Today I continue a series of posts dedicated to the best albums of the last decade, posting analysis of one album at a time.
43. Jurassic 5 – Power In Numbers
By 2002, the rap game was well aware of the J5 MCs and what they had to offer – a badass EP and the debut Quality Control had established the LA crew as a formidable presence on the scene. They were certainly getting a lot of attention for their sound – a stripped-down, lyrics-based, old-skool approach, focusing on wordplay and intricate flow rather than heavy beats and sloppy sex rhymes. As the group said it best on the hit “What’s Golden,” they weren’t “ballin’ or shot callin” but rather taking you “back to the days of yes-y’allin’.” In the early 2000’s, J5 were a welcome break from the overproduced dreck that was just beginning to litter Top 40 radio (Ja Rule was still a prominent hit-maker at the time).
When their sophomore effort Power In Numbers dropped, the immediate reaction was mostly of praise, but overall the consensus was that, while darker, it certainly wasn’t as good as the previous two efforts. I disagree wholeheartedly. With this disc, Chali 2na, Akil, Zaakir, and Mark 7even demonstrated their versatile flow even further, alongside some of the finest work from the then-relatively unknown disc jockeys Nu Mark and Cut Chemist. Big Daddy Kane shows up for the chorus-less highlight “A Day At the Races,” and Nelly Furtado, who had recently scored her first big hit “I’m Like a Bird,” appears for a commentary on complicated friendships between members of the opposite sex on “Thin Line.” And stay tuned for the insect-infested and hilarious freestyle “DDT.”
In 2006, the crew released the lackluster Feedback and called it quits. The majority of lyricists disappeared; Chali 2na continued to disappoint on his own, releasing a weak solo album. Meanwhile the two scratchers in the background pursued their own projects and came up gold – both DJ Nu-Mark and Cut Chemist are two of the present day’s finest turntable masters. Still, some of their finest work can be found on J5’s best album.
Today I continue my ongoing feature showcasing my personal picks for the best songs of the past decade, posting ten songs at a time.
70. Band of Horses – Is There a Ghost
The first track off Cease to Begin is a great introduction to Band of Horses’ second disc – it’s a beautiful rising track with the simple, repeated lyrics “I could sleep” and “When I lived alone, is there a ghost in my house.” What follows is a near-flawless album that embodies the Southern spirit and indie charm this now-immensely popular group delivers.
Music, Movies, Television, etc. Pop culture reviews for the short-attention-span Internet age. Enter the Void (2010)
A POV story all the way through, this fascinating film captures the effect of a life’s end through the eyes of a floating spirit over the drug-infested underground of modern day Tokyo. Everything is spellbinding; the movie itself feels like a giant chemically-induced trip. Essentially the slow-moving dialogue, drugged-out sequences, and afterlife transitions cause your brain to turn completely off. Yet the protagonist’s journey is a compelling one, and the characters are well developed in the 130 minute running time. A splendid mindfuck.
The Chicago princess is back with a banging new mixtape from Fool’s Gold. Download it for free here. It’s littered with mashups, remixes, new tracks, and other Kid Sis goodies, all in a banging seamless mix.
Dubstep and Southern rap were meant to be together, or at least they are when A-Trak’s behind the crossfader. His second foray into mixing the two genres is a dance party like no other; stand by for the ending highlight, a mashup of Joker and Yung L.A.
Nathan Williams’ 2009 and 2010 were completely different. The previous year, he was an up-and-comer that crashed and burned publicly; now he is a renewed creative spirit with a diverse, improved sound.
Believe the hype – Yeezy’s fifth album is quite probably his finest work yet. His rapping is smart and funny and his production is characteristically slick. If he keeps making gold, we will continue to put up with his hi-jinks, Internet, interview, or otherwise.
Perhaps the doom and gloom from One Wolf’s self-titled effort has disappeared, but in its place is diverse instrumentation, inescapable pop hooks, and sharp optimism. A sonic collage of indie, Americana, and even metal, this is one that just grows and grows on you.
Lubbock’s elder statesmen etch their place in historic alt-country with this, their fourth and finest album. Daniel Fluitt’s keen storytelling and unmistakable voice lead the listener on a gradual crescendo in under fifty minutes. Give it one listen and observe the injustice – Deer Tick should be opening for these guys by now.
