Hey, it's me AK. I was born on June 24th, 1993. I was born at the Thomas Jefferson University Hospital in Philadelphia, but that's not even where I ever lived. I live in South New Jersey. I go to BelH. I'm fourteen and I'm a Jewish white kid. My best friends are "Cholera", "FieldZ", "Nobolo", and "The Flying Asian Kiejdan". I play Xbox 360 (rarely) and listen to music, watch TV, and hang out with friends. I'm an A/B student and I guess liked by my classmates. My inspiration for being on Wikipedia would probably be the user LILVOKA for his help on the Hip Hop WikiProject which I find him an "amazing" contributor to. Also, I would like to note, I usually work on albums alone, with the occasional adding of pictures in articles. There, at the albums articles, I do not take away or add information (unless its an idiotic statement such as the recent vandalism on the Before I Self Destruct article). The only thing I usually do there is help clean information... for instance. Tracklist A will be the before me editing, and B will be the aftermath.
If anyone could help me with my signature, that'd be great, trying to make it cool looking. So if you got a suggestion for a cool signature, put it on one of the following bulletins...
If you're sick of vandalism so extreme to the point where pages are deleted because the sources are vandalized... join my resistance. The following are names of wrongfully deleted pages. Feel free to add to the list.
A bunch of the best rap albums ever made. Only one per customer, except Ice Cube, LL Cool J, and Outkast due to indecisiveness. There are more to come because I know I'm forgetting some.
Albums (from the first one I got to the last) I've bought this year.
Buck the World - Amazing for Buck, mainly because its gangsta soul, extremely rare. The flow is melodic yet the raps are gangsta. Lyrically incredible, give or take a few tracks ("Money Good, "Pocket Full of Paper", "Puff Puff Pass"). The cameos make it great, too.
Minutes to Midnight - Refused to listen to the leak until I got it, nowhere near the level of the first two albums, has a few good tracks, one or two great ones, but the change was highly disappointing.
T.I. vs. T.I.P. - Not as good as I hoped, but the conceptual side made up for it, what you can expect from T.I., amazing production, clever lines. Pretty complete and nothing to skip over. Only disappointment is the Eminem cameo which was a dud in vocals and lyrics.
Sean Kingston - Surprisingly the most complete album of the year, Kingston really nailed all of his vocals and even all of his raps. Rotem of course delivered crazy beats, and the lyrics are quite satisfying.
Finding Forever - Common in my opinion came really close to matching what he was following up on. All the tracks are good, but it disappoints because the intro flows into "Start the Show", which flows into "The People", but there is no more flowing. West does great on the production.
UnderGround Kingz - UGK comes back from a somewhat long absence with a knockout performance. It being a double LP, means lots of material. But throughout that material, only three songs bother me ("Like That", "Like That" (Remix), "International Player's Anthem" (Screwed & Chopped)), and it really only counts as one.
Ear Drum - Talib delivers hear. Nothing bad, but he fails to give us something truly amazing, which was what I was hoping.
Graduation - Ye probably comes with his most consistent effort to date. The production is cadillac clear, sparkly, flashy, bouncy, and energetic. Unlike his previous efforts, the samples don't make the album seem too dated, and keep the beats clear. The lyrics are amazing but the one thing that bothers me is that the shock material isn't here. What I mean is the "And I know the government administered AIDS" parts in the songs. I delivers no political shockers, but despite that, the effort is more than solid.
Curtis - Fif surprised here. He brought back gangsta roots from his first effort. Production is top-notch but I wanted to see the Swizz, will, JB, Polow, and West tracks made. Lyrics are better than expected but Straight to the Bank, Fully Loaded Clip, and Amusement Park were very weak.
Ultimate Victory - Chamillionaire easily made the best album of the year. The production is top-notch and the features are great. Damn-near classic, and barely anything holding it back. "Rock Star" wouldn't have stopped this album from being a classic if Wayne didn't screw it up. Listen to how he says "cars" and "for me" (He says "far me"). It's painful to listen to that verse. Also, Devin's voice is pretty annoying here. This album's only other flaw is that in ten years, relevancy will pass, and people will listen to "Morning News" and "Evening News" and not understand the current events. The album is still amazing, and he actually packs shows that the south isn't too bad after all, or maybe he should just move to New York.
American Gangster - This just might be the best album of the year. Hov may have beaten out Cham for the best album because he brought things basically back to some Reasonable Doubt shit. Every track he spits fire. Production (handled by Diddy) is perfect 70's and 80's vibe. Guests are numbered to a perfection. Nas spits great on "Success", Beanie does great too, but the only track not worth anyone's time is the Wayne cameo on "Hello Brooklyn 2.0". The most annoying beat, most annoying voice ever produced by Weezy. The track strips it from its otherwise classic potential, but the album still is one of the best this year.
B.A.R.S. - After going through a major car accident, and half a year behind bars, Cassidy come back with some great stuff. Devoid of major pop songs like "Hotel", the album is full of street songs, bangers like "My Drink N My 2 Step" and street songs like "Innocent". Swizz Beatz successfully handles most of the production guest spots feature the likes of BTNH, Eve, and Legend. Cassidy does great on lyrics of course, and this may be his best album to date.
Free at Last - Free went hard on every single track. He used his gritty voice to produce some gritty-ass rhymes. Without the help of Ye and Blaze, production-wise, hope would seem lost. Hov and Fif didn't let that happen. Some of the best beats this year from a wide variety. One gem is odd because Free doesn't flow on it. "Take It To The Top" has a casual, glittery beat by JR and a poppish hook by Fif. These factors salvage the song because Free goes way too hard for Rotem's beat. Guests like Ross and Marsha do crazy for Free, but none stop his shine. Free is finally free at last.
The Big Doe Rehab - Killah really shows that he is the frontman of the Wu. He comes hard as hell on every track. "Yolanda's House" is a nice storytelling effort with mad descriptions. The beats have a classic feel due to the samples used, and he has two of The Hitmen handling most of the production. Lyrics are fine and the cameos are great, seeing a lot of Meth and Chef. Meth provides the best hook on the album, on the song "Killa Lipstick". Overall, the album keeps his rank amongst the elite rappers.
Made - Face really pulled back with a crazy album. Although devoid of much promotion, and backed by a non-catchy single, everyone knew Face would come out on top on Super Tuesday. The production was great and so were guest appearances. The intro and outro are insanely good although just instrumentals, but it is a producer at his finest. Face himself shines on "The Suicide Note" as well as "Burn". He may have brought in his best album since The Diary.
Super Gangster, Extraordinary Gentleman - Styles comes crazy through this one with his best album yet. Production is amazing at every turn. Guest appearances are great for the most part, excluding Max B and Ray J. Ray sound like a girl and his hook is pretty annoying. You can't understand Max's words at all as he slurs too much, so Max goes from the hookmaster prowess he showed on "Pin the Tail" to the worst you can get on "Holiday", but the song still pulls through as an amazing one. Akon does crazy on "Got My Eyes On You" as well as Styles. Ghostface Killah spits some lyrical dishes on "Star of the State". As for Styles, he is at the top of his game lyrically, showing no signs of weakness.
The Solution - Beans comes up with one of the best albums of the year. Dre & Vidal produce flawless beats for the most part of his album. The production is crystal clear and amazing. Also, Beans uses lyrical exercises well on songs such as "Dear Self" which samples the "You're Beautiful" guy so well, making a movie kind of hook. Also "Rain" and "Prayer" are other signs that his lyricist self is still in tact. His lead single that features Kellz works like magic. Also, the Ozzy sample works amazingly, creating a highlight on the album. The album is basicaly one giant highlight only showing two songs of weakness: "I'm In" and "HHNH". Besides that, the album is damn-near perfect.
8 Diagrams - Wu hasn't done shit in like six years so give RZA a break for trying to force something, he's trying to get the Clan's asses up to do something they should have been ready to do for a while. All the members deliver really well here, but the lyrics ar enot the problem. Some tracks have such bad production, it just bores me to tears. RZA really didn't do the beats justice, as there was no grime in the beats like "Ain't Nothin' to Fuck Wit" or "C.R.E.A.M.". Although he delivers some good beats on "Life Changes", "My Heart Gently Weeps", "Rushing Elephants", and "Weak Spot", most others ar ebarely listenable. More a Kingdom Come than a American Gangster.
The Cool - Lupe surprised everyone when he came out with an equally amazing sophmore LP as his debut. The production is incredible on every song, minus "Gold Watch" and "Paris, Tokyo". Stump shows his talent in "Little Weapon", producing one of the best beats Lupe has rhymed over. Lupe makes shout against violence in the song by showing the heartlessnes of those who use weapons. Another amazing beat is on the song "Gotta Eat" where I gotta be honest. I have no idea what the story is about the entire song, but I'm guessing it has something to do with a guy that helps people out in the process of doing illegal shit and it uses a bunch of food metaphors. The highlight of the album though is in three songs. "Put You on Game", "The Coolest", and "Streets on Fire". All comprising the darkest songs on the album, they are about three characters Lupe has created. "The Cool", "Streets", and "Game". Now there are two other songs that have to do with them, but I have no clue which. The most interesting thing about The Cool is that he is slowly becoming inhumane from being around Game and Streets too much. Game is a sick being that takes the soul of anyone involved withe him (as he is a metaphor FOR the game itself). Street takes the heart of anyone involved with her (as she is a metaphor FOR the streets themselves). The only thing bad about the album is "Fighters"'s chorus. If you listen to Matthew Santos say "money", you want to kill yourself. Despite this, the album coms out as one of the best of the year. Lupe will be admitted into the top if LupEND turns out to be as good as his first two.
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