40 for 40: The greatest hip-hop albums since 1980

Legend says that hip-hop, as we know it, found its genesis at a birthday party in the rec room of a Bronx apartment. What happened Aug.11, 1973 at 1520 Sedgwick Avenue, in New York City, lit the fuse of a genre that defined an entire culture and wove itself into the fabric of American culture as a whole. The party was hosted by Clive Campbell, better known as hip-hop pioneer DJ Kool Herc. In the 46 years since its creation, hip-hop has evolved and revolved, but the basis of two turntables and a microphone will never change. In honor of hip-hop's birthday, we present our list of the best hip-hop albums since 1980.

Interestingly enough, Sugarhill Records founder and CEO, Sylvia Robinson, didn't think an album consisting entirely of hip-hop music would sell in 1980. When you're the first at something, that makes some sense. Thanks to the all-time classic "Rapper's Delight," the foundation of all hip-hop music, not only was the album a success,but it also stands to this day as the spark that gave birth to an entire genre.

The second album from Kurtis Blow, "Deuce," is a seven-track party album that positioned the up-and-coming rapper as a go-to performer who helped spread the good word by moving as many crowds as possible. Featuring memorable cuts like "It's Gettin' Hot," "Starlife" and "Rockin'," Blow's album may not have been at the top of the game long, but while he was there, there were few who did it better.

Afrika Bambaataa, deemed the “grandfather” of hip-hop for his instant impact and his part in shaping the genre, is best known for "Planet Rock," one of the earliest examples of hip-hop as we know it. As part of the mighty Zulu Nation, Bambaataa is a pioneer of the genre, and it shines through in "Planet Rock," which feels like a time capsule for the best hip-hop has to offer with futuristic beats and its use of vocoders. In 1982, there still weren't many rap albums on the market, so despite the success of "Planet Rock," it would not be part of an album until 1986.

Despite looking and feeling like a documentary, "Wild Style," was the first film to document the burgeoning hip-hop lifestyle via breakdancers and b-boys. Accompanying the film was the first soundtrack to feature hip-hop artists like the Cold Crush Brothers and the Fantastic Freaks in addition to Busy Bee and the instrumental stylings of impresario Fab 5 Freddy's with his almost ethereal "Cuckoo Clocking." While the soundtrack may feel slightly dated, by '80s standards, it was an entertaining diversion giving insight into a genre that was just about to explode.

The debut from Hollis, Queens-based group Run-DMC felt different than anything that came before it. While Run-D.M.C. and Jam Master Jay certainly weren't first to the plate, what they accomplished in coming out of the gate was significant, as they were among the first acts to prove that hip-hop wasn't a novelty. With driving beats and fearless lyricism, tracks like "Sucker M.C.'s" and "It's Like That" serve as landmarks in a genre that owes much to Run-D.M.C. for what they brought to the table early on. 

At the age of only 17, L.L. Cool J burst onto the scene with all the force and ferocity of his older peers. His debut album, "Radio," has the distinction of being the first full-length album released by Def Jam. Through the album's production and L.L.'s cocksure delivery, it became an instant hit, making a star out of the young rapper and bringing hip-hop one step closer to its ultimate popularity.

A groundbreaking album, "Licensed to Ill" represents a number of firsts: the first hip-hop album to top the Billboard 200 chart, the first hip-hop album to feature a crew of white rappers and Columbia Records’ fastest-selling debut record to date. An early mega hit for Def Jam Records and Russell Simmons, the album features classic tracks like "Fight for Your Right" and “No Sleep ‘Till Brooklyn” and succeeded in bringing hip-hop further from the underground and right into the living rooms of the MTV generation.

"This is a journey...into sound." So began the opening beats of "Paid in Full," the title track on the best hip-hop album of 1987, if not the '80s as a whole. Today we look at "Paid in Full" as an influential masterpiece. But when it was released it was simply a guaranteed crowd mover, thanks to the flawless tag-team partnership of Eric and Rakim and the complex lyrics and a sweeping sound that 30 years later still hold up. Many MCs look to this album as the inspiration for their own works.

Before 1988, hip-hop seemed to belong solely to the East Coast, but the world would find out that wasn't the case with the firestorm that came with the release of "Straight Outta Compton." No longer was hip-hop just about party beats, but it became an outlet of rage, telling a story of young black men under siege by one another and by the police. N.W.A. became a target for their lyrics, particularly in cuts like "F**k tha Police," but the end justified the means as fans loved the album, and it exists to this day as one of the main pillars of hip-hop history.

Putting the hippie in hip-hop, De La Soul burst onto the scene in 1989 with a truly original album that is one part curiosity, one part crowd moving. Produced by Prince Paul, "3 Feet High and Rising" just feels vital and funky. It's everything that hip-hop should be and manages to stay relevant 30 years later as another landmark from the MTV generation to today's generation.

In a year full of amazing hip-hop, Ice Cube presents a solo effort that absolutely blows away all expectations. With production courtesy of Public Enemy house team Bomb Squad, "Amerikkka's Most Wanted" is a fiery blast of sound and lyrics that paints the former N.W.A. star as not only his own man but also as a man who has something greater to say. Few people expected the sort of proto-woke lyrics that Cube laid down throughout the album, but it stands as a crown jewel in West Coast hip-hop before the dark negativity to come only a couple of years later.

For its sophomore effort, A Tribe Called Quest expertly fused hip-hop and jazz to create something unique, infectious and dare we say it, fun. Q-Tip and Phife Dawg and Ali Shaheed Muhammad are fully in control here, presenting chilled-out beats married with razor-sharp flows on tracks like "Excursions" and "Scenario," featuring an assist from the Leaders of the New School and superstar in the making Busta Rhymes. 

Of the albums on our list, there may be no greater game changer than "The Chronic." After his break from N.W.A., Dr. Dre was looking to make a statement, and that statement ended up being what is probably the best produced album not only of 1992 but also of the entire decade. "The Chronic" wasn't just a solo debut for Dre, but it also introduced a number of up and comers like Warren G and Nate Dogg and helped cement Snoop Doggy Dogg as the crown prince of West Coast hip-hop. Featuring now-classic tracks like "Nuthin; but a G Thang," "Dre Day" and "Let Me Ride," the album is a chronicle of the birth of G-funk and firmly placed the West Coast as the top dog in the game.

While the West Coast seemed to be in full control of the hip-hop landscape, Robert Diggs, better known as the RZA, and his gang of relatives and lifelong friends were about to unleash something that would once again make East Coast hip-hop viable. Inspired by RZA's love of comic books and kung-fu flicks, he created the Wu-Tang Clan, and they were ready for action. Acting as producer and defacto sensei, RZA produced "Enter the 36 Chambers," introducing the world to Method Man, GZA, Ol' Dirty Bastard, Raekwon, Ghostface Killah, U-God, Masta Killa and Inspector Deck. People just weren't ready, but it wouldn't take long to get on board with this masterpiece of an album. 

A true prodigy of hip-hop, Nasir Jones, better known as Nas, emerged on the scene with an instant classic in "Illmatic." Featuring the production skills of Large Professor, DJ Premier, Pete Rock and Q-Tip, the Prince of Queensbridge crafted a true banger and a glimpse into the future of hip-hop. Featuring the instant classic "N.Y. State of Mind," "Illmatic" was a shot across the bow proving that the East Coast was alive and well and creating rap gods. 

The second studio album from New York duo Mobb Deep stands as one of the best efforts of the '90s and unmatched in 1995. Boasting haunting melodies, the album weaves a tale of crime, squalor and poverty on the streets, "The Infamous..." is underground hip-hop standing on its own terms, and the result is a realistic portrait of the darker parts of life. It's an absolute masterpiece in a list of masterpieces.

When Jay-Z got his first break in 1989's "Hawaiian Sophie," he seemed like a bit of a rough flash in the pan. By 1996, Jay-Z was more than ready, blowing away hip-hop heads with his debut, "Reasonable Doubt." Not only did he debut as an artist, but the album also marked his debut as a label maker as head of Roc-A-Fella Records. With key tracks "Can't Knock the Hustle," "Brooklyn's Finest" and "Dead Presidents," Jay planted his flag on the hip-hop landscape, tipping control toward the East Coast once and for all. 

A masterclass in opulence and tragedy, "Life After Death" should've been a crowning achievement for Biggie Smalls, better known as The Notorious B.I.G. Instead it exists as a eulogy, mourning the life of a hip-hop titan senselessly gunned down as part of the East Coast/West Coast rivalry played out between record labels, with fans taking things way too seriously. Under the wing of Bad Boy Records exec Sean "Puffy" Combs, Biggie's double album is indeed a masterpiece with catchy tracks and fantastic collaborations, leaving listeners to wonder just what could've come next.

The third studio album from Atlanta duo OutKast is a continuation in its evolution, delivering synthesizer funk with catchy hooks and an anthem in "Rosa Parks" that took the club scene by storm. The popularity of "Aquemeni" — a combination of the duo’s astrological signs — was instant, as it only took two months to achieve platinum status. 

Mos Def’s post-Blackstar solo album is an understated triumph, melding jazz, funk and consciousness into an immensely listenable collection of tracks that entertains and uplifts with tracks like "Ms. Fat Booty" and "Brooklyn." Mos Def takes the listener into psychedelic territory with the ethereal "Umi Says" and gives probably the greatest dissertation on water consumption in "New World Water." 

Eminem's third studio album, "The Marshall Mathers LP," delivered grit, anger and honesty in a way that drew both sales and controversy. Led by uber-problematic "Kim," a horror fantasy detailing the pseudo murder of his on-again, off-again wife drew plenty of fire, as did "Stan," an ode to stalkers. Despite the questionable content, fans couldn't get enough. The album sold more than 1.79 million copies in its first week in the U.S. alone, making it the fastest selling solo album ever and since going 10x platinum. 

In 2001, Jay-Z was at a bit of a crossroads. Despite all his success, he became the target of a number of MCs who were more than ready to come for the crown. In response, Jay took a couple of days to write the lyrics and only two weeks to record "The Blueprint," and the result was a milestone album that wasn't just the best album of 2001 but also one of the best of Hova's entire discography. With production from Kanye West and Just Blaze, "The Blueprint" became Jay-Z’s fourth consecutive album to reach No. 1 on the Billboard 200 chart and went multiple platinum. 

While the biggest album of the year was easily Eminem's "The Eminem Show," nothing banged as hard in the summer of 2002 than The Roots' "Phrenology." Led by infectious uptempo single "The Seed (2.0)" and the lower key neo R&B-tinged "Break You Off," the album is a stellar display of the band existence as, well, a band, fully formed with a live rhythm section further pushing the boundaries of what hip-hop can accomplish outside the normal auspices of beat machines and programmed sounds.

OutKast returned in 2003 with its magnum opus, "Speakerboxxx/The Love Below," a double album that was more like a pair of solo efforts from Big Boi and Andre 3000, allowing the duo to go for broke without stepping in one another's way. The result is eclectic and monumental, with Big Boi creating a laid-back funky set that feels like a return to and progression from the group's early days. Andre 3000, however, swung for the fences and succeeded with a futuristic and infectious album that goes from the iconic ("Hey Ya") to the bizarre ("Dracula's Wedding"). In either case, the end result remains the best of the group's illustrious career.

In a time when gangster rap was still king of hip-hop, Kanye West emerges from the production booth to change the game completely. Instead of the standard hip-hop braggadocio, West brings to the table biographical lyrics exposing pain, uncertainty and a will to succeed. While other MCs are talking about street life, West is going through the motions of an everyday life filled with religion, education and self-doubt while doing it with aplomb. The meat of "College Dropout," "Through the Wire," "All Falls Down" and "Two Words" creates a blueprint for the artist we'll soon see explode into the stratosphere. 

Controversial choice! Many would expect Kanye West's "Late Registration" to occupy this spot, but the second collaboration between Danger Mouse and MF Doom is simply the better album. Maybe the focus on the sampling of Adult Swim shows takes the street cred of this album down a notch, but the beats and lyrics simply cannot be denied. "The Mouse and the Mask" is a surprising entry in this limited partnership, but the album's success lies in the way it reminds us of just how loose and freewheeling hip-hop used to be without feeling overly nostalgic.

"Fishscale" is an album that feels both mature and hungry. Even at 35 (at the time of the album's release) Wu-Tang Clan alum Ghostface Killah delivers his lines with an authoritative youthfulness, remaining close to his roots as if no time had passed since his debut in 1993 alongside the rest of the Shaolin Island Clan. Much was made about this being an album minus the usual production from the RZA. But despite the change in sound, Ghostface is more than up to the task, and the result is a modern take on the familiar thing we love.

A masterclass in consistency, "Graduation," Kanye West's third studio album, is nowhere near his greatest effort. But even Tier 2 from Kanye will still easily qualify as the best hip-hop album of the year. As the third album in four years, "Graduation" doesn't rely on any throwbacks or codas to an earlier time in hip-hop. Instead it paves its own way, in the process creating a sound that is recognizable but also feels brand new. Clearly this album is a creation of a true savant, but it never spins out of control and manages to be the classic Kanye designed it to be.

While fans had to wait nine years for the follow-up to "Tha Carter II," Lil Wayne didn't leave everyone out in the cold, releasing a number of mixtapes and one-offs to keep everyone's appetite up. The album is both absurd and personal. This is Wayne at the height of his popularity and in the middle of his journey. While it's easily the best hip-hop album of 2008, it's also just as strong today, holding up and serving as a relatively fresh reminder of how good Lil Wayne used to be.

Probably the biggest surprise in hip-hop in 2009, Raekwon's long-awaited follow-up to his 1995 solo album, "Only Built 4 Cuban Linx," is equal parts grimy and deep, with Rae delivering his rhymes with the same slickness that made his first album infinitely listenable. Joined at various points throughout the album by his fellow Wu-Tang Clan members, the album's not just a continuation of the original album, but it ALSO feels like an overall extension of Wu-Tang lore, proving that even nearly 20 years since the group's debut, each surviving member is as vital as ever.

Want to know how you've made an instant classic? When your album sounds like a greatest hits, even though all the music is brand new. This is the case with Kanye West's magnum opus, "My Beautiful Dark Twisted Fantasy." From the immense and electric "All of the Lights" to more self-referential odes like "POWER," this album is the work of a madman genius, and it changes the game with each track. This isn't Kanye finding out who he is or who he wants to be. Rather this is the artist in his greatest form, lording over audiences like the mad king of hip-hop he absolutely is.

The best album of 2011, "The Greatest Story Never Told," is a coming-out party for Saigon, expertly produced by Just Blaze, and carries with it all the tools that comes with creating an instant classic. Saigon is a serious man who knows exactly where he wants to go in each track, and he does it amazingly well, whether by himself or bouncing off a number of cameos throughout the album's 17 cuts. A veteran in the game with a dozen mixtapes under his belt before this debut, its a shame that someone comes out of the gate so strong just to disappear altogether within a couple of years.

2012 doesn't just include "good kid, m.A.A.d city" as the best album of the year, but it also presents Kendrick Lamar as THE artist of his generation, a modern-day super MC and a generational once-in-a-lifetime MC who has plenty to say and a creative streak that makes every track worth your time. For Lamar, it's not enough to just deliver rhymes and beats. He also wants to paint a picture, and he does it with aplomb. From "The Art of Peer Pressure" with its g-funk stylings, to the mindblowing 12-minute "Sing About Me, I'm Dying of Thirst," Lamar plants his flag as a "new god of hip-hop."

When rappers El-P and Killer Mike united to form crossover act Run the Jewels in 2013, they were both coming off successful solo careers, which understandably gives their pairing a level of comfortability and ease because the MCs approach "Run the Jewels" from an almost professorial standpoint. That's not to say that the album doesn't move the needle, because it does in a way that no other album was able to accomplish in 2013. There's a genuine looseness in the album's 33 minutes, reminiscent of a mixtape passed between friends. But its the fun and frenetic nature makes it worth multiple listens.

While the original release from Run the Jewels feels like a familiar yet welcome mixtape, this sequel is all about business, and you can believe it comes for scalps from the first track. El-P and Killer Mike sound like a well-oiled machine here, and they take no shorts as an expertly crafted tag team who seem to want to one-up each other while still sounding like a unit. At this point in their careers, El-P and Mike are looking at 40 and as such deliver their rhymes in a no-nonsense fashion that respects the art form every bit as much as they wish to guide it.

The second studio album from Kendrick Lamar is every bit as intense and special as his debut, "good kid, m.A.A.d city," replete with structured tales of excess and regret, with Lamar painting lyrical images of his subjects more indelible than anything you'd see on screen. In a way, Lamar is directing vignettes more than just making music designed to move a crowd. "To Pimp a Butterfly" unfolds like a film and offers sonic images that position Lamar as the best storyteller hip-has to offer today.

For years, the sixth album from hip-hop legends A Tribe Called Quest always felt like a bit of folklore — a mythical animal that we were always told would come but never even saw tracks on the ground. With the death of Phife Dawg earlier in 2016, it seemed like this white whale of an album would never materialize, but it did. The final effort from ATCQ is not elegiac in any way, but rather a walk-off home run — a denouement from a group that more than earned its place in the hip-hop pantheon. 

There's a reason why each of Kendrick Lamar's albums made our list, and "DAMN." is no exception. There's a flawless quality, a razor sharp precision to Lamar's music, and in "DAMN." he goes for broke and comes away with house money. On tracks like "PRIDE.," "FEAR." and "DUCKWORTH.," Lamar delivers a white-hot intensity that feels like a gauntlet has been laid down. As a whole, "DAMN." plays out like a victory lap, the third in a trilogy that ends with the birth of a legend, even if he's been one from the start.

The sole female artist on our list, Chicago's Noname, delivers a classic album that easily earns its place on our list. "Room 25" delivers a perfect pastiche of jazz and neo-soul, all in service of Noname's butter-smooth lyrics. As an album the production is tight but never once feels mechanical or contrived. There is a unique self-awareness in Noname's verses, evoking an emotional honesty that seems like the antithesis to the standard braggadocio commonplace with male MCs, making "Room 25" the top of the class in 2018.

The sixth album from Tyler the Creator may be recently released, but so far it's shaping up to be the best hip-hop album of the year, behind rousing tracks like "Igor's Theme" and "New Magic Wand." The album is emotional and yet measured. At this point in Tyler's career, he knows exactly who he is as an artist and is extremely content in taking listeners on a stream-of-consciousness journey that is a marvel to listen to and only propels hip-hop forward.