The Year That Was: 2011′s Best Projects #50-41

Last year I tried to make this happen but it didn’t. I’m pretty happy with how it turned out this year, allow me to break it down. I reached out an assortment of people and asked for their personal Top 25 lists. I wasn’t specifying genre or format, any project that was released between January 1st and December 31st of 2011 would be considered.

The number 1 album on everyone’s list received twenty five points and the number 25 album on everyone’s list received one point. Everything in between you can do the math for. With everyone’s lists a top 50 shook out. That is what we present to you starting today and going all week with 10 a day. Individual written contributions will be noted, but before that I want to thank everyone involved: Chul (206UP), Kyle Jordan (Respect The Grind), DJ100proof (Members Only), Joe Gustav (Posted In The Parking Lot), Nick Feldman, Julie Janowicz (Tha Blog Is Hot/Members Only), Andrew Matson (Seattle Times), DJ Swervewon (Members Only), Kayte Olsufka and David Pomeranz (Members Only)

#50 David Dallas The Rose Tint

Going over all the projects that I wanted to include on my top 25 list, I noticed that my trend of 2011 was projects having a fluid, complimentary sound, and The Rose Tint exemplified this aspect. Fire & Ice did most of the production, and as a result, it is mostly upbeat and reminds me of sunny weather, or seeing the world through a rose tint, hence the name of the album. In fact, I would have to say, it was one of the most appropriately titled projects of 2011 for that reason.

David Dallas’ style of rapping–kind of sing-songy, allowing him to easily handle his verses but also the hooks–was a nice compliment to the upbeat, brass heavy instrumentals by Fire & Ice. While there were features, coincidentally, he absolutely held his own next to Freddie Gibbs and labelmate Buckshot. Besides the overall vibe of the project, David Dallas’ versatility, his ability to rap alongside people like Gangsta Gibbs and Buckshot, demonstrate his talent and adaptability.

Plenty of tracks on The Rose Tint were great, but “Start Lookin’ Round” was a great start to the record. I was immediately captivated, and immediately danced around in the car to it. “Take a Picture” was another highlight, and how I was first introduced to him, seeing him rap in the video with a kitten sitting in the hood of his sweatshirt. “Make Up” and “Ain’t Coming Down” were other notable tracks on The Rose Tint, and helped to make the album stand out as a whole.
-Julie J.

David Dallas “Take A Picture”

#49 Phonte Charity Starts At Home

Charity Starts At Home is the clear lamenting of a man growing apart from the things he loves. It’s a new direction. Topics have changed from the industry, trying to get on top and staying there to domestic issues, maintaining the status quo in ones life, and staying out of trouble. The music is approached not quite with the same raw passion that we’ve come to expect from the Little Brother emcee, or with the fun loving soulful dancy-ness of the Foreign Exchange. Phonte returns to rapping with music comfortably in between that of his group projects, using his bars to express frustration, humanity and arrogance. He falls back on his singing to add a little peace and serenity that only comes from a settled life.

Charity Starts At Home is beautiful for the same reason it is uninteresting. It is Phontes truthful admittance of mistakes made, misguided goals and a true maturing. These however are not exactly the most embraced qualities of a rapper. It will be interesting to see how long it takes the average rap fan to recognize Phontes understanding of their poor life choices via the excellent music that is here while they forsake it for something more encouraging of those choices.
-David P.

Phonte “Ball & Chain”


#48 Allen Stone Allen Stone

The fun and excitement found in music is what moves us and makes us seek out something we can nod to, dance to, relate to. For a musician to capture that feeling and put it on wax (or turn it into 1’s and 0’s as the case most often is these days) they have to be willing to express themselves and demonstrate a quality often indescribable. To quote the Palaceer, “It’s a feeling.”

Allen Stone shows off a beautiful voice next to excellent orchestration throughout his ten track, self titled album. I’m sure the comparisons have been made but for a reason, Allen Stone is very much full of sounds and melodies bound to remind you of soul music from yesterday.

“The Wind” is a heart wrenching slow jam and it’s followed by the rocking “Satisfaction” with heavy guitars and triumphant horns that come in at the bridge. The inclusion of someone whistling will always bring a smile to my face.

It’s a rare album that can pick up or add to any mood you may find yourself in, and as I type this I can feel the the hangover being pushed back thanks to these sunny sounds and excellent vibes. Allen Stone and company know how to capture life and put it into song.
-Will J.

Allen Stone “Satisfaction”

#47 Various Artists Coastal Sightings

There is something to be said about the different.

When I reached out to all involved to put this comprehensive list together I knew I was opening a door to hear things that weren’t in my ear constantly which I suppose is the best purpose these lists can play – introducing one to something they never heard in a year filled with banging music.

Cairo has received much attention this year and it only makes me feel my ignorance knowing that I used to live blocks away from their space and could have probably gotten myself hip to what it is they do much sooner. As it stands, I’ve now listened to the Coastal Sightings compilation and am quite intrigued to follow these sounds and bands.

As with any compilation you get a little bit of everything here. The easiest way to describe it would be electronic infused rock, but that doesn’t do it much justice. It’s exciting music, most with a very future looking identity – that is if I have any insight into what the future may sound like.

Future telling aside, Coastal Sightings wins me over more with it’s instrumental tracks and should show off another side to the sound of Seattle and the Northwest. They label it “Cascadian Underground” in the bandcamp tags and as a lifetime resident of the Cascades it’s an ingenious descriptor. Listen a little and let the ears grow.
-Will J.

White Rainbow “Touchdown 49ers”

#46 Thurz LA Riot

What is it with Los Angeles and hiphop? I understand its cultural significance as an epicenter for West Coast hiphop, but the smoggy, sinful and congested metropolis of angels tends to produce a certain type of sound: rebellious, threatening and brimming with the restless energy that goes along with seeing the sun too much.

On LA Riot, Thurz wastes no time embracing these characteristics by calling for the destruction of those holding power with the time proven molotov cocktail. Thurz’s sound contains aggression channeled, unrelenting and unwilling to cease till the motherfucker is burnt down. Throughout the album, Thurz creates a unique balance of lyricism and raw energy with hauntingly specific tales of Los Angeles’ controversial history from the perspective of society’s criminals, malcontents and unappreciated members.

On “Fuck the Police,” Thurz’s ferocious tenor sounds perfect upon the grungy guitar riff, clanging hi-hats, and syncopated kick drum as he details the emotions of a riotous citizen warning us about the racially minded LAPD and silent media. The song also raises the issue that many Americans, not just black men, believe which is that Police are above the law and carry out their duties without care for the citizens they’re supposed to protect. The hook keeps the LA connection strong, paying tribute to Volume 10 and Rage Against the Machine, both Los Angeles musical stars.

The attention to detail present in Thurz’s words submerges any diligent listener into a bleak world where happiness is snuffed out, hopelessness runs rampant and fear comprises the bottom of the food pyramid. When placed into a larger, historical context, this type of story has been played out in nearly every aspect of human life and culture, but Thurz’s rendition packs a unique sense of frustration with an emotional, frenzied delivery that highlights the pointlessness of gang violence.

Thankfully though, recapitulating the bleakness of early 90s (and possibly present) Los Angeles is not the only thing contained on this album. “Prayer” finds Thurz stretching himself lyrically over a smooth bass, twangy guitar, and gospel choir to deliver the listener a concise message: find the positive, maximize yourself, and become the best. It’s a rare moment of positivity on an album documenting one of the largest and most destructive riots in modern American history, leaving the listener a message of hope, even if it can only found in prayer, because overcoming our mediocre life situations will only occur when we unite as a community around something positive and uplifting.
-Kyle J.

Thurz “Fuck The Police”

#45 Drake Take Care

“Take care” – famous words echoed often through life, and even more in 2011 with Drakes sophmore release. The follow up to Thank Me Later Drakes debut album, that didn’t quite reach expectations after a slew of mixtapes and many memorable features. Say what you will about Drake. Categorize him as “emo hiphop,” “a pussy,” or “soft.” I, however, prefer vulnerable. Many positives and negatives can be the result of such a state, but the one thing that always is, is the genuine realness and open heart of vulnerability. On Take Care this vulnerability that Drake has established as a part of his artistry is purely to his benefit and shines through the LP. Not much strays from Drakes typical formula, but the product is undeniably classic, innovative and original.

One noticeable stand out difference from his normal sound would be one of the albums biggest records “Lord Knows” featuring Rick Ross, which is produced by Just Blaze and automatically makes you reminisce to the Roc-A-Fella golden era. The album is full of trunk rattlers like the “The Motto,” “HYFR” and “Headlines” but balances out and shows the many sides of Drake with softer songs like “We’ll Be Fine,” “Over My Dead Body” and “Shot For Me.” Another stand out and debatebly the best song on the album is “Look What You’ve Done” produced by Chase N Cashe. A genuinely touching track dedicated to his grandmother that features a
sample from deceased artist Static Major.

Overall the quality that sticks out most about Drake through this release is his ability to take chances with music and bare it all
more then most hiphop has ever seen while still being relatable to anyone – from the hippest of hip to the squarest of squares. 2011 was a huge year for Drake, as well as a year of proof and perseverance. We can only imagine what 2012 will bring in for this still blooming musical icon.
-Thaddeus David

Drake ft. Lil Wayne “HYFR”

#44 Thundercat The Golden Age of Apocalypse

If the world is bound to end in eleven months I hope this is the soundtrack to my apocalypse.

Having long been a fan of the Low End Theory and Brainfeeder sets Thundercat’s emergence as an instrumentalist within the crew has had me curious where he might take Flying Lotus and the rest’s sound.

Throughout this record you are greeted with anything but end of the world manifestations. That is unless for Thundercat the end of the world is a place where people are happy and smiling all the time and just want to dance and think about making love.

FlyLo handles the production across all thirteen tracks, yet you won’t be mistaking this for a follow up to Cosmogramma, it is wholly it’s own. Drenched in Thundercat’s bass riffs you won’t ever look or listen to the bass in the same way again. It seemed odd to me that a bass player would release a solo record, but then I realized that some of my favorite records in the crates come from Bootsy Collins and Stanley Clarke. Our generation now has someone to stand next to them.
-Will J.

Thundercat “Boat Cruise”

#43 Terius Nash 1977

Terius Nash, aka The-Dream, is by and large one of my favorite artists ever, and fortunately, did not disappoint with 1977, his first free mixtape.

As expected, 1977 was notable for Nash’s beautiful harmonizing and his transitions between songs that are some of the best, but it was also notable because it was a much darker, more tortured Dream than we are used to hearing. Sometimes, depending on my mood, it’s emotionally draining to listen to, hearing him start the record with “Wake Me When It’s Over,” and moving on to “Used To Be.”

It wasn’t all emoting and tears, though, as Terius demonstrated his ability to write songs like “This Shit Real Nigga” – a certifiable banger, with Pharrell helping to put the ignorance of “Niggas in Paris” to shame. For the first half of his verse, Skateboard P ended every line with “nigga” before he switched it up and ended every line with “dot com,” or in essence rhyming “nigga” with “nigga” and “dot com” with “dot com.” I also enjoyed “Rolex,” which felt like his spin on “Aston Martin Music,” and “Ghetto” with Big Sean.

1977 reaffirmed my appreciation for The-Dream, or Terius Nash, an artist who I already hold in high esteem. To clarify, I don’t include the song “Silly,” which introduces Casha, because I don’t care to listen to her song on a Dream tape, as clever as he was for slipping that in there.
-Julie J.

Terius Nash ft. Pharrell Williams “This Shit Real Nigga”

#42 KD G-Fluid

Recently Alabama has taken hold of my listening habits, constantly showing me talented artists who are making original country rap tunes that stay fresh and consistent. While Huntsville has gotten the most light, KD could be the start to a Birmingham investigation.

Releasing G-Fluid with DJ Burn One garuntees the production would be top notch and it really is. Riding along smoothly with a soul rarely seen in modern hiphop beats, you will get lost in the drums, samples and assorted sounds caught here. Of course Burn gets down on some, and from what I read the rest are handled by KD’s fam.

When you come out of the haze and give KD some notice you won’t be disappointed. He has a deep voice, perfect for the tracks he selected and making his presence unforgetable. He holds his own next to Gangsta Gibbs on the awesome “Let Me Ride” and gives you that classic driving music on “Cruzin.”

Filled with sentiment and mentalities not unlike his fellow southern peers, G-Fluid portrays a variation to the sound of the stories of the south.
-Will J.

KD “Dope Game”

#41 Lil B I’m Gay (I’m Happy)

When I first heard Lil B announce this album title, I turned to Swerve and said “He’s based, he’s happy. Ok cool.” Of course then he went and added the parenthetical subtitle and ruined the play on the ambiguity of the word and any conversation that might have been sparked within hiphop about it’s own homophobia.

I never listened to this album prior to the creation of this list. Thus is the nature of democracy in this scored list. I can’t name any of the songs from Lil B I have heard, but I’ve never really had a reason for not paying him attention. I heard him on the 9th cut with Jean Grae and Phonte and wasn’t mad and he works closely with Seattle area beat crafter Keyboard Kid. Still I slept.

I’m Gay is pretty awesome. I’m only a few rotations through but it’s not at all what I feel like I’ve heard his music described as. Although I understand the fact that he records more than 2Pac and seems to hold onto nothing.

The beats here are great, full of life and incredibly original. They all float and kinda feel like dusk or dawn, something that just isn’t quite dark or bright.

As a rapper B feels pretty amateur here. But somehow it’s ok, he doesn’t put himself out there as a god emcee, nor a superstar. He is just Lil B, the based god from Berkley, California. He may just end a verse mid bar. He might talk about a new subject every other bar. All these things happen. But he also speaks about more life and injustices than any major label artist. He has a lot on his mind.

Lil B “I Hate Myself”

Fall back through tomorrow to check out installment number two of this here best of 2011 album countdown.

This entry was posted on Monday, January 9th, 2012 at 2:23 pm. It is filed under Blog, Featured. You can follow any responses to this entry through the RSS 2.0 feed.