Rick Ross must be feeling great right now as he has made the many Best of 2009 lists for his album Deeper Than Rap. One specifically that will probably make him feel good about himself is the New York Times giving Rick Ross the #3 slot for Best Album Of The Year. And that’s not just hip-hop, that compared to all albums released in 2009. Here’s what they wrote:
3. RICK ROSS â€œDeeper Than Rapâ€ (Maybach Music/Slip-N-Slide/Def Jam) – Hip-hop as erotic art: the Miami rapper Rick Ross made the year’s most sumptuous-sounding record, all croaky rhymes about drug money and the women who love it, plangent keys helicoptered in from the ’70s and ’80s, and swelling choruses that cleanse all sins. It’s a rap album that sounds rich, a reminder of how it once was.
They also named his song “Cigar Music”, which features Masspike Miles, as one of the songs of the year. However, that list was not numbered.
Click below for a full round up of both lists
Sumptuous Hip-Hop, Nashville Punk
By JON CARAMANICA
Published: December 18, 2009
1. DRAKE â€œSo Far Goneâ€ (mixtape; octobersveryown.net) It’s not interesting because it’s a self-released mixtape, or because he’s a former Canadian child actor, though knowing those things makes the achievement of this record that much more impressive and unlikely. It’s that Drake is an architecturally precise rapper and a plaintive singer all in one, a combination others have tried and failed at. More important, it’s that this collection of songs about fame and love, and how the two don’t play well together, is cocksure but still poignant.
2. GIRLS â€œAlbumâ€ (True Panther/Matador) The first album from the San Francisco duo Girls stings like a fresh scrape â€” exposed, glistening, eventually giving way to a scab that falls off, imperfectly healed. On first listen the singer Christopher Owens sounds like a naÃ¯f, but there’s a vast chasm between wearing blinders and embracing hope, which is what these country-rock sketches do so well.
3. RICK ROSS â€œDeeper Than Rapâ€ (Maybach Music/Slip-N-Slide/Def Jam) Hip-hop as erotic art: the Miami rapper Rick Ross made the year’s most sumptuous-sounding record, all croaky rhymes about drug money and the women who love it, plangent keys helicoptered in from the ’70s and ’80s, and swelling choruses that cleanse all sins. It’s a rap album that sounds rich, a reminder of how it once was.
4. THE PAINS OF BEING PURE AT HEART (Slumberland) This was the year’s high-lonesome sound, with military-sharp melodies hiding out beneath fuzzy guitar reverb. As so often happens in eyes-cast-downward indie rock, the boy sounds sad and the girl sounds chipper, even when they’re coming to the same conclusion. Still waiting for â€œGossip Girlâ€ to catch on, though. …
5. TREY SONGZ â€œReadyâ€ (Atlantic) This year Trey Songz came for R. Kelly’s turf, id-centric territory generally skirted by other singers more in touch with their feelings. And yet the songs on this album, which rarely stray beyond the four corners of the bed, manage to be both single-minded and dignified. Trey Songz is a flirt, to be sure, but not creepy at all.
6. NEW BOYZ â€œSkinny Jeans and a Micâ€ (Shotty/Asylum/Warner Brothers) Skeletal drum-machine beats and a preoccupation with the tightness and color of one’s jeans: New Boyz make so much of so little. Emerging from Southern California’s jerk scene, this teenage duo made an album that’s appealingly young, simultaneously wide-eyed and knowingly lewd.
7. EMMY THE GREAT â€œFirst Loveâ€ (Close Harbour) Emma-Lee Moss has a shaky, sweet voice, and when she sings, it can sound like a nervous lecture, especially when her songs take the form of direct addresses to underwhelming boys. But this Hong Kong-via-London singer’s lyrics teem with off-kilter details, and the modern folk arrangements are unexpectedly pungent, warm and swaddling.
8. RAEKWON â€œOnly Built 4 Cuban Linx … Pt IIâ€ (IceH2O/EMI) By sticking to his guns Raekwon made, inadvertently, the year’s best reissue â€” not of an album but of a sound. Like a Civil War re-enactor Raekwon was rigidly faithful to detail on this album, the ostensible follow-up to his 1995 debut: the beats, moody and scratchy; the rhymes, affectless and intricate; and the attitude, still hungry.
9. JUSTIN MOORE (The Valory Music Company) Modest but by no means dull, the debut album by the Arkansas country singer Justin Moore has traditionalist bones holding together bursts of wry cowboy humor and eyebrow-raising salaciousness. Mr. Moore isn’t winking while playing to type; rather he realizes that there were always winks to begin with, and everyone else has forgotten.
10. PARAMORE â€œBrand New Eyesâ€ (Fueled by Ramen) Ambition isn’t the four-letter word it once was for punk bands, a relief for Nashville’s Paramore, which, it turns out, is well suited for bigness. The front-pippin, Hayley Williams, is yelping more convincingly than ever, choruses roll up like tidal waves, and now what was once just a spray of energy has become a band.
BLACK EYED PEAS â€œBoom Boom Powâ€ (Interscope)
KELLY CLARKSON â€œMy Life Would Suck Without Youâ€ (RCA)
RICK ROSS FEATURING MASSPIKE MILES â€œCigar Musicâ€ (Maybach Music/Slip-N-Slide/Def Jam)
DRAKE, KANYE WEST, LIL WAYNE AND EMINEM â€œForeverâ€ (Zone 4/Interscope)
LA ROUX â€œBulletproofâ€ (Cherrytree/Interscope)
K’JON â€œOn the Oceanâ€ (Universal Republic)
CASCADA â€œEvacuate the Dancefloorâ€ (Robbins)
PILL â€œTrap Goin’ Hamâ€ (mixtape; pill4180.com)
LUIS ENRIQUE â€œYo No SÃ© MaÃ±anaâ€ (Top Stop)
WASHED OUT â€œNew Theoryâ€ (Mexican Summer)
Courtesy of the New York Times