That's mostly a good thing, but like his former collaborator El-P whose Def Jux label he was signed to in the early s , Aesop Rock was always one of the genuinely good ones. He's always sounded like he has a lot of respect for the hip hop traditions that his music is steeped in, and he's always been a great rapper and producer.

He remains prolific and consistently good to this day, but he was nearly unstoppable in the early s, during which time he released a handful of now-classic records, including Labor Days. In hindsight, Labor Days doesn't actually sound like the antithesis to albums like The Blueprint ; it feels like it's coming from a similar place as Jay-Z was.

The production largely by Blockhead and Aesop himself sounds very much inspired by the hazy, head-nodding boom bap of '90s New York rap, and Aesop's word-scrambling delivery falls right into the pocket. Jay-Z's claim that Nas had a "one hot album every 10 year average" wasn't entirely fair, but by the end of the '90s, it was hard to deny that Jay-Z was enjoying more critical and commercial success than ever and Nas' relevancy was fading.

But when Jay-Z brought national attention to their feud on "Takeover," it lit a fire up under Nas' ass and resulted not just in the response track "Ether" but also in the best Nas album since Illmatic. Like "Takeover," "Ether" is brutal but also a great song though, as was too often the case in early s rap, it's riddled with homophobia.

It's the reason "ether" -- as in, to utterly destroy someone -- is now a verb, and it's also the reason that "stan" is a noun. It comes from Eminem's song, but Nas made it a noun. Stillmatic is more than "Ether" though, and Nas making such a great album really spoke more volumes against Jay-Z's claims than any line in "Ether. El-P is an artist who never stops inventing himself, and whose old stuff never sounds outdated no matter how many times he pushes his career forward.

These days, he's more famous than ever as one half of Run The Jewels, but he was running underground rap two decades ago and his music from that era sounds as forward-thinking today as it did then. After the breakup of his great '90s group Company Flow, El went solo with his debut album Fantastic Damage , a drastic artistic leap from Co Flow's already-classic Funcrusher Plus.

As both the rapper and the producer, El had full creative control over Fantastic Damage and was able to establish himself Best Rap Hip Hop Songs In The World as a true visionary.

More than just a collection of beats and rhymes, Fantastic Damage is full of musical ebbs and flows and really plays out like a much grander statement than any of its individual songs could on their own. Lif, and more , and it's especially thrilling to listen back to El-P's raps on this album now that we're so used to hearing him with Run The Jewels.

We've seen so many rappers make one or two classic albums and fall off, but it's less often that we see someone evolve over time like El-P. The place he's at now as an artist really makes you see his classic records in a different light.

If we're picking one album per artist, a lot of people would go with 's near-perfect The Marshall Mathers LP for Eminem, but if pressed, I always go with The Eminem Show because it feels like the grand finale to the classic Eminem era. An artist who almost always knew how to title an album, Marshall Mathers introduced the world to his massively offensive alter-ego Slim Shady on 's The Slim Shady LP , he introduced us to the man behind the madness on The Marshall Mathers LP , and he took a look at the impact Eminem the artist had on the world with The Eminem Show.

He also admitted the show was over with 's Encore , and then made a series of failed comeback attempts with Relapse , Recovery , The Marshall Mathers LP 2 , and Revival , before finally abandoning this trend on the still-just-okay-sounding Kamikaze and Music to Be Murdered By. Eminem catapulted to the forefront of rap because of white privilege but also became a scapegoat for everything white suburban conservatives hated about rap, and there's perhaps no better response to all of it than "White America," the first proper song on The Eminem Show.

And then there's "Sing for the Moment. You might argue that song ruined white rap forever and also unfortunately convinced Eminem he needed more and more ballads on later albums , but it also spoke directly to and validated the feelings of a lot of kids who needed to hear it. The Eminem Show also attacked George W. Bush "Square Dance" , took on personal issues like the toll fame takes on a person "Say Goodbye Hollywood" and fatherhood "Hailie's Song" , and also reminded the world Eminem was still better than most people at making straight-up rap songs "Business".

Dre, "Business" found Eminem packing so many career-best punchlines over a top-tier Dre beat, reminding us that -- when you put all the baggage associated with Eminem aside -- he was truly one of the greats at the pure art of rapping. As mentioned in the Ludacris blurb, The Neptunes Pharrell Williams and Chad Hugo were crafting a new sound in the early s that changed rap and pop music overall forever, and though they produced songs for tons of artists, their closest relationship was with fellow Virginia Beach duo Clipse, aka brothers Pusha T and No Malice.

The Neptunes produced all the music on Lord Willin' , one of the truly original debut albums of the s. The Neptunes' bright, multi-layered, rhythmic production sounded like a futuristic beach dance party, but Push and Malice's raps were as cold and deadly as anything coming out of New York. As with El-P, there's a different appeal to early Clipse records today than there was at the time because of the revitalized career Pusha T has had ever since hooking up with Kanye West in the s which so far hit its highest peak with 's Daytona.

He's one of the best rappers in the world right now , which seems all the more impressive when you remember he was putting out classics two decades ago. These days, he sounds right at home over Kanye beats or on psychedelic Griselda and Freddie Gibbs tracks , but when you wanna hear him over out-of-this-world Neptunes production, there's nothing like Clipse.

The Neptunes' core, hometown collaborators were Clipse, and likeminded Virginia producer Timbaland's was Missy Elliott. They'd been making records together since Missy' debut album Supa Dupa Fly , and they proved to be a dynamic duo.

It's hard to pick just one early s Missy Elliott album a lot of people would've understandably went with 's Miss E It's a little shorter and tighter than the ones that led up to it, and with less guests crowding the album, there's more time for Missy to shine on her own.

A slightly faster, albeit equally melancholic, version of the song is the framework for Dilla's "Time: Donut of the Heart," off his critically-acclaimed album, Donuts. David Banner serves up an orchestral sound-bed, while The King kicks street wisdom to young trappers in the struggle.

You can play this at a retirement home and watch old souls get excited about a line dance. Reflection Eternal's debut, Train of Thought , will go down as one of the best hip-hop albums of the s, thanks to timeless tunes like "The Blast" and "Four Women.

Jay Electronica is no ordinary rapper. And "Eternal Sunshine The Pledge " is no ordinary rap song. Jay flips the theme music from Eternal Sunshine into a gorgeous hip-hop gem.

Powerfully plumbed with acoustic guitar, though the production is lo-fi. No hip-hop song in recent memory captured so perfectly the sentiment of despair and the possibility of hope. This song has enough bounce to get your adrenaline flowing any day, any weather. In the midst of his battle with Nas, Jay-Z needed a magical moment. Kanye came to his rescue on the back of this Jackson 5-sampling anthem from The Blueprint.

Once that deceptively smooth piano loop drops, you immediately think these guys are about to sing you a lullaby. Instead, they kick you in the teeth. This is the hymn of a man at peace with the sound of his own voice. Orbiting around a bombastic Billy Squire sample, "Fix Up, Look Sharp" grabs your ear instantly and keeps ringing even after the last note has dropped.

Roc-A-Fella was the dominant crew of the decade. Long before Beans went rogue, the Roc's top three MCs joined forces to craft this street masterpiece. Tense, dark, paranoid. My generation is carpooling with doom and disease. Andre and Big Boi, in their creative ebullience, dazzled with 's Stankonia. Arguably their best LP, Stankonia , scored 5 mics in The Source and spawned three of the year's most popular songs: the ferocious "B.

On this underappreciated gem, Akrobatik reminds his peers to be careful about what they're teaching the younguns. Ak's code of ethics is simple: If it makes Bob Marley turn in his grave, don't do it.

Eminem's songwriting prowess is part of what made him one of the premier MCs of the s. Em instructs you to "lose yourself in the moment," while the beat motivates you to move your feet. Perfect for a mid-tempo workout session.

Strong songwriting and instrumentation as well as respect for influences. In other words, pure joy crystallized into an impossibly Best Rap Christian Songs In The World catchy dance cut. Musically accessible, but no less intriguing than "Ether. This will probably go down as the greatest challenge ever posed in a head-butting contest. Nas' esoteric yet wittily ferocious response to Jay-Z's "Takeover" helped clinch his victory in the battle for New York supremacy. It's undoubtedly one of the greatest diss songs in the history of hip-hop.

Theme music for any revolution. Too many songs on Fishscale either veered too far left of Wu mantra or stuck too close to home. Few newbies ever get an opportunity to split a single with a big enchilada. When Kanye used the chart-topping "Touch the Sky" as a vehicle to ferry Lupe Fiasco to the big scene, Lupe seized the opportunity and gave one of the most memorable guest performances of the decade.

No punching bags, either. Just Eminem defending his sheer existence as an unapologetic, foul-mouthed, lyrically-equipped artist who can't stand boy bands. Dre concoction from his debut album, Get Rich or Die Tryin'. The song that had college kids chanting "Go shawty, it's your birthday" regardless of what day or month it was.

Aasim is not a household name, but he should be. His flow on "Hip-Hop " is crispier than vanilla wafers. His rhymes are sharper than a Samurai ginsu.

The beat, courtesy of the late great Roc Raida, will have you reaching for Bengay from too much head bobbing. Among the greatest rap songs of all time. While everyone else was preoccupied with the next big bassline, Andre Best Rap Album Covers Of The 2010s Tab kept it simple. The ingredient for this runaway smash? One mindless phrase repeated over and over and over and over until it becomes irresistible.

Weezy goes on a free-verse rampage, rambling about everything under the sun. But you simply can't turn it off because his flow is so damn infectious. Missy quickly became a favorite in the s on the strength of her progressive production and innovative videos.

It combines disparate elements that have no business being in the same pot together: Indian strings, tribal drums, Chinese gibberish. The result is a cohesive gem that sent ripples across the airwaves. A dense soundscape of shimmering piano licks over a classic breakbeat and thumping bass is the recipe for an instant banger.

Hey hip-hop, your future is in safe hands. How many artists can claim to have placed their hood on the map with just one single? The H-Town triumvirate of Mike, Slim, and Paul should be somewhere near the top of that list for spearheading Houston's momentary chokehold on hip-hop.

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