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With audiences off to see the Wizard, and Elphaba and Glinda, radio is capitalizing on the buzz of Wicked by playing two of the franchise’s signature songs.
Wicked, which adapts the stage musical of the same name that premiered in 2003, opened in North American movie theaters Nov. 22 and has since made more than $500 million in ticket sales worldwide.
Meanwhile, the film’s soundtrack has spent its first three weeks at No. 1 on Billboard’s Soundtracks chart. Billed to Wicked stars Cynthia Erivo and Ariana Grande (and various artists), it has earned 321,000 equivalent album units in the U.S. in that span, according to Luminate. The set, on Universal Studios/Verve/VLG/Republic, also crowned the Top Album Sales and Vinyl Albums charts and logged its first three weeks on the Billboard 200 in the top 10.
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Notably, when Wicked debuted at No. 2 on the Billboard 200, it claimed the highest arrival in the chart’s 68-year history for a stage-to-big-screen musical soundtrack.
As movie and music fans immerse themselves in Wicked, two of its most beloved songs are scaling Billboard radio charts (dated Dec. 21): Grande’s “Popular” ascends 29-27 on Adult Pop Airplay and 34-29 on Pop Airplay, while Erivo and Grande’s “Defying Gravity” debuts on both rankings at No. 39.
Alongside Wicked’s success, radio’s embrace of the tracks – solely written by Stephen Schwartz – marks the platform’s latest foray into songs from stage and/or movie musicals. In 2022, Encanto’s “We Don’t Talk About Bruno” ruled the Billboard Hot 100 for five weeks and rose to the top 25 on Adult Contemporary, Adult Pop Airplay and Pop Airplay. (In 2023, the intricate earworm won the Grammy for best song written for visual media.)
Plus, “You Will Be Found” from Dear Evan Hansen, the 2017 Tony Award recipient for best musical, spent more than four months in the Adult Contemporary chart’s top 15 from October 2023 through this March, as recorded by Natalie Grant and Cory Asbury.
Historically, however, such songs have been relatively few and far between on radio, despite their built-in familiarity. For every airplay success story, Rent, 1996’s Tony winner for best musical, for instance, did not spin off a pop/adult radio chart hit in its anthem “Seasons of Love.” Conversely, Madonna leveraged her superstar status into play for her version of Evita’s “Don’t Cry for Me Argentina,” written by Andrew Lloyd Webber and Tim Rice. Aided by its club- and radio-ready “Miami Mix,” the song reached the Pop Airplay top 10 in 1997.
(Wicked composer Schwartz is enjoying his latest Billboard chart success in a history that dates back to Godspell and its cast’s 1972 No. 13 Hot 100 hit “Day by Day.”)
In 2024, when radio has numerous sources of research, from traditional callout to social media, certain programmers have pounced on playing “Popular” and “Defying Gravity,” even if the former, especially (and like “We Don’t Talk About Bruno”), is essentially a movie excerpt, with Grande singing in her Wicked character.
“First, it stars one of our core artists, Ariana Grande, who not only sounds great, but gives a phenomenal acting performance,” says Tom Poleman, iHeartMedia chief programming officer. “And, as one of the most anticipated movies of the year, it’s a pop culture moment for our listeners. [Pop] stations, in particular, are about reflecting what our listeners are into, and ‘Popular’ and ‘Defying Gravity’ are two of the biggest songs of the moment.”
iHeartMedia’s Pop Airplay reporter WHTZ (Z100) New York played “Popular” and “Defying Gravity” 20 and 16 times, respectively, Dec. 10-16, according to Mediabase.
“No hesitation,” echoes Alex Tear, SiriusXM and Pandora vice president, music programming, of playing “Popular” and “Defying Gravity.” The former aired 57 times on SiriusXM’s TikTok Radio and 44 times on Hits 1, both of which contribute to the Pop Airplay chart, Dec. 10-16. Plus, Adult Pop Airplay panelist The Pulse gave it 50 plays. “Defying Gravity” drew 39 plays on Hits 1 in the same stretch.
“Our listeners expect Hits 1 to be in, and leading, pop culture moments and movements,” Tear says. “We’ve never been focused on ‘typical.’ We’re focused on our listeners’ passions and keeping pace, in addition to being predictive of their favorites.”
Likewise believing that radio can benefit from, and amplify, the conversation around Wicked, Republic released a 3:33-long edit of “Defying Gravity” two weeks after the original version, running 7:39 and including spoken word sections, arrived on the film’s soundtrack. “Popular” is 4:01 in length, along with a mix trimmed to 2:53, with both edits having been added to the Wicked soundtrack on DSPs.
Through Dec. 12, Grande’s “Popular” has totaled 28.8 million official U.S. streams and 15.2 million in all-format airplay audience. Erivo and Grande’s “Defying Gravity” has tallied 35.5 million streams and 6.8 million in radio reach.
“It’s simple,” Tear muses of Hits 1. “We’re a pop channel that’s front and center with pop culture. Our listeners come to hear the ‘now,’ and nothing could be hotter than Wicked.”
Says Poleman, “It came down to the popularity — no pun intended — of this movie.”
12/18/2024
New faces, touring and regional genres propelled Latin music to outpace the market, yet again, with no end in sight.
12/18/2024
Save this storySaveSave this storySaveAfter teaming up on Brat and It’s Completely Different but Also Still Brat, Billie Eilish and Charli XCX teamed up to give their duet, “Guess” (Remix), it’s live debut at the Los Angeles Kia Forum last night. Watch the pair take the stage swathed in brat-green lighting below, and head to Charli and Kia Forum’s social pages for official footage.Charli captioned the video, “love u billieeeeee and hbd!!!
Emilia Pérez composers Clément Ducol and Camille, and composer Atticus Ross (Challengers and Shōgun) are the top nominees for the 2025 SCL Awards, which are presented by the Society of Composers & Lyricists.
The sixth annual awards ceremony will be held in Los Angeles on Feb. 12 and will be hosted by singer-songwriter Colin Hay, best known as the leader of 1980s band Men at Work.
Ducol and Camille, composers and songwriters of Netflix’s Emilia Pérez, received three nominations – one for Outstanding Original Score for a Studio Film, and two for Outstanding Original Song for a Comedy or Musical Visual Media Production for “Mi Camino” and “El Mal,” the latter of which they co-wrote with the film’s writer/director Jacques Audiard.
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Ross also received three nods – Outstanding Original Song for a Comedy or Musical Visual Media Production for “Compress/Repress” from Challengers, which he composed with Trent Reznor and Luca Guadagnino, and two nods for the original title sequence and original score for Shōgun, which he composed with his brother Leopold Ross, and Nick Chuba.
Diane Warren is nominated for Outstanding Original Song for a Dramatic or Documentary Visual Media Production for “The Journey” (from Netflix’s The Six Triple Eight). Warren has been nominated for an SCL Award every year. In 2023, she won in this same category for “Applause” from Tell It Like a Woman.
Elton John, Brandi Carlile, Bernie Taupin and Andrew Watt also received a nomination for “Never Too Late” from the Disney+ documentary Elton John: Never Too Late.
Composer Harry Gregson-Williams and director Ridley Scott will receive the Spirit of Collaboration Award, which recognizes a composer/director relationship that has created a prodigious body of work. This year’s Gladiator II marks their seventh collaboration. In his previous collaborations with Scott, Gregson-Williams has written the original scores for The Martian, Kingdom of Heaven, The Last Duel, and House of Gucci, as well as themes for Prometheus and Exodus: Gods and Kings.
Last year, Martin Scorsese accepted the 2024 Spirit of Collaboration Award for his work with the late composer Robbie Robertson. Other past award recipients include Thomas Newman & Sam Mendes, Terence Blanchard & Spike Lee, Carter Burwell & the Coen Brothers, and Justin Hurwitz & Damien Chazelle.
Composer Jeff Beal, who has won five Primetime Emmys, will be awarded the SCL Jury Award for his new score for the 1920 Weimar Cinema silent film classic, The Cabinet of Dr. Caligari.
Final voting for the 2025 SCL Awards will open on Jan. 27 and close on Feb. 3.
Here’s the complete list of nominees for the 2025 SCL Awards.
Outstanding Original Score for a Studio Film
Clement Ducol, Camille – Emilia Perez (Netflix)
Hans Zimmer – Dune: Part Two (Warner Bros. Pictures / Legendary Pictures)
Harry Gregson-Williams – Gladiator II (Paramount Pictures)
John Powell, Stephen Schwartz – Wicked: Part 1 (Universal Pictures)
Kris Bowers – The Wild Robot (DreamWorks Animation)
Volker Bertelmann – Conclave (Focus Features)
Outstanding Original Score for an Independent Film
Chris Bacon – Heretic (A24)
Daniel Blumberg – The Brutalist (A24)
Dara Taylor – Meet Me Next Christmas (Roberts Media)
Fabrizio Mancinelli – Here After (Artina Films, ClaRo Productions, Fenix Entertainment, Hopscotch Pictures)
Heather McIntosh – Winner (Big Beach, One Community, Scythia Films, ShivHans Pictures)
Stephanie Economou – The Book of Jobs (Bull’s Eye Entertainment, Rebellium Films)
Outstanding Original Song for a Dramatic or Documentary Visual Media Production
Andrew Wyatt, Lykke Li, Miley Cyrus – “Beautiful That Way” (from The Last Showgirl) (Utopia Media, High Frequency Entertainment, Pinky Promise, Detour, Digital Ignition Entertainment)
Bear McCreary – “Old Tom Bombadil” (from The Lord of the Rings: The Rings of Power) (Amazon MGM Studios in association with New Line Cinema / Prime Video)
Christopher Lennertz – “Let’s Put the Christ Back in Christmas” (from The Boys) (Prime Video)
Diane Warren – “The Journey” (from The Six Triple Eight) (Netflix)
Elton John, Brandi Carlile, Bernie Taupin, Andrew Watt – “Never Too Late” (from Elton John: Never Too Late) (Disney Branded Television, This Machine Filmworks, Rocket Entertainment)
Nicholas Britell, Steve McQueen, Taura Stinson – “Winter Coat” (from Blitz) (Apple Original Films)
Outstanding Original Song for a Comedy or Musical Visual Media Production
Abigail Barlow, Emily Bear – “Beyond” (from Moana 2) (Disney)
Clement Ducol, Camille – “Mi Camino” (from Emilia Perez) (Why Not Productions, Page 114, Pathé, France 2 Cinéma, Saint Laurent Productions)
Clement Ducol, Camille, Jacques Audiard – “El Mal” (from Emilia Perez) (Why Not Productions, Page 114, Pathé, France 2 Cinéma, Saint Laurent Productions)
Lainey Wilson, Luke Dick, Shane McAnally – “Out of Oklahoma” (from Twisters) (Universal Pictures)
Robbie Williams, Freddy Wexler, Sacha Skarbek – “Forbidden Road” (from Better Man) (Paramount Pictures)
Trent Reznor, Atticus Ross & Luca Guadagnino – “Compress/Repress” (from Challengers) (Amazon MGM Studios)
Outstanding Original Title Sequence for a Television Production
Atticus Ross, Leopold Ross, Nick Chuba – Shōgun (FX Network)
Blake Neely – ‘Masters Of The Air’ (Apple TV+)
Carlos Rafael Rivera – Griselda (Netflix)
Danielle Ponder – Manhunt (Apple TV+)
Jeff Toyne – Palm Royale (Apple TV+)
Nami Melumad – Dream Productions (Pixar Animation Studios / Disney+)
Outstanding Original Score for a Television Production
Atticus Ross, Leopold Ross, Nick Chuba – Shōgun (FX Network)
Bear McCreary – The Lord of the Rings: The Rings of Power (Amazon MGM Studios in association with New Line Cinema / Prime Video)
Blake Neely – Masters of the Air (Apple TV+)
David Fleming – Mr. and Mrs. Smith (Amazon MGM Studios)
Finneas O’Connell – Disclaimer (Apple TV+)
Jeff Toyne – Palm Royale (Apple TV+)
Outstanding Original Score for Interactive Media
Gordy Haab – Indiana Jones and the Great Circle (Machine Games, Bethesda Studios, Lucasfilm Games)
Nainita Desai – Tales of Kenzera: Zau (Surgent Studios, EA)
Wilbert Roget, II – Star Wars: Outlaws (Massive Entertainment, Ubisoft)
Winifred Phillips – Wizardry: Proving Grounds of the Mad Overlord (Digital Eclipse)
David Raksin Award for Emerging Talent
Andrea Datzman – Inside Out 2 (Disney/Pixar Animation Studios)
Emily Rice – Broken Bird (Catalyst Studios, Mitchell-Brunt Films)
Katya Richardson – Motorcycle Mary (Breakwater Studios)
Nikhil Koparkar – Dead Whisper (Howlin’ Hounds Pictures, Brothers Gran Productions)
Robin Carolan – Nosferatu (Focus Features)
Wei-San Hsu – Invisible Nation (100 Chapters Productions, Double Hope Films, Seine Pictures)
Geolier is a gift to Billboard Italy in 2024 as he’s chosen to be their No. 1 artist of the year for Billboard’s ‘Global No. 1s’ series. Geolier talks about his pride of being Neapolitan, performing three sold-out shows and more! Billboard is launching its inaugural ‘Global No. 1s’ series, an initiative to spotlight top-charting […]
12/18/2024
Conan Gray, JADE, Remi Wolf and many more served up pop tracks that should have crossed over this year.
12/18/2024
The most listened-to artist in Italy in 2024 (according to Luminate) does not, exactly, rap in Italian. Naples’ own Geolier raps in his native dialect — the very musical language spoken on the streets of his neighborhood, Rione Gescal, and now spoken by kids in every corner of Italy who, through Geolier, have learned it.
For the 24-year-old artist born Emanuele Palumbo, that devotion has added up, in the past year alone, to three consecutive sold-out shows at Naples’ Maradona Stadium; a historic appearance bringing the Neapolitan dialect for the first time to the Sanremo Festival, the most important music event in Italy; and triple-platinum certification for his song “Dio Lo Sa,” released in June. Five years after his debut album, Emanuele, Geolier is clearly still taking in this success — as is evident in the way he pauses to reflect on his words in conversation, in his broad smiles in response to compliments and in his lyrics portraying a young man who takes everything (except himself) seriously. He spoke to Billboard Italia about how he arrived here.
Geolier
Vittorio Cioffi
Geolier
Vittorio Cioffi
Did you always know you would be a rapper?
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I didn’t always know this because as kids you can’t predict the future. Obviously I hoped so and imagining myself onstage was the only thing possible, because I didn’t know how to do anything else and I did poorly at school. But I would never have bet on myself. I started working in a factory at a very young age, I continued to rap in my free time, but I saw that [acceptance for the genre was] really far away in Italy. Only pop songs were on the radio back then. I loved rap because I looked up to America, but the maximum that was played in Italy was “In Da Club” on MTV. I admired 50 Cent; I felt close to him.
What did you think you had in common with him?
I saw the film about his life [the semi-autobiographical Get Rich or Die Tryin’], where it is clear that he had taken all the responsibility of the family on his shoulders. He sold crack on the streets of Queens; I never did it, but I started working very young. I found an extraordinary maturity in him and this fascinated me.
When did your own personal turning point come, realizing this could potentially be your career?
I realized I could do this job when they paid me for my first live show. It was about 250 euros but for me it was a lot of money — I was 18 years old. However, I couldn’t say when I reached what can be defined as a milestone.
Geolier
Vittorio Cioffi
Why is this incredible boom in Neapolitan rap happening today?
I come from the ghetto of the ghetto. I think there is a unique realness here; perhaps it’s only possible to find it [elsewhere] in the United States. I think rappers in this city put what they see into their lyrics. The culture of Southern Italy is more known internationally than that of Italy as a whole, also, thanks to TV series such as The Sopranos.
2024 was an incredible year for you, but you experienced some tougher moments as well. At the Sanremo Festival you won the covers night, but the live audience booed you and your guests.
We were there and just tried to defend ourselves. That same night they immediately told me to be careful of potential criticism. I believe that the Sanremo Festival was not ready for rap music; we brought an iconic song for Italy, “Brivido” by Guè featuring Marracash, and the audience booed. Incredible.
Your mother was also in the audience. Did this make it especially painful?
It made me smile, actually. She was furious because she couldn’t do anything, and she wouldn’t even talk to me about it. Even today, when we talk about Sanremo, she has bad memories — but my mother is a normal person and absolutely doesn’t want to be part of the star system.
Were those three sold-out concerts at Maradona Stadium the peak of 2024 for you, or was it something else?
Sure, but I’d say a moment in particular [was] when before the first [of those shows], in the afternoon, I looked through a crack and saw the stadium full. At that moment I thought: “What am I doing?” It was neither a positive nor negative emotion, I had simply never felt it. And I can’t explain it.
Geolier
Vittorio Cioffi
Geolier
Vittorio Cioffi
How do you still stay connected to your roots in your old neighborhood?
I think I do simply because I tell what I see in Naples. I’ll continue to do so even if I have to move away from the city, which is very unlikely. I don’t live that differently now: I continue to see my friends and talk to people. I feel the need also because I want to [be true] with my lyrics. Do you know what normal people tell me the most? Not to take selfies but to remain myself.
If you could choose an American artist to collaborate with, who would they be?
50 Cent. I started making music because of him. But right now I’m also listening to Kendrick Lamar’s new album and I like it a lot.
What do you have coming in 2025?
I just want to do the arena tour, which will start in March, and the two dates at Ippodromo di Agnano in Naples. I don’t think I’ll release new music, apart from some collaborations. I would like to slow down a bit. I think I’ve done a lot, [and] I want to experience this as a game. Because with all the numbers and deadlines, sometimes it seems to have become a routine job. And I surely don’t want that.
Earlier this week, Billboard revealed its year-end Boxscore charts, ranking the top tours, venues, and promoters of 2024. We’re breaking it down further, looking at the biggest live acts, genre by genre. Today, we continue with K-pop. Less than 10 years since the first K-pop group landed on the all-genre Top Tours chart (BigBang in […]
HipHopWired Featured Video
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Year-end album lists are a gift and a curse for a Hip-Hop and music journalist because we’re never going to hear all of the hundreds of projects that dropped over the past 365 days. However, Hip-Hop Wired is attempting the impossible to deliver our favorite Hip-Hop projects of 2024.
Breaking the wall here, I want it known that I might be a man of a certain age but I never turned my back on the music and culture that, quite frankly, has given me so much as a writer and participant. Just like some people grew out of loving Hip-Hop, that has never happened with me. Each year, I’m discovering more and more acts that release music that speaks to me and I enjoy the hunt of digging in the crates, even if it’s digitally.
For this list, I only listed albums or mixtapes (whatever that means in 2024) that have 10 songs or more. This means that a lot of the nine-song releases that are listed as albums on DSPs are not mentioned here but that doesn’t mean they weren’t dope. I just believe wholeheartedly that there should be at least 10 songs on a project before we call it a full-length release. Further, if I added EPs to this list, it’d be even longer than it already is.
As I’ve done with past lists, the Hip-Hop albums and mixtapes listed below are in alphabetical order by artist name, not rank or preference. I don’t believe in segregating the music because it doesn’t fit some mysterious aesthetic. What I’ve listed below are albums I routinely played, reviewed, and believe stood out among all I’ve heard. If I missed something, don’t flame me. You will see a lot of West Coast artists on this list along with acts from the South, East Coast, and all points in between.
For now, enjoy this massive listing of Hip-Hop Wired’s top projects of 2024 below.
Top Hip-Hop LPs/Mixtapes of 2024
Ab-Soul – Soul Burger
Although not immediately introspective as his previous album HERBERT, Ab-Soul shows and proves his formidable ability as a lyricist while paying homage to his dear brother, Doeburger.
Action Bronson – Johann Sebastian Bachlava the Doctor
Action Bronson is at his best when he’s delivering one of his usual one-take verses that take the shape of whenever he’s feeling in the moment. Another reliable drop from Queens native.
Apollo Brown & Crimeapple – This, Is Not That
Crimeapple, a rapper out of New Jersey by way of Colombia, raps with bone-chilling precision and conviction. This pairing with Apollo Brown is a standout among his other releases this year.
Benny The Butcher – Everybody Can’t Go
Benny The Butcher’s debut album with Def Jam Records doesn’t mute or clean up the grit and grime he’s known to deliver. The Black Soprano boss gets production from Hit-Boy and The Alchemist while running the operation expertly.
BigXthaPlug – Take Care
Dallas rapper BigXthaPlug had a busy 2024 but the cherry on top was his second studio album, Take Care. Yes, the album dives into BigX’s time in the street but also the importance of leveling up.
Boldy James & Conductor Williams – Across The Tracks
Boldy James dropped four albums this year and we could’ve gone with any of them. We decided on his collaboration with Conductor Willams and their potent Across The Tracks drop.
Blu & Exile – Love (the) Ominous World
Among the four studio albums, Blu dropped this year, his project with Exile, Love (the) Ominous World, is the one we couldn’t stop rocking.
Common & Pete Rock – The Auditorium Vol. 1
Age ain’t nothing but a number and the pairing of Common and Pete Rock proved that concept all across their enjoyable album, The Auditorium Vol. 1.
Conway The Machine – Slant Face Killah
Conway The Machine doesn’t get the recognition he deserves as a rapper and his versatility is unmatched. Slant Face Killah is a proper showcase for the Drumwork Music Group honcho.
Cordae – The Crossroads
Cordae came into the game with plenty of promise and his latest studio album takes all of his strongest points while adding that major label sheen.
Chuck Strangers – A Forsaken Lover’s Plea
Chuck Strangers got his first look as a producer as part of the sprawling Pro Era collective but has since emerged as his own man. His second studio album, A Forsaken Lover’s Plea, stamps Chuck Strangers as a standout voice among the producer-rapper set.
Curren$y & DJ Fresh – The Tonite Show The Sequel
Curren$y drops so much consistent heat that we had a hard time picking an album but his past work with DJ Fresh drew us to The Tonite Show The Sequel and we’re better for it.
Denzel Curry – King of the Mischievous South Vol. 2
Denzel Curry is an enigma of an artist who is capable of dropping brilliant bars but also can turn up. King of the Mischievous South Vol. 2, billed as a mixtape, feels just like that but in the best of ways.
Dizzy Wright, Demrick & Mike & Keys – Blaze With Us 3
Dizzy Wright was active in 2024 along with maintaining his various business interests. Reconnecting with Demrick, also an entrepreneur, the pair’s Blaze With Us 3 boasts fantastic production from Mike & Keys and yes, it’s perfect to pair with your favorite strains. (Also, Demrick’s “Watch This” is still dope.)
Doechii – Alligator Bites Never Heal
Doechii’s breakout year was capped by the soulful Tiny Desk concert that recently dropped. Much of that performance featured songs from her latest mixtape, Alligator Bites Never Heal, which makes us wonder what the album will sound like.
EARTHGANG – PERFECT FANTASY
EARTHGANG keeps our attention every time they drop new music and the duo of Olu and WowGr8 are still adept at finding new flows, sounds, and themes. There is a tendency to compare them to another duo out of Georgia but they own their unique sound solely.
El Costeau – Merci, Non Merci
El Costeau first appeared on our radar by way of MIKE’s excellent Burning Desire album. The Washington, D.C. rapper’s loose, heady verses showcase the varying creativity and interests of the Northeast native.
Erick the Architect – I’ve Never Been Here Before
As a member of the Flatbush Zombies, Erick the Architect proved he is a rapper worth noting. With his solo album, I’ve Never Been Here Before, Arc delivers a varied and personal project that rewards the listener several times over.
Flo Milli – Fine Ho, Stay
Flo Milli’s second studio project continues the “Ho” theme from her previous drops and is the strongest of the three. The 24-year-old starlet and expecting Mom is no slouch and we’re ready to hear what’s next.
Freddie Gibbs – You Only Die 1nce
Freddie Gibbs is growing up, or at least that’s the message we’re getting from You Only Die 1nce. The Gary, Ind. rapper sounds remarkable on an album that fans didn’t see coming.
Freeway & Jake One – The Stimulus Package 2
Philadelphia rapper Freeway and Seattle producer Jake One made magic in 2010 with The Stimulus Package. 14 years later, The Stimulus Package 2 is just as strong as its predecessor and maybe better in some aspects.
Future & Metro Boomin – We Don’t Trust You
Yes, we know that “Like That” is the highlight for many but Future and Metro Boomin showed their chemistry all across We Don’t Trust You.
Gangrene (Oh No & The Alchemist) – Heads I Win, Tails You Lose
Gangrene, the duo of Oh No and The Alchemist may very well be the best producers on the mic. Heads I Win, Tails You Lose is the duo’s fourth studio album and it’s all bars, beats, and boasts, just as it should be.
GloRilla – Glorious
Memphis rapper GloRilla came into the game with plenty of motion, culminating in her crowd-pleasing debut studio album, Glorious. Big Glo covers all the bases on the release, and we know it’s only up from here.
Gunna – One of Wun
Gunna kept his head down and continued to work despite all the smut people attempted to throw on his name and delivered a stellar album in One of Wun.
Heems & Lapgam – LAFANDAR
Heems, who some might remember from Das Racist, dropped two albums this year, the first of which, LAFANDAR, was done with Lapgam, a fellow Indian-American.
J. Cole – Might Delete Later
J. Cole got a lot of heat for deleting his Kendrick Lamar diss, “7 Minute Drill” from his fourth mixtape, Might Delete Later, but it’s a touch unfair. The rest of the project is one of the strongest sets of bars we’ve heard from the North Carolina MC and producer.
JasonMartin & DJ Quik – Chupacabra
JasonMartin, formerly known as Problem, connected with the legendary DJ Quik for the funky, sun-soaked Chupacabra. Even if you’re not from the West Coast, it still goes.
Jay Worthy & DāM-FunK – Magic Hour
Jay Worthy is always dropping new music and this year was no different. Nailing down our favorite record was difficult. However, Magic Hour, made alongside DāM-FunK, was the one that kept cropping up.
JPEGMAFIA – I Lay Down My Life for You
JPEGMAFIA is a difficult artist to explain to the unfamiliar but what we can say is that if you’re able to capture anything about Peggy is that he’s all over the map and that’s fine with us.
Ka – The Thief Next To Jesus
Ka unfortunately passed away this year and his loss is still sending waves of shock among his devoted fans. Music lives on and the Brownsville lyricist’s album, The Thief Next To Jesus, is another in a long list of projects that should be studied in colleges.
Kendrick Lamar – GNX
Read our review here
Let The Dirt Say Amen – I Love You, I’m Not Sorry
Let The Dirt Say Amen, a rapper, and producer out of Washington, D.C., dropped one of our favorite albums in 2021, God Hates Gucci. I Love You, I’m Not Sorry is more of Dirt’s strong production, relentless verses, and some of the best sh*t-talking we’ve heard all year.
LL COOL J – The FORCE
LL COOL J shocked a lot of fans with The FORCE, a departure in sound for the Queens veteran. Produced by Q-Tip of A Tribe Called Quest fame, there are some interesting curveballs within the project but that’s why we enjoyed it so much.
Logic – Ultra 85
Logic is polarizing among Hip-Hop fans for reasons beyond the music, which has generally been good to great. Ultra 85 definitely leans to the great side of the Maryland rapper’s discography and despite its length, Bobby Tarantino is the reason to tune in.
Mach-Hommy – #RichAxxHaitian
Mach-Hommy doesn’t reveal much about himself despite several dozen releases acclaimed by critics and listeners alike. The Haitian-American New Jersey native shakes up things on #RichAxxHaitian with interesting features but the main character remains Mach-Hommy.
Marv Won – I’m Fine, Thanks For Asking
Marv Won is one of the most gifted rappers out of Detroit, a city that seems to produce rappers who can flow over anything. I’m Fine, Thanks For Asking gets into Marv Won’s thoughts in a way that almost feels intrusive but we appreciate him for letting us in.
MAVI – shadowbox
MAVI burst onto the scene with his debut album Let The Sun Talk in 2019. The Charlotte, N.C. rapper’s third album, shadowbox, is an emotional, soul-stirring collection of thoughts that finds the 25-year-old rapper wrestling with the weight of the world.
MIKE & Tony Seltzer – Pinball
Despite his mature sound and thematic aims, MIKE is still very much a young man in his 20s. Instead of taking over the beats, Big MIKE connects with producer Tony Seltzer for the youthful and frenetic Pinball. Don’t get it twisted, MIKE is still going in but it’s a lot lighter than his usual fare.
Nappy Nina & Swarvy – Nothing Is My Favorite Thing
https://open.spotify.com/track/7LzCHlDZnG3AfrqJo7paob?si=745795dd6746450e
Nappy Nina’s 2023 album Mourning Due was one of our favorites and instead of coasting on that excellent body of work, the Oakland. rapper’s Nothing Is My Favorite Thing with producer Swarvy took us on a marvelous audio journey.
Navy Blue – Memoirs In Armour
Navy Blue’s 2023 Def Jam Records debut, Ways Of Knowing, gripped us by the ears from the first second. Now fully independent once more, Memoirs In Armour finds Navy Blue once more centering spirituality and his connection to his family, all of which is delivered in an almost melancholic but reflective tone.
Nickelus F – MMCHT
Nickelus F is another example of an artist with immense ability who seems content with rapping for those who get it and unbothered with chasing fame. The Richmond, Va. MC and producer’s MMCHT is one of his most personal releases and one where he doesn’t rap in character.
NxWorries (Anderson .Paak & Knxledge) – Why Lawd?
NxWorries, the duo of singer, rapper, and drummer Anderson .Paak and producer knxledge, return with their second full-length, Why Lawd? With his sing-rap style, .Paak is in top form and Knxledge has been a beast on the boards for years.
Planet Asia & Local Astronauts – No Retirement
Planet Asia will always have a fresh platter of heat for his legion of fans and among the drops from this year, No Retirement with production team Local Astronauts was our top choice.
Previous Industries (Open Mike Eagle, Still Rift & Video Dave) – Service Merchandise
Previous Industries finds Open Mike Eagle, STILL RIFT, and Video Dave collectively working out the realities of aging along with still having a lot more to say. The longtime Chicago associates’ fantastic Service Merchandise album is full of moments of clarity along with comical revelations. It’s sharp work.
Rapsody – Please Don’t Cry
Rapsody should be mentioned among the greats and it is no fault of her own that she is often misunderstood. On Please Don’t Cry, Rap is more plainspoken than ever and there isn’t a wasted bar on the project.
Raz Fresco & DJ Muggs – The Eternal Now
Raz Fresco, an incredibly prolific Canadian producer and MC, dropped joints this year that could be in place of our pick, The Eternal Now. That said, Raz and his “marvelous right wrist” style and Five Percent Nation teachings work well with DJ Muggs’ production.
Roc Marciano – Marciology
It could be argued whether or not Marciology is the best album in Roc Marciano’s catalog but instead of needlessly pitting the Long Island rapper-producer’s music against each other, we’d rather state the fact that Roc Marci’s vision was fully realized on this release.
Roc Marciano & The Alchemist – The Skeleton Key
Yes, we know Roc Marci is on this list twice and this 11th-hour drop from Roc and The Alchemist shows and proves the pair know how to bring the best qualities out of each other. This is definitely an album for the wintertime grind.
ScHoolboy Q – Blue Lips
Read our review here.
Sideshow – F.U.N.T.O.Y.
Sideshow, a Washington, D.C. rapper who now resides in Los Angeles, doesn’t grant interviews so much of what we know about him is in his music. The Ethiopian-American rapper’s music is replete with street tales and hazy production best suited for a smoke session or running a mission.
Slum Village – F.U.N.
Slum Village, now a duo with original member T3 and producer-rapper Young RJ, has kept the SV flag flying over the years. F.U.N. continues the tradition and finds them both having a lot of fun on the microphone per the album’s title.
Smoke DZA – THC3 (Kushedgod Bitch)
Smoke DZA is severely underrated and it’s kind of frustrating for us who are fans of The Kushedgod. On THC3 (KushedGod Bitch), George Kush aka Smoke DZA shows off his effortless cool once again.
Tha Dogg Pound – W.A.W.G.
With the West Coast sound fully rocking the radio nationwide, it was a perfect time for Tha Dogg Pound to reintroduce themselves with W.AW.G. aka We All We Got, which features stellar production from Mike & Keys.
Thurz – Yannick Koffi: In Time
Fans of the rap group U-N-I should be familiar with Thurz, formerly Thurzday. His latest album, Yannick Koffi: In Time gets into the story of the Inglewood native as we’ve never heard before before.
Tierra Whack – WORLD WIDE WHACK
It’s hard to believe that Tierra Whack’s WORLD WIDE WHACK is her debut studio album, but it does serve as a great introduction to those who haven’t heard the dynamic Philadelphia star.
Tyler, The Creator – Chromakopia
Tyler, The Creator is now a legitimate superstar, and the interest surrounding his latest album, Chromakopia, proves that fact. The album dives into themes of fame and the pressure that comes along with it but there are also classic moments of T talking his talk.
Vince Staples – Dark Times
Vince Staples’ sixth album, Dark Times, is his final album on Def Jam Records but, as is his penchant, the Long Beach rapper doesn’t dial it in. This is another excellent collection of Vince Staples’ thoughts.
Westside Gunn – Still Praying
Westside Gunn is possibly Hip-Hop’s greatest self-promoter but thankfully, he backs up his boasts more times than not. Still Praying finds the Griselda mastermind rapping about a lifestyle few can afford and proving that the lane he occupies is firmly his own.
Your Old Droog – Movie
While we wait for the long-teased collaboration with Madlib, Your Old Droog’s Movie is more than a mere holdover. Droog’s ear for beats and his humorous reflections keep the album a light but raucous listen.
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Photo: Getty
12/18/2024
Another year of calm, cool and sexy in the R&B department.
12/18/2024