Hip-hop

Chicago native Kanye West is one of midwest hip-hop’s biggest stars, and he made his name producing hits for JAY-Z and other New York rappers. But West has maintained his relevance over the years in part by keeping a finger on the pulse of southern hip-hop, drafting rising stars from Atlanta, Houston, and Miami to appear on his albums and producing hits for Dirty South stars like Ludacris and Jeezy. Most recently, he served as “executive producer” on Atlanta trio Migos’ new album, Culture II, where he co-produced the 21 Savage collaboration “BBO (Bad Bitches Only).”Kanye West’s track record below the Mason-Dixon line dates back to the late ‘90s and early 2000s, when he was a relatively unknown producer placing tracks with southern trailblazers like Goodie Mob and Scarface. In 2003, he notched his first No. 1 on the Hot 100 producing Ludacris’ club banger “Stand Up,” along with a pair of tracks on an album that would help define the next wave of southern rap, T.I.’s Trap Muzik. Over the next few years, as West became a solo star who bridged many divides in hip-hop, he became the kind of rare stylistic chameleon who could make trap hits with Jeezy or screwed ’n’ chopped grooves with Paul Wall in between his excursions into east-coast boom bap and futuristic EDM.As the founder of G.O.O.D. Music, Kanye West has signed Atlantans 2 Chainz and CyHi The Prynce, and helped mentor Houston rapper/producer Travis Scott. G.O.O.D.’s 2016 posse cut “Champions” brought together some of the above with Gucci Mane, Yo Gotti, and Quavo. Some of Kanye’s southern collaborations are better off forgotten, like the treacly Future duet “I Won” and the ill-fated Lex Luger-produced Watch The Throne single “H.A.M.” But by and large, Kanye West has been present for moments of greatness in southern rap, from Scarface’s The Fix to Lil Wayne’s Tha Carter III.

In 2007, Kanye didnt know he would effectively end the near-20-year reign of gangsta rap by outselling 50 Cents lackluster album Curtis on their shared September release day. Kanye didnt know his mother would pass away suddenly, or that his longtime fiance would leave him, or that hed marry into the most famous American television family by choice. Graduation is a victory lap, the third part of a scrapped four-album story that was supposed to culminate with Good Ass Job, which instead became 808s & Heartbreak.Graduation continues the plucky underdog narrative built on 2004s breakthrough debut The College Dropout and 2005s Late Registration, which heralded the emergence of an artiste/hitmaker. Kanye was beginning to be regarded as the biggest egomaniac in rap history while still not showing his face on the cover on his record, something he still hasnt done. Kanye’s album covers hint at the music within: College Dropout is warm soul music, with brown, yellow, and burgundy tones on the cover and Kanye dressed in his trademark cuddly bear mascot. Late Registration is orchestral, full of strings, keys, and languid arrangements from Jon Brion—tellingly, the cover depicts the bear mascot, purposefully small, entering a vast new doorway that looks academic and orderly. By contrast, Graduation is exploding with anime, while the color choices of blue, yellow, pink and purple symbolize its ambitious energy, extravagance, and solidified confidence. Designed by Takashi Murakami (who Kanye described as "the Japanese Andy Warhol"), it nails Graduations wider palette of sample choices: Michael Jackson on "The Good Life," Krautrock gods Can on "Drunk and Hot Girls," Young Jeezys famous gravely "ha ha" adlibs on "Cant Tell Me Nothing," Elton Johns crooning on "Good Morning".Graduation was Kanyes leanest album up until that point: zero skits, and eight tracks shorter than both Dropout and Registration. Instead of telling the listener about all of his plans, his failures, his dreams, and his mostly bad jokes on songs and on skits, Graduation shows us his improved flow, his vast tastes, his arena-inspired hooks, and his added weapons of samples, live instruments, Southern-rap synths, and 808s (thanks to the inclusion of DJ Toomp and Mike Dean). 50 Cents music career has never recovered from the sales showdown he lost to Kanye West, but the truth is that if 50 Cent could make hits like "Stronger," "Flashing Lights," and "Cant Tell Me Nothing," gangsta rap would possibly still dominate the charts. Instead, a fashion-loving backpacker who wore Marty McFly shades and a Roc-a-Fella chain has remade rap and pop culture in his image every year for the past decade.

This post is part of our program, The Story of Kendrick, an in-depth, 10-part look at the life and music of Kendrick Lamar. Sound cool and want to receive the other installments in your inbox? Go here. Already signed up and enjoying it? Help us get the word out and share on Facebook, Twitter, or with this link. Your friends will thank you.Shakespeare once famously declared that brevity is the soul of wit, but simplicity has been the last thing on Kendrick Lamar’s mind for the majority of his career. His two previous albums, 2012’s ghetto uprising saga good kid, M.A.A.D. city and 2015’s political prog-rap opus To Pimp a Butterfly were sprawling, intricately detailed patchworks, suffused with symbolism and strung together with the kind of recurring characters and monologuing one would expect from the Bard himself. But DAMN. is a different story. Having already claimed the throne as one of (if not the) most talented rappers in the history of the game, DAMN. is the sound of a young artist at the peak of his abilities delivering his music straight, no chaser. Not to say that DAMN. isn’t as multilayered and critical as anything else K.Dot’s put his name on, but now more than ever it feels like Lamar’s focus is entirely on the songs rather than the cohesive effect of the project. Each song on DAMN. feels as if it is coming from a different universe, be it the ‘90s slow ride of “HUMBLE.” or the futurist R&B of “LOVE.” or the absolutely bipolar “XXX.,” which travels between Metro Boomin minimalism, Public Enemy fury, and smooth boom-bap consciousness in the span of four minutes. Though Lamar’s influences are vast and easily traceable (the bassy Afrofuturism of Flying Lotus, the beat-poetry prophecies of the Last Poets, the self-aware party-rap of OutKast), on DAMN. he synthesizes them effortlessly, letting his own musical voice shine through more clearly than ever before.All of which makes DAMN. an incredibly fun, engaging listen, and adds another notch to Lamar’s already impressive catalog. With small-time songwriters emerging from the woodworks on major tracks (Zacari?) and mind-boggling appearances from big-name rock stars (U2!?), DAMN. is packed to capacity with ideas and influences and collaborators—so take a listen to this playlist and start unpacking the latest from one of our generation’s greatest.

Tribe Called Quest created universes by cobbling together post-bop saxophones, rolling bass lines, and hard boom bap beats, topping them off with Q-Tip’s fluid freeform rhymes that played an alto sax to the gruff, declarative blurts of Phife’s deceptively straightforward lyrics. As music nerds, we’d already digested the Velvet Underground and De La Soul, so we instantly got Tribe’s vibes and references, but blending these two opposing worlds—despondent, glamorous sleaze rock and idiosyncratic, jazz afrocentrism—was a revelation. Here’s a playlist of some of their best and most well-known samples, from RAMP to Lou Reed.

Los Angeles rappers have a propensity for giving themselves two letter names. YG is the city’s most well-known export, but there’s also RJ (pictured), AD, T.F, and KR. Most of these artists have collaborated with each other, and are a hit or two away from breaking through at the national level.This playlist contains songs by these two-letter rappers, as well as the rest of the city’s best young talent. “Young,” of course, might not be the best description. Some of the artists, such as RJ and G Perico, hover on either side of the 30-year mark. Many of the artists have been releasing music for several years, cultivating loyal regional fan bases. But no matter their ages, all of these rappers are poised to have lengthy, promising careers ahead of them.They were certainly born in a good place to become a rapper. Los Angeles has long been a hub of the music industry, as well as an historic hip-hop city. Still, L.A.’s scene can be as insular as any other town. Many rappers achieve local hits on Power 106, but never make it across the country to Hot 97’s airwaves. Part of the reason is the specific sound the city embraces, largely fueled by the distinctive production of DJ Mustard.Many of the rappers on this list, especially those who’ve collaborated with Mustard, hail from South Central Los Angeles. Gang affiliation, either red or blue, plays a significant role in the music of rappers like G Perico, AD, and Boogie. But, given L.A.’s massive sprawl, there is, naturally, diverse music being made in various pockets of the city. Natia and Cam & China hail from Inglewood; Warm Brew is from the beachside community of Venice. It’s easy to detect a slight difference in the tone of these artists, simply based on their being born a few miles closer to the beach.Despite the hyperlocal loyalty that pervades L.A. hip-hop, many of these rappers are putting the pieces in motion to move beyond the borders of Greater Los Angeles. Cozz has signed with J. Cole’s Dreamville Records. Hugh Augustine landed a feature alongside Jay Rock on Isaiah Rashad’s The Sun’s Tirade. Bricc Baby’s “No Smoke” features Young Thug. And though Earl Sweatshirt, Vince Staples, and YG are already popular enough that they probably don’t need to be on this list, they’re good enough (and still young enough) that they deserve to be.Although New York is the birthplace and Atlanta is the current epicenter of hip-hop, these artists prove that the west coast is continuing to push the genre in creative directions. Soon, the rest of the country should recognize the music being made in the nation’s second biggest city. And if they don’t like it, then—as YG says on his track with Sad Boy, AD, and Bricc Baby—“Don’t Come to L.A.”

Alex curates an excellent look back at the last decade or so of instrumental hip-hop, using Dillas Donuts release as a milestone in the genre. The selections range from Dilla-inspired global hip-hop psych such as Onra to the trap clatter of 808 Mafia, and a lot in between. Its an exhaustive look that includes some excellent rarities.Note: We were unable to find the specific Blue Sky Death track that Alex lists, so we made a substitution.

Apart from being the best album of the year, The Life of Pablo is an encyclopedia of contemporary culture. More than any other album in 2016, it is about bourgeois subjectivity. It’s about religion, sex, family, friends. It’s about medication, entrepreneurship, loneliness, and fame. But more than anything, it’s about what it means to be human today. Over the course of the album’s 20 tracks, Kanye explores the far reaches of his conscious mind, ever teetering between faith and despair, confidence and suffering. It has become popular to dismiss Kanye as crazy when taking into account his social media presence and public antics; however, an analysis of The Life of Pablo’s contents show him not only as sane, but vulnerable, in-touch, and acutely reflective.Part of its vast cultural reach is the fact that The Life of Pablo is infused with with a heavy dose of popular music history, from Nina Simone to Desiigner. Its author’s impressive use of Arthur Russell’s “Answers Me” anchors one of the greatest beats on the album (“30 Hours”), while his rhythmic and thematic interpolation of “Jumpman” by Drake and Future is the lifeblood of “Facts (Charlie Heat Version),” a song completed by Kanye’s imitation of Future’s vocables and his use of sound bytes from Street Fighter II: The World Warrior. These references aren’t merely references—they’re so thoroughly woven into the music of The Life of Pablo that they could not be extricated without compromising the totality of the album. In this sense, the album is a monumental achievement.It’s difficult to excerpt any single song or reference as exemplary from an album that nods to everything from Lexapro to Albert Einstein, so the goal of this playlist is to highlight a few great songs on the album and to intersperse them with some of its most interesting samples and musical references.

A new crop of rising stars from Long Beach, California, including Vince Staples and O.T. Genasis, have brought renewed attention to the second largest city in Los Angeles County. But Snoop Dogg’s rise to superstardom in the early ‘90s made LBC a hotbed for the West Coast rap explosion, making Snoop associates like Warren G and Daz Dillinger famous as well. And over the last 25 years, Long Beach’s contribution to hip hop has been diverse, from vocalists who combine rapping with singing like Nate Dogg and RBX to the producer BattleCat, Rage Against The Machine’s rap/rock trailblazer Zach de la Rocha, hitmakers like Domino, and respected lyricsts like Crooked I. And modern Long Beach rappers like Joey Fatts and TayF3rd continue to expand the city’s musical identify beyond its storied gangsta rap history. -- Al Shipley

They reimagined not only how the genre sounded, but how it felt. They changed the rhythm, and, by embracing compositional pastiche and kitschy psychedelic, they crafted music that was deeply cerebral and personal. And while they both heavily sampled jazz and soul — the dominant source for the boom bap era producers who served as their shared stylistic avatars — their palette was more expansive and worldly, privileging obscurity over nostalgia, grainy textures over raw masculine presence.You can hear echoes of their work in some of today’s most critically lauded and commercially successful music, from the space jazz symphonies of Flying Lotus to the pan-African milieu of Kendrick Lamar, the refactored soul of Frank Ocean or the jittery, jump-cut flow of Kanye’s Life of Pablo. For this playlist, we’ve collected their best.

A kick drum? A tambourine? Foot stomps and spoons? One very tired Razeem? It’s impossible to imagine what hip-hop, house, and techno might have used for a rhythmic foundation block if not for the 808 beat.That’s why the impact that inventor Ikutaro Kakehashi had on the last four decades of music is incalculable. The news of the Osaka-born engineer and Roland founder’s death on April 1 at the age of 87 has prompted a deluge of grateful tributes from just about every music maker who benefited from his innovations, most prominently with Roland’s most iconic drum machine, the TR-808. One of the earliest programmable models, its sound was initially criticized as too synthetic when it was introduced in 1980. But with its tight snare and booming bass, Kakehashi’s contraption proved to be more adaptable than anyone could’ve dreamed.Since the fine 2015 documentary 808 tells you everything you could want to know on the subject (and way more), we’d prefer to let the music do the talking with a set that includes many of the most famous uses of the 808 (and its successor the TR-909) by early adopters like Arthur Baker as well as such present-day devotees as Kanye West, who transformed the beat into the sonic epitome of emotional desolation on 808s And Heartbreak. Roland developer Tommy Snyder said it best in his farewell: “He was a super funny, wonderful and gifted human being, and his contributions to the musical instrument world and music touched millions of people worldwide.” To which we can only add: let the rhythm hit ‘em forever more.