List Madness: Top Ten Rappers That Have One (Or One More) Great Album Left In the Tank

In my opinion, talent is much easier to detect in rappers than in, say, rock bands or pop singers, because a large amount of their "talent" comes from constant variables: their delivery, their writing, their overall persona. For the most part, none of these things change too much over a career; what seems to change are the subjects they focus on and the production/beats behind them. That's why, even while releasing a slew of shitty albums, a talented MC always has the opportunity to bounce back with a change in direction. Witness Jay-Z's lackluster "Kingdom Come" and critical hit "American Gangster": the man and his flow are basically the same, but on his latest CD, the actual songs are much tighter, and Jay stopped analyzing his old age and directed the spotlight once again on his intriguing youth as a hustler.

Here are ten rappers that I believe have one truly great album buried deep within them. Their talent on the mic has hinted at greatness, but they haven't been able to capture it on a fully realized release just yet (or, if they have, haven't shown they can do it recently). Go get 'em, fellas:

10. The Roots
The inspiration for this entry was the lame process of hearing some of The Roots' just-released Rising Down. Like their last two releases, it's so bogged down in maintaining a social conscience that it refuses to hint at some exciting new dynamic. The band's sound barely even matters anymore, since Black Thought's rhyming is as boring as a high school lecture on the importance of community service. Look, I'm not saying The Roots don't have a worthy cause, but I'd love to hear it channeled into something less anger-driven and more personally affecting. Black Thought is a thoughtful, sophisticated rapper; is it too much to ask for something as beautifully constructed as "Illadelph Halflife"? I don't think so.

9. Talib Kweli
Talib seems to be unable to create an interesting place for himself in the world of hip-hop: not as hard as most rappers, but not as willing to sell out as other PG-13 rappers like Common or Mos Def. Last year's Eardrum wasn't too bad when it finally saw the light of day, but it wasn't the masterpiece that he's hinted at since Quality. It's probably asking a lot, but I'd love to see Talib make a really fucking dark album, with someone like El-P providing a handful of nasty sci-fi beats. He doesn't have to get all gangsta on us, but Talib definitely needs some sort of edge to his delivery.

8. Scarface
Okay, yeah, it's not like Scarface has been too far off his game here. He released MADE this year to some well-deserved acclaim, coming off of an "I-ain't-rappin-no-more" stint. But still, Scarface hasn't made an out-and-out masterpiece in a long time. It's hard to judge whether or not he's still got one left in him, though: at 37 years old, Scarface is at the optimal age to walk away from serious recording and become a symbolic elder statesman. What else is there to prove, really? Well, I think he's got a puncher's chance to make another classic. After "T.I. vs. T.I.P.", the South could use someone like Scarface.

7. Twista
Twista: a man destined for guest-verse purgatory? Tough to say. He keeps knocking cameos out of the park, usually because he's light years ahead of the other rapper on the track stylistically. But then he'll release something like The Day After, and suddenly you think, "Hmm, maybe a full-length Twista album wasn't that good of an idea..." It's usually because he just raps about doin' girls and doin' drugs, and since Twista raps at warp-speed, his references to doin' these things mow you down until you're numb. I mean, I would never suggest that Twista's delivery is intrinsically tied to his failure as a solo artist, but... yeah, I have to suggest it. Maybe he should try calming down a bit, not worry about showing off his word-per-minute ratio, and start writing rhymes that are more thought-provoking and not designed exclusively for the club.

6. Eminem
Oh boy, where to start with this one? When Marshall Mathers comes back (and he will come back), it'll be interesting to see what sort of reception he receives, now that he purged himself of his genius on The Marshall Mathers LP and chose to carefully destroy the album image he created on his two follow-ups. What will he say, now that he's irrelevant in a world where pop culture has moved onto the next generation? My guess (and hope): he'll release a deeply bitter, reflective album, one in which none of the singles particularly connect well and the critics hail as his Blood On the Tracks. Eminem's got too much talent and too many demons to not release another staggering album. Let's hope he gets around to it soon.

5. Busta Rhymes
I refuse to believe that The Big Bang is the harbinger of Mr. Flip Mode Squad's career. Why do so many people forget that Busta Rhymes was, for a very long time, really fucking WEIRD? Because, after years of hanging out with Diddy, making songs like "I Love My Bitch", and pissing us off by cutting his dreadlocks, it's easy to overlook such explosive past offerings as "Woo-Ha!", "Dangerous", and "Put Your Hands Where My Eyes Can See". The thing about Busta is that, as his production and hooks became more mainstream, his appeal as rap's wildly brilliant court jester sorta tapered off. Can Busta Rhymes be rescued from his "Ludacris, but a worse actor" fate? Of course he can. In some shape or form, the man will make another great collection of songs -- the moment he stops calling will.i.am and getting haircuts. (Busta, I'm sorry about the actor comment. You were pretty good as the brother in "Finding Forrester".)

4. De La Soul
I don't really wanna talk about why De La Soul is probably gonna make another amazing record. It'll just happen. It doesn't matter that they're old, that The Grind Date was good but not great, or that they don't seem to have any interest in recording another classic. It'll just happen. They're just that good. They will always be that good, and it will come as no surprise when they make another mind-blower. Enough said.

3. Method Man
See, this one's probably the trickiest to call, because Method Man might just be the single best rapper on this list, but he's by far the most inconsistent. Like Twista, he excels at killing the posse cut and squelches on the solo efforts he regularly produces. Unlike Twista, he already has a classic album (Tical) under his belt, not to mention his work as Wu-Tang's most recognizable member. But every time you think Johnny Blaze is ready to come back and smash the world, he puts out more unexceptional material. Dude's hard to pigeonhole. Still, as long as Method Man is still rhyming and the song "Bring The Pain" exists, you just have to believe that he'll eventually get it together and release his own Fishscale.

2. Cam'ron
No, Purple Haze was not an anomaly. Yes, Killa Season was a well-deserved victory lap. And yes, Killa Cam will release something that measures up to (or comes close to) the magenta masterpiece that I consider hands-down a top-ten rap album of the decade. It's very difficult for me to think otherwise, with Purple Haze's crackling wit, hilarious disses, and bizarre sexual come-ons still fresh in the mind. Cam'ron's rhyming style is wholly singular, and while his opinions about basically anything important are undoubtedly deplorable, he remains a genius in the studio. The Diplomats may be readjusting themselves, but Killa's personality is too irrepressible to stay in the shadows for long. My guess is, by next year, men, women, and children of all colors and creeds will be happily shouting "Dipset, bitch!" once more.

1. Cannibal Ox
If they ever get around to making it, Cannibal Ox's follow-up to The Cold Vein will cause many people to lose their respective shit. But there's that damn clause: if they ever get around to making it. Vast Aire and Vordul Mega have been quiet ever since reports of them working on a new record never lead to anything substantial. But let's be serious here: the guys will get around to it, and when they do, underground hip-hop will have a new bible to thump. This is because The Cold Vein is sorta perfect: fantastically engaging, with heart-pounding beats and enough personal insight on songs like "The F-Word" to make the listener feel like they've known the two MCs for years. If El-P can hibernate for a few years and come back with I'll Sleep When You're Dead, it's hard not to expect these two knuckleheads to do the same. And even if the follow-up is a crushing disappointment, Cannibal Ox are too talented to not give us another adrenaline shot someday. If anyone's got one great album left in the tank, it's these guys.

What Went Wrong/List Madness: Top Five Immediate Reactions to the Grammy Nominations

Well, the Grammy nominees were announced today, and this really interested me, because it forced me to put down the new Ghostface album and recognize what is going on in mainstream music right now. Obviously my personal tastes differ wildly from what is usually selected as the year's absolute best music by the most official music awards show (although the VMA's are always more fun to watch). Here were my five immediate reactions to the list of nominees, or the list of the nominees that matter:

1. Paul McCartney really, really shouldn't win anything.
The Grammys have always been notorious for rewarding artists who used to be really important but are now sort of irrelevant (Rolling Stone does the same). This year is no different, with John Mellencamp, Bruce Springsteen, and Bon Jovi all getting fatuous nominations. I don't really mind this, because it's absolutely expected, but I just can't stand seeing Paul McCartney, who is nominated in three major categories for work off his new album "Memory Almost Full", take any trips to the podium. "Memory Almost Full" is a piece of garbage, and this is an example of someone's name snagging nods for how big it is. REALLY, Paul, do you NEED to win for "Only Mamma Knows"? On a side note, Beck MUST win the Solo Rock Vocal Performance category, since he's going up against McCartney, Springsteen, Lucinda Williams, and, goddammit goddammit, John Mellencamp for "Our Country", the one in the commercials. I haven't even heard Beck's song "Timebomb", but it just has to fucking win. Probably gonna go to Springsteen, though. Which leads to...

2. Visible Snubs: Bruce Springsteen, Fall Out Boy, Fergie, Robert Kelly
Actually, I don't think Springsteen got snubbed, because I believe his album "Magic" was released after the Grammy deadline in early October. If not, though, I'm shocked that "Magic" didn't play like a wet dream to Grammy voters; next year it's probably going to own every category, so next year's gonna be a sad one. I'm not gonna discuss Fall Out Boy's complete omission now, because I'm going to give them such huge big-ups on my year-end album list, but their lack of a single nomination is a damn shame. As for Fergie, yeah, she blows, but with the exception of Akon, was there anyone more authoritative in the pop music landscape this year? She's only nominated in one major category, and for an awards show that admittedly rewards popularity, that's just not enough. Finally, I don't know if this is some courtroom backlash bullshit, but how the hell can R. Kelly be nominated in only one major R&B category, and for his collabo for Usher, "Same Girl"? I don't care if the man's out of his mind, "Double Up" is much more quality R&B offering than stuff from Emily King, Fantasia, or Raheem DeVaughn, whoever the hell that is. I guess my dream of seeing a performance of "Sex Planet", featuring R. Kelly dressed as horny alien, is shattered.

3. Most Interesting Category - Female Pop Vocal Performance
It's difficult to pick an intriguing category, because even the best horse races are typically cluttered with no-shot nominees, but this one's got five solid gals in the running: "Candyman" by Christina Aguilera, "1234" by Feist, "Big Girls Don't Cry" by Fergie, "Say It Right" by Nelly Furtado, and "Rehab" by Amy Winehouse. You could easily pick "Rehab" as the front-running nomination, but since Winehouse got five others, voters might go a different route. "Candyman" is a fun song that's generally well-received (and appeals to older voters), and "Say It Right" has little buzz but some bravado Timbaland production. Although they're clearly dark horses, both have a shot to win. "1234" is an interesting nomination and certainly not the flashiest song here, but it's got the indie cred factor, and the Apple ads and surprisingly multiple nominations for Feist boost its profile. And then there's "Big Girls Don't Cry", the biggest song in terms of radio play, and Fergie's only major nomination. My gut is going with "Big Girls Don't Cry", but all of these nominations are pretty strong, and I'm happy with the category.

4. Impossibly Bad Best New Artist Nominations
Last year's Best New Artist, Carrie Underwood, was a really solid choice, because she was an actual new artist who was just beginning to release some well-accepted material. Also, Imogen Heap was nominated, and though it didn't make sense, it was definitely cool. This year's nominations... are baffling, to put it lightly. Taylor Swift, Paramore, and Ledesi are three of the five; I've sort of heard of the first one, and don't know anything of the latter two. Now, I know obscurity is no reason to bar someone from this category, but couldn't they nominate a new artist who is kind of well-known? Maybe some Plain White T's? Lily Allen? Lil' Mama woulda been awesome? Justice got nominated at the VMA's, why not throw them a hipster bone? The other two nominations are Feist, who's just been around for a while, and Amy Winehouse, who is sorta new enough to be nominated and inevitably nab this award. And for some reason I have a problem with this. Maybe it's because she's overhyped, maybe it's because she's bound to give up recording/living soon, but I cannot imagine naming Amy Winehouse best new artist of this year. But speaking of Amy...

5. "Rehab" will win Record of the Year, Kanye West's "Graduation" will win Album of the Year... probably
There is no doubt for me that Winehouse's song is gonna win her the award for the best song of the year. "Umbrella" poses some stiff competition, but my immediate reaction is that Winehouse is 2nd in nominations, and her album's not strong enough to win Album of the Year, so Record of the Year for the ubiquitous "Rehab" just seems logical. That leaves Kanyeezy to nab Album of the Year, and although I haven't discussed it, I really wanna give the Grammys props for consistently overlooking Kanye West's out-of-studio behavior and realizing he's a fucking genius. Giving "Graduation" 8 noms makes it loud and clear that, after 2 straight losses for Album of the Year, he's got a good chance to finally lock it in. His competition is pretty soft, too: Foo Fighters, yeah, okay, probably the most puzzlingly respected band of our generation, and their nom gives the Grammys rock cred, but I can't see them voting for something as big and loud as their latest effort. I'm not going to pretend I know anything about Vince Gill, and Herbie Hancock... oh good God. As soon as I saw his name attached to the Album of the Year list, a chill went down my back. Fuck. Hancock is a legendary blues artist, and he's collaborated with Miles Davis. Even if his album was a bunch of static, that gives him a huge edge. With the Grammys, street cred is determined by how old/close to death you are. Yeah, but it's okay, it's Kanye's year, just because a guy's old doesn't mean he can win.

Then I saw the album he was nominated for: "River: The Joni Letters", which is a JONI MITCHELL TRIBUTE ALBUM. Oh dear God, Hancock, you may have just stumbled upon a checkmate. Grammy voters love the combination of old people and tributes -- witness the Ray Charles tribute album inexplicably winning Album of the Year three years ago -- and you've just combined two respected old people into one tribute! But then, Herbie Hancock, you thought, "Ay yo, fuck it, if I'm goin for Album of da Year, I'm goin all out!" And you did what only the most evil man could: you brought in Norah Jones, Corinne Bailey Rae, and Tina Turner for guest vocals! Jones and Rae form two parts of the four-part Grammys Wanna Have Our Babies foundation (John Mayer and John Legend the other two), while Turner is yet another old, respected artist.

So let's see: legendary old jazz musician brings in beloved young talent and other legendary old artists to perform a tribute album to another legendary, old artist.

Wake up, Mr. West. You just got F'ed in the A.

God, I hope "Graduation" wins, and I really think it will, but it's hard to compete with the perfect storm of Grammy bullshit. Herbie Hancock is probably in some lair right now, laughing sinisterly and thinking, "Why even have any other nominees at all?" Goddamn you, Herbie Hancock.

It Is TV. It's HBO/ List Madness/Down To "The Wire": Top Ten Coolest Characters on "The Wire"

Way down in the hole...

This post has been a long time coming. I have been back at school for about six or seven weeks now, and I have watched every episode of "The Wire" -- all 50 hours -- in that time period. I sort of messed up and (knowingly) started with season 2, because I couldn't find season 1 on any torrents and I figured that the difference between starting at 1 or 2 wasn't that huge. Boy, was this retarded. By the time I knocked off seasons 2-4, I basically knew everything that happened in season 1 (D'Angelo almost flipping, Wallace getting got, Avon being busted, etc.), so watching the entire first season in the past four days has been sort of anti-climactic.

But the past few months have been sort of miraculous nonetheless. I'm not going to talk about how "The Wire" is the best television show maybe ever, because you could read any other review of it to tell you that. Plus, when the fifth and final season starts up in January, I'm gonna be talking about that shit and giving it imaginary awards all day. No, right now I just want to pay tribute to it -- for providing me with such provocative, poignant, gritty entertainment over the past month and a half. I have composed a list of the top ten coolest characters on the show.

This is surely a flawed list: if Bunk Moreland (Wendell Pierce) didn't make it, it would have to be. Every character on the show is brilliantly acted, so this is not an acting award. These are the ten characters on "The Wire" that both entertain and effortlessly handle their shit. You laugh with them, root for them when they gun people down, and you cry when they catch a bullet. It's "The Wire" way.

I want to quickly justify some glaring omissions and shout-out some almost-made-it's, too. I found Avon Barksdale too stupid to be that cool (part of the reason I found season 1 the weakest), and his nephew D'Angelo too wooden. Brother Mouzone may be my least favorite character, because he doesn't exist within the believable parameters of the show's world. And policemen Herk, Carver, Rawls, and Valchek are too asshole-ish to admire. On the other hand, a few characters were SO CLOSE to making this list (just a quick rundown: Daniels, Bunk, Cheese, Bubbles, Slim Charles, Bunny Colvin, and all the kids in season 4) that I have to give them props. For those of you who don't watch the show, you're probably completely lost by now. I apologize (sorry Chris).

10. Councilman Thomas "Tommy" Carcetti -- played by Aiden Gillen

Carcetti is a staple character in seasons 3 and 4, and an odd choice for this list, because it's hard to be cool when you're running for mayor of Baltimore. Still, Tommy is a captivating character because you want to believe that the guy is actually a politician who's not full of bullshit and means what he says. Introduced as a hard-nosed councilman who bribes the police commissioner and sleeps around (not with the commissioner -- yet), Carcetti has evolved into a likable mayor with the help of cool motherfucker Norman Wilson, who deserves his own place on this list. I dunno, Carcetti's just sort of the man.

9. "Proposition Joe" Stewart -- played by Robert F. Chew

Another thing season 1 was lacking was the watchful eye and Southern drawl of Prop Joe, certainly the biggest character of them all. Frankly, it sucks that Proposition Joe isn't given that much to do in the show besides act as a level-headed mediary; even his pivotal plot at the end of season 2, where he organizes a deal with Stringer behind Avon's jailbird back, focuses more on how pissed-off Brother Mouzone gets by the whole ordeal. Anyway, Prop Joe is probably the smartest gangster in Baltimore's game; dude knows how to handle business without getting dirty or violent. He even has the sense to buy back the truck-sized package that Omar stole from him without batting an eye! If Jay-Z's line, "I'm not a businessman, I'm a business... man" refers to anyone on "The Wire", it's Prop Joe.

8. Det. Kima Greggs -- played by Sonja Sohn

Kima is the only female character on this list (Rhonda Pearlman was pretty close to it too), but it's hard to outshine a lady when she is as completely awesome as Greggs. The detective is pretty, tough, gay, and loyal, and although she does cheat on her girlfriend, her girlfriend's insufferably boring, so it's understandable. Maybe it's just me, but Kima Greggs is the one character I would wanna hang out with most in real life. I'm also glad that she's a lesbian, for some reason. Just adds to her awesomeness.

7. Marlo Stanfield -- played by Jamie Hector

Marlo Stanfield is a scary motherfucker. Characterized as an out-and-out sociopath, Marlo is made to be the sort of dude who will shoot his uncle in his balding head if he gets interrupted while watching "Access Hollywood"; if homeboy wants you toast, you're toast. But while this untouchability was once boring, season 4 opened Marlo up as a classic villain, even humanizing him through his relationships with Chris and Snoop. It helps that, for my money, Jamie Hector is the best actor on the show. Hell, the way Marlo Stanfield stands -- shoulders stretched back, like he's ready for battle -- is pretty cool. It'll be interesting to see how he's brought down in season 5.

6. Jimmy McNulty -- played by Dominic West

West is the "main character" of the show, which means absolutely nothing on "The Wire". If you don't believe me, check out the way he does NOTHING in season 4... and that's okay. McNulty is a flashy character, but his idiosyncrasies are better displayed when the spotlight's off of him. Yeah, we know he's a drunk, and a hound, and a damn good cop, but he's a lot more interesting when he's looking impatiently at his ex-wife or angrily throwing a file folder across a room when a witness dies. He's a well-drawn character, and compared to other protagonist cop shows, he's clearly the most relatable. Also, huge props for getting with Beadie Russell, who got crazy hot after the docks case, I guess?

5. Lester Freamon -- played by Clarke Peters

Lester is the coolest cop on "The Wire". Period. What could have been a tired Morgan Freeman impersonation is instead a fantastic example of the show's attention to detail. Over the course of the four seasons, Lester has been an essential part of the unit, whether it be busting into D'Angelo's pager or finding Marlo's bodies in the boarded-up houses. Not only is his backstory intriguing -- stuck it to the system, got put in the pawn-shop unit for thirteen years until they "forgot about him" -- but his current role as the wisened cop is so comfortable that it's impossible not to love the guy. Lester knows his shit, and nobody messes with him. Cedric Daniels didn't make this list because Lester Freamon IS Cedric, only cooler.

4. Preston "Bodie" Broadus -- played by JD Williams

Man, I did not see Bodie's death coming at the end of season 4. And I gotta say, I was more upset than I thought I should have been. But then it hit me -- Bodie, the corner stalwart who rolled with the Barksdale crew until it fell apart, is such a real character that you don't even notice his presence until it's taken away. Bodie is not the most likable guy (damn, why'd you have to do Wallace like that, B?), but he's the most unflinchingly honest portrayal of what happens when the corner chews you up and spits you out. Bodie's legacy will be slinging, and he knows it, but he's diligent and good at what he does, which traps him. As a character, Bodie is equal parts hilarious and ruthless; his swagger kept him afloat for a while. I'm gonna miss him.

3. Dennis "Cutty" Wise -- played by Chad L. Coleman

Shocking that I put him up this high, but let's face facts, people. Cutty's season 3 storyline, which chronicled his struggle to stay out of the projects and find his place in Baltimore after finishing a long bout in prision, was so un-"Wire"-like that it's hard to justify its huge presence as anything but "Cutty's just an awesome guy". His rebirth as a boxing coach is just so blissfully pure amidst the depressing arcs of "The Wire" that it's like rays of sunshine breaking out of dark clouds. Seriously, it's unbelievable to think that "The Wire", which is dedicated to exploring the decaying public systems of Baltimore, would give this guy such a positive outcome. Cutty is just a great guy. I will continue to unabashedly love him when the show returns.

2. Omar Little -- played by Michael Kenneth Williams

You gotta be kidding me. Omar? Not at #1? He's an openly gay gangsta with a big-ass scar on his face who robs drug lords of their stashes with the help of a shotgun! He cooperates with the police to give McNulty one of Barksdale's soldiers! He sometimes whistles "The Cheese Stands Alone" before an execution! Not even Marlo can pin a murder on him to get him convicted! Well, Omar's not #1 because he KILLED my choice for #1, but that's besides the point. Omar Little is a hero on the show, and adds a wild-card dimension to the entire Baltimore drug operation. Everything about the guy is superfly, like a Shaft who likes dudes (no pun intended). The only reason Omar's not dead by now is that the writers couldn't afford to lose his bravado. Can anyone bring this guy down??

1. Russell "Stringer" Bell -- played by Idris Elba

Oh Stringer. I hate the fact that Stringer Bell, Avon's second-in-command and brains of the Barksdale operation, is nowhere to be seen in the final two seasons of the show, but we'll always have those first three. Stringer Bell is one of the most enigmatic television characters ever created. He is surely a bad dude, but at times it seems like the good outweighs the evil. Sure, he runs the Barksdales while Avon's locked up, but he's more understanding than power-hungry, sharply contrasting with the irrational blood-thirst of the Stanfield crew in season 3. Stringer is college-educated, savvy, and really tall, but that's not my favorite thing about him. I love the fact that Stringer can do some terrible things, but they never seem grandiose; everything he does seems reasonable. Stringer hates the dirt he does, and wants nothing more than to soak in what he's accomplished and be satisfied with his winnings. The way he tries and inevitably fails to get out of the game by going legit is heartbreaking. After watching Omar and Brother Mouzone gun him down, I could barely breathe, and had to pace around my room for twenty minutes. "The Wire" constantly tries to create overreaching character arcs that connect with the audience and resemble tragic Greek figures. With Stringer Bell (who was wonderfully played by Idris Elba, by the way), the show accomplished this in stunning fashion.

List Madness: Top 10 Albums of '07 (so far)

The halfway mark of the year just past, so hey, here are my ten favorite albums of the year so far. Obviously I haven't heard every album released so far this year, so there are a bunch that could have made this list that I simply haven't listened to enough yet (lookin' at you, new Dungen album). Also, there are a few that just barely missed the cut, like White Rabbits' Fort Nightly and El-P's I'll Sleep When You're Dead, that could definitely crack the top ten of my year-end list. But that's another time, and another list. The following are the ten albums from this year that I just really, really adore. Enjoy/don't be afraid to comment! Happy Independence Day!

1o. Battles - Mirrored

Gorgeous math-rock that's a ton of fun to both casually listen to and diligently unravel. Oh, and their chipmunk vocals kick the ass of Kanye's.

9. Frog Eyes - Tears of the Valedictorian

I've never been a big Frog Eyes fan, but Carey's sure gotten it all together on this one. Each song seems to jangle around Mercer's wicked voice instead of against it; check out "Bushels", especially its last three minutes.

8. The Arcade Fire - Neon Bible

Everyone expected a sophomore slump, but somehow I just knew that the Arcade Fire's follow-up to Funeral was gonna be a critical hit. Here they find their inner Springsteen and let the anthems fly, and the result is a collection of expertly crafted rock songs. Now... what to do for album #3..?

7. Lil' Wayne - Da Drought 3

Oh Weezy, you had me at "New mixtape, bitch!" Drought 3 improves on every aspect of last year's Dedication 2: better ripped beats, funnier guest spots (brush them shoulders off, Juelz), and a hungrier, higher Wayne, tearing shit apart and forcing doubters to bite their tongues. Can't wait for Carter III.

6. Patrick Wolf - The Magic Position

Boy-genius decides to get happy and make an album chock-full of perfect pop songs. Patrick's personality fuels the entire record, and what we get is a vibrant, deeply personal experience.

5. Panda Bear - Person Pitch

Person Pitch retains the complexity of Panda's work with Animal Collective, but it is also generally more accessible and melody-driven, so everybody wins. Repeat listens reveal a breathless sense of beauty, from the blissed-out sunshine of "Bros." to the gentle innocence of "Ponytail".

4. Of Montreal - Hissing Fauna, Are You The Destroyer?

Does anyone else feel like this is the album that The Rapture should have made after Echoes? No matter: Hissing Fauna lets Of Montreal establish themselves as masters of indie glam-rock, with color bursting from every seam as Kevin Barnes harmonizes about how shitty divorce is. Gets better with every listen.


3. Menomena - Friend and Foe

It's hard for me to resist the urge to summarize Friend and Foe with a simple "this ROCKS!" or "sooo good", and I guess that's a testimony to how effortless each song on the album sounds. Menomena gather twelve unbelievably cohesive songs onto a single album and then let our ears pick apart the idiosyncrasies. This came out in January, and I STILL feel like there's a layer or four to each song that I have yet to recognize.


2. Deerhoof - Friend Opportunity

Okay, sure, call me biased. Tell me that you can't stand the vocals, and that Deerhoof are this high because I can. Whatever; you're missing the point. Friend Opportunity is the strongest album in terms of overall theme that I've heard all year. Every song crackles with Deerhoof's signature loud guitar riffs and chest-thumping drums, but this is really a record about being painfully lonely, and being desperate to find some sort of hope. So, haters: Deerhoof is just better than you, end of story.

1. The National - Boxer

What'd you expect, Perry Farrell's Satellite Party? Although it's only been out for little more than a month, Boxer can seriously be debated as an instant-classic. Take your pick of its most polished aspect: the air-tight drumming, Matt Berninger's xenophobic lyrics, the terrific bass work -- hell, you could just say "Brainy" and I'd be okay with it. Truth is, The National has followed up the impressive Alligator with a nearly flawless album that looks like it's capable of standing the test of time.