jordan@djbooth.net's TOP ALBUMS

“Got my copy of the album in the mail today. Anything by N*E*R*D, Pharrell, and the rest of the Star Trak gang, I'm on it!”

“Sick review, Nathan. I was really happy to see that you made "Train of Thought" such a big part of your review because a lot of folks are inevitably going to be doing a ton of comparing and, as a result, a lot of criticizing too. But like you said, it's not 2000 anymore and both Hi-Tek and Talib are 10-years deeper in their careers. People need to realize that classic albums are classic albums for a reason, so why try to "remake" them? The overall scheme of "Revolutions Per Minute" isn't what I expected, but at the end of the day, it's new QUALITY music from a duo we all feel in love with a decade ago. Now all we need is a Black State reunion...”

“FINALLY, a "hip-hop" album I can actually be excited about. This WILL be an album of the year candidate by the time December rolls around.”

“Love it!”

“Let's just assume Maxwell did some serious soul searching during his hiatus because he really came with a shockingly impressive mature and grown outlook on music for this comeback album. "BLACKsummers'night" is an extraordinary piece of work and after indulging myself in it the past few weeks, I've realized that there was never a reason to doubt Maxwell's ability to produce some of the most authentic R&B music in today's day and age, even after eight long years. The album's melodies, song structure, and overall direction all meshed together nicely in a way that showcased Maxwell's undying influence in music (#1 on the charts with 300,000+ copies sold...come on!). Sure, we waited for 37 minutes of music in nearly a decade but that is far from the point. Hopefully Maxwell's successful resurgence will finally inspire D'Angelo and Lauryn Hill to finally reclaim their spots atop the who's who of R&B. Until then, I'll be waiting for Maxwell's two new albums.”

“I love your opening paragraph, Nathan. If I were to purchase a postcard during my summer vacation to Brooklynati, that's exactly what it would be. Along with P.O.S.'s "Never Better," Tanya Morgan's sophomore release is up there for my favorite rap album of '09 (so far). I came across only a handful of Tanya Morgan tracks over the years, maybe it was their name that caught my attention, but for some reason I never gave them the consideration they deserve. Don't let their name fool you. TM is by far one of the most original and innovative hip-hop groups to hit the underground scene is a hot minute. Sure, the trio always comes fresh with the lyrics, but that's practically a given (see: DJBooth.net Freestyle Series #54). The main thing I love about "Brooklynati" is its groovy, soulful beats, courtesy of Von Pea, that are catchy as hell yet still very intricate and fly. And let's not for the album's strong showcase of featured artists. Phonte gives rapper-turned-sangas a new name with his oozing hook on "She's Gone" and Blu takes the reigns with his caliber lead-off verse on "Morgan Blu." Although "Brooklynati" dropped over a month ago, a late pass is not necessary, for the summer is here and Tanya Morgan is ready to take you on a trip you won't forget.”

“Mos Def is probably the most praised lyricist in mainstream hip-hop who hasn't lived up to his hype since his debut album. When he dropped "Black Star" with Kweli back in '98, followed by "Black on Both Sides" a year later, the rap community was quick to foresee him as a talent who will be treasured for years to come. Fast forward a decade and two disappointing albums later and Mos Def really hasn't delivered the way everyone expected him to. When I first heard about "The Ecstatic," I viewed it as a pivotal album in his career that will ultimately put his "legendary status" to the test. It only so happened that "The Ecstatic" is Mos's most groundbreaking work since "BOBS," but like Nathan said, the Desert Island Popsicle Syndrome got the best of me. Mos Def is what I like to call a lazy lyricist (see: Nas). He has extraordinary capabilities but doesn't feel the need to use them for, let me guess..."artistic purposes," and thus, falls up short. Sometimes I wish Mos would release a conventional hip-hop album with conventional hip-hop beats and just have him blank out on every song, but then again, that wouldn't be a Mos project would it? Mos is at his best when competition is in the air. The album's two standout tracks for me include "History" (Black Star over Dilla, what more can I ask for?) and everyone's favorite, "Auditorium." Mos Def bounced off both Talib and Slick Rick fantastically, stepping up his game and strictly getting to business. Stones Throw vocalist solely brought "Roses" to life and I found myself enjoying "Casa Bey" a lot more while in the context of the album. On the production side, everything seemed just in place for the vision Mos Def intended. I was happy to get a few Madlib joints along with being introduced to Preservation and Mr. Flash. Maybe fans of hip-hop like myself put too much pressure on artists like Mos Def to release something fresh, spectacular, and memorable every single time. "The Ecstatic" is one of those albums that grow on you after each listen and resonates with you for a long time. It's a powerful, career-saving album for Mos and I'm more than thrilled to see him back in the game. By the way, the album cover kills.”

“After the VIBE article was published surrounding the degrading condition of J Dilla's estate, it's overwhelming to hear that Ma Dukes and Dilla's kids are finally receiving the compensations they rightfully deserve. Despite Jay Dee's sudden rise to fame after his untimely death, his family's personal conditions have been a nightmare to say the least, and I believe "Jay Stay Paid" is one long overdue project that sheds a positive light on the Yancey family and Dilla's unquestionable legacy. I don't think there is a need to compare this album to "Donuts" or even "The Shining" for that matter. Dilla has already proven himself to be one of the greatest producers of all-time (he's in my personal top-3) and "Jay Stay Paid" wasn't put together to disperse or change that. A lot of people are suggesting that the album should have included more guest features but I think it's perfect just the way it is. Dilla's beats are so sonically distinct and sharp that they each tell a moving story simply through instrumentation. No one can chop a sample like J Dilla did. The beats and rappers selected for this project really encompassed what J Dilla was all about. I feel like the vibe of the album was just right for a posthumous release that is essentially for the loyal fans. As a fan, of course I want to see more Dilla projects in the future, but only if they are distributed for an artistic purpose. Purchase this record. Pay Jay.”

“For all you irritating naysayers who are constantly yearning for golden age hip-hop, please pick up this album (beware though, there's a pitch of autotune). After my first listen, I was so overly excited to finally have it in my iTunes that I naturally lost touch of what "Blackout! 2" really is - a sequel. And we all know that sequels, especially this one which arrived 10 years after the first, aren't always the most fulfilling projects. But hey, I can't complain, "Blackout! 2" is still one of the best albums of the year despite it's obvious flaws. Method Man & Redman are years past their primes but they can still out rap the majority of MC's flooding the hip-hop blogosphere today (yes, that means you, Joey). It felt like some songs were incredibly well-crafted (see City Lights, Errbody Scream) while others were unmovingly put together. Production wise, the beats are fire. Pete Rock did a tremendous job with the album's first single as well as all the other heavy hitters like Erik Sermon, DJ Scratch, and Rockwilder. Although I don't see "Blackout! 2" to be as regarded as it's predecessor down the road, it's always refreshing to hear quality rap music from two undisputed legends.”

“^^^ Let's just say Chrisette Michele is the second best FEMALE vocalist out there behind Alicia Keys. I regret being so late with this release because it really exceeded all of my expectations. Four months into the year and this is the kind of R&B album I've been waiting for - tender, affectionate, and tremendously pure.”

“"UGK 4 Life" is a wonderfully composed album to concluded the duo's 20+ year history. Nothing fancy or out-of-the-ordinary, just straight southern slang and a lot of soul mixed with UGK's hard-hitting swagger. The reoccurring '70s vibe came out great and all of the features had their place (I even dug the Akon track). Don't expect "UGK 4 Life" to be the group's best work ever, but it certainly lives up to the unforgettable legacy Bun B and Pimp C undoubtedly left behind.”

“Alright, alright, after seeing all the mind-blowing hype surrounding this tape I finally checked it out today. Sure, it could very easily pass up as an official studio album, but by no means does that mean it's a classic. Drake's young and he's still finding his niche in hip-hop's diluted competition. The "808's & Heartbreak" inspirations were executed nicely, but I didn't hear any stylistic angles that I never heard before. Let's just say I not jumping on Drake's bandwagon just yet.”

“Oh man, props to DJBooth for putting me on to this guy! The album's amazing from its song writing to production to its complete originality. You can tell right off the bat that K'Naan's the REAL deal. I might even have to catch him on tour now.”

“You're right on point, Nathan. This is without a doubt Zion I's most prolific work in recent memory. After representing the face of Bay Area's underground hip-hop scene for almost a decade now, I think this was the perfect time for Zion I to venture off into untouched waters. I thoroughly enjoyed AmpLive's wide variety of stylistic angles and Zumbi's gifted ability to rhyme over any type of beat and make it lyrically hot, but still very relevant. "Antenna" is by far my favorite record off the album but the Devin the Dude-assisted "Country Baked Yams" is a close second. As the title suggests, "The Take Over" really didn't revolutionize hip-hop's current sound at all, but instead brought it back to rap's fun, unpredictable, and experimental roots - and it worked.”

“India.Arie strives to change the world with her music and she is doing just that one album at a time. The songs are this album are powerfully composed in a way that uplifts and raises spirits, while bringing awareness to meaningful issues too. Her music may not storm the radio stations but it will continue to stand the test of time, like Nathan said, as a true artist.”