Not only did it take a self-imposed deadline to coax Jay Electronica out of his creative exile, but it was a deadline derived from scripture. Chronicled in the Gospels of Matthew, the notoriously guarded artist that first set the world ablaze with his dizzying penmanship 13 years ago decided to spend the same window that Jesus endured the taunting of the devil to craft his own songs of praise. After a decade in limbo, a whirlwind 40 days and 40 nights birthed the arrival of his first official studio album. A day some thought would never arrive, the man that’d once been “trying to find the meaning of life in a corona” is now providing both solace and stimuli at a time of uncertainty with A Written Testimony. 

The very embodiment of a non-conformist, it’s over four minutes until we hear a solitary syllable from Jay himself. Handing over the introductory duties to none other than Minister Louis Farrakhan, The Nation Of Islam leader’s call-to-arms sets the tone for a project that gives a great deal of thought to religion, philosophy and the elusive nature of our reality. Make no mistake, this is not the mythical debut album in which Jay Elec would forego the cloak-and-dagger approach in favor of showing us the sum total of his abilities. Instead, the New Orleans-born rapper opts to retain the air of mystery as opposed to unraveling it.

As the warped, accordion-inflected boom-bap of “Ghost Of Soulja Slim” emerges in its unorthodoxy, we see a different Jay leading the charge. An ardent supporter of Electronica since he signed with Roc Nation in late 2009, Sean Carter is so embedded into this project that it could’ve been billed as a collaborative album. Rather than being a ploy to entice the non-believers, Jay has treated this responsibility with the gravity it deserves and is rapping with the ferocity of a man still trying to make it out of Bed-Stuy. From the moment that he puffs his chest out to warn would-be enemies that if “you mouth off for the cameras, I make a silent movie,” it’s clear that he isn’t here to play.

Johnny Nunez/WireImage/Getty Images

Then, as you’re reeling from hearing that Hov verse in 2020, Jay Electronica responds in kind and reminds the faithful why they’d spent hours scouring the internet for every last morsel of his music. Declaring that “if it comes from me and Hov, consider it Quran, if it comes from any of those, consider it haram,” this opening verse sounds as if he’s picking up exactly from the moment that he was unveiled as a Roc Nation signee at The Box in New York. Granted, it’s apparent that he’s kept at least one foot in the contemporary world, dabbling in beat switches and recurring, faintly Griselda-esque ad-libs.

Speaking of mixing the old-school with the new-age, “The Blinding” begins with a classically lumbering beat from Swizz Beatz before its abruptly usurped by a co-creation between Hit-Boy and MPC mastermind Araabmuzik. Occupied by both Jays, hearing the two lyrical assassins trade bars in quick succession really emphasizes that not only can Hov reconjure the tenacity of his early years, but that Jay Elec is a worthy sparring partner. Although the news that Travis Scott was appearing on a Jay Electronica project sent alarm bells ringing — a cynical attempt to attract younger listeners, perhaps– his affected hook adds to the overall effect rather than sounding like a marketing-oriented compromise.  

This isn’t hip-hop as assembled for modern sensibilities. This is freeform expression; deconstructivism down to the core elements before being reassembled to meet a new self-prescribed template.  Where many of the beats boil down to simple loops, this minimalism accentuates the power of the verses and ensures that lyrical content takes center-stage. Foreign as this concept may seem to some ears, it’s beautifully realized on “The Neverending Story.” The wish-fulfillment of hearing Hov on a delicate Alchemist instrumental aside, Jay Electronica adds new facets to his pre-existing mythology with one of his most revelatory and layered verses.

 Theo Wargo/Getty Images

Spiritual to its roots but not in a heavy-handed way, Jay Electronica uses his theological compass to guide his own life rather than dictate yours, before segueing to pop culture-laced bars like “spread love like Kermit the frog, that permeate the fog, I’m at war like the dukes of hazard against the bosses of the hogs” at a moments’ notice. In a brief moment of respite from Hov spitting with Jaz-O era enthusiasm, the soulful, No I.D-helmed “Fruits of the Spirit” sees Jay Electronica broach his circular path to this moment where fans and detractors finally have something substantial to pour-over. Amid a nod to Vince Staples, he talks of taking “the underground railroad like Harriet” where others would’ve adhered to the industry’s standards and deceived themselves along the way.

A familiar offering to long-time fans, the ten-year-aged “Shiny Suit Theory” feels like it’s there just illustrate that the seeds of this project’s sonic direction were sown long ago before “Universal Soldier” veers away from archival samples to explore the world of ambient. As both Jay and Hov exercise the full breadth of their vocabulary, it’s Mr. Carter that emerges victorious on this occasion as he laments those who’d begrudge his wealth but “ain’t keep the same energy for the du Pont’s and Carnegie’s.”

Although rhyming alongside a GOAT-contender can be something of a double-edged sword when it comes to self-spotlighting, it can help keep things on track when there’s a mishap. Case in point, “Flux Capacitator”, on which one of Jay’s most insightful verses in years manages to rescue what was otherwise a garbled execution. Complete with a sample of “Higher” by Rihanna and Jay-Z mimicking the refrain of Big Elt’s “Get The Gat,” his stern warning to opportunistic mourners and fairweather friends prevents it from being a complete miss.

 Shareif Ziyadat/WireImage/Getty Images

Taking cues from the more abstract side of electronic music, “Ezekiel’s Dream” is a 6-minute odyssey in itself. Dealing with his own duality and the setbacks that he’s suffered over the years, Jay acknowledges the leeway he’s been afforded as he jests that “my debut album featurin’ Hov, man, this is highway robbery.” Filled with mesmerizing bars and a tasteful hook from his Roc Nation mentor, its ethereal sound blends neatly into the more agonizing subject matter of “A.P.I.D.T.A.” Using the permanence of our cell records to look at death from a fresh perspective, Jay and Hov ruminate on loss while acknowledging that it’s an inadmissible clause in the contract that allows us to experience the wonders of life. A touching crescendo to an album that demands dissection and further study, it’s only fitting that Jay Elec should pay homage to those he lost along the way in a chapter that many thought wouldn’t arrive.

Judged solely on the merits of these engrossing 40 minutes, this long-awaited “debut” corroborates Jay Electronica’s skills and keeps the romanticized idea of him as a hip-hop high priest afloat. That said, the scene-stealing presence of Hov means that it’s not quite the standalone tome of “ancient mathematics” and existential street-corner poetry that he’s always threatened to deliver. However, among A Written Testimony’s greatest attributes is that it leaves no room for impartiality. It’s impossible to be ambivalent about this project and no two people will interpret it the same way. Instead of being universally agreed upon, it’s sparking widespread, cross-demographical discussion and that’s what meaningful art should do. Let’s just hope that we don’t need to wait a whole decade for a follow-up.

With so much uncertainty in the world right now, it's important to remain calm. One of the things that has been helping us in the office is the constant influx of new music. Every day, we're bombarded with new releases, and it has recently become one of the only constants in our lives. As we move to a remote work environment to promote social distancing, our talented team has mulled over all the drops to put together the first-ever quarantine edition of the TIDAL Wave playlist.

Commencing with a couple of bops selected straight off of Jay Electronica's long-awaited debut album, before we truly begin the party vibes. Lil Uzi Vert, Gunna, Don Toliver, Megan Thee Stallion, and more bring the vibes elsewhere, with a healthy mix of old and new school for this week's display. 

If you're not signed up for your free 30-day trial with TIDAL, you can change that here. Let us know who has your favorite picks of the week and stay safe out there! What are you listening to during your self-quarantine?

Alex Zidel (Editorial)

Lil Uzi Vert - POP
Lil Tecca - All Star (feat. Lil Tjay)
Lil Yachty & DaBaby - Oprah's Bank Account (feat. Drake)
Don Toliver - Cardigan
Don Toliver - Spaceship (feat. Sheck Wes)
Gunna - SKYBOX

Alex Cole (Editorial)

Lil Uzi Vert - Moon Relate
Lil Uzi Vert - Strawberry Peels (feat. Young Thug & Gunna)
Don Toliver - Candy
Don Toliver - After Party
Don Toliver - No Photos

Mitch Findlay (Editorial)

Guapdad 4000 - Greedy
Jadakiss & Pusha T - Huntin Season
Jay Electronica  - A.P.I.D.T.A
Rich The Kid - I Want Mo (feat. London On Da Track)
Megan Thee Stallion - Captain Hook

Paul Pirotta (Sales)

Jay Electronica - The Blinding (feat. Travis Scott)
Jay Electronica - Flux Capacitor
Jay Electronica - Ghost Of Soulja Slim
Jay Electronica - Universal Solider
Jay Electronica  - A.P.I.D.T.A

Bhaven Moorthy (Editorial)

Lil Uzi Vert - Yessirskiii (feat. 21 Savage)
Blueface - Obama (feat. DaBaby)
Don Toliver - Wasted
Rich The Kid - Depend On Me (feat. Lil Tjay)
Rich The Kid - Racks On (feat. Youngboy Never Broke Again)

Keenan Higgins (Editorial)

bbno$ - mememe (feat. Lentra)
THEY. - Red Light Green Light
Jay Electronica - Ghost Of Soulja Slim
Kiana Ledé - Forfeit (feat. Lucky Daye)
070 Phi - The Deep End (feat. 070 Shake)

Lynn S (Editorial)

Jay Electronica  - A.P.I.D.T.A
Don Toliver - After Party
Don Toliver - Wasted
Lil Uzi Vert - Yessirskiii (feat. 21 Savage)
Lil Uzi Vert - Wassup (feat. Future)

Cole Blake (Editorial)

Lil Uzi Vert - Myron
Lil Uzi Vert - Leaders (feat. NAV)
Lil Tecca - All Star (feat. Lil Tjay)
Jay Electronica - The Blinding (feat. Travis Scott)
Jay Electronica - Ghost of Soulja Slim

Aron A (Editorial)

Octan & Skepta - Papi Chulo 
Masego - King's Rant
Smiley_61st - Organization
Jay Electronica - The Blinding
Lil Yachty & DaBaby - Oprah's Bank Account (feat. Drake)

For most of the world overcome by the COVID-19 pandemic, it’s not really “business as usual.” Lives have been disrupted across the map, and there is a general air of uncertainty. Prior to this worldwide crisis, our writers were meeting weekly to debate, discuss and rank the best hip-hop debut albums of the 21st century – from January 1, 2001 til present day. This is our latest team effort, following our ranking of the Best Rapper Flows of All Time.

We’re excited to share the final results with you this afternoon, hoping to spark some discussion on our site that is NON-Coronavirus related, for everyone who might need some relief from the 24/7 COVID news cycle (and the thoughts that go along with it). That all being said, this was no easy feat. A few caveats before we dive right in, we did consider certain albums that may soon be considered classics in the not-so-distant future, but that, ultimately we felt were still too fresh to our ears to evaluate properly — such as Roddy Ricch‘s debut album, Please Excuse Me for Being Anti-Social. Thus, do not be surprised that you will find zero 2019 debut albums and 2020 debut albums on the below list. We do, however, have a few albums from 2018.

Check out the ranking and arguments for each album below, let us know what we’re missing, what we got wrong, and what we got right in the comment section!

This was a group editorial effort, with contributions coming from:

Aron A

Alexander Cole

Noah C

Mitch Findlay

Rose Lilah

Alex Zidel

Lynn S

25. Playboi Carti – Die Lit (2018)

The road to Playboi Carti’s debut album was so long and winding that by the time it arrived, people forgot it was his debut album. For those who are still confused, Die Lit qualifies as Carti’s first proper LP. The eponymous project that he released a year earlier falls in the category of commercial mixtape. Being one of the first great offspring of the “mumble rap” era, Carti was popularized through loosies dropped on SoundCloud. He acclimated us to this method of distribution, encouraging us to eschew our expectation that a full-length project be needed to properly evaluate an artist’s talent. Playboi Carti didn’t have to further prove his potential, but Playboi Carti did. It was a grab bag of screwy anthems and entrancing mantras. We discovered that Carti could repeat any bizarre phrase over any Pi’erre Bourne beat as many times as he wished and we would rage or melt. That’s why when Die Lit emerged like a surprise from space, we took no issue with Carti cashing in on his flawless formula. If I wrote anything else about this album, I would inevitably end up paraphrasing what Slowthai said about it when asked by Pitchfork to name his favorite album of the 2010s: “[Carti] took mumble rap and made a cohesive body of work, and not many other artists in his lane have managed to do the same. He has bangers but also has a sonic narrative from start to end. This is our generation’s hardcore music.”

– Noah

24. Rae Sremmurd – Sremmlife (2015)

Perhaps it’s nostalgia talking but 2015 was a simpler time. It was only five years ago now that some of today’s biggest artists were beginning to make a name for themselves. Rae Sremmurd is a perfect example. Swae Lee and Slim Jxmmi burst onto the scene in 2015 with their debut album Sremmlife which was packed with hits. “No Flex Zone,” “My X,” and “No Flex Zone” were some of the biggest songs of that year and resonated with those looking for new energetic artists who brought a youthful exuberance to the game. Swae’s ear for melodies was perfectly contrasted with Slim Jxmmi’s abrasive yet lively vocal delivery. This album was inescapable when it dropped and if you were at a party in 2015, you definitely heard some tracks blasting from the closest sound system. While Rae Sremmurd have evolved quite a bit since this album, there is no denying the impact Sremmlife had on the now melody-heavy party culture.

– Alex Cole

23. Azealia Banks – Broke with Expensive Taste (2014)

Before Azealia Banks breaks through with a subtly lethal verse on “Desperado,” a soundbite of radio personality Peter Rosenberg saying “I’ve been waiting for Azealia Banks” echoes into the distance. It has been six years since the release of her debut, Broke With Expensive Taste, and it can still feel like we’re waiting for her moment. Then we remember how generously monumental that album was and how it still holds up as a masterpiece. BWET still sounds like the future, like the true mish-mash of genres and cultures that was predicted to arise out of the unrestricted access to the history of recorded music. While Banks proved she could rap circles around anyone with her dizzying dialect of onomatopoeic gibberish, BWET also doubles as an electronic album. The cutting-edge production is given space to blister and rumble at the tailend of most tracks. However, Banks’ rapidfire rhymes remain the centrepiece and something at which to marvel to this day. 

– Noah

22. Run the Jewels – Run the Jewels (2013)

It’s hard to believe that El-P and Killer Mike were once seen as an archetypical “Odd Couple” pairing. Yet prior to their blissful union on Mike’s creative reinvention that was 2012’s R.A.P. Music, the pair stood worlds apart. At least musically speaking. While Mike was coming up as an Atlanta-bred Outkast protege lacing localized cult favorites like solo debut Monster, El-P was blazing trails in the Brooklyn underground, a science-fiction inspired concoctor of spastic beats; in other words, a CHUD. But now that they’ve come together so harmoniously it’s hard to imagine them apart, a true moment of hip-hop serendipity. Retaining many of El’s inherent inclinations toward dystopian fiction and Mike’s larger than life rambunctious swagger,the first installment of RTJ hits like a supercharged laser beam to the face. Clocking in at a respectable ten songs, the project fires banger after banger with highlights like “Banana Clipper,” “Sea Legs,” and instant holiday classic “A Christmas Fucking Miracle” bringing no shortage of imagination and character into the fold. “Producer gave me a beat, said it’s the beat of the year,” raps Mike, in “Banana Clipper.” “I said El-P didn’t do it, so get the fuck out of here.” Sounds about right.

– Mitch

21. Rapsody – Laila’s Wisdom (2017)

By the time she dropped Laila’s Wisdom in 2017, Rapsody had already established herself as a force to be reckoned with, but it became increasingly clear that an artist of her caliber needed an extensive body of work to fully flourish. With her debut, she was finally able to show off her incredible lyrical prowess to its fullest. Tapping some of the most notable wordsmiths in hip hop to accompany her—including her mentor, Kendrick Lamar, on the project’s highlight, “Power”—the practice of storytelling and offering social commentary are at the forefront of the self-identified “lyrical rapper”’s collection of textual genius.

In addition, Laila’s Wisdom was a cultural trailblazer, paving the way for the presence of an alternative type of “Femcee.” “I’m just another representation and another option of what you can be,” she said at the time. With Laila’s Wisdom, Rapsody successfully carved out her own lane as a woman in hip hop, allowing other ladies to follow in her footsteps and no longer be limited to one look, one sound, one category.

– Lynn

20. Lloyd Banks – Hunger for More (2004)

Though 50 Cent quickly established himself as the defacto G-Unit capo, many were drawn to his consigliere: Lloyd Banks, the punchline King. Playing an integral role on G-Unit’s iconic mixtape run and various Shady-related features, Banks soon found himself building genuine momentum as a solo artist, culminating in the release of his classic debut The Hunger For More. Written and recorded while on the road, Banks’ first album proved his bility as a leading man with commercially successful singles like the Eminem-produced “On Fire” and the Timbaland-laced “I’m So Fly.” While many had come for the punchlines, The Hunger For More provided a closer look into the man behind them. The somber “When The Chips Are Down” brought listeners into the darkest recesses of his memory bank, while the beautiful “Till The End” spoke to the futility of his optimism. “Warrior” found Banks back on his mixtape BS, while “Part 2” symbolized his ascent to rap-royalty. It’s no surprise that Lloyd Banks secured his first platinum plaque only a few months after the album’s release, a testament to his position as a fan-favorite. Even now, over fifteen years later, The Hunger For More remains an essential part of the Platinum Era’s canon.

– Mitch

19. Tierra Whack – Whack World (2018)

It’s difficult to put Tierra Whack’s debut into any kind of definitive box, as the very structure of and innovation behind Whack World essentially rejects this practice. Each of the 15 tracks roughly a minute long, Whack World’s brevity is pivotal to its genius, a bold choice serving only to amplify Tierra’s unique artistry rather than hindering it. Constantly shifting moods in both sound and subject matter from track to track, Whack World functions as a culmination of dramatically different moments, each of them ending before they’ve even really begun. For the duration of the 15-minute experience, Whack World never takes itself too seriously, all the while without sacrificing the quality of its contents. By disrupting seemingly unavoidable conventions of hip hop and establishing Ms. Whack as an innovative artist unlike any we’ve seen before, Whack World proves that some risks really do pay off.

– Lynn

18. Meek Mill – Dreams & Nightmares (2012)

Meek Mill is among a rarity in the battle rap scene. Old YouTube clips show the rapper bodying his adversaries in the streets of Philly. Those videos are often used as a reference point for how far he’s come, but Dreams & Nightmares was the rapper’s official foray into the mainstream. A street rapper by trade, he painted an image of a young man from Philly on the brink of watching the so-called American dream come into fruition. His skill set as an MC wasn’t watered down by any means but he found a pocket that simultaneously met the needs of radio and hip-hop heads. “Intro” stands as one of the great hip-hop intros of all time while “Maybach Curtains” with John Legend, Nas, and Rick Ross extends itself as a cousin to Rozay’s “Maybach Music” series. But more than anything, the idea that an album is an artist’s full life work sums up Meek’s debut. He might have been able to enjoy the fruits of his labor on songs like “Amen” but moments before, he discusses the death of his father on “Traumatized.” Meek Mill’s debut album may have not “shifted the game” in terms of long-term influence but it was an important project that gave glimpses of what one of the greatest rappers of the 2010s was capable of.

– Aron

17. Waka Flocka Flame – Flockaveli (2010)

Waka Flocka Flame’s debut has come to be appreciated and regarded as a trap darling largely in hindsight, despite its undeniable impact following its release. Without Flockaveli, we would not, arguably, have been introduced to the likes of Chief Keef, for example. A collection of unfaltering, high-energy bangers, the album most notably features the incomparably influential “Hard In Da Paint,” an emblem of Waka’s ever-demanding presence and aggressive demeanor. However, “Hard In Da Paint,” and Flockaveli as a whole, still maintains a certain focus and simplicity, achieving the intimidation and evoking the violence intended without becoming too uninhibited. The entire project is punctuated by ad-libs—forceful “BOW”s, verbalizations of gunshot sounds, and exclamations of the Gucci Mane-headed “Brick Squad”—delivered with equal conviction each and every time. With Lex Luger’s consistently threatening yet somewhat understated production, Flockaveli hits you like a ton of bricks, still eliciting an unwavering hype in its listeners a decade later.

– Lynn

16. Big Boi – Sir Luscious Left Foot: The Son Of Chico Dusty (2010)

When Big Boi dropped his official debut album Sir Luscious Left Foot: The Son Of Chico Dusty in the summer of 2010, he was already a distinguished artist with classics under his belt. Having already developed and honed his style through his time in Outkast, Big Boi’s first showing as a solo artist arrived when he was thirty-five years old. With that came a refreshing sort of artistic freedom, a place for Big Boi to pay homage to his Southern influences while continuing to chart out his intergalactic jaunt. It’s no wonder Sir Luscious feels simultaneously nostalgic and futuristic, the byproduct of our hero’s madcap vision. Nowhere is the sonic pairing more evident than on the Scott Storch-produced lead-single “Shutterbug,” a song that might have sounded right at home in the eighties — provided it didn’t scare the shit out of unsuspecting disco acolytes. Followed immediately by the incendiary “General Patton ” and the Andre 3000-laced “You Ain’t No DJ,” Sir Luscious delivers an unrelenting back-to-back-to-back assault bedazzling in its versatility. Songs like “Shine Blockas” manage to permeate even the thickest clouds, save for those smoked by George Clinton on that dope on dope incarnate, “Fo Yo Sorrows.” As brilliant a summer soundtrack as one man can possibly concoct, Outkast fans should take solace in the comfort that one member blessed them with a bonafide (and still criminally underrated) solo classic.

– Mitch

15. Travis Scott – Rodeo (2015)

Travis Scott’s debut album had a lot riding on it. After two groundbreaking mixtapes in Owl Pharoah and Days Before Rodeo, fans were expecting an evolution of La Flame’s sound. With Rodeo, Scott exceeded expectations with a progressive trap masterpiece that still resonates with fans to this day. From T.I’s hovering narrations to Travis’ dark moody sound, the whole album feels like a movie being played out in Scott’s head. The album starts with a slow build on the track “Pornography” and then morphs into the dramatic introspective track “Oh My Dis Side” which sees Travis and Quavo exchanging melodies. Singles like “Antidote” and “90210” helped bring this album into the mainstream and helped set the tone for what eventually became Travis’ biggest moment in Astroworld. Fans still regard Rodeo as Travis’ best work and when you look at the tracklist, it’s easy to see why.

– Alex Cole

14. Rick Ross – Port Of Miami (2006)

The art of Coke rap has been mastered by very few over the years. Although rappers have detailed the drug trade over the years, the kingpin status that’s strived for and often mimicked in music was hardly carried in the way that Rick Ross managed on Port Of Miami. His baritone voice and larger-than-life persona told stories of cocaine transactions and the luxurious life that came with it. But at the same time, his debut album painted the underbelly of Miami and surely, it wasn’t entirely sunny in Florida. From a first-person perspective, Ross was a plug turned rap superstar that proved that his charisma and penmanship can take him further than the success of “Hustlin’. Although his credibility would be questioned down the line, Port Of Miami shifted hip-hop and the streets inevitably as Rozay began his ascent to rap royalty.

– Aron

13. Jadakiss – Kiss the Game Goodbye (2001)

A Top 5 Dead Or Alive candidate oughta have at least one classic record under their belt. Though it may not be widely recognized as such (for better or worse), Jadakiss’ 2001 debut Kiss Tha Game Goodbye checks off all the right boxes. Arriving at the height of the Ruff Ryders movement, in which The Lox played a pivotal role, Jada’s first solo outing found him taking risks in his exploration of new sounds and thematic directions. Tethering him to his signature style were street classics like the back-and-forth “We Gon Make It” and the DJ Premier-laced “Ain’t None Of Y’all Better” (which features Primo’s spookiest beat of all time). Duets with fellow elite lyricists like the Nas-assisted “Show Discipline” and fellow Double R affiliate DMX “Un-Hunh” kept his pen sharp. Geographical boundaries were blurred on the heavy Southern banger “What You Ride For” and the west-coast flavored Snoop Dogg collaboration “Cruisin’.” No matter the vibe, Jadakiss remains an inspired leading man, credible in both his street savoir-faire and his undeniable authorial qualities, exhibited on the Alchemist-produced autobiography “Feel Me.” It’s time we see Kiss Tha Game Goodbye sitting comfortably within the canon where it belongs. 

– Mitch

12. Pusha T – My Name is My Name (2013)

It’s hard to not draw comparisons between Pusha T’s My Name Is My Name and Kanye West’s Yeezus. The most obvious reason for this association is that they both dropped in 2013, four months apart. Kanye serving as the executive producer of Push’s debut album also creates a tangible link between the two. But perhaps most importantly, both of these projects find brute power in brevity. There’s nothing superfluous in either of them and that could be attributed to the fact that Ye and Push were decorated veterans at this point in their careers. The minimalist covers mirrored the artistic restraint contained within the packaging. While the songs were often brash, the G.O.O.D Music masterminds sounded more in control than ever. Push especially honed his incisive lyricism, taking what he contributed to Clipse and letting it expand to encompass an entire stage. Since MNIMN, Pusha T has continued the trend of succinct projects, even reducing the tracklist length from twelve to seven on his latest. His pen has only gotten sharper and the coke raps have only gotten more potent.  

– Noah

11. Nipsey Hussle – Victory Lap (2018)

Los Angeles legend Nipsey Hussle may have made his name before the release of his debut studio album but Victory Lap is what opened him up to some much-deserved critical acclaim. Earning the late star his first-ever Grammy Award nomination for Best Rap Album, Hussle’s 2018 body of work was a decade in the making. 

For years, Nipsey Hussle had toyed with the Victory Lap title, carefully plotting on when was the right time to unleash his life’s work on us. Much like a debut album is supposed to do, eyes were opened to Nip’s story through Victory Lap as the rapper described his entire being to newcomers and veteran listeners alike. Hussle calculated things perfectly with this release, which picked up in popularity in the months following its initial drop. With features from Kendrick Lamar, Puff Daddy, YG, and more, the LA native definitely had the right help to deliver an instant classic.

– Alex Zidel

10. Chief Keef – Finally Rich (2012)

Chief Keef was the face of the Chicago drill movement in the early 2010s and immediately made his mark with his debut album, Finally Rich. In the early stages of 2012, Chief Keef linked up with Lil Reese for the album’s lead single, “I Don’t Like.” The song was an immediate viral success and it got both fans and executives in the industry talking. Eventually, he followed up the success of this track with “Love Sosa” which was yet another huge hit that embedded itself in pop culture. With pressure mounting in regards to his debut album, Chief Keef delivered a classic that is revered by his contemporaries to this day. This body of work is credited for inspiring a whole new generation of artists. For years, artists that sounded like Chief Keef were referred to as his “child” as rap fans recognized that he was one of a kind at the time. Say what you will about his career since this album, there is no doubt that Chief Keef changed the game with Finally Rich.

– Alex Cole

9. YG – My Krazy Life (2014)

In 2014, after immeasurable success with his single “My N****” featuring Jeezy and Rich Homie Quan, YG dropped his debut studio album My Krazy Life. The rapper had been introducing us to his modern West Coast sound thanks to a series of mixtapes, which helped him bubble locally and then, across the globe. However My Krazy Life was YG’s most refined display of that West Coast bop. Working closely with producer DJ Mustard, YG took us along for a singular day in his (krazy) life. This is a day in his hood, and it starts brazenly with YG’s mom yelling at him: “I hope you not outside hanging with them gang banger,” she screeches at him before we hear the penetrating synth line. The song, which opens the album, also contains a nod to YG’s predecessor: Dr. Dre (“The Watcher”). “BPT” is simply setting the scene; much like in a movie, consider it the opening credits that pan an eerie and dark neighborhood. From there, we get into YG’s local antics. The storyline is continued through short interludes, which YG pulls off fantastically, in an era when skits were increasingly becoming a thing of the past (because, the internet/attention spans). DJ Mustard’s imitable bounce pervades many of the songs, a true homage to their coast, from “My N****” to “Bicken Back Being Bool” to “Who Do You Love?” with Drake– the synth-y wobble is undeniable.

YG delivered an extremely special album with My Krazy Life. It did all the right things: introduced us properly to YG and his way of life; gave us catchy anthem after catchy anthem (look at that tracklist and recall just how many of those songs you were hearing in the club and on the radio, regardless of their status as an official single); it was a cohesive and well-curated body of work; it payed homage. Even the features were perfect– each one more covet-able than the next, yet YG is still the main character in his music and his life.

– Rose 

8. Lupe Fiasco – Food & Liquor (2006)

Of all the included rappers to make this list, Lupe Fiasco stands proudly as one of the most esteemed lyricists. Though much has been made of his sophomore album The Cool, it was 2006’s Food & Liquor that laid the foundation. Boarded with a stacked production roster including Kanye West, The Neptunes, and the stalwart presence of Soundtrakk, Lu’s conceptual debut was put together under the watchful eye of Jay-Z himself. Not only was Fiasco’s technical ability at once elite and effortless, but there was something refreshing about his idealism. Songs like “Kick Push” steered a new cultural movement into hip-hop, while the Grammy-Winning single “Daydreamin” served up candy-coated critiques with a subtle sense of satire. Not only did the album come together as one cohesive voyage through Lupe’s complex mind, but it did so while firing on a variety of cylinders. Thematic density did not come at the cost of hard-hitting punchlines; sometimes they arrived hand in hand.  

– Mitch

7. Clipse – Lord Willin’ (2002)

Pusha T has since become a household name, a widely respected rap titan prone to airing out secrets with a devilish grin. Long before the days of Daytona, however, Pusha T and his brother No Malice were sparking a new wave of post-mafioso coke rap. Where predecessors like Ghostface and Raekwon forged their path over golden-era production, The Clipse opted to look to the future, enlisting The Neptunes to score the entirety of their 2002 debut album Lord Willin. Off the bat, Skateboard P and Chad Hugo’s unique brand of production elevated Clipse to a different plane altogether, pairing booming percussion with ice cold synth minimalism. The perfect backdrops for Push and Malice’s brand of lyrical content, which found them effectively reviving a movement many wrote off as deceased. Songs like “Intro,” the Fabulous-assisted banger “Comedy Central,” and the timeless “Grindin” still entice to this day. When The Neptunes are in their bag, there is nothing quite like it; few producers can sound both playful and menacing in the same ten second loop. Throw in some unapologetic and downright murderous bars from a young King Push and No Malice, and we’re looking at a classic hip-hop debut worthy of revisitation. 

– Mitch

6. Kid Cudi – Man On The Moon: The End Of Day (2009)

If you’ve wondered what it’s like to travel to another universe through music, Kid Cudi’s Man On The Moon is the album for you. Released in 2009, MOTM is still considered almost unanimously to be Scott Mescudi’s best album of all-time. Without the use of psychedelic drugs, Cudder transports listeners to a new dimension, experiencing sounds we’ve never heard before while simultaneously delivering his life story in a clear, concise manner.

Considering the fact that an artist has their entire life to create their debut album, the end result should encapsulate your entire being by the time it’s out. Your debut should represent your soul. Man On The Moon perfectly describes who Kid Cudi is, marking it as one of the most impactful starting points ever. With “Soundtrack 2 My Life,” “Day ‘N’ Nite,” “Enter Galactic,” and “Pursuit of Happiness” all on the tracklist, there are enough bops to keep the casual listener entertained while Cudi dives deep into his background to appeal to the experienced fan who was seeking more after his initial mixtape releases.

– Alex Zidel

5. Young Jeezy – Let’s Get It: Thug Motivation 101 (2005)

Where would we be in rap music today if it wasn’t for Young Jeezy? Thug Motivation 101 marked a shift in hip-hop as the South affirmed Trap Music as the future of the genre. T.I. and Gucci Mane will likely continue to argue about the origins of the genre but there’s no doubt that Thug Motivation 101 was a milestone release in the history of Atlanta hip-hop. Jeezy’s portrayal of the trap was so vivid, you can smell wafts of cocaine bubbling in a pot.

Jeezy’s mixtape run prior to this album is what made the term “trapper turned rapper” official but TM101 was his welcoming party to the music industry. “Standing Ovation,” for example, perfectly summed up that this was all deeper than rap. “These are more than words/ This is more than rap/ This is the streets/ And I am the trap,” he declared. More than anything, Thug Motivation further solidified the South’s place in hip-hop, especially at a time when New York City’s platinum era began to fade out. It was gritty but still had enough commercial appeal. “My Hood” and the Akon-assisted, “Soul Survivor” were examples of how he took the gruff sound of the South and spread it across the United States, and eventually, the world.

– Aron

4. The Game – The Documentary (2005)

Every decade, the West Coast has one or two artists that define it. And typically, it’s the approval of Dr. Dre that assures longevity. In the 80s, it was Ice-T and N.W.A while the 90s birthed the solo career of Ice Cube and brought us Snoop Dogg and 2Pac. The 2000s had a few rappers from the West Coast emerge but there was arguably no one bigger than The Game. He brought the West Coast back into the fold when there weren’t many rappers from the West actually doing it at such a magnitude. With the penmanship that was on par, and often exceeded his East Coast counterparts in G-Unit, The Documentary blended slick wordplay, gang banging, and the West Coast lifestyle all into one. A product of the greats that came before him, the rapper conveyed the weight that was on his shoulders as Compton’s prodigal son of the 2000s. Dr. Dre and 50 Cent oversaw the project, bringing hip-hop’s elite producers and artists into the fold. Just Blaze, Timbaland, Kanye West, Cool & Dre and more held down production while heavyweights like Eminem, Busta Rhymes, and of course, 50 Cent appeared throughout the tracklist. Mixed with the emotional vulnerability, the rapper delivered a tour of the Compton streets that raised him referencing landmarks that played a pivotal role in his life, in his ascent to national stardom.

– Aron

3. Kanye West – The College Dropout (2004)

When people say they miss the old Kanye, this is the Kanye they’re talking about. These days, it’s become a farce to the revolutionary artist when someone reminisces over the good ‘ole days when the Chicago native was chopping soul samples, pulling hilarious skits on his albums, and spitting some real rap. The College Dropout, Kanye West’s debut studio album released in 2004, contains all of that and more.

The overall theme of The College Dropout is to make your own decisions and not allow society to dictate your life for you, which is something that West has preached to this day. It all begins with a skit introducing us to a fraternity-era West being influenced to create something “for the kids.” He goes right into “We Don’t Care,” which he describes as “the perfect song for the kids to sing.” The entire song and its carefree nature stands as the beginning of Ye’s never-ending journey to becoming a free-thinker, uncensored by social norms.

Much of Mr. West’s production is highlighted on College Dropout, which is still viewed by many hip-hop heads as the best body of work in West’s extensive discography. With songs like “Jesus Walks,” “All Falls Down,” “Through The Wire,” and more included on the tracklist, those fans have a strong point. In theory, people came for the outstanding production and stuck around for the phenomenal story-telling that was laid out by the man they now call Yeezus. This is where it all started.

– Alex Zidel

2. Kendrick Lamar – good kid, m.A.A.d city (2012)

Kendrick Lamar had the entirety of hip-hop waiting on the edge of their seats when he released good kid, m.A.A.d city. In 2011, he released Section.80 underneath Top Dawg Entertainment, a then-budding independent label to a few up-and-coming West Coast artists. The project was our first real glimpse into Kendrick Lamar, the artist, as he teetered somewhere between social activism and socializing. Section.80 gave both Kendrick and TDE enough momentum to ink a deal with Dr. Dre’s Aftermath and Interscope Records, through which Kendrick would release, one year later, his major label debut: good kid, m.A.A.d city. 

Good kid, m.A.A.d city followed in the footsteps of Section.80. Section.80 was an album conceptualized around 1980s-era children, where GKMC was rooted in Kendrick’s own era. And while both albums are great, perhaps what makes GKMC even more impactful is that same fact; that Kendrick was able to double his luck with back-to-back “debuts,” the former laying  formidable groundwork while the latter improved upon it, and added details to it. 

GKMC is full of these little intricacies that make it so thrilling to listen to initially (but then again, and again), while its originality ensures it’s something unlike anything you’ve heard before, thus helping Kendrick earn his #2 spot on our list. Kendrick is the type of artist who appeases all fans, which is indeed why the entirety of hip-hop was waiting for this project. We were not disappointed either: going back to the idea that he balances social activism with socializing, Kendrick laces us with life lessons and hard-hitting facts, masked in banger format. A spoonful of sugar to help the medicine go down, so to speak.

GKMC is also full of songs. Like real, fleshed out, multi-dimensional and complex songs, with hooks, bridges, skits and more. The songs average 4-6 minutes in length, a far cry from the 1-2 minute songs that make up a lot of our current releases. This added to the nostalgic punch that also pervaded GKMC, the fact that it really did feel like a more traditional hip-hop album/listening experience. And at just 13 songs, the album has quite literally a perfect tracklist. We’ll leave it at that.

– Rose

1. 50 Cent – Get Rich or Die Tryin (2003)

Get Rich or Die Tryin is one of those albums that has remained ageless, which is often the determining factor in a “classic” — is it still just as good as it was when it first dropped, perhaps even better? Get Rich or Die Tryin was hot when it first dropped, clearly, debuting at #1 and selling close to 1 million copies in its first week out. However, if you play it right now, it’s still hot. To be clear, though, the album definitely sounds like it belongs in the early to mid 2000s (because it does)– but even if you look at the album through that lens, through the context of the era in which it was released, it is not to the detriment of the album nor the music. It simply offers a fantastic sound-time-capsule into the Millenium era of music– isn’t that what most classic albums are supposed to do, to some extent? If we’re talking about a classic Beatles record, to give an arbitrary and generally-agreed upon example, you expect it to offer a unique insight into the sounds that the Beatles were championing and revolutionizing/evolving at the time that particular album was released. Which is very much what 50 Cent has managed with Get Rich or Die Tryin. The music remains steadfastly unique, and it remains a true testament to the persona of 50 Cent and his musical impact on the rap game. 

There are plenty of reasons why Get Rich or Die Tryin is the #1 best rapper debut of the century, beyond the simple conclusion offered above. The replay value and consistency are among them, and lending to that idea are the hooks: is there one bad hook on the album? Even if the song didn’t become a proper single, every song was blessed with a catchy, sing-along hook to juxtapose the hardened tracklist. Fif maintained a balance of his gritty, close-mouthed rhymes with his ability to hold a melody, before it became a given that every rapper should also be a singer. Fif’s pitched-up hook for “What Up Gangster” definitely has a melodic sensibility to it, an approach Fif employs again on the chorus for “Poor Lil Rich.” Elsewhere, “Many Men” gives us a more somber sing-song hook, while “Blood Hound”’s version of the melodic hook is much more aggressive, whereas “Back Down” is pure bark. We can talk about the beats too: banger after banger, with one soft spot for “21 Questions,” makes the adrenaline-fueled tracklist literally unskippable. While not yet in our current playlist-obsessed era, 50 managed to put out an album that still has a distinct playlist-esque flow; certain elements such as the piano keys and the drums recurring again and again throughout the album to create a cohesive body of work. The Shady-approved crew of producers, Dr. Dre, Eminem, Mr. Porter, Luis Resto and Mike Elizondo, ensured that no Coast would feel left out. There’s enough bounce to appease any West Coast dwelling fan, and there’s enough grit to satisfy the whole of New York. Thus it becomes quite clear how the album managed to make, not only the initial impact that it did, but a lasting impact. It was ahead of its time in certain ways, it remained grounded in its era in other ways; and in the process, we were given the most exciting debut album of the century. 

– Rose

To truly be a leader, you need to be prepared to live and die by your own decisions. Never one to struggle with a deficit of self-belief, Rich The Kid has continually refused to let his destiny be determined by anyone other than himself. Initially teased when he detailed its guest stars in late February, the rollout for the Queens-born, Georgia-based MC was in full swing with his stock showing no signs of depleting.

Then, from out of nowhere, the long-gestating Eternal Atakeand its deluxe counterpart arrived and commandeered the audience’s attention, Courting the lion’s share of streams over the past fortnight, Lil Uzi’s cultural pull quite clear based on the effect that his project had on other album sales. In light of this, lesser artists may have rescheduled to ensure that their projects wouldn’t be overshadowed by Rich’s former foe’s near-mythical space exploration. However, harnessing the self-assurance of a business-savvy MC, Rich opted to dispense with fears of being eclipse and focused on his own affairs with Boss Man.

Between the Uzi-shaped diversion and the complacency that comes with getting accustomed to an artist’s presence, Rich The Kid’s latest doesn’t have the same momentous sense of occasion that his first two projects had prior to dropping. But that doesn’t mean there aren’t gems to be extracted on his new album and it’d be a disservice to let them fly under the radar. If anything, Boss Man is the sound of a rapper that’s getting acclimated to the longevity that he’s all but secured in this industry, both behind-the-scenes and as a purveyor of slick, commercially-attuned hip-hop.

Besides his own merits, Rich’s projects have been always been resplendent in two things. A who’s-who of guest stars and an enble assortment of beats that’d suggest producers relinquish their hard drives and give him first dibs. Thankfully, it takes little more than 5 minutes to prove that framework is still rooted in place

Starting off tenderly before he lays out what separates the average man from a self-sufficient kingpin, Rich puts his best foot forward on “Far From You.” Emoting with every syllable, it’s an interesting opener considering it’s more of an anomaly than a sign of things to come. Where an artist such as Thugger keeps adding abstract vocal inflections to his repertoire as the years tick by, Rich seems to be shedding some of the eccentricities in his delivery that made his verses pop on previous projects. Yet where he’s nullified some of his rougher edges, Rich’s ability to tailor his delivery to any beat rarely falters.

Switching up his flow as and when required, DaBaby returns the favour for Rich’s appearance on “Best Friend” with the hazy “Sick.” Bestowed with a relentlessly catchy beat and lines such as “I just left the doctor and I’m still sick,” don’t be surprised if it’s co-opted by TikTok while the world grapples with COVID-19. On the pulsating “Not Sorry,” Nicki Minaj’s appearance is the definition of short but sweet. This tends to be a recurring theme throughout the album, with many tracks landing within a fleeting runtime of 2 minutes or under.

For the most part, upholding his status as a hip-hop entrepreneur is the adhesive that glues the album together, rearing its head in the authoritative, Lil Tjay-featuring  “Depend On Me” before he discusses buying his grandma a ring that “cost a whole key” to reimburse her for court fees on the reflective “Ain’t No Doubts.” Elsewhere, he continues this theme on the slow burn of “No Loyalty,” acting as the benevolent don that looks after his kin and forsakes all others.

Although there are moments where he seems to be striving for compliance as opposed to breaking new ground, audiences are reminded of the vividness with which he can bring a theme to life on “Red” as he yelps “red cup, she got Henny, I got red stuff, first class on redeye, she pullin’ up.”

From peers to proteges, Rich’s aptitude for playing well with others comes in handy across Boss Man. Over an entrancing beat crafted by the megastar himself, the shared energy that Post Malone and Rich exude on “V12” would suggest that there’s plenty to be harvested from further studio sessions. About as acquainted as two MCs can get, Rich and Quavo tap into their usual delegation of labour as they discuss life’s trials and tribulations on “That’s Tuff” while hook-ups with NBA Youngboy on sure-fire smash “Racks On” and the previously released “Money Talk” prove that their rumoured collaborative project would be a goldmine of boisterous, cash-oriented hits. 

Brian Ach/Getty Images

Amid serenading the object of his desires on “You,” Rich sets composure entirely to one side on “Over With.” Built around thoughtful production that wouldn’t have been out of place on A Death Race For Love, Rich’s cries of being “addicted to your love, can’t get enough of it, if you leave me, I’ma need a first aid kit” displays a vulnerability that it’d be interesting to see him explore further on Boss Man’s forthcoming sequel.

Rather than concern himself with outward perceptions, Boss Man is the sound of a man that’s embracing the sturdy foothold that he’s fashioned in the modern game. Where’s he’s implored audiences that The World Is Yours across previous projects, Boss Man sees him depict the values and enble lifestyle that drives him to keep his own personal and professional universe intact. Although there are moments that err towards familiarity, the intention of this project registers loud and clear. Surveying his self-made kingdom, Boss Man is a jubilant victory lap that sees him toying with new sounds and textures while sticking to the business plan that’s made his empire. Now, the stage is set for Rich to unveil the most personal and, probably, most important project to date.

It’s alarming how little people tend to acknowledge Ludacris’ presence in hip-hop’s pantheon of greats. Modern-day discourse surrounding Luda’s overall contributions to the game is all but non-existent. Though it has been approximately five years since he dropped off his last studio project in Ludaversal, prior to that he was responsible for eight studio albums — many of which have gone multi-platinum. A case could even be made that projects like 2002’s Word Of Mouf and 2003’s Chicken-n-Beer are classics, with the latter going on to spawn a delicious Atlanta-based restaurant; speaking from first-hand experience, the titular dish is delicious.

Tempting though it may be to wax poetic about Luda’s artistic accomplishments, it would require a far deeper stroll down memory lane to do such a process justice. Instead the aim is to focus on the impact of his influence, most recently channeled by a recent breakout star: North Carolina’s own DaBaby, the charismatic and mischievous mind behind Baby On Baby and Kirk. During Baby’s seemingly overnight rise, it wasn’t uncommon to hear the rapper draw comparisons to Ludacris, which in itself was enough to pique an old head’s interest. For many, the comparison seemed to derive from a similar approach to music videos, in which comedy was given ample space to flourish. Yet if given a second glance, there are a few more stylistic parallels that go beyond that of visual aesthetic. 

Daniel Boczarski/Getty Images

Hilarious though Ludacris may be, both through his unparalleled punchlines and his eye for cartoonishly grotesque visuals, his debut album Back For The First Time highlighted a more formidable side of his persona. That of a man prone to violence, ready and willing to throw his elbows if provoked. Songs like the threatening “Stick Em Up” found Luda flexing his menacing bravado, spitting bars like “it’s mighty strange how your peephole is my fuckin gauge, catch you in concert and then wipe you off the fuckin stage.” On his sophomore drop Word Of Mouf, “Get The Fuck Back” painted a picture of a man on the edge, one who enjoyed disturbing the peace through gunfire and a deftly-swung Louisville slugger. Never once was it forced, the idle talk of a funnyman. There was credibility there, much in the same way DaBaby’s similarly-issued threats have come to resonate. 

In Baby’s case, his actions have served as a megaphone for his words. Whether he’s defending himself from a gunman or administering knockout blows in a jewelry store, DaBaby has proven he’s willing to take it there if need be; some have even forewarned that his explosive temper might ultimately prove to be his undoing, if only from a legal standpoint. From a musical standpoint, his past has proven beneficial in injecting his more violent bars with gravitas; after all, one does not simply become “Suge” through paperwork alone. “You disrespect me and I’ll beat your ass up, all in front of your partner and children,” he warns, juxtaposed against the video’s playful aesthetic.

Like Ludacris, Baby found a way to inject genuine comedy into his music without making it the focal point of. That’s not to say they’re alone in that accomplishment — artists like Redman, DJ Quik, Busta Rhymes, and Eminem were but a few hilarious pre-millennium emcees– but Luda and DaBaby both managed the feat with their charisma maxed out at all times. Not to mention their shared ability to craft simple yet effective hip-hop hits. Unlike some of the more notable hitmakers of his era, Ludacris never quite dabbled in chasing crossover success. From “What’s Your Fantasy” to “Area Codes,” “Saturday” to “Stand Up,” Luda’s lyrically-heavy formula remained unchanged, his bars never falling by the wayside. Though he did switch the style up as the years progressed, Luda’s first four years found him winning fans without lowering his personal bar. Consider that a song like “Saturday,” arguably one of his defining singles, kept pace on the charts without the slightest whiff of a melodic structure. Even “Area Codes,” which featured a massive hook from the late great Nate Dogg, largely flourished through Luda’s lyricism and confident presence. 

Ser Baffo/Getty Images

The same can be said of DaBaby’s own key singles like the aforementioned “Suge,” which managed to stand out as something wholly original. Why? Because he just rapped. No trap-drums or autotune, only personality-fueled bars. Though some have taken to criticizing his flow as repetitive, the fact that he made a name for himself off the strength of his bars should be commended. You’d be hard-pressed to find a Baby verse where he’s not commanding the same presence, whether it’s the Lil Baby-assisted “Baby,” the Chance The Rapper locker room anthem “Hot Shower,” or his dexterous duet with Offset “Baby Sitter.” If that wasn’t enough, DaBaby’s flow even earned him high praise from the “Rap God” himself, Eminem, who shouted him out on Crook’s Corner. “I never know where his rhymes are gonna land,” praised Em. “That shit is so interesting to me cause he does it so well.”

Though both men largely thrive while delivering exuberant and intense punchline-heavy raps, that’s not to say they don’t share a willingness to get personal. For DaBaby, Kirk’s “Intro” opened eyes to the man behind the moniker, earning him respect for switching up his style without selling out his sound. Though Ludacris has covered similar thematic ground on songs like “Cold Outside,” which elicited emotion without veering too far into autobiographical territory, he seldom spends too much time perusing his own life story. One quality the pair do share, however, is an insatiable appetite for lusty females. Had they both come out in the same era, you can all but guarantee the pair would have concocted a hedonistic smut banger. DaBaby might not be as dexterous with the double-time as Luda on “Freaky Thangs,” but he’s never been washed on a track thus far. Though the timing might be a few years too late, perhaps we’ll see such a union manifest on Luda’s upcoming tenth studio album. Think of the pandemonium that might ensue. 

The Migos are one of rap’s most recognizable groups with a catalog of widely circulated, feel-good party records that are both distinguishably stylistic and catchy. With their signature “triplet flow” and patented ad-libs underlying each song structure, this Atlanta group has consistently generated hits for almost a decade. Since breaking Billboard glass with tracks like “Versace,” the posse has gone on to evolve their sound, proctor future industry influence and produce a host of period defining tunes. Rumored to go their separate ways – the group, perhaps now, embarks on the final musical allegory as a collective. With that in mind, we recount their best productions since their second studio album, Culture.

Culture was released with much anticipation and ravenous fan-fare. The composition of the arrangement was anchored by “Bad & Boujee” which in many ways, is the defining creative achievement of their careers. The song peaked at No. 1 on Billboard and planted itself on the charts for more than 36 weeks. Along with the Culture album, it catapulted the group to another level of fame, opening doors for the collective not just in hip-hop but beyond. A Mountain Dew endorsement deal, and a signature menu at Popeyes – in the span of three short years serves as proof of that. Off the fumes of Culture, Migos have scaled pop music’s Everest. The project, a pivotal moment for the crew. Through their work, we now mention them among rap’s most cached acts. 

NWA, A Tribe Called Quest, The Lox – rap trios were a foundational stone in hip-hop’s maturation. From the old school to the new school though, groups have faded in regularity and impact. The ascension of Migos is a refreshing reminder of groups like Run DMC to EPMD and De La Soul. Though vastly different in style and maybe substance, Migos have chalked their names in the rap record books. Where do the Migos rank in the modern-day rap collectives, not just trios? Love or hate them you must acknowledge their mark on the modern generation of music. Whatever your opinion of the crew or their style of rap, one thing is for sure their impact has been felt throughout the game. With all this in mind, we revisit some of the most memorable records during the group’s run, post-Culture fame.

Pure Water

Frederick M. Brown/Getty Images for BET

“Pure Water” is the best overall song the group has been featured on since their first album. Produced by the studio magician himself, Mustard, the beat is so characteristically Migos. Engaging but not overpowering and the trio do a great job of riding the beat fluidly. Match this with Quavo’s hook and well-placed ad-libs and it’s a perfect fit. To boot, each of the group’s verses are strong on this selection leaving nothing to be desired.

Motor Sport

This time, Murda Beatz is responsible for the foundation of this record. The seminal hit off Culture II, “Motor Sport” saw the Migos join with Cardi B to produce one of the year’s biggest songs. The hollow vocal delivery paired with the bells and chimes works extremely well once blended with an ultra-cool, toned-down delivery by the crew. Nicki Minaj is not to be forgotten as she contributes a very formidable feature.

Walk it Talk it

One of my favorite instrumental intros from the Migos catalog comes off “Walk It Talk It” – maybe the most fun. Drizzy Drake comes in mid-way through the track to drops a fantastic verse while the conveyor belt of star-producers continues here with OG Parker on the beat.

Stir Fry

Paras Griffin/Getty Images 

Featuring a beat that feels very Neptune-influenced, Pharrell Williams kills the production. The hallowed echo’s on Quavo’s hook is a perfect pairing with the whistles and snares. Overall the record is a ton of fun and gets people on the dance floor.   

Narcos

What a track! Quavo leveraged the success of this song into an actual appearance on the hit-show Narcos. So it goes without saying that this song was monstrously popular and a pop culture novelty. 

Cardi B – Drip

Emma McIntyre/Getty Images

Migos teamed up with Cardi B on Invasion and Privacy and dished the project a Grammy-winning assist with “Drip” which was one of 2018’s hottest songs drenched with quotable lyrics – none more than the hook itself. Cardi and the crew are a perfect match in the studio with their ultra-aggressive and braggadocious lyrical style. While this is technically a Cardi track, Migos overwhelmingly make the song what it is. 

2 Chainz – Blue Cheese 

2017 was quite the year for Migos, the trio were everywhere. On one of the year’s most popular albums, 2 Chainz’s Pretty Girls Like Trap Music Quavo provided the hook for both “Good Drank” and “Blue Cheese” – with the rest of his team joining him on the latter. In small doses like a hook – Quavo’s voice works extremely well with auto-tune as shown in these two songs. In the second verse, Offset gives Travis Scott vibes with his bars. Overall a very enjoyable feature by the team.

Big Sean – Sacrifices

From his album I Dedicated, Big Sean taps the Migos to join him on “Sacrifices.“ Together, they chronicle what was given up for them to reach ultimate musical success. Offset’s verse brings a ton of energy and cadence to the track while Quavo’s mellow, smooth delivery balances the song somewhere between introspective and hardcore. An underrated bar in the song is when Quavo says “sacrificed yo stripes for that stain.”

DaBaby – Raw Shit

Production on DaBaby’s “Raw Shit” is the perfect type of beat for Migos to unleash a barrage of their signature ad-libs. It’s also conducive to their triplet flow. After DaBaby scorches the track off top – Quavo, Offset and Takeoff give short, jabby bars with clever punchlines. I would love to see more collaboration between these two in the future as it worked so well here.  

Travis Scott – Who? What!

Dimitrios Kambouris/Getty Images

Quavo and Takeoff are all over one of the most underrated tracks from Travis Scott’s Astroworld. The two blend seamlessly into Scott’s unique style – utilizing auto-tune and other vocal treatments to enhance their delivery. Quavo kicks off the song with Scott using rifts and ad-libs to prime the beat. Later, Takeoff’s quick but potent verse provides a sting for the short but sensational song.

21 Savage – BBO (Bad Bitches Only)

21 Savage rides shotgun this time with the Migos, on this ode to women with unapologetic style and swagger. Takeoff delivers the track’s best verse over the subtly dope Buddah Bless beat. 

Is there a song you feel like we missed? Sound off in the comments with your favorite Migos song since Culture.

With conspicuous tattoos blanketing a quarter of his face and gaudy garnishings of jewelry usually swinging from his neck, Blueface’s mission isn’t exactly to blend in. The same can be said about his flow. Bull-rushing against the grain is what propelled the 23-year old to internet and hip-hop stardom. From attention-seeking, meme-generating social media antics to the often ridiculous nature of his lyrics – one way or another you’re going to notice the Cash Money West emcee. Find The Beat finds him leaning further into his contrarianism. Everything from the title to the cover art is meant to relay a core concept of the artist’s brand: stand out and make noise. 

After a four-month delay, the album from rap’s fresh-faced bad boy is finally here. No expense was spared reining in contributions, with guest appearances by Gunna, Lil Baby, DaBaby, Ambjaay, Stunna 4 Vegas, NLE Choppa, Jeremih, and YBN Nahmir. The production is heavily injected with elements of piano-driven g-funk, but Blueface does push the envelope musically with tracks like “Obama,” which includes some jazz and progressive instrumental influences. A few bright spots notwithstanding, overall Find The Beat is an unimpressive collection of songs peppered with equally unimpressive lyricism from an emcee who is more flash than fire. Be that as it may, the project has a few fun tracks and some of the worst-but-funniest bars you will hear from anyone.

There are a few gems but those pebbles in “Street Sh*t” and “Dirty” are offset by tremendous blemishes like “Carna Asada.” Sadly, Find The Beat did not seamlessly sync up with Blueface’s previous work. An overuse of autotune halfway through the project almost completely derails the momentum, rendering it unlistenable in spots. Parts go from tolerable to just awful, feeling a bit more like a mixtape than an album. Important to note he did stay on the beat for a good portion of the album, however. So it is fair to say he accomplished his goal in some capacity, right?

Amy Sussman/Getty Images 

Small victory aside, it’s ultimately a disappointment and lacks growth from his previous project Dirt Bag. There are a distinct crop of decent songs and a very identifiable group of really bad ones. As the title and quotes from his 92.3 interviews show the rapper has a more than fair level of self-awareness; he’s conscious of his limitations as an emcee but plays to his strengths. Things you have to respect. Lil Uzi even gave him a stamp of approval and hinted at the two working together in the future, so all is not grim for the artist.

Blueface is a thought-provoking reflection of his generation. In theory, a caricature of the early 2000s rappers. An illustration of hyper-reality and over-the-top recreations of the normal. An internet troll with the microphone and the floor. I must give him credit for the sarcastic quip which does keep me engage to a degree as the album matures. His over-the-top disposition paired with sarcastic, partially comedic inflection isn’t bad and the lyrics come off competitively hysterical for almost half of the run time. He embraces defamation and in many ways uses it as fuel to feed his persona. He’s a strange study in perceptive polarization. 

Blueface told Real 92.3 that he’s already peaking beyond his rap career, hinting at moving onto the big screen. At one point in the interview, he was asked how he learned to work the internet to his advantage. To that, he responded “that was my whole come up, the internet. This day and age, that’s where it’s at. It’s almost like there’s a science to this sh*t. It’s not even about how good or how not good or any of that. You have to come up with a science project to go viral.” He’s a master at playing to his gimmick which no doubt takes a certain level of genius. What is unknown is whether he takes himself seriously. He’s in it for the moment to get what he can get out of it and then it will be over. Blueface is an artist that can manufacture magic with songs like “Thotiana” though he’s wasn’t able to capture that spark on Find The Beat. And yet despite lacking genuine ambition for musical longevity, Blueface has carved out a niche in the world of rap. For that, you have to give him credit.

Over the past two years, it’s been almost impossible to shuffle a hip hop playlist and not hear at least once a ‘Whoah Kenny!’ tag. Prolific producer Kenny Beats has been everywhere. And with the second season of his successful YouTube show “The Cave” fully underway, it’s a perfect time to look back at 12 of his standout productions so far.

1. Rico Nasty – Smack a Bitch

Paul Morigi/Getty Images

This is the song that started it all for the dynamic duo of Rico and Kenny. By late 2017, Kenny was just emerging from his EDM days with the duo Loudpvck and trying to make a name for himself again in the hip hop world. As he explained on Zack Fox’s radio show “BRUH”, Kenny had been messaging Rico for months before she finally responded. When they eventually booked a session together, Kenny came fully prepared with an arsenal of bubblegummy “sugar-trap” beats, along the lines of tracks like “Poppin’” and “Key Lime OG” that Rico was making at the time. Rico heard them, nodded her head, and said, “That’s cool, now make me a heavy metal beat.” The result is a rage-filled anthem that’s racked up over 26 million views on YouTube.

LISTEN.

Standout lyrics: “You rap about an Audi too much / Because my Audi paid off, b*tch hush!”

2. KEY! – Demolition 1 + 2

The man behind the signature “Whoah Kenny!” tag is the criminally underrated Atlanta rapper-singer KEY. Known for his features on classics like “Look at Wrist” with Father and iLoveMakkonen, and A$AP Mob‘s Cozy Tapes Vol. 1 and 2, KEY! had accomplished just about everything by 2018 – except for break into the mainstream. Enter 777, a triumphant debut album executive produced by Kenny Beats. Opening with an uplifting gospel choir sample, “Demolition 1 + 2” kicks off 777 as the perfect victory lap for a legendary artist who’s just getting started. Check out the live version with a drummer and guitarist on YouTube if you want to bring real tears to your eyes.

LISTEN.

Standout lyrics: “Run inside your shit, I need an ESPY / No Scantron, don’t test me!”

3. Zack Fox – Jesus is the One

When Kenny started his YouTube series “The Cave,” he set out to make a sleek, professional series of live performance videos. Leave it to Zack Fox to rap about dipping his balls in thousand island dressing for five minutes and turn it into Kenny’s most-streamed song.The look of genuine horror on Kenny’s face as he watches Zack single-handedly ruin his artistic vision makes the song that much more perfect. And the best part: the track is actually catchy as f*ck.

LISTEN.

Standout lyrics: “I’ma dip my balls in some thousand island dressing / ‘cuz I got depression”

4. JPEGMAFIA – Puff Daddy

When the left-field experimentalist JPEGMAFIA linked up with Kenny Beats for the first time, it’s not surprising that the first thing JPEG asked for was the weirdest sound on Kenny’s laptop. After sifting through a couple of samples that were actually good, Kenny pulled up a disjointed melody that sounded like it was coming from a water-logged Nintendo 64. Kenny called it “embarrassing,” but JPEG said, “It’s perfect, throw an 808 on that b*tch.” And just like that, Puff Daddy was born.

LISTEN.

Standout lyrics: “B*tch, we strapped like Duke Nukem / Pull up with the trey and we ain’t hooping”

5. Vince Staples – FUN!

Kenny can craft a booming 808 and slick hi-hat pattern in his sleep, but what really makes him stand out as a producer is his willingness and ability to adapt to whatever the artist he’s working with has in mind. As he explained in an interview with Pitchfork, Kenny didn’t walk into his session with Vince with an agenda – “It was more Vince dictating the tempo and feel, and me reacting to that.” The result was a perfect summer album of west coast bangers. 

Standout lyrics: “Christian Dior, I’m Crippin’ Bior”

6. Ski Mask the Slump God – Foot Fungus 

As much as he’s known as a leader of the trap new wave, Ski Mask is heavily influenced by old school legends like Busta Rhymes, Timbaland and Pharrell. With “Foot Fungus,” Ski and Kenny were able to combine an old school 90 bpm bounce with new school 808’s for a 2019 reimagining of classics like “Drop It Like It’s Hot.” In true Timbo/Pharrell fashion, the beat is weird – sampling radio feedback, white noise and a censor beep – but also leaves plenty of room for Ski to do his thing. “Ski heard it and reacted to it because he could hear himself on it,” Kenny explained in a Genius Deconstructed video.

LISTEN.

Standout lyrics: “Spoonin’ yo b*tch like I just pulled out a yogurt”

7. Denzel Curry – Cosmic

From aggressive scream-trap to Miami bass to melodic emo and even heavy metal, Denzel Curry can do it all. For his latest project, UNLOCKED, Denzel proved he can master yet another genre: classic boom bap – straight out the book of legends like Madlib and the Wu Tang Clan. Produced entirely by Kenny Beats, the EP was made in a 72-hour burst of creativity and released with no warning other than a fake Twitter beef. The project was accompanied by a 20-minute animated music video ready for Adult Swim, referencing classics like Naruto, Animatrix and Samurai Champloo. Complete with scream-flows inspired by DMX and wild singing flows in the style of ODB, Denzel Curry proves with this project that he can take on any style he wants.

LISTEN.

Standout lyrics: “He shoot in VR, we got guns in reality / You act so hard, you should thank the Academy”

8. Smino – Trina

Who else besides Smino could effortlessly rhyme ‘parakeet’ with ‘karate?’ Known for his soulful singing, St. Louis artist Smino threw a curve ball when he recruited Kenny Beats for a bouncey twerk banger. As explained in his Genius verified video, Smino chose Kenny to work with for his engineering skills as well as production. “A lot of producers just give you a beat and leave. Kenny’s like, ‘Nah, I’m gonna sit down, we’re gonna put this effect right here, put this sound clip in.’” Kenny’s attention to vocal processing – getting just the right amount of reverb, delay, distortion, panning and overdubs to make the artist’s voice stand out – is a crucial component of his overall production.

LISTEN.

Standout lyrics: “Stay off my grass like Stanley / Threw me cheeks on the beach, she Sandy”

9. 03 Greedo – Disco Shit (ft. Freddie Gibbs)

Known for his yearning, soulful singing over snapping west coast beats by producers like Mustard, L.A. rapper 03 Greedo wanted to try something new when he linked up with Kenny Beats for the movie-themed collaborative album Netflix & Deal. In the behind-the-scenes documentary for the album, 03 explains the sound he wants to Kenny: “I don’t want some west coast sh*t, I don’t want some trap sh*t, I want something that sounds… disco.” The result is a sleet, vintage-sounding guitar track that captures the feel of crime movies like Blow (2001) that inspired the album. Freddie Gibbs busting out his singing voice for a feature is icing on the cake. Free 03 Greedo.

LISTEN.

Standout lyrics: “Pull up like Tony Montana, reload it, I pull out the stick on these cockroaches”

10. Gucci Mane – Proud of You

Is there a more inspirational glow-up story than Gucci Mane’s? After changing his diet, exercising and quitting lean, Gucci lost 100 pounds and looks like a new man. His 2019 track “Proud Of You” is dedicated to himself – a celebration of where Guwop is now. Kenny lends slick production to the track, with a warped trumpet-like sample, unique clicking hi-hats and an unpredictable kick pattern that skips the 1 beat before hitting you in front of the snare.

Standout lyrics: “I had the county blues now every day I’m counting blues / No lean and Mountain Dew’s, Guwop I’m so proud of you.”

11. Dominic Fike – Phone Numbers

By mid-2019 Kenny had made a name for himself as the go-to producer for crafting hard-hitting trap bangers. But summery pop songs with acoustic guitars and handclaps? This was uncharted territory. The experiment paid off though, thanks to the magnetic personality and versatility of Brockhampton prodigy Dominic Fike. Kenny said he wasn’t even going to put the “Whoah Kenny” tag in this song because it sounds so different from everything else he’s done, but Dom insisted it was a necessity.

LISTEN.

Standout lyrics: “Keep my name out your mouth like some wisdom teeth”

12. Schoolboy Q – Party

Jerritt Clark/Getty Images

Before Kenny took a detour from hip hop to make money as a DJ in the EDM world, he was cooking beats for the TDE crew, including Smoke DZA, Ab Soul and Schoolboy Q. He even almost got a placement with Kendrick, but the track ended up going to DZA instead. The wobbly dubstep bass of “Party” sounds a little dated 8 years later, but the track is still fun as hell, and a fun look at the early days of Kenny’s production.

LISTEN.

Standout lyrics: “Can’t fade me, I ain’t Boosie Boo / Black Hippy, HiiiPower, the amazing group”

A fateful draft-night trade will forever link these two stellar sophomores, but we’re still no closer to seeing who won in that exchange. Luka Doncic and Trae Young have set a new bar for NBA newcomers as they walked through the bowels of the arena and secured their seat at the proverbial table amongst the league’s elite - all while not even being able to gain access into the most popular night club in the same cities they watch on billboards, building wraps and banners. Even the Hawks General Manager Travis Schlenk admitted that his group was torn between the two players in scouting. It seems like every other night Young or Doncic deliver a virtuoso performance swinging the narrative in their favor. Since day one they have traded monster performances like boxers standing toe-to-toe and exchanging blow for blow.

The 2018 draft-night transaction sent the Atlanta Hawks’ first-round pick, Doncic, to the Dallas Mavericks in exchange for their first-round pick, Young, and an additional first-round selection the following year. Since that moment the debate for Trae over Luka or Luka over Trae has raged on. Even the most passive sports fans have heard dissertations for one of the other. During the first half of the 2018 season, if you asked many basketball fans, the rookie of the year debate seemed an obvious choice. Luka Doncic raced out to a sizable lead over Trae Young, gobbling up all the headlines and fanfare. Yet in the season’s latter half, Young stepped up and surpassed Doncic in the eyes of many spectators and analysts. This tug-of-war for control will likely define their careers. 

Jonathan Daniel/Getty Images

The two have already amassed a litany of milestones between them. In the 76 year history of the NBA, only 16 players who began their rookie season under the age of 20 have managed to average more than 10 points in a season. Luka Doncic mangled that mark by posting a ridiculous 21 points per game his first year. The Dallas Maverick star became the youngest player to start an All-Star game in 15 years. He was the 9th youngest to ever play in the game and the 6th youngest to start. Young recently became the second player in NBA history with 10 or more 40 point games in one season at 21 years old or younger, joining LeBron James in a class of two. In only his second-year, Young is averaging 30 points and 9 assists per game. He now joins all-time great Oscar Robertson as the only players to average those marks in their second season.  

The situations couldn’t be more different for the pair. Luka was drafted by one of the most well-run and well-coached organizations in the league. Since his first season, that organization has surrounded him with other all-star caliber players in Harrison Barnes, DeAndre Jordan and Kristaps Porzingis and owner Mark Cuban has worked tirelessly to field a competitive team as he always does. The Mavericks have seldom missed the postseason in the last 12 years. Meanwhile, Young was taken by the Hawks - a franchise wading in mediocrity for years with a string of nonsensical trades and head-scratching draft picks in recent memory. The two franchises are light-years apart. 

Ronald Martinez/Getty Images

Aside from being in two dissimilar situations, they are two totally different players with styles of their own. Young is 6-foot-1 at 180lbs and relies on his long-range shooting to space the floor. Once the defense is pulled farther away from the basket to contest his long jumpers, Young can then dash by defenders with a lightning-quick first step. With the defense compromised, Young can then use his incredible court vision and passing ability to find teammates. If there is a path, Young isn’t afraid to venture into the paint and finish among the trees. Luka Doncic stands 6-foot-7 at 230lbs - a slightly more physical player-- and he is able to more considerably impact the game on the glass. The Slovenian totals 9.3 rebounds per game. Like Young, he’s a master at the pick-and-roll and has equally dazzling court vision. Neither are particularly great defenders but give effort on that end.

Most would point to wins and losses as the biggest difference between the two. Yet, that picture is still blurring due to Young’s lack of help (although the Hawks seem to be mounting a stand with the acquisition of Clint Capela). Prior to the Coronavirus-related postponement, Dallas was currently sitting at the 7 seed in the West, good enough for a playoff slot - while Atlanta is near the bottom and looks to be en route to another lottery pick. But the Mavericks have been in win-now mode since Cuban took over a majority stake in 2000. Since that year, the Hawks have only won six playoff series while the Mavericks have reached multiple NBA finals and even captured a title back in 2011, led by future Hall of Famer Dirk Nowitzki.

 Kevin C. Cox/Getty Images

Overall there looks to be a shift in the league with more and more young players getting an opportunity to compete early in their career. Three teams have a combined 13 rookies on their roster in Miami, Charlotte, and New York. Compare this to 2000-01 when all three clubs had a combined 5 rookies. The Hawks alone have played their rookies over 7,000 minutes this season. Additionally, for the first season in NBA history, four 21-year-olds (or younger) are on pace to average 21+ points per game: Trae Young, Luka Doncic, Zion Williamson, and Jayson Tatum. 

As we begin to see the twilight of his career inch closer - arguably the game’s best player, LeBron James, told ESPN the league was in good hands moving forward. The 3-time NBA champion cited players like Luka Doncic, Trae Young, Jason Tatum, and others. Few can understand the pressure and gravity of success as a youngster like James. He graced the cover of Sports Illustrated as a senior in high school and scored his first career points at the age of 18 against the Sacramento Kings in one of the most highly anticipated debuts in all of sports.  

Young believes time will yield him as the better of the two players a decade down the line, telling Bleacher Report"In my eyes, it's not a question—it's going to be me. But that's just the competitive nature in my blood, and I think that's the no-brainer with me."  

As the Coronavirus pandemic dominates most global markets and industries, the public is faced with the choice of continuing to go about their lives or stockpiling supplies in the event of quarantine. While the global box office is already feeling the effects, it’s likely to get worse before better. This is the clear reasoning behind Universal’s recent decision to move the new James Bond film, No Time to Die, from its April release to November. However, simply pushing back movie releases isn’t a universal solution. And what do you do when it’s a movie you’ve been eagerly awaiting? Regardless of the global health crisis at play, there are still a ton of great films releasing this year. Whether you’re into comic book movies, adult comedies, or The Sopranos – at least a few of the 10 films we’ve compiled below will get you excited for an old-fashioned dinner & a movie date night.

The New Mutants (April 3)

In an unexpected fusion between two of cinemas biggest genres – the horror film and superhero movie – comes Disney’s (by way of 20^th Century Fox) latest comic book adaptation, The New Mutants. Written and directed by Josh Boone (The Fault in Our Stars) and starring a diverse cast of young talent including Maisie Williams (Game of Thrones), Anna Taylor-Joy (Split, Glass), Charlie Heaton (Stranger Things), Blu Hunt (The Originals), Henry Zaga (Looking for Alaska) and Alice Braga (Queen of the South) – The New Mutants was intended to be the perfect genre mash-up to help revitalize the declining X-Men franchise. Unfortunately, the film following a group of young mutants being psychiatrically monitored in a secluded and supernatural hospital was plagued by release delays due to the prioritization of fellow X-Men offshoots Deadpool 2, Dark Phoenix, and the acquisition of 20^th Century Fox by Disney. After two years of waiting, now unluckily in the throes of the Coronavirus impacting the global box office, The New Mutants appears to be firmly cemented in its April 3^rd release date.

Bad Trip (April 17)

Deeply influenced by the work of famous pranksters Sacha Baron Cohen, Nathan Fielder, Johnny Knoxville and the entire Jackass cast – Bad Trip is a hidden camera road trip movie starring three of the funniest people working in Hollywood today. In the film, Eric Andre and Lil Rel Howery play best friends on a prank-filled cross-country road trip to help Andre’s character find the girl of his dreams. Meanwhile, Tiffany Haddish portrays Lil Rel’s evil sister and the film’s villain – an escaped prison inmate reentering society. Directed by Kitao Sakurai (The Eric Andre Show) and executive produced by Jeff Tremaine (Jackass), Ruben Fleischer (Zombieland), and star/writer Andre – Bad Trip will have you belly-laughing yourself to tears from the start to finish. Similar to The New Mutants’ ever-changing release date, Bad Trip was originally scheduled for release last October, then moved to February 2020, before ultimately landing in its appropriately 4/20-adjacent release date of April 17th.

Black Widow (May 1)

In 2010, Scarlett Johansson made her first appearance as Natasha Romanoff / Black Widow in Iron Man 2 – Disney’s third official entry to the Marvel Cinematic Universe film franchise. Since then, Marvel has been slowly developing a solo film for the fan favorite character. While waiting, devotees have been treated to Black Widow appearing in all four Avengers films, in addition to Captain America: The Winter Soldier, Captain America: Civil War, and an uncredited appearance in Captain Marvel. Following last summer’s Spider-Man: Far From Home – Black Widow marks only the second MCU film in the year since Avengers: Endgame broke nearly every box office record you can think of, including supplanting Avatar as the highest-grossing film of all time.

Taking place after the events of Captain America: Civil War but before Natasha Romanoff becomes an Avenger – Black Widow follows Johansson’s character as she is forced to navigate on her own her complicated past as a spy. Co-starring a brilliant cast consisting of Florence Pugh (Midsommar), David Harbour (Stranger Things), O-T Fagbenle (The Handmaid’s Tale), William Hurt (Broadcast News), and Rachel Weisz (The Favourite) – Black Widow is the first of two MCU films (The Eternals) to see release in 2020; in addition to the second (Morbius) and third (Venom 2) entries in Sony’s Marvel Universe. The moral of this story is there will be plenty of comic book cinema this year.

The King of Staten Island (June 19)

Over the past 20 years, Judd Apatow has written, directed, and produced some of the funniest films and television series of a generation. Beginning with Freaks and Geeks, The 40-Year-Old Virgin, and Knocked Up, or more recently Trainwreck, Girls, and Crashing – he has single handedly helped shape the careers of such A-list comedy talent as Seth Rogen, Steve Carell, Jonah Hill, Jason Segel, Lena Dunham, and now for his latest film, The King of Staten Island – Pete Davidson. Perhaps best known as Ariana Grande’s ex-fiancé, or the tattooed guy who rarely appears on Saturday Night Live – Davidson is finally set to have his breakout moment this summer, with Apatow at the helm.

Partially autobiographical, The King of Staten Island tells the story of Scott (Davidson), a twenty-something pothead from the forgotten borough still affected by the loss of his firefighter father on September 11^th. His life begins to change when his sister (Maude Apatow) heads to college, his mother (Marisa Tomei) starts dating another firefighter (Bill Burr), and he enters the stand up world. The summer comedy also features Pamela Adlon (Better Things), Bel Powley (The Morning Show), Machine Gun Kelly, and Steve Buscemi. Running over two hours like most Apatow-directed features, the dramedy was set to premier at South by Southwest (SXSW) prior to its cancelation due to the Coronavirus pandemic. The King of Staten Island is now scheduled to premiere at the Tribeca Film Festival on April 20^th before a June 19^th release.

[No trailer]

Free Guy (July 3)

After back-to-back Deadpool box office hits, a PG-rated Pokemon movie (Detective Pikachu), and a Michael Bay action thriller (6 Underground), Ryan Reynolds is back with potentially his next big adult comedy franchise, Free Guy. This time around, the Reynolds-starring sci-fi action-comedy leaves the superhero universe for the video game world. Set in an open world video game called Free City – a combination of the popular game franchises Grand Theft Auto and Fortnite – Reynolds plays Guy, a non-player character (NPC) bank teller who becomes aware of his Truman Show-esque simulated life. Upon discovering the truth, he sets out to be the game’s hero before the programmers realize he knows. Directed by Shawn Levy (Stranger Things) and written by Matt Lieberman (Playing With Fire) and Zak Penn (Ready Player One); the film co-stars a comedic ensemble of Taika Waititi (Jojo Rabbit), Jodie Comer (Killing Eve), Joe Keery (Stranger Things), Utkarsh Ambudkar (Freestyle Love Supreme), and Lil Rel Howery (Get Out). Various YouTubers, video game streamers, and professional gamers are also set to appear in the film.

Tenet (July 17)

“That test you passed… not everybody does. Welcome to the afterlife.” Even four months out from the release of Christopher Nolan’s latest feature Tenet, very little is known about the film’s plot. Hitting theaters exactly three years after his Best Picture and Best Director Oscar-nominated 2017 World War II film Dunkirk – what’s been extrapolated about Nolan’s 11^th movie is it involves international espionage and evolution. A secret agent is assigned to prevent World War III time travel and rebirth. Originally titled Merry Go Round, the action thriller stars John David Washington (BlacKkKlansman), Robert Pattinson (Good Time), Elizabeth Debicki (The Burnt Orange Heresy), Aaron Taylor-Johnson (Nocturnal Animals), Dimple Kapadia, Kenneth Branagh (My Week with Marilyn), and Michael Caine (The Dark Knight). Tenet is set for release July 17^th in IMAX, 35 mm, and 70 mm film formats.

Morbius (July 31)

A spinoff film for the Spider-Man villain, Morbius was announced as the second movie to be released under the new title Sony’s Marvel Universe, following the success of Venom. The comic book blockbuster stars Academy Award-winning actor Jared Leto as Dr. Michael Morbius, a scientist with a rare blood disease. After attempting to cure himself, Dr. Morbius becomes a vampire. While a film about bats, blood, and vaccines seems a little too on the nose at the moment, Morbius the Living Vampire has long been one of Marvel Comics’ most beloved antiheroes. Directed by Daniel Espinosa (Safe House, Life) and co-starring Matt Smith (The Crown), Adria Arjona (Good Omens), Jared Harris (Chernobyl), Al Madrigal (The Daily Show), and Tyrese Gibson (the Fast Saga) – similar to The New Mutants, Morbius aims to appeal to audiences of Marvel and horror/vampire movies alike.

The Many Saints of Newark (September 25)

Any legitimate list of anticipated films for 2020 would be crazy not to include The Many Saints of Newark. The long rumored and anticipated Sopranos movie is finally coming. However, the film fans had always dreamed of following the 2007 series finale died in 2013 with the passing of Tony Soprano himself, beloved actor James Gandolfini. Thirteen years later, The Sopranos movie is now a prequel titled The Many Saints of Newark with James Gandolfini’s son, Michael Gandolfini (The Deuce), playing Tony Soprano in his formative years. The drama set in 1960s/70s New Jersey was written by The Sopranos creator David Chase (and Lawrence Konner), directed by Alan Taylor (Game of Thrones), and stars Alessandro Nivola (A Most Violent Year), Jon Bernthal (The Punisher), Vera Farmiga (Up in the Air), Corey Stoll (The Strain), Billy Magnussen (Aladdin), and Ray Liotta (Goodfellas). Little else is known about the secretive film at this point, as a trailer has yet to be released. Only a September 25^th release date has been announced, with an HBO airdate expected to follow shortly after. Sopranos fans rejoice, as the time has finally come to return to Jersey.

[No trailer]

No Time to Die (November 25)

With the sudden fear of Coronavirus spreading around the world, No Time To Die, Daniel Craig’s fifth and final film as James Bond, has been postponed until November. Now the 6^th actor to ever play the iconic British spy gets an extra seven months to enjoy the perks of being Agent 007. Originally planned to be written and directed by Danny Boyle (Slumdog Millionaire), the auteur left due to creative differences, paving the way for Cary Joji Fukunaga (Beasts of No Nation) to take the reigns. Picking up with Agent Bond no longer active service and relishing life in Jamaica, No Time to Die quickly evolves into one last mission for 007 to rescue a scientist from a “mysterious villain armed with dangerous new technology.”

Written by Bond veterans Neal Purvis and Robert Wade, Fukunaga, and star/creator of Fleabag, Phoebe Waller-Bridge – No Time to Die marks the 25^th film in the James Bond franchise and the beginning of a new era for the MI6 secret agent. Even with Craig leaving the character behind, the future is in good hands with a talented cast including Academy Award winner Rami Malek (Bohemian Rhapsody), Lea Seydoux (Spectre), Lashana Lynch (Captain Marvel), Ben Whishaw (Mary Poppins Returns), Jeffrey Wright (Casino Royale), Christoph Waltz (Spectre), and Ralph Fiennes as M. With the potential losses estimated over $300 million had the film kept its April release date, its no surprise No Time to Die was pushed back. Now all we can do is wait a little longer to say goodbye to another 007 as a mysterious virus spreads around the world. Hmm, sounds like the plot of a James Bond movie.

Coming 2 America (December 18)

The final film on our list may be the most exciting. Thirty-two years later, Coming to America starring Eddie Murphy remains countless fans’ favorite of all his films. From the quotables to his co-stars Arsenio Hall and James Earl Jones’ performances, Coming to America has remained in the pantheon of comedy for over three decades. Per Paramount Pictures, Coming 2 America takes place after the original film when “Prince Akeem Joffer (Murphy) is set to become King of Zamunda when he discovers he has a son (Jermaine Fowler) he never knew about in America.” In order to honor his father’s (Jones) dying wish to groom this long-lost son to be prince, Akeem and Semmi (Hall) must come to America, again.

Directed by Craig Brewer after working with Murphy on Dolemite Is My Name, the 30-year-old sequel was penned by the original writers of Coming to America, David Sheffield and Barry W. Blaustein, co-written by Kenya Barris (Black-ish), with the story credited to Murphy. The film also features Tracy Morgan (The Last O.G.), Leslie Jones (Saturday Night Live), Shari Headley (The Haves and the Have Nots), John Amos (Good Times), and Louie Anderson (Baskets). At this time no trailer for the film has been released, but look forward to the sequel of the year come holiday season.

[No trailer]