The Go Team: Thunder Lightning Strike (Columbia)
For the second year in a row, it took an act from the UK to demonstrate what's missing from so much American hip-hop. In 2004, it was the storytelling of the Streets' Mike Skinner; this time around, it's London's Go Team, providing a reminder of the days when the music could still be innocent fun a time no one under 25 could possibly recall. Much has been written about how Thunder Lightning Strike seamlessly amalgamates brassy '80s TV themes and sentimental '70s pop, but not enough has been said about the way it affirms the simple pleasures of those cynically handled genres. There's more happiness on this record than in 12 months of thuggery and bling.
Kanye West: Late Registration
The inevitable and inevitably unflattering comparisons to The College Dropout aside, you can't ignore an album whose musical (and occasional lyrical) ambition places it above 98 percent of the competition, and the collaboration with chamber-pop jeweler Jon Brion was truly inspired. Is Kanye still a genius? Yes just ask him! Trouble is, he has become a patently unlikable one.
Atmosphere: You Can't Imagine How Much Fun We're Having
Slug's success as the first emo-rap pinup has spawned a cottage industry of imitators, and the inevitable backlash really hit home with this album. (He didn't do himself any favors with the ham-handedly ironic title.) Few disagreed about producer Ant's killer beats, which reference old-school inspirations Public Enemy and Big Daddy Kane, but Slug's lyrics were subjected to withering scrutiny. For the most part, they can stand it "Little Man," which nakedly details two generations of parental failings, might be his best-ever song.
Serengeti: Gasoline Rainbows
(Day By Day)
While we're talking about the widely discredited term "emo rap," however, this is one album for which the description makes sense and that's meant in the best possible way. There isn't a trace of self-consciousness on this brilliant disc, allowing Geti (Chicago's David Cohn) to do damn near anything he wants. Part eclectic hip-hop, part catchy indie-rock, part humorous observations, part heartbreaking confessions, it's one of those rare releases that seems to grow with you as well as on you.
Brooke Valentine: Chain Letter (Virgin)
Amerie: Touch (Columbia)
These records, each knee-deep in deserving singles, tie for the title of the year's best party album. Whether you preferred Valentine's sophisticated crunk-and-B or Amerie's Grammy-worthy turn as Best Substitute Beyoncé, you couldn't go wrong. And both albums scored (largely unnoticed) points against the prevailing image of the female puppet performer; each woman co-wrote much of her own material.
Buck 65: This Right Here Is Buck 65
This introduction-to-America compilation of Canadian MC Rich Terfry's best work fits together amazingly well and shows why his style which takes every dusty folk-rap idea of Beck's to its logical conclusion has already made him a star on the Continent.
David Banner: Certified
Here's a guy who has made three excellent albums, two of them Top 10 hits. He's not only a fearsome mike presence but is perhaps the best producer in the South, taking crunk into inventive realms where most apparently fear to tread.
Various Artists: Run the Road
Last year, the Streets and Dizzee Rascal showed that British hip-hop had not only come of age but had, in some ways, surpassed its American ancestor. This collection of greatest grime hits from the UK is proof that there's plenty more where those two came from, if stateside listeners will ever be ready for grime's Cockney slang, cell-phone electronica and an enthusiasm all too rare on this side of the hip-hop pond.
Muggs and GZA: Grandmasters
Just because nearly every reviewer who liked this bicoastal collaboration called it the best Wu-Tang album in years doesn't mean that description isn't true. Muggs expertly adapts his blunted beats to the spooky Staten Island soundscapes favored by the GZA, a truly great MC who had been MIA for far too long.
Why: Elephant Eyelash
This spot could have been filled by Edan's Beauty and the Beat, the Woodstock rock-rap fusion Common's Electric Circus should have been. So why give it to Why, now a full-fledged band with a harmony-filled album that has as much in common with Apples in Stereo as it does with Aesop Rock? Because it's a great record that deserves to be on some best-of list this year. Why not this one?