This summer saw the rise of newcomers, the fall of old-timers and continuation of quality output from some of hip-hop's finest. Here are a few of the notables:
(A&M)
Unlike groups such as Jurassic 5 and The Roots, The Black Eyed Peas have allowed mainstream success to dilute the quality and direction of their music. On Behind The Front, BEP's first album, Will-I-Am states that \We don't use dollars to represent.""
However, between soft drink ads, the addition of sex appeal (new female vocalist Fergie) and an obvious focus on radio friendly beats and catchy hooks, it has become rather apparent that the group has made a complete 180.
Justin Timberlake's guest appearance on their first single, ""Where Is The Love,"" puts a pop star's face to the sell out act. Though Will and his three sidekicks did it the best way they could, the album is filled with empty, commercialized songs that will become the next big thing as soon as they are heard on the radio.
(Virgin)
Like Black Eyed Peas, Gangstarr has also recently seen a noticeable, though less extreme, rise in popularity. Guru and DJ Premier set the bar sky high with their last album, the 1998 classic Moment of Truth. Although The Ownerz does not quite measure up, Gangstarr proves incapable of creating anything but solid material. Songs such as ""Deadly Habitz"" and ""Riot Akt"" belong right alongside the other classic tracks that the group has produced over the last 15 years.
With their latest release, Gangstarr has once again shown why they are considered to be one of the greatest groups in the short but illustrious history of hip-hop.
(Fat Beats)
Already on his fourth album, J-Zone continues to rise up the ladder of underground notoriety. More of a producer than a rapper, yet adept at both, Zone lets his entertaining rhymes take a back seat to his original, obscure, sample-filled beats and solid guest appearances.
The breadwinner of the album is ""Choir Practice,"" a hard hitting collaboration with J-Ro and King-T of the Likwit Crew. With yet another exceptional release, J-Zone has effectively cemented himself as one of the top current producers in hip-hop.
(Inebriated Rhythms)
Up-and-coming Swedish producer Soul Supreme burst on to the hip-hop scene, firing on all cylinders with his compilation album The Saturday Nite Agenda.
Using soulful beats reminiscent of the blaxploitation era, Soul Supreme puts together an impressive guest list of emcees. KRS-One, Rasco, Planet Asia, Pete Rock and Wordsworth all put on note-worthy performances. The gem of the album, though, is ""Come Get It,"" which pits veteran Big Daddy Kane with newcomer Checkmark. Over a head-nodding beat, each rapper makes good use of the excellent production, peaking with Checkmark telling fake emcees that ""The only dude you know that's on 20s is Andrew Jackson.""
Like Little Brother's 9th Wonder, Soul Supreme successfully takes classic early '90s production and transforms it into something original. If he remains consistent, Soul Supreme could become the Pete Rock of the new hip-hop generation.
(Blue Note)
The invasion continues! After releasing a slew of material in the last two years, Madlib returns once again with a brand new take on his ever diversified production styles. This time around, Blue Note Records, the world famous jazz label, opened their vaults and told Madlib to have at it.
The result is a masterpiece of hip-hop influenced jazz-or jazz influenced hip-hop-depending on how one looks at it. Between remixes and original interpretations of Blue Note classics, Madlib effortlessly flexes his production muscle, reinventing himself yet again.
From the beautiful flute of ""Montara"" to the groovy piano in ""Stepping Into Tomorrow,"" Shades of Blue is a sonic journey that flows seamlessly from beginning to end.
(Solid)
The impressive debut album from Demigod member Louis Logic only adds to the group's already impressive discography. Songs like ""Freak Show"" (a tale of suburban psychos) and ""Dos Factotum"" (an ode to drunken debauchery) simultaneously exemplify Logic's vocal creativity and ear for good beats.
With an original delivery, above average production (handled primarily by J.J. Brown), quirky subject matter and an unadulterated love for alcohol, Louis Logic drops an often humorous and always engaging record that deserves some quality time in the stereo rotation.
