The 21 Best Hip-Hop Albums Of 2021: Staff Picks

'Moon Boy' - Yung Bleu

Newcomer Yung Bleu rose to stardom this year thanks to Drake adding a verse to the remix of “You’re Mines Still,” the young rapper’s breakout single. The begging ballad, which finds the lovestruck crooner still stuck on his past, garnered Bleu his first No. 1 on the Billboard Hot R&B/Hip-Hop Songs chart.  

The rapper-singer’s southern drawl and trap foundation are apparent throughout Moon Boy, as the Mobile, Alabama native attempts to flip melodic rap into rhythm and blues. A surprisingly star-studded list of singers including H.E.R., Kehlani, John Legend, and Chris Brown help him accomplish this via their individual guest features. Bleu even samples SWV’s “You’re Always On My Mind” on Moon Boy‘s third single, “Baddest.” The Hitmaka-produced jam feels akin to the quintessential R&B sound the rapper chases throughout the album.  

Yung Bleu takes listeners on an emotional rollercoaster, rapping aggressively about sex on “Water Works,” tapping into a more melancholic side of himself on “Dark Clouds,” and identifying his love language on “Ghetto Love Birds.” It’s rare for an artist to deliver a perfect debut album, but this one at least leaves us wanting to hear more of Bleu’s flow, lyricism, and creative sensibilities in the future. — Mya Abraham, R&B Reporter

'All the Brilliant Things' - Skyzoo

Skyzoo is not a rapper, he’s a lyricist; his music is more so meant for thinking than dancing. The beauty of Hip-Hop is that we have incredible creators who focus on various aspects of our culture. All the Brilliant Things aims to wake our people up to the conditions around us—“us” being black folks who are of sound mind and body yet blind to the ways our communities, once ravaged by government negligence, are now being turned to gentrified basins of glory for uninvited outsiders. 

“Bed-Stuy is Burning” tells the tale of Sky’s native Brooklyn, New York becoming a coffee shop-lined neighborhood with little soul. That missing soul is found on this very album, as Skyzoo, a jazz enthusiast, builds All the Brilliant Things around live instrumentation, relying on pounding drums and jabbing horns on songs like “Humble Brag.” 

“Culture-Ish” drives home the notion that after nine solo albums, Sky still has the people on his mind and in his heart. Just how is it that our style, slang, and worldview seem to enrich everyone but us? That sort of question feels central to Skyzoo’s music, as the cover of his album depicts him holding the hand of his young son as they gaze at a newly erected luxury apartment complex in his old neighborhood. The rapper reminds us that self-respect, black ownership, and community networking are the brilliant things needed for us to hold on to what’s rightfully ours. — Datwon Thomas, Editor-in-Chief

'Something for Thee Hotties' - Megan Thee Stallion

This archival compilation of freestyles from Megan Thee Stallion was the perfect release to satisfy diehard Hotties who’ve been around since the beginning, while also being an introduction of sorts for newer fans. Something for Thee Hotties highlights Meg’s rhymes outside of her usual chart-topping singles and collaborations. From honoring her late mother and grandmother’s legacies on “Southside Forever Freestyle” to the unabashed p****y rapping on songs like “Eat It,” “Freakend,” and “Warning,” the Hot Girl Coach includes some of her best rhymes on this reflective body of work. 

The Houston rapper even experiments on the melodic “Pipe Up” with a catchy, nursery rhyme chorus. But let’s be clear, the track (and the entire album) is still rated NSFW. Influenced by regional sounds of the south and gassed by her gritty alter ego, Tina Snow, Meg commands the attention of listeners with her HitKidd and Lil Ju-produced tracks. Lead single and album closer “Thot S**t” confirms the fact that nothing and no one defines Megan but herself and her accolades. Or as she puts it, “I’m the s**t per the Recording Academy.” — Mya Abraham

'MONTERO' - Lil Nas X

Not needing to ride the success of his record-breaking smash hit, “Old Town Road,” Lil Nas X approached his debut album assertive and impenitent. Not only is MONTERO a reclamation of the artist’s birth name, it’s also an embracement of his existence as an “INDUSTRY BABY,” as detractors have often derided him for being an “industry plant.” Introspection from the queer icon is the basis for the album, as heard on songs like the chilling “AM I DREAMING” and the beautifully haunting “SUN GOES DOWN.” 

Additionally, Lil Nas X tackles the struggles of unrequited love while being fully aware of his own desires on “THAT’S WHAT I WANT.”  The self-trolling millennial even took things a step further when he created a sequel to the aforementioned single’s music video, appearing on The Maury Show with some hilariously scripted drama. Enlisting the help of Doja Cat, Elton John, and Megan Thee Stallion, MONTERO is more of fluid pop-rap album than traditional Hip-Hop, but the young star is sure to escape whatever boxes folks insist on placing him in. 

The 22-year-old’s debut album is a rallying cry that the industry has no choice but to hear. It’s long overdue for queer artists to be recognized in Hip-Hop. If the beloved genre is about authenticity and honesty, then MONTERO encompasses the foundational elements Hip-Hop was built on. — Mya Abraham

'The Melodic Blue' - Baby Keem

At times, the biggest stars can be found hiding in plain sight prior to the world taking notice of their talent, allowing them to grow into their own without the demands that come from being an overnight sensation. 2021 may have marked his emergence as a household name, but Baby Keem has been on the scene for years, releasing music under his given name, Hykeem Carter, and securing songwriting and production credits on various TDE projects. Having raised his buzz to a crescendo with his 2019 mixtape, Die For My Bitch, the Las Vegas native upped the ante with his debut studio album, The Melodic Blue, an effort that finds him delivering a sonic collage of beats, rhymes, and melodious riffs. 

Busting out the gate with the raucous opener “trademark usa,” Keem displays the yin and yang of his artistry, seamlessly switching from a hushed monotone delivery to a high-pitched yelp over a trunk-rattling backdrop. Joints like “scars,” “booman,” and “vent” are key selections that find Keem shining in a solo setting. However, The Melodic Blue’s most memorable moments come when the rapper is placed alongside costars with the ability to match his energy. Don Tolliver appears on the boisterous “cocoa,” which places Keem behind the boards doubling as a producer, while Travis Scott checks in for a bit of “durag activity” on the album’s lead single.  

The two Kendrick Lamar-assisted singles are the crown jewels of the record, though. Particularly “family ties,” which earned cousins Keem and Lamar a pair of Grammy nods. The Melodic Blue avoids being an album with a singular tone, as it happens to be one of the more colorful debuts released this year. — Preezy Brown, Hip-Hop Reporter

'The Voice of the Heroes' - Lil Baby and Lil Durk

What happens when you unite two of today’s most prolific Hip-Hop artists on one album? You get the joint LP, The Voices of the Heroes. Spanning 18 songs, the album features Lil Baby, “The Hero,” and Lil Durk, “The Voice,” delivering an hour’s worth of tunes about life, loyalty, and success. The titular track serves as an introductory anthem, offering a preview of the thoughtful storytelling heard throughout the project.  

Much like past collaborations between the two rappers, The Voice of the Heroes finds both artists delivering candid lyrics about their respective experiences going from the trenches of poverty to the spotlight of fame. As the album progresses, the duo deliver back-to-back verses, weaving their melodic raps over beats produced by the likes of Chi Chi, London on da Track, Wheezy, and more. 

Playlist-worthy tracks include the whistle-accented number, “That’s Facts,” on which Durk and Baby reflect on how far they (and their crews) have come. With “How It Feels,” the rappers double down on their realness while describing their journeys from rags to riches. Travis Scott appears on “Hats Off,” a mid-tempo nod to those who keep it one hundred no matter what, while the Meek Mill-assisted “Still Runnin’” delivers one of the album’s most energetic tracks. 

The Voice of the Heroes plays well during life’s celebratory moments, but it also works in more laid-back environments. Hopefully this joint album won’t be the last we hear of Lil Durk and Lil Baby’s collaborative partnership. — Christine Imarenezor, Executive Editor

'The Plugs I Met 2' - Benny The Butcher

With his signature adlib, “the butcher coming ni**a,” ringing throughout its nine tracks, The Plugs I Met 2 finds Benny The Butcher announcing his continued presence as he details the triumphs and tragedies that inform his story. On their sequel to The Plugs I Met, Benny and beat-maker Harry Fraud establish themselves as a consistently great artist-producer duo. Throughout the project, the Buffalo wordsmith delivers gritty street operas over the producer’s meticulously crafted beats.  

Griselda has emerged in the past few years as one of Hip-Hop’s most interesting assemblies. Both rap purists and fans simply seeking a good time enjoy the lyrical talents and New York (State) swagger of the steadily rising collective. One of the most intriguing things about Benny The Butcher in particular, though, is his awareness of his place in the world as rapper who some suggest glorifies drug trafficking and violence. As a result, he supplements his boasts about wealth and status with tales of the danger, grief, and regret that come with running the streets.  

On “No Instructions,” one of the project’s best songs, he raps, “Don’t look at me like I’m perfect/ Y’all worship these rap ni**as, turned this sh*t to a circus,” positioning himself as an anti-hero whose real-life experience is not to be glamorized. Elsewhere, Jim Jones delivers one of his best verses in years on “Longevity,” expressing a similarly sober look at street life on a track VIBE included in our roundup of the 21 Songs Other Lists Probably Snubbed. 

TPIM2 is an effective continuation of the series. With the rapper inking a new deal at Def Jam Records, Benny The Butcher’s self-made career seems primed to reach the next level. — DeMicia Inman, Staff Writer

'Certified Lover Boy' - Drake

Perhaps the most appropriate list for Certified Lover Boy would be one compiling the best playlists of 2021, given its random cover art and occasionally disjointed tracklist. But the fact remains the project was presented as an album, and said album contains about a dozen undeniably great songs from one of the most reliable stars in music. 

CLB proves just how well Drake drives on cruise control, as the album’s highs outweigh its lows with no discernible difference in the amount of effort, or lack thereof, devoted to any given song. For each of the few tracks on the record as regrettable as “Way 2 Sexy,” there are at least four more as redeeming as “Papi’s Home” or “TSU.” And while some may read this as laziness, what’s most impressive about CLB is the way Drake is able to duplicate the DNA of his greatest hits without degrading their quality. 

“Pipe Down” is just as shameless and scornful as “Jaded.” “No Friends In The Industry” feels as though it’s been pricked with the same adrenaline injection as “Nonstop,” while sounding equally as menacing as “Mob Ties.” And, of course, there’s the continuation of Drake’s timestamp series with “7am On Bridle Path,” as well as his signature soul-searching sign-off on “The Remorse.” Fans and critics who called this album formulaic back in September weren’t wrong—it just so happens that Drake’s formula has yet again yielded one of the best albums of the year. — Austin Williams, Senior Music Editor

'DONDA' - Kanye West

Despite the randomness of the live listening sessions and last-minute updates on the album’s release date, Kanye West’s DONDA became one of 2021’s most heralded releases. On the 27-track LP named after West’s late mother, the enigmatic rapper touches on his Christian faith, losses in love, and the construct of fame all while doubling down on the new Christ-like image of Ye (technically his new legal name).

As scattered and incoherent as it sounds, the strength of DONDA lies in the listening experience it inspires. Hip-Hop, rock, and gospel are fused and heard at various points of the album. The music’s production emphasizes the undeniable fact that Ye’s discography is full of anthemic songs perfect for fan-filled concerts in arenas, coliseums, and stadiums alike. During this month’s Free Larry Hoover benefit concert, DONDA tracks like “Hurricane” and “Praise God” perfectly fit within the flow of West’s high-energy setlist. 

Songs like “24,” “New Again,” and “Lord I Need You”— all featuring the Sunday Service Choir—rely on elements of prayer and worship. Dancehall singer Shenseea adds a feminine touch to the male-dominated tracklist with her contributions to the bass-heavy “Ok Ok pt 2.” And Brooklyn drill artist Fivio Foreign brings the heat with one of the most buzzed-about guest verses of the year on “Off the Grid.”  

Is DONDA Ye’s best album? Not at all. If anything, it’s an hour and 48-minute spiritual purging. Much like what he accomplished on Jesus is King, Ye makes Christian music a little more palpable for lovers of secular music on this album. Whether you love or hate the man who made it, DONDA (despite its drawn-out release) turned out to be an album that’s hard to ignore. — Christine Imarenezor

'Planet Her' - Doja Cat

On Planet Her, Doja Cat blends synthesized vocals and witty rhymes to create a world that orbits her wants, needs, and quirkiest desires. Released in June, Planet Her proves once again Doja is more than a meme artist, she’s a full-blown star.  On her third studio album, the 26-year-old incorporates Hip-Hop, R&B, and hints of other influences that together result in the ultimate pop-rap album.  

From her early mixtape days to her 2019 debut album Amala and last year’s Hot Pink, Doja Cat has become one of mainstream music’s most reliable hit-makers—and for better or worse, a consistently chaotic figure. Her nonchalant, often humorous approach to controversy is reflected in the idiosyncratic choices she makes throughout Planet Her. Whether she’s rapping, singing, or doing something in between, Doja displays an unimpeachable confidence on songs that are sometimes raunchy, angry, carefree, or empowering.  

Album highlights include the chart-topper “Kiss Me More” featuring SZA, “Get Into It (Yuh),” “Need To Know,” “Imagine,” and “Ain’t Sh*t.” Additional artists who found a home on Planet Her include JID, Young Thug, The Weeknd, and Ariana Grande, with Gunna and Eve appearing on the album’s deluxe edition. 

Overall, this Grammy-nominated release makes it plain: No matter what planet she’s on, Doja Cat’s trajectory will never be in retrograde. — DeMicia Inman

'The House Is Burning' - Isaiah Rashad

Isaiah Rashad’s third studio album, The House Is Burning, finds the MC at a new place in his life and career following The Sun’s Tirade in 2016 and Clivia Demo in 2014. On the project, the Tennessee-bred artist is able to pay homage to southern Hip-Hop while establishing his own sound within the same breath. The 30-year-old rapper has said in interviews the record was a chance for him to start over. This comeback album makes a strong case for sometimes burning things down and building back better. 

The simultaneous crunk, trap, and somewhat jazzy production on songs like “RIP Young” help create a pleasantly moody listen. On The House Is Burning, themes of vulnerability, mental health, and self-acceptance are presented with a cohesiveness missing from many other rap albums released in 2021. With 16 tracks, the record features a healthy number of guests. Smino, Lil Uzi Vert, 6lack, Amindi, Doechii, Kal Banx, Duke Deuce, Jay Worthy, YGTUT, and Top Dawg Entertainment labelmates SZA and Jay Rock all add their perspectives. However, the star of the show is rarely outshined. 

Rashad’s lyrical ability and free-form delivery stand out on The House Is Burning, as he opines life’s highs and lows with swiftness and ease. His laidback tone adds a measure of comfort to the chaos present on the album and in reality. While listeners may be transported to a metaphorically burning house, instead of a destructive blaze, there is a warm, slow-burning flame that glows like a guiding light from start to finish. — DeMicia Inman

'Bo Jackson' - Boldy James and The Alchemist

In an age when joint albums between rap artists and producers have become the norm, one pairing that has proven elite is Boldy James and The Alchemist. Having worked together in tandem on numerous projects, including My 1st Chemistry, Boldface, and The Price of Tea in China, the Detroit-bred lyricist and Cali-raised producer’s synergy is akin to that of Bill Lambeer and Rick Mahorn of the Bad Boy Pistons: Two brutes going hard in the paint and wreaking havoc when unleashed. Such is the case on Bo Jackson, a project that finds Boldy dropping testimonials inspired by past criminal exploits atop The Alchemist’s dusty, sample-based soundscapes.  

On “Brickmile To Montana,” Boldy and Benny The Butcher trade tales of navigating the drug pipeline with patented wit and detail. Elsewhere on the project, Earl Sweatshirt and Roc Marciano lend their menacing tenors to “Photographic Memories,” which is powered by a ghastly vocal sample. Including collaborations with Stove God Cooks, Curren$y, and Freddie Gibbs, as well as solo efforts like “Steel Wool,” “Flight Risk,” and “Drug Zone,” Bo Jackson contains awe-inspiring highlights worthy of the athlete its named after. — Preezy Brown

'Folarin II' - Wale

Though it’s one of the best Hip-Hop albums of the year, what sets Wale’s Folarin II apart is its reverence for R&B. Between the sampling of Faith Evans and 112’s “Caramel Kisses” on the similarly titled “Caramel,” the thirst trap anthem “Angles” assisted by Diddy’s “I Need A Girl (Pt. 1),” and the loop of Jamie Foxx’s vocals from his eponymous sitcom on “Dearly Beloved,” the album is at its best during its most soulful moments. Wale even enlists Boyz II Men’s Shawn Stockman to lace “More Love” with his signature falsetto, eliminating the need to lazily tap into the group’s discography.  

With more uptempo tunes like the Go-Go track “Jump In” and the banger “Down South,” Wale stays true to his roots in addition to paying homage to his musical influences, including the late Chucky Thompson. Throughout the album, the DC rapper and poet showcases his innate ability to convey sexiness without being raunchy, and appear vulnerable without compromising his tough exterior. He maintains dominance while reminding us he can also be submissive when required. Folarin II is one of those projects you have to sit with to truly analyze all of its elements. So, if you haven’t yet, take the time to press play. And then press it again.  — Mya Abraham

'TWOPOINTFIVE' - Aminé

Defiantly dubbed an “EP/LP/mixtape/album,” Aminé’s TWOPOINTFIVE is bursting with the sort of boundless creativity only possible when a creator pretends artistic bounds don’t exist to begin with. The project is the second installment in Aminé’s POINTFIVE series, which so far seems to be a collection of off-season experiments released in between his more traditional albums (as ONEPOINTFIVE followed the rapper’s 2017 debut Good for You and TWOPOINTFIVE follows 2020’s Limbo). 

Regardless of its nebulous distinction, what’s clear about the record is its quality. From its propulsive production to its deeply recitable choruses, the project distills the sort of pop sensibilities that have been bubbling in rap for some time now. Songs like “YiPiYaY,” “Van Goh,” and “Charmander” are among TWOPOINTFIVE’s brightest moments both in competence and composition. The last-mentioned track is the project’s lead single on which Aminé zips across a bouncy beat, describing a sort of post-pandemic eagerness to find as much joy as possible in the comfort of his own company. The song is emblematic of the project’s conceit, as TWOPOINTFIVE doesn’t feature any guests other than comedian Ricky Thompson, who appears throughout as a sort of quasi-mixtape host. 

On the record’s upbeat intro, the aforementioned “YiPiYaY,” Thompson kicks things off with a spirited PSA: “F*ck all the bullsh*t you’re going through right now… have some fun, shake some a**.” What follows is 26 minutes of low-stakes, high-reward, wall-to-wall bops. — Austin Williams

'Hitler Wears Hermes 8: Sincerely Adolf/Side B' - Westside Gunn

You won’t find a louder, more confident voice in Hip-Hop right now than that of the self-made millionaire from Buffalo, NY, Westside Gunn. Not too many artists have come from a city that’s produced hardly any successful rappers before them and have gone on to assemble a dominant crew, operate a lucrative merch business, and collaborate with top tier talent all while picking the hardest beats this side of the mainstream. 

On HWH8, Gunn’s harsh delivery, brash exclamations, and “shit-on-your-dreams-cause-mine-are-bigger” demeanor is the sort of peak Hip-Hop arrogance that gets his fans going. On the eighth installment of his oddly titled series (or ninth, if we’re counting Side B as a separate project), Gunn is at his most lyrical when he’s rapping alongside a curated cast of collaborators. Featuring verses from Lil Wayne, 2 Chainz, Jay Electronica, Stove God Cooks, Jadakiss, Boldy James, and more, the 33-track project is fueled by friendly competition between lyricists capable of collapsing mountains with the weight of their microphones.

As for the album’s production, both usual suspects and newcomers contribute to HWH8’s dark and damn-near spiteful soundscape. Whether on the mic or behind the boards, the wicked wizardry of Gunn’s champagne wishes and caviar dreams are brought to life on the record with the help of his peers. — Datwon Thomas

'Pray For Haiti' - Mach-Hommy

There are few rappers who are able to embody the dirty, scruffy, grimy, intellectual, artistic ethos of underground rap with such little effort, yet Mach-Hommy does just that with his second of four releases in 2021, Pray For Haiti.  

A proud representative of the Caribbean nation, the Haitian-American MC declares on his breakthrough opus, “Mach-Hommy is an icon, end quote.” This monster statement is heard on “The 26th Letter,” the track that opens the culturally and historically immersive album that at times mixes creole soul and intricately worded bars. 

Mach-Hommy’s underground king status reached new heights in 2016 when he linked with Westside Gunn’s Griselda Records, and now the two have produced this gem of a project after Mach’s many independent releases. It’s obvious Gunn enjoys rocking with the mysteriously masked rapper, as they feed off each other’s energy on tracks “Folie Á Deux,” “Murder Czn,” and “Rami.”  

Chemistry between performers is always welcomed, but the synergy between the songs and skits themselves (which nod towards Haiti’s hardships and pathways to greatness) is what makes this a cohesive body of work. Mach employs slick one-liners, dizzying stanzas, and direct-hit commentary to describe his thoughts and feelings on the nation. Listen closely to Pray For Haiti, and you’ll hear an artist who prioritizes his people over personal gain. — Datwon Thomas 

"Sometimes I Might Be Introvert' - Little Simz

If you’ve been following Little Simz’s music, you know she’s an artist of depth. With her fourth studio album, Sometimes I Might Be Introvert, the British-Nigerian rapper invites listeners to the two sides of herself—Simz, the confident, extroverted, and very public persona, and Simbi, the intuitive, introverted, and very private person. Over the course of 19 songs, Simz poetically bares her feelings and thoughts about her life, including daddy issues stemming from an absent father and her struggles with self-worth, while making room to reflect on the decade-plus she’s spent in the music industry. 

The album’s first track, “Introvert,” sets a powerful tone and plays like a battle cry for a soon-to-be triumphant warrior. On “Woman,” Simz uplifts all the ambitious and strong sisters of color from places around the world. Her go-getter fearlessness shines on the guitar-laden Afrobeats number “Point and Kill.” Alongside fellow Naija artist Obongjayar, she salutes her Nigerian roots and sprinkles some pidgin English throughout her sharp verses.  

Simbi the person is embodied on the album’s refreshing interludes, which are filled with personal reminders over rich, orchestral sounds. “Gems,” “The Rapper That Came To Tea,” and “The Garden” add cinematic elements of classic Disney fantasy films like Alice in Wonderland and Mary Poppins to the album. “Take your time/ Inhale, exhale, breathe/ Do you want 15 years or 15 minutes? Do not tire yourself out,” she warns herself on one of the whimsical interludes.  

Little Simz’s Sometimes I Might Be Introvert is an introspective, yet seamless work of art. No skips needed. — Christine Imarenezor

'The Off-Season' - J. Cole

One of the biggest questions on rap fans’ minds heading into 2021 was, “When is J. Cole dropping his next album?” Nearly three years had passed since the release of his last full-length offering, 2018’s K.O.D. Despite receiving sporadic standalone releases such as the rapper’s 2019 single “Middle Child,” his 2020 EP Lewis Street, and various guest features, Cole stans still clamored for more. The Dreamville lyricist obliged those requests with the release of The Off-Season, a project that continues the extended sports motif established early in his career (The Warm Up, Friday Night Lights, Cole World: A Sideline Story). Yet this latest iteration features a more freewheeling approach, down to the curious way its song titles are stylized.

Tapping Cam’ron to issue opening remarks on the album’s intro, “9 5 . s o u t h,” Cole reels off a long list of accolades from the vantage point of a notoriously isolated rapper who’s finally comfortable enough in the spotlight to share it. Unlike some of his previous albums, The Off-Season features a stacked group of guests, including 21 Savage and Morray (“m y . l i f e“), Bas (“1 0 0 m i l’,” “h u n g e r . o n . h i l l s i d e“), Lil Baby (“p r i d e . i s . t h e . d e v i l“) and 6LACK (“l e t . g o . m y . h a n d“). These collaborations in addition to Cole’s chorus-less freestyles on songs like “a p p l y i n g . p r e s s u r e” and “p u n c h i n’ . t h e . c l o c k” are what make The Off-Season arguably the most explosive rap release of the year. — Preezy Brown

'King's Disease II' - Nas and Hit-Boy

It’s rare that an artist discovers the fountain of youth 30 years after their debut. Yet for Nas, that fountain appears to be an endless oasis, as the rap legend is currently in the midst of a creative renaissance. Long maligned for his questionable taste in production, Nas has hit a new stride in his career courtesy of Hit-Boy, currently one of the most consistently dope beat-makers in the game. Executive producer of the Queensbridge MC’s 12th studio album, King’s Disease, Hit-Boy helped yield the duo a Grammy Award for Best Rap Album earlier this year, the third such honor of his career and Nas’ first. 

Having developed an effective formula, Nas and Hit-Boy stuck to the script for King’s Disease II, which features some of Esco’s best lyrical performances in years. Nostalgia underscores the strongest parts of the album, particularly on “Death Row East,” which finds Nas documenting a showdown with Tupac in Times Square prior to the Cali legend’s death. The rapper’s blasts from the past continue on “EPMD 2,” which features an assist from the legendary Long Island duo themselves and a scintillating stanza on the part of fellow EPMD enthusiast Eminem.  

While King’s Disease II is devoid of any blatant misses, the album truly picks up as back-to-back songs “Store Run” and “Moments” put Nas’ brilliance as a storyteller on full display. What immediately follows is “Nobody,” featuring an appearance from Lauryn Hill spitting what may be the guest verse of the year. With additional features from Charlie Wilson, Blxst, A Boogie wit da Hoodie and YG, King’s Disease II outpaces the original, and is on the short list for rap album of the year. — Preezy Brown

'Vince Staples' - Vince Staples

During a year punctuated by event releases, Vince Staples delivered a subtle, self-titled album that in most cases soared above the work of his contemporaries. Following a bloated double-disc debut in Summertime ’06, the blatant commercial aspirations of Big Fish, and a slept-on concept album in FM!, Vince Staples’ fourth studio album centers the rapper’s most potent strengths: brevity, beat selection, and bravado-less raps about a life he’s actually lived. 

Pitch-perfect Tiny Desk performances of “LAW OF AVERAGES” and “TAKE ME HOME” point to the album’s musicality, while Staples’ dispassionate delivery on “SUNDOWN TOWN” reminds listeners why he was considered one of the best lyricists to emerge from the Odd Future ecosystem last decade. Slight in stature, spanning just ten songs in 22 minutes, Vince Staples accomplishes a lot with a little, including distinguishing itself as the rapper’s most proficient work to date. — Austin Williams

'Call Me If You Get Lost' - Tyler, the Creator

Tyler, the Creator chased his dreams as a rapper this year. On Call Me If You Get Lost, the 30-year-old artist set out to finally add a Gangsta Grillz mixtape to his catalog. And with this full-bodied collaboration with DJ Drama, he can check that goal off of his bucket list. Following his last two genre-bending projects, Flower Boy (2017) and IGOR (2019), Tyler’s latest release is more grounded in Hip-Hop than anything else he’s dropped thus far. 

The concept album is decorated by nostalgic narration from Drama. Meanwhile, the multi-talented rapper’s alter ego, Tyler Baudelaire, embarks on a journey of self-acceptance that explores themes of romance and heartbreak, luxurious flexes, social responsibilities, identity, and a keen sense of vulnerability. On “MANIFESTO,” Tyler raps, “I was canceled before canceled was with Twitter fingers,” reckoning with his previous controversies not as stains on his career, but necessary moments that influenced his growth. 

The album maintains an early-aughts mixtape aesthetic with a seemingly bottomless bag of features, including appearances from 42 Dugg, YoungBoy Never Broke Again, Ty Dolla $ign, Lil Wayne, Brent Faiyaz, Lil Uzi Vert, Pharrell Williams, Teezo Touchdown, Fana Hues, and Daisy World. Most people know within Tyler, the Creator exists Tyler, the Producer and Tyler, the Try-As-He-May Singer. But Call Me If You Get Lost reintroduces the world to Tyler, the Rapper, proving his talents truly have no limit. — DeMicia Inman