2018 Rap Up: The Top 25
- Zachery Moats
- Jan 25, 2019
- 15 min read
Updated: Jan 11, 2020
It is the moment you have been waiting for, the moment you have been emailing me all week to unveil, well here it is! (I have adopted the mantra: fake it till ya make it – but seriously feel free to email me if you’d like). The top 25. First, let’s take a quick glance at the albums that got us to that point.
100. Takeoff – The Last Rocket
99. A$AP Rocky – TESTING
98. Cypress Hill – Elephants on Acid
97. $uicideboy$ - I Want to Die in New Orleans
96. Chuck Strangers – Consumers Park
95. KYLE – Light of Mine
94. The Doppelgangaz – Aaaaggghh
93. Apathy – The Widow’s Son
92. Various Artists – Superfly Original Motion Picture Soundtrack
91. Ace Hood – Trust the Process II: Undefeated
90. Rich the Kid – The World Is Yours
89. Princess Nokia – A Girl Cried Red
88. Young Thug & YSL Records – Slime Language
87. Nines – Crop Circles
86. 88rising – Head in the Clouds
85. Roc Marciano – Behold a Dark Horse
84. Action Bronson – White Bronco
83. Joell Ortiz & Apollo Brown – Mona Lisa
82. Fat Tony – 10,000 Hours
81. Dave East – P2
80. Drake – Scorpion
79. Death Grips – Year of the Snitch
78. Cadence Weapon – Cadence Weapon
77. E-40 – The Gift of Gab
76. Octavian – SPACEMEN
75. Trippie Redd – Life’s A Trip
74. Bishop Nehru – Elevators: Acts I & II
73. Dabrye – Three/Three
72. Del the Funky Homosapien & Amp Live – Gate 13
71. Montana of 300 – Pray for the Devil
70. Kooley High – Never Come Down
69. G Herbo & Southside – Swervo
68. Logic – YSIV
67. Open Mike Eagle – What Happens When I Try To Relax
66. Aminé – ONEPOINTFIVE
65. PRhyme – PRhyme 2
64. Roc Marciano & DJ Muggs – KAOS
63. Evidence – Weather or Not
62. Masta Ace & Marco Polo – A Breukelen Story
61. Skyzoo – In Celebration of Us
60. J. Cole – KOD
59. Rejjie Snow – Dear Annie
58. T.I. – DIME TRAP
57. cupcakKe – Eden
56. Czarface & MF DOOM – Czarface Meets Metal Face
55. Lupe Fiasco – DROGAS WAVE
54. City Girls – Girl Code
53. YG – Stay Dangerous
52. Meek Mill – Championships
51. Metro Boomin’ – NOT ALL HEROES WEAR CAPES
50. Swizz Beatz – POISON
49. Cozz – Effected
48. SOB X RBE – Gangin’
47. Nipsey Hussle – Victory Lap
46. Various Artists – Black Panther Soundtrack
45. Curren$y, Freddie Gibbs, & The Alchemist – Fetti
44. 03 Greedo – God Level
43. Cavalier – Private Stock
42. Bun B – Return of the Trill
41. Mick Jenkins – Pieces of a Man
40. The Carters – Everything is Love
39. KIDS SEE GHOSTS – KIDS SEE GHOSTS
38. Royce da 5’9” – Book of Ryan
37. Roc Marciano – RR2: The Bitter Dose
36. Maxo Kream – Punken
35. Black Milk – FEVER
34. Smino – NØIR
33. 6LACK – East Atlanta Love Letter
32. Freddie Gibbs – Freddie
31. Lil Wayne – Tha Carter V
30. Tierra Whack – Whack World
29. Denzel Curry – TA13OO
28. Buddy – Harlan & Alondra
27. City Girls – Period
26. Bas – MILKY WAY
Now is the time to make your popcorn.
25. Black Thought – Streams of Thought, Vol. 2
24. Travis Scott – Astroworld
23. BROCKHAMPTON – iridescence
22. Pink Siifu – ensley
21. Black Thought – Streams of Thought, Vol. 1
20. Rae Sremmurd – SR3MM
19. Junglepussy – Jp3
In 2015 (the first year of my Rap Up) Junglepussy released Pregnant with Success. That album slotted in at 14 in my yearly countdown. Junglepussy is back with her third release sitting at 19 this time. Jp3 finds Junglepussy at a far more mellow tempo. The beats might be more understated, but her bars certainly are not. As straightforward as ever, “I Just Want It” is a braggadocios ode to her sex and “I’m In Love” is a love song…about someone else’s man. The way Junglepussy flows through the jazzy, funky beats eases the listener into her world. Just enough for each twist and turn to hit their hardest. The album runs only 30 minutes, well shorter than most of its counterparts in the countdown. That is enough to get hooked and want more. When you do, visit Pregnant with Success.
18. Joey Purp – QUARTERTHING
Joey Purp kicks off our first top 20 trend here, and it starts in Chicago. That soulful Chicago sound that reached its apex with Common, Lupe, Kanye, and others in the mid- and late-00s helped to spawn sounds for a generation to follow. Many Chicago rappers have carried on that tradition including the likes of Chance the Rapper, Mick Jenkins, Vic Mensa, and more. (There is also more than this wave of music out of Chicago - it’d be a disservice to not mention Chief Keef and his fellow drill musicians’ huge influence on rap music today). The soulful Chicago sound is one typically driven by samples from R&B, soul, or even funk tracks. It also often uses live instrumentation. From the opening “24k Gold/Sanctified,” Joey Purp demonstrates that though he may stand on the shoulders of giants, he’s got something to prove. Joey comes off the starting line with so much energy the listener can’t be sure whether he could sustain it for the whole record. (Spoiler: he does). However, as the album goes on, Purp starts to meld that soulful Chicago sound with various other production styles. “Karl Malone” sees him on a beat Chief Keef would tear up. “Aw Sh*t!” sounds like a dance remix. On “2012” Joey doesn’t sport much different energy, but it does slow down the tempo quite a bit. QUARTERTHING represents a vision of various popular Chicago sounds and genre-bending production all mixed together by Joey Purp’s energy.
17. cupcakKe – Ephorize
Well here we are, still in Chicago. This was a terrific year in terms of the rap music that came out of that city. When discussing City Girls, I noted an admiration for being unabashedly oneself. There may be no one in rap music doing that to the fullest of their ability than cupcakKe. She was also featured earlier in this list, but I thought this album had far more exploratory beats and tighter rhymes. cupcakKe packs so much into individual songs perhaps best represented by “Cartoons” – a track that rests on metaphors and similes related to various cartoons. The foundation of the beat sounds as though someone is drumming on iron bars producing various pitches. It is an earworm and feeds right into the next explosive sound of “Duck Duck Goose.” The hits on the record are so infectious it may cover up some of the most intimate aspects of the record. “Self Interview” consists of cupcakKe reflecting on the decisions she makes about the music she puts out and what she sees when she looks in the mirror. Underlying those infectious tracks on Ephorize lies a strong theme of reflection and acceptance. Such acceptance extends explicitly to the LGBTQ community on tracks like “Crayons.” For as ridiculous, raunchy, and downright hilarious cupcakKe gets on Ephorize, it is an album full of sonic explosions and loud, important observations begging to be reflected upon.
16. Flatbush Zombies – Vacation in Hell
15. Armand Hammer – Paraffin
14. Cardi B – Invasion of Privacy
13. Future – Beast Mode 2
12. Phonte – No News Is Good News
No one has ever made being a curmudgeon sound this good. At least in rap. Most times old heads star rapping about young rappers, I just roll my eyes. It is always the same tired criticism, and it just takes up space on their album complaining. “So Help Me God” changes that formula. Though it is not exclusively about young people, it is just about Phonte being absolutely fed up. In fact, “Phonte is fed up,” might be a solid tagline for this record. I have been lauding rappers being unabashedly themselves, I’d be remiss if I didn’t credit Phonte for such an expression too. He is a middle-aged man and has no illusions about what that means. Phonte has been like that for years though. He has also been remarkably consistent throughout that time. He raps unhampered by most petty concerns, cutting straight through the fat to what is important to him. It results in a different tone than any other album on this countdown. No News Is Good News has smooth production often punctuated by the exactness of its drumming all tied together by Phonte’s seasoned attitude.
11. Quelle Chris & Jean Grae – Everything’s Fine
Another concept record for the countdown, Quelle Chris & Jean Grae’s Everything’s Fine satirizes society’s general affect and apathy. Neither rapper approaches the record from a patronizing position, but one that seeks to investigate what we – collectively – mean when we say “everything’s fine.” The album takes the form of a game show (similar to De La Soul’s 3 Feet High and Rising) laden with a handful of over-the-top, raucous skits. The most impressive feat of the record, beyond the maintaining the concept through various hurdles, is the use of distortion. Both beats and voices are consistently altered, often seeming to adapt the sounds of hip hop to mimic the reality of what ‘fine’ might mean. All the above contributes to the tone of the album but doesn’t do the album justice for how fun it is. The satire and distortion merely add layers to the already immensely talented and humorous duo of Quelle Chris & Jean Grae.
The top 10:
10. JID – DiCaprio 2
A late addition to the list, JID’s DiCaprio 2 came storming onto the scene late in the year. Similar to Cozz (and funnily enough on the same label), JID is absolutely ruthless on these beats. He also has this higher pitched flow that is an earworm all on its own. On a nearly 50-minute record, it is incredibly difficult to offer no filler, but that’s just what JID does. Each song manages to stand on its own as a testament of his ability to glide right through various sounds and still contribute to the overall cohesiveness of the record. The variety of beats from soulful samples on “Off Da Zoinkys,” to the bass-heavy “Westbrook” to smoother R&B “Tiiied” demonstrate JID’s ability to shapeshift without ever losing that distinct flow. On DiCaprio 2, JID is a snake slithering across any and every surface biding his time till he sees fit to strike. When he finally does, you will be reeling long after he goes back into the tall grass.
9. Westside Gunn – Supreme Blientele
We move from one rapper with a high-pitch unique flow to another. This sentence definitely contradicts itself, but when you spin Supreme Blientele the first time, you will immediately know what I mean. The beats on Supreme Blientele are a throwback to the grimy New York rap of the 90s. The beats are stripped down to a simple rhythm and a looped sample. It draws the attention directly to Westside Gunn and the featured artist. In this spotlight is where he shines like on “Dean Malenko.” His cadence rides the beats with loose precision. He oscillates between keeping it tight to the beat and loosening it to drag over multiple beats (“Elizabeth”). Some of the features will keep you spinning the record over, especially Anderson .Paak on “Wrestlemania 20.” Supreme Blientele both distills New York rap down to its essence while layering it with modern touches such as Westside Gunn’s infectious ad-libs.
8. Pusha T – Daytona
Pusha T had a few features throughout this countdown (see: KIDS SEE GHOSTS), but this was the only project he released and it was only an EP clocking in at 21 minutes. It packed a hell of a punch though. The Drake disses obviously got most of the attention, but dig deeper and you’ll hear excellence from Pusha multiple decades into the game. Produced by Kanye, Daytona is laden with soul samples and grimy and dark drum beats. Pusha has this way of making the listener hang on every one of his words when he raps from his cadence to his flow to his wordplay. Between Kanye’s tight production and Pusha’s ruthless bars, they seem to make the perfect pair on this short burst of greatness. Shortly after this project and Pusha’s larger Drake diss dropped, he remained quiet throughout the rest of the year. I suppose he figured his music would speak for itself. He was right.
7. Hermit & The Recluse – Orpheus vs. The Sirens
Ka is one of the best rappers making music right now. He seemingly cannot miss from The Night’s Gambit to Days with Dr. Yen Lo to Honor Killed the Samurai. Hermit & The Recluse is Ka’s duo with producer Animoss. True to its name, Orpheus vs. The Sirens evokes Greek mythology to tell stories from his life. Each Ka record has a meditative quality to it. No second is wasted, even the sampled intermissions. Ka speaks from the chest with an aged, slow voice. He recounts days past with the apprehension, force, and precision of the best storytellers. Animoss’ production layers the evocative lyrics harnessing the soul of mythology through spirited samples and gritty basslines. Orpheus vs. The Sirens leaves the listener in the state of reflective awe yearning for answers as to ‘why’ without Ka ever posing a single question.
6. Jay Rock – Redemption
The byproduct of being on a record label such as Top Dawg Entertainment (TDE) is being compared to the likes of Kendrick Lamar, ScHoolboy Q, Ab-Soul, Isaiah Rashad, and SZA. Early on, Jay Rock was the Shawn Kemp of TDE. He’d come in on features, storm the lane, and dunk it home. His solo work was still quite solid, but he was always at his best when he went as hard as he could. Over these past two records (90059 and now Redemption), Jay Rock has added far more moves to his repertoire. On Redemption he shows off his crossover, stepback, and hesi. Jay Rock has evolved from Shawn Kemp closer to Russell Westbrook (we are staying in Supersonics/Thunder lineage here). He can still take the ball to the rack with force, but now he has shown his adept ability to hop on a variety of beats and lay down heat. He also never takes a night off. Nobody asked this question prior to this album: What if we gave the beats we have been giving Isaiah Rashad to Jay Rock and see what he could do with them? However, there are times where Redemption feels like an answer to it, especially on tracks like “For What It’s Worth.” There is a rawness to this entire record that matches Jay Rock’s playing style. A rawness that dresses down whatever topic Rock explores. A rawness that stirs listeners and begs the question: How the hell did TDE get this much talent on the same record label?
5. Mac Miller – Swimming
Admittedly, there’s a part of me that has been apprehensive about writing this. I loved this album. It’s been in my top 10 since the week it came out. Since Mac’s death, I have also ruminated on it longer. Sometimes it is harder to turn to as it was released shortly before his death. Other times it is comforting. There has been no artist I have enjoyed watching grow over the past 5 years or so than Mac Miller. I was hooked the first time I listened to Watching Movies with the Sound Off (and if you have been around a while, you’ll remember I even reviewed it on my old blog). His interests and inspirations were so varied I never knew what sounds and themes I was going to get when I flipped on his new record. I just knew it was going to be good. Swimming was no different. It’s groovy, it’s jazzy, it’s funky, and it has Mac’s growth all over it. It has that Larry Fisherman (the moniker he used when he produced) sound, some parts of The Divine Feminine, and even some Watching Movies with the Sound Off. It distills what made him so special into an hour. Mac’s music was often a vehicle to express his feelings and every song felt personal, like Mac was telling you a secret. There’s an immeasurable warmth in approaching a record like that. It also results in fans and peers who feel an enormous loss whenever you walk out that door. It is also how you make a significant impact long after that door closes. “Hurt Feelings,” “Ladders,” “Self Care,” and “2009” give a sense of the sprawling but cohesive approach Mac brings to Swimming. Whenever you’re feeling particularly cold, spin one of those songs. Rest in peace, Mac Miller.
4. Earl Sweatshirt – Some Rap Songs
It has been three years since Earl Sweatshirt released an album (I Don’t Like Shit, I Don’t Go Outside). Some Rap Songs mimics the tight, controlled approach of that 2015 record running 24 minutes over 15 songs. “Shattered Dreams” starts with a relatively simple beat – a few note repetition from a bass guitar and a looped sample. That’s all Earl needs to sink his teeth in though. Numerous tracks throughout the record reference his father, who unfortunately passed away early last year, adding to the emotional heft the whole record carries. Between the intricately layered production and Earl’s lackadaisical, existential delivery on “Nowhere2go,” I would like to say the song stands out as a high point. On this listen, as I write this, it is my favorite track, but there are no low points on Some Rap Songs. Most artists cannot even avoid filler, let alone having no low points on a record. The opening bars of “The Bends”: “Bend, we don’t break/we not the bank/we all we got” feels like the embodiment of the whole record. I have no desire to project feelings or thoughts into the head of the artist, and with Earl, there’s hardly a need. Identity is a prominent theme throughout the record: the sentiment of finding yourself. The album ends with “Riot!”: a beautiful instrumental driven by Earl’s sample of his close family friend's (whom he refers to as 'Uncle Hugh,' Hugh Masekela) track by the same name. As the record plays out, there need not be words. There are times where words cannot do feeling or thought justice. Sometimes connection between artist and listener or between artists – especially when they are like family – does enough talking for everyone involved.
3. Vince Staples – FM!
Vince Staples comes roaring out of the gates on FM! and is relentless in his pursuit of matching up-tempo beats with dark lyrics. The beats are not unfamiliar territory for Vince. The heavy bass reminiscent of hyphy is present on multiple tracks (especially “Feels Like Summer”). The juxtaposition of upbeat, summer sounds with the harsh realities of the season are omnipresent. The concept album hinges on his exploration through the varying sounds of a radio station (hence the title of the record). The most affecting element of this album is how much of feels like a synthesis of his previous work, especially Summertime ’06. That album was a sprawling double disc content resting the darkness of the shadows of the percussive beats. FM! is not content with that. Vince put together a record that explored some of those same themes in a tongue-in-cheek manner. Instead of painting the vivid pictures he did on Summertime ’06, Vince opts for slapping the listener in the face with incongruity and forces them to confront their own cognitive dissonance about the music blasting through their speakers.
2. Noname – Room 25
If you haven’t listened to “Blaxploitation” this year, you have missed out on one of the best songs – I repeat, not just one of the best rap songs, one of the best songs – of 2018. I am not here to shame you into listening to Noname, but slotting her in at two here was the most difficult decision I had to make. You will find out why if you read through number one, but Room 25 is exceptional. So was her last record, in fact. Noname simultaneously ups the stakes and gets more personal on Room 25. The production all over this record is so layered by numerous instruments, but the bass guitar consistently wiggles its way in my ear and refuses to leave (“Blaxploitation”; “Don’t Forget About Me”). There is so much packed into each song on this short record that I would be doing the entire thing an injustice trying to break it down in this small paragraph. In fact, I just want to stop talking and let you listen. Spin this right now. It is 34 minutes. It is late as hell (I know, I’ll get better at posting times). This is a perfect night cap. Then when you wake up, spin it again. Noname’s intricate rhyme schemes – from bar to bar and internal rhymes – will impress, but what will you draw you back time and again is the lush sonic fields of each track. Because that is what they are: open fields you can run through while jazzy grooves and introspection guide you home.
1. Saba – CARE FOR ME
“Jesus got killed for our sins/Walter got killed for a coat” echoes in my head as I sit down to write this. The beat is buoyed by a ticking clock. The hook repeats hollow lines about being too busy to get back to people. This is opening track for Saba’s CARE FOR ME. You are stuck now. You want to know who Walter is. Surely Saba will tell us or he wouldn’t name Walter specifically. There’s nothing random about that name. In fact, there’s nothing random about any track on CARE FOR ME. It is one of the most brutally honest, heart rending, reflective, powerful records released in 2018. Musically, Saba is liable to change his flow up in a single track while managing to never lose sight of the beat. The beats often come across nearly muted allowing his words to echo so loudly. There are numerous beats that would make Jon Brion (composer for films such as Lady Bird and Eternal Sunshine of the Spotless Mind) envious. Most of all - underscored by “PROM/KING” - CARE FOR ME cements Saba as one of the best storytellers in rap music at this moment.
That is it. It came down to two Chicago natives for me for the top rap album of 2018. Saba wins out, but I would be lying if I said I hadn’t considered a move to first as I was writing about Room 25. This is my fourth year doing the Rap Up, and I have never been more impressed. Typically, once I get past the top 30 records, everything is just decent or middling with a few bright spots. That was absolutely not the case for 2018. I would love to hear about your favorite rap record for the year. If you’ve listened to Room 25, CARE FOR ME, FM!, Swimming, or Some Rap Songs, which did you think was the best?
The next post is the Rap Awards, something entirely new I am trying this year and I have kept mostly under wraps. I am excited to unveil that either tomorrow or sometime this weekend. Until then, happy listening. I hope you find your new favorite album.
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