Dre definitely sparked a new flame in Busta’s career. This would end up being his only release on the label, but teaming up with Dr. He had a new look after cutting off his braids, and even more intriguing was his signing to Dr. While Busta Rhymes was already an established veteran in 2006, The Big Bang marked a new chapter in his career. Let’s see how well you can remember these, in alphabetical order:
While many regard the 1990’s as the golden age of rap music, celebrating several 20-year anniversaries this year, there was also a lot of quality albums in the 2000’s, and today we’re going to look back at ten of them turning ten years old in 2016! 2006 was a busy year, with older veterans making (or attempting to make) comeback albums, some dropping what would become pivotal albums in their catalogs, and some newer artists dropping memorable debuts.
#Best hip hop albums of all time 2016 full
NME said: “It’s completely thrilling, and while nothing like it musically, ‘Body War’ is surely the most New York ‘sounding’ album since The Strokes appeared full of inner-city rage some 15 years ago with ‘Is This It’.Hip-hop seems to shift every decade. But The Lemon Twigs’ sheer musical knowledge, and willingness to incorporate it into their own sound, means they’re in a different stratosphere altogether.” NME said: “On much of ‘Do Hollywood’, there’s a lineage that recalls the A-list of North America’s recent cult music heroes. NME said: “All 10 tracks on ‘Light Upon The Lake’ share a serene, peaceful bond, but when Whitney allow themselves to kick it up a gear and really let rip, as on ‘Golden Days’ (with its cathartic “Na na na” outro) or the George Harrison-meets-The Band magnificence of ‘Dave’s Song’, they’re untouchable.” NME said: “Recorded in patches across Europe and New Zealand, the eight songs here don’t so much start and stop as undulate like the chest of someone in a deep sleep.” NME said: “Proving political records could be fun as fuck, Swet Shop Boys – aka rappers Heems and Riz MC – interwove banging South Asian samples with witty rhymes about racism, drone strikes and cultural diaspora.” But exploration of ‘I, Gemini’ reveals its quirks are knitted together with extreme smoothness.” NME said: “While their pop sensibilities are clear, the music is surreal and dense, with guitar, synthesiser, saxophone, glockenspiel, recorder and vocals that lurch from sugary to shouty. NME said: “Liver of the kind of hardscrabble life worthy of a Loretta Lynn lyric, Tennessee’s Margo Price channeled it into an album in thrall to the sound and feel of old-school Nashville, but done so brilliantly it fell far short of being pastiche.” More proof, if it were needed, that Nao – and her odd but addictive vocal – belongs up front.” ‘Get To Know Ya’ and ‘DYWM’ both re-rub late ’80s soul and push it firmly into 2016 with crisp production and an effortless dancefloor feeling. NME said: “Nao’s real flair lies in embracing the old school and making it seem fresh. But ultimately, they leap from their chart-bound Trojan horse as modernist rock heroes.” NME said: “Enter Stockport five-piece Blossoms – this year’s biggest guitar-pop shooting stars, named after a pub and looking like snake-hipped garage rockers from the wrong side of Scarysex Central – occasionally sounding like Ellie Goulding. The 24-year-old former art school student earns those comparisons across this 10-track E-number rush of an album, which fizzes and pops like a mouthful of Sherbet Dip Dab and Cherry Coke.” NME said: “Oscar’s brand of guitar pop has been compared to Blur and – closer to the mark – Elastica. NME said: “Whereas many of their contemporaries appear either ashamed or incapable of writing a killer chorus, each of PATV’s songs take, on average, about 40 seconds to reach their first one – and from the Cars-y after-hours sleaze of ‘Evil Twin’ to the boisterous swagger of ‘In Love And Alone’, it’s easy to imagine any of them being singles.” NME said: “They fuse Led Zeppelin’s raunchy riffs with the blissful mid-’80s indie of Felt, the best bits of ’80s alt-pop (The Cure) and krautrock (Neu!) and, in front-duo Julia Cumming and Nick Kivlen, have the kind of boy-girl chemistry last seen in the White Stripes.” NME said: “Canadian producer Louis Kevin Celestin’s magical hip-hop and house infused debut touched on everything from J Dilla to old school disco, and also featured the best thing Craig David had done since ‘Born To Do It’ in the shape of the ultra-smooth ‘Got It Good’.
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