Back catalogue: Hip Hop/R&B

Review: Black Milk’s fourth studio album, the humbly titled Album Of The Year, was produced almost entirely by himself, with minimal assistance from Will Sessions, and originally released in 2010 via Fat Beats. Boasting the massive, bulldogging ‘365’ for starters, Black Milk’s perennial achievement only extends to ever more gain, nailing an idiomatic bossy, noughties-to-tens stadium hip-hop sound. This nonetheless varies itself, as we move from funk-sampling bombasts like ‘Deadly Medley’ to on-the-floor ass-slingers such as ‘Distortion’ and romantic bouncing-car lowriders like ‘Over Again’, on which Monica Blaire’s vocals especially shine. Now Vinyl Me Please reissue the rapper’s milestone record on limited edition "gold nugget” vinyl, limiting it to just 1000 copies.

Review: DMX was a mould-breaking force. Twisting a savage gangstra rap energy around a barking flow, he imparted street knowledge in a soul-rattling voice that, to this day, still leaves us feeling thoroughly sergeant-drilled. Some deemed him a snarling negative of 2pac, though deeper heads knew him better for his unexpected vulnerabilities, on full display as early on as his studio debut, It’s Dark And Hell Is Hot. Earl Simmons had endured an abusive upbringing and struggled with crack addiction from a young age; his later life would be marked by prison stints and rehab, but his music was a way to "create concerts that felt more like a church service”. These pious emphatics - the moment, the church, duty - certainly contrasted his manifest badboy, raw-dog persona. From ‘Let Me Fly’ to ‘Stop Being Greedy’ through to the skit ‘Prayer’, DMX presented a downcast debut with enduring, parabolic lessons, going beyond the morose veils of moral dubiety and antiheroism.

Review: This album is a testament to Ghostface Killah's resilience as a storyteller. The project explores themes of wealth, violence and survival, with Ghostface delivering vivid narratives laced with humor, offbeat details and a raw energy. This reissue released on red and purple vinyl, is filled with guest appearances, that rarely overshadow Ghost's distinctive voice. The production is a mix of hard-hitting beats and soulful samples, offering a backdrop that fits the gritty themes, especially on tracks like 'Tony Sigel AKA Barrell Brothers' and 'We Celebrate'. Despite the occasional sense of rushed execution, the album offers some standout moments. 'Yolanda's House' brings a lighthearted touch to the darker tones, while 'Walk Around' delves deep into PTSD and guilt, showcasing Ghostface's ability to address heavy topics with nuance. One of his finest releases, this album still manages to shine through with Ghost's relentless commitment to his craft.

Review: From the opening notes of Kamaal The Abstract, it’s clear that Q-Tip is venturing into uncharted musical territory. Known for his integral role in A Tribe Called Quest, this solo project sees him shedding the constraints of traditional hip-hop in favour of a more expansive, genre-blurring exploration. Jazz provides the backbone, but the album is an eclectic fusion, pulling in elements of funk, r&b, rock, and soul, all wrapped around Tip’s signature laid-back delivery.Tracks frequently evolve into extended jams, with lush solos and intricate improvisations scattered throughout. There’s a palpable sense of freedom and experimentation — each song feels like a journey, shifting moods and textures in unexpected ways. While many albums seek cohesion, Kamaal The Abstract thrives on its unpredictability. It’s unafraid to meander, with Tip leading his band into new sonic landscapes, guided by colourful chord progressions and a playful approach to structure. At its core, this is an album that relishes in its own contradictions. It’s bold yet introspective, loose but meticulously crafted. Q-Tip is both centre stage and part of a larger ensemble, constantly pushing the boundaries of what he, and hip-hop, could be. This project was a bold statement at the time, and it remains an adventurous, genre-defying listen that captures a moment of creative risk and vulnerability in Tip’s evolution as an artist.

Review: Raising Hell originally came in 1986 and became a groundbreaking album that built on the success of King of Rock and went on to sell over three million copies worldwide. Produced by Rick Rubin, the album raised the standard for hip hop as it was packed with hard-hitting hooks, inventive samples, scratches and of course many catchy choruses. Tracks like 'Peter Piper'# with its Bob James sample, 'It's Tricky' which made use of The Knack's 'My Sharona' and 'My Adidas' became and remain classics. However, the 'Walk This Way' bridged hip hop and rock in all new ways and consigned Aerosmith's original version almost to irrelevance.