6 months late...

2012 was the year that Bizarre left D12, Lil Wayne surpasses Elvis’ Billboard record with 109 appearances, Nelly gets busted with heroin in Texas and 50 cent simultaneously ends his problems with Fat Joe (no not that Fat Joe) and starts new ones with Gunplay and French Montana.

In terms of album releases we saw big ‘hits’ from Flo Rida, Rick Ross and 2 Chainz (all certified gold). Lupe gave us his fall off album, Nicki Minaj re-released Pink Friday (twice) and lest we forget Cruel Summer from the ironically titled GOOD Music. Clearly 2012 was not a vintage year for hip hop all round.

However, this is Good Things, and thanks to two young men from opposite sides of the continent there was a gleaming ray of light from this mess of noise and irrelevance. Thank you Kendrick Lamar and Joey Bada$$.  ‘1999’ was released on June 12 (albeit a mixtape not a debut album) followed by ‘Good kid m.A.A.d city’ on October 22 and faith could be restored in an industry struggling to find direction.

I don’t believe that good music from the genre is dying out, nor do I that rappers have suddenly become less talented. The problem, in my opinion, lies in the success and plaudits gained by the biggest stars. Back in the day Tupac, Biggie, NWA, Public Enemy all stood for something. A struggle against racism, inequality, gang culture all of which added to the passion of their lyrics. Production was relatively low key with a focus on getting the message of the song across. Yes it was controversial, yes it was violent, it was full of foul language, drugs and abuse but it was passionate and relevant. Then it all went soft. Eminem flourished as he brought his own personal pains and torments to the mic, but he too got swallowed up by the fame and ‘yes men’ convinced the utter drivel of songs like ‘Lose it’ were worthy of chart success. Few artists have demonstrated clearer than Lil Wayne the rise and fall of this fame, just try to listen to IANAHB2 without skipping at least 75% of the tracks.

Now this hunger is making a comeback. Joey Bada$$ has achieved a sound that could have been released alongside Illmatic and not sounded out of place. No mean feat for an 18 year old on an independent label. If he can keep his feet on the ground and build on the momentum of 1999 there is no doubt this man will go far. His success could in itself become a catalyst for the Pro Era team to go on and release their own albums.  Then comes an eagerly awaited debut that did not fail to live up to the hype.

I had come across Kendrick Lamar a year or two previously with his EP Overly Dedicated. To be honest I wrote him off. It was not a great listen with some very average beats and only signs of what was to come, it never really hit the mark for me. I was then convinced, only this year, to give his full studio album a listen and so I obliged. This is not a conscious rappers album nor is it a gangster rap album inspired by his hero Dre. This is classic rap story telling at its best. Even the ‘Skits’ are relevant listening as they tie together the tracks and fill in some of the back story. The production is great, shoving the lyrics to the forefront but supporting them the whole album. For me this album has taken influence from old school hip hop and made it even better because of its introvert nature. The reflective styles of his lyrics don’t condone or condemn they just make you think. At last!

I only hope this is not a concept album but in fact is the first of many modern classics offered up by King Kendrick.