2011 was a standout year for Hip Hop, offering a rich variety of albums if you looked beyond the mainstream. While pop-oriented rappers like Drake, Lil Wayne, and Wiz Khalifa achieved multi-platinum success, and Jay-Z and Kanye West’s Watch The Throne also dominated sales, commercial success doesn’t always equate to the best quality. Below, we’ve compiled our ranking of the top 40 Hip Hop albums of 2011, along with a generous list of Honorable Mentions (excluding EPs, mixtapes, compilations, and instrumental albums). What’s your take on the list?
Black Up marks the debut studio album by Shabazz Palaces, a duo featuring Palaceer Lazaro (formerly known as Butterfly from Digable Planets) and multi-instrumentalist Tendai “Baba” Maraire. This album is nothing short of remarkable, offering a sound unlike anything you’ve heard before. Whether you categorize it as Experimental Hip Hop, Progressive Hip Hop, or Abstract Hip Hop, no label truly captures the essence of this project. It doesn’t need one either—except maybe “classic.” With ten tracks, Black Up is a concise yet powerful presentation, where every moment is purposeful. The deep beats, accentuated by electronic elements, perfectly complement the unique flows and intricate lyrics filled with abstract metaphors and insightful observations—there’s so much to uncover here.
While Shabazz Palaces’ subsequent albums, particularly Lese Majesty (2014), have been interesting in their own right, they haven’t quite matched the exceptional brilliance of Black Up—and it’s hard to imagine how they could. This album stands out as something truly special, on par with classics like It Takes A Nation Of Millions To Hold Us Back or Madvillainy.
To fully appreciate this musical masterpiece, it’s essential to listen on a quality sound system or with high-end headphones or earbuds—otherwise, you might miss the depth of the bass and other sonic nuances. Black Up isn’t for everyone, but for those seeking a challenging and unique listening experience, this album is pure gold. It stands as one of the most creative, innovative, and captivating Hip Hop albums of the decade, if not the most.
Before releasing Oneirology in 2011, Deacon The Villain, Natti, and Kno had already made a name for themselves with four consistently strong albums: Will Rap for Food (2001), SouthernUnderground (2003), A Piece of Strange (2006), and Dirty Acres (2007).
Oneirology, which refers to the study of dreams, lives up to its name—tracks like “Darkness (Dream On)” and “Shattered Dreams” provide clear insight into the album’s concept. The lyrics and flows are sharp, but it’s the production that truly shines, with Kno’s work behind the boards elevating the entire project. Oneirology is exceptional in every aspect, serving as a brilliant follow-up to Kno’s Death is Silent and another gem in the CunninLynguists’ impressive discography.
These days, the term “classic” is often thrown around too quickly, but Rashad & Confidence’s The Element Of Surprise truly earns that title. Everything about this album exudes a timeless quality. From its golden age-inspired cover art, reminiscent of Lord Finesse’s Funky Technician (1990), to its authentic boom bap sound, this project is a masterclass in Hip Hop. In an era dominated by ringtone rap, Rashad & Confidence stayed true to the genre’s roots, delivering an album that perfectly captures the essence of early 90s Hip Hop. With production that echoes the best of legends like DJ Premier and Pete Rock, and Rashad’s skillful rhyming and storytelling, The Element Of Surprise is Hip Hop at its finest.
At HHGA, we’re not shy about our disdain for mainstream rap being mislabeled as Hip Hop. Artists like Drake, Migos, Travis Scott, and their peers are more aligned with pop-rap, tapping into a lucrative market with media support, but their music is far removed from true Hip Hop. The Element Of Surprise, on the other hand, embodies the spirit of Hip Hop. For fans of Golden Age Hip Hop who became disillusioned around the turn of the millennium due to the mainstream’s shift towards diluted, simplistic rap, albums like this can reignite your passion for the genre.
We stand by our assertion that The Element Of Surprise is a genuine classic, though it may lack the recognition and commercial success typically associated with such a title. It’s unfortunate that an album of this caliber didn’t reach a wider audience. While commercially successful albums like Lil Wayne’s Tha Carter IV and Drake’s Take Care went multiplatinum in the same year, The Element Of Surprise—superior in every way except sales—went largely unnoticed. If you’re a fan of albums like Gang Starr’s Hard To Earn, Pete Rock & CL Smooth’s Mecca And The Soul Brother, or Little Brother’s The Minstrel Show, then The Element Of Surprise will resonate with you as one of the best albums not just of 2011, but of the entire decade.
Undun is a haunting and poetic work of art, distinctive yet captivating. Though concise, it carries a poignant narrative, tracing the life and demise of Redford Stephens, a fictional figure whose poor decisions lead to a tragic end. The album presents his story in reverse, starting with his death and unfolding backward to the beginning of his journey, which serves as the album’s conclusion.
Few artists in Hip Hop can claim the enduring legacy and consistent quality of The Roots, and Undun stands among their finest achievements—a testament to their remarkable career.
Danny Brown’s second studio album, X X X, is another captivating release from one of Detroit’s most intriguing artists of the past decade. Comparable to someone like ODB, Brown stands out for his larger-than-life personality, boundless energy, and unpredictable antics. X X X blends experimental and dark elements with humor and lightheartedness, showcasing Brown’s distinctive style and delivering some of the wildest yet funniest lyrics.
The album’s central theme revolves around drugs and their impact on Brown’s life. In the first half, Brown is on a euphoric high, rapping about outrageous topics. As the album progresses, the tone shifts to a more serious and introspective mood, where Brown delves into stories of his life experiences dominated by drugs and violence. X X X is an impressive work that cements Danny Brown’s position as one of the most exciting and innovative artists in Hip Hop this decade.
As a key member of Little Brother alongside Rapper Big Pooh and 9th Wonder, Phonte helped create two of the standout albums of the 2000s—The Listening (2003) and The Minstrel Show (2005). In 2004, he also released Connected, an underrated gem from that era, as part of the duo Foreign Exchange. After delivering these nearly flawless projects in the 2000s, Phonte dropped his highly anticipated solo debut, Charity Starts At Home, in 2011. Unlike the superficial rap filled with money, guns, and degrading themes that dominated much of the past decade, Charity Starts At Home offers mature, refined Hip Hop, featuring smooth instrumentals and insightful lyrics from one of the best emcees in the industry.
Doomtree has always been known for pushing the boundaries of genre, blending a wide range of musical influences with intricate lyrics and deep wordplay, both in their group projects and solo endeavors. No Kings stands out as perhaps their most impressive work, reflecting a decade of experience in the music industry. While each member of Doomtree has proven their unique talent through solo projects, No Kings demonstrates their ability to seamlessly blend these diverse styles into a cohesive and powerful collective.
Considering the distinct lyrical approaches of artists like P.O.S, Dessa, Cecil Otter, Sims, and Mike Mictlan, creating a unified sound could easily have been a challenge. However, what has always set Doomtree apart—and what is perfected on No Kings—is their ability to complement each other’s strengths. Tracks like “Team The Best Team” highlight this unity, while songs such as “Own Yours,” “Punch Out,” “Bolt Cutter,” “The Grand Experiment,” and the explosive “Bangarang” further showcase their collective energy.
The production by Lazerbeak and Paper Tiger adds another layer of depth to the album, with instrumentals that enhance the dense yet clever lyrics and the fiery delivery of the vocalists. No Kings is a standout achievement. If you’re new to Doomtree, this album is the perfect starting point, and it will likely lead you to explore their full discography, both as a group and as individual artists.
Section.80 marks Kendrick Lamar’s official debut album, following a series of successful mixtapes that had already established his reputation. With 16 tracks and an hour-long runtime, the album offers substantial content. Though Kendrick’s major breakthrough would come a year later with good kid, m.A.A.d city, Section.80 stands strong on its own merits. The album leans more towards traditional Hip Hop sonically, in contrast to the more eclectic sounds of his later work, and it showcases Kendrick’s sharp lyricism from the outset. The production on Section.80 complements his relaxed flow and introspective storytelling, creating a listening experience that’s both engaging and, at times, somber.
While the album has a few tracks that might not stand out as much, like “Blow My High,” it also features several standout songs, including “Keisha’s Song,” “Ronald Reagan Era,” “Poe Man’s Dreams (His Vice),” and “Hol’ Up.” Overall, Section.80 is a significant entry in Kendrick Lamar’s discography, ranking just behind To Pimp a Butterfly and good kid, m.A.A.d city as one of his best releases of the decade.
W.A.R. (We Are Renegades) marks Pharoahe Monch’s third studio album, featuring a diverse roster of producers including Lion’s Share Music Group, Exile, Marco Polo, M-Phazes, Mike Loe, Fatin “10” Horton, Diamond D, Samiyam, and Adam Deitch and Eric Krasno from Fyre Dept. The album also boasts a wide array of guest vocalists, such as Idris Elba, Immortal Technique, Vernon Reid of Living Colour, Showtyme, Styles P of The LOX, Phonte, Mela Machinko, Mr. Porter, Jean Grae, Royce da 5’9″, Citizen Cope, and Jill Scott. DJ Boogie Blind of The X-Ecutioners adds scratches to the mix.
Pharoahe Monch’s reputation as a thought-provoking lyricist is further solidified in this album, with his maturity reflected in his choice of topics and production. Although Monch’s sophisticated and complex approach to Hip Hop may not be widely appreciated, it underscores the gap between advanced lyrical skill and mainstream taste. For those with a discerning ear for high-quality Hip Hop, W.A.R. (We Are Renegades) is a must-have addition to their collection.
Following the less successful Universal Mind Control (2008) and amidst his feud with Drake, Common makes a notable return with The Dreamer / The Believer. Highlights include the Nas collaboration “Ghetto Dreams,” the Maya Angelou-featured “The Dreamer,” the subtle jab at Drake in “Sweet,” and the introspective “Lovin’ I Lost,” which reflects on his breakup with Serena Williams. While The Dreamer / The Believer may not reach the iconic status of albums like Be (2005), Resurrection (1994), or Like Water For Chocolate (2000), it is nonetheless a strong and impressive work with no weak spots.
Cats & Dogs marks the second solo effort from Evidence of Dilated Peoples. The album shines with stellar production from The Alchemist, DJ Babu, DJ Premier, and others, complementing Evidence’s sharp lyricism. Featuring notable guest appearances from Raekwon, Ras Kass, Roc Marciano, Aesop Rock, Prodigy, and Slug, Cats & Dogs delivers a full hour of top-notch, authentic Hip Hop.
Love & Rockets Vol. 1: The Transformation delivers a consistently smooth experience from beginning to end, featuring stellar beats from Ski Beatz and Murs’ signature sharp lyrics. Murs excels at conveying emotion, whether it’s through the reflective “Remember 2 Forget,” addressing past relationship struggles, or the moving album closer “Animal Style,” which tells a tragic tale of a high school student grappling with his sexuality. His storytelling prowess is also evident in “67 Cutlass,” a darkly comedic recount of a mishap in Tucson. The album also stands out with tracks like “Eazy E,” a tribute to West Coast Hip Hop, “Life & Time,” featuring Ab-Soul and O.C., and “316 Ways,” which critiques the music industry. Overall, Love & Rockets Vol. 1: The Transformation adds another impressive chapter to Murs’ extensive discography.
Thurz’s L.A. Riot revolves around the 1992 Los Angeles riots, a reaction to the acquittal of four officers involved in the Rodney King beating.
The album kicks off with the impactful “Molotov Cocktail,” but it’s the second track, “Rodney King,” that truly stands out. This five-minute epic vividly reimagines the assault from King’s perspective, featuring a powerful instrumental and hard-hitting lyrics—arguably one of the finest Hip Hop tracks of the 2010s. The following tracks, “F*** The Police” and “Colors,” pay homage to classic West Coast Hip Hop by N.W.A. and Ice-T, and Thurz maintains momentum throughout the album. Notable mention goes to “Riot,” featuring guest emcee Black Thought, which further underscores the album’s strength.
Remember when Hip Hop was more than just a commercial venture or a display of a flashy image? Genuine Hip Hop artists, who have always existed, seem to have faded from the spotlight. One such artist is New York emcee Rasheed Chappell. His highly anticipated debut album, produced by the seasoned Kenny Dope and featuring contributions from DJ Scratch and DJ Mell Starr, delivers Hip Hop in its most authentic form. With exceptional production and insightful lyrics, Future Before Nostalgia stands out as a superior offering. Unfortunately, in a year dominated by mainstream hits like Lil Wayne’s Carter IV and Drake’s Take Care, this standout album did not receive the attention it deserved.
While J-Live may not have replicated the exceptional quality of his early works, The Best Part (2001) and All Of The Above (2002)—both of which are considered cult classics and top albums of the 2000s—he has consistently delivered strong Hip Hop projects. His fifth studio album, S.P.T.A. (Said Person Of That Ability), along with Then What Happened? (2008), stands out as some of his best work since those early masterpieces. Featuring intelligent lyrics and impressive beats, this album is a noteworthy addition to J-Live’s discography.
Following the instrumental detour of The Mix Up (2007) and the straight Hip Hop vibe of To The 5 Boroughs (2004), Hot Sauce Committee Part 2 marks a return to the eclectic sound of the mid-era Beastie Boys. It echoes the genre-blending style of Check Your Head (1992), Ill Communication (1994), and Hello Nasty (1998). While those earlier albums had more standout tracks and memorable singles, Hot Sauce Committee Part 2 still delivers with highlights like “Make Some Noise” and the Nas-featured “Too Many Rappers.” Despite the album’s lack of standout hits and the excessive use of vocoder, it’s hard not to appreciate the Beastie Boys’ unique charm.
Talkin’ All That Jazz by Superstar Quamallah and DeQawn is a masterful blend of smooth jazz and boom-bap rhythms, and it stands out as one of the most underrated albums of the year. The production offers a refined, jazzy backdrop that perfectly complements the thoughtful lyrics, making it a hidden gem worth discovering. If you appreciate well-crafted, soulful Hip Hop, this album is a must-listen.
Few Hip Hop groups have managed to maintain the same level of quality as People Under The Stairs throughout their career. Their eighth studio album, Highlighter, continues this tradition. While it may not be their finest work, it still surpasses many other releases from the year. This album features more live instrumentation than previous PUTS projects but retains the quintessential Hip Hop vibe the duo is known for. Highlighter also marks a significant milestone as it is the first release on their independent Piecelock70 label, underscoring a key moment in their career.
Mary Mallon, famously known as “Typhoid Mary,” was the first known carrier of typhoid fever in the United States during the late 1800s. While the name might seem unusual for a music group, it makes more sense when you consider that the group features Aesop Rock, Rob Sonic, and DJ Big Wiz. On Are You Gonna Eat That?, Aesop Rock and Rob Sonic continue their experimental sound from their Def Jux days, while DJ Big Wiz enhances the album with exceptional turntablism. The album might not appeal to everyone, but those who enjoy intense soundscapes and clever, metaphor-rich lyrics will find much to appreciate in Are You Gonna Eat That?.
The name “Typhoid Mary,” referring to the first known carrier of typhoid fever in the United States from the late 1800s, might seem unusual for a music group. However, it fits when you consider the members: Aesop Rock, Rob Sonic, and DJ Big Wiz. On their album Are You Gonna Eat That?, Aesop Rock and Rob Sonic continue their trademark experimental style from their Def Jux days, while DJ Big Wiz contributes impressive turntablism. Though it may not appeal to everyone, fans of intense soundscapes and inventive lyrics filled with clever metaphors and punchlines will likely enjoy Are You Gonna Eat That?.
“Lyrical Law,” Canibus’ eleventh studio album, stands out as one of his finest. While the beats are solid, the focus here, as always with Canibus, is on the lyrical content. Joined by guests like Killah Priest, K-Rino, Ras Kass, and Chino XL, Canibus delivers a powerful lyrical performance on this project. There’s also an expanded edition with two additional discs—one featuring new tracks and remixes, and another with a 1993 recording of a young Canibus as part of the duo T.H.E.M.—but the heart of the album is in the first disc.
With twelve tracks and over an hour of intense lyricism, several songs rise to prominence, such as “The Golden Cypher” featuring Ras Kass and K-Solo, “Cypher Of Five Mics” with punchline master Chino XL, and the 14-minute epic “Rip vs. Poet Laureate.” Despite its strengths, “Lyrical Law” remains an underrated gem in Canibus’ discography.
“All 6’s And 7’s,” Tech N9ne’s eleventh studio album, is one of the most well-rounded and complete works in his extensive catalog. Known for his lengthy projects, Tech N9ne delivers another substantial offering with this 77-minute album. The record boasts an impressive lineup of guest artists, including Hopsin, Snoop Dogg, Jay Rock, Twista, T-Pain, Lil Wayne, E-40, Busta Rhymes, and Kendrick Lamar, among others.
The highlight of the album is the iconic track “Worldwide Choppers,” with standout songs like “Am I A Psycho,” “He’s A Mental Giant,” “Love Me Tomorrow,” “Cult Leader,” “So Lonely,” “Mama Nem,” and “Promised Land” also shining brightly. With hardly a weak moment, “All 6’s And 7’s” is a crucial addition to Tech N9ne’s expansive discography.
“The Journey Aflame” is the debut album by Akua Naru, a talented artist from New Haven, CT. This album showcases a rich blend of musical influences, ranging from soulful, tradition-conscious rhymes to classic head-nod Hip Hop, with elements of Blues, Jazz, and West-African sounds woven throughout. Comprising 14 varied tracks and 3 interludes, Naru’s first official release highlights her lyrical prowess and her identity as a ‘Poet of Passion.’
If you haven’t explored this hidden gem yet, now’s the time to give it a listen—you’ll likely find yourself grateful for the recommendation.
Rebels To The Grain, a duo from Los Angeles made up of Cheddy and MP, released their second full-length album, Harvest Season, in 2011. Despite not gaining much attention at the time, the album is a hidden gem, featuring jazz-infused boom-bap beats that deliver a consistently enjoyable listening experience from beginning to end. This project certainly merits more recognition than it received.
Random Axe was a Hip Hop group made up of producer Black Milk and emcees Guilty Simpson and the late Sean Price. Their self-titled album, fully produced by Black Milk, features guest appearances from Roc Marciano, Danny Brown, Fat Ray, Melanie Rutherford, Rock, Trick Trick, and Fatt Father. While the album doesn’t break new ground, it delivers solid, no-nonsense raps from two skilled emcees over expertly crafted beats from one of the genre’s top contemporary producers.
Has-Lo’s In Case I Don’t Make It offers a compelling listening experience, even with its dark tones and monotone vibe. The album’s slick production and eerie lyrical imagery create an atmosphere that requires full immersion to truly grasp its depth and appreciate its artistry.
Following the success of CunninLynguists’ Oneirology, Kno delivers yet another impressive project with MacheteVision, a collaboration with Philadelphia emcee MarQ Spekt. While the production on this album is more direct and less intricate than Kno’s usual work with CunninLynguists, it maintains the same bass-heavy, boom-bap sound that perfectly complements MarQ Spekt’s gritty lyrics and style. This project flew under the radar for many, but it’s one worth exploring. And the cover art is definitely a standout feature as well.
The Family Sign may not be Atmosphere’s strongest album, but it does feature one of their most powerful tracks: “The Last To Say,” a poignant song about domestic violence. The album as a whole explores the complexities of family relationships, both the positive and the difficult, making it an emotionally intense experience. Besides “The Last To Say,” other standout tracks include “She’s Enough,” “I Don’t Need Brighter Days,” “Your Name Here,” “My Notes,” and “If You Can Save Me Now.” Despite a few weaker songs like “Bad Bad Daddy,” this album remains another solid entry in Atmosphere’s discography.
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