The 50 Best Albums of 2021

2021: Better than 2020, at least.

Somebody put that on a T-shirt.

Seriously, while we weren’t inundated with weekly disaster movie crises this time around, 2021 was still no picnic. Mutating viruses, social injustice, Nicki Minaj and her cousin from Trinidad, whew playa, it was a lot.

And as we always do, we turned to music for our escape.

If your only window into the world of music is what mainstream playlists and Twitter trending topics feed you, 2021 would be one of the worst music years in recent memory. The biggest mainstream releases severely underwhelmed (and even the decent ones weren’t nearly as good as the hype claimed). So instead, I had to dig a little deeper, and what I found was some really, really great albums.

I’m specifically proud of the world of R&B. A few years ago, I decided to combine my year-end lists into one massive post instead of having separate “best rap” and “best R&B” lists. That’s mainly because there were often so few strong R&B releases when compared to hip-hop. For the first time I can remember in a good while, R&B and rap evenly split the top 10, proving that the genre is trending upward, even without massive mainstream success.

So, it’s finally time.

This year I listened to 159 albums and EPs.

Below are the best hip-hop, R&B and pop voices to bless my playlists. I’m sure many of the names here will be surprising or even unfamiliar to you. Trust me, they’re worth checking out.

2021 wasn’t a total disaster this time around. These 50 albums were the soundtrack for better days.

Honorable mentions:

Kevin Ross, Drive 2

JMSN, Heals Me

Currensy & Harry Fraud, Regatta

Blu, Mickey Factz & Nottz, The Narrative

Mia Ariannaa, I’m a Good Girl … Do You Believe Me?

Kota the Friend & Statik Selektah, To Kill a Sunrise

Lion Babe, Rainbow Child

Leela James, See Me

Jazmine Sullivan, Heaux Tales

IDK, USEE4YOURSELF

Charlotte Day Wilson, Alpha

Shantel May, Don’t Let Them See You Cry

Bradd Marquis, Love

Sevyn Streeter, Drunken Wordz Sober Thoughtz

Doja Cat, Planet Her

50. Ruff Endz, Rebirth

Yes, Ruff Endz is on a 2021 best-of list. Life is wild. Of course, that’s no shot at the quality David Chance and Dante Jordan have brought to the game for the past 20 years, but besides their fame in the early ’00s they’ve mostly eluded the spotlight. Rebirth is yet another sleeper in their catalog, a warm, soulful slice of R&B that’s increasingly becoming a rarity on today’s playlists. The homies from Baltimore haven’t lost a step and in an era where authentic R&B is becoming harder to find than your missing Airpods, they deserve your ears.

49. Westside Gunn, Hitler Wears Hermes 8: Side B

2021 has been the year of Griselda, with its members and even their associates invading this year’s Top 50 albums list like the NWO in 1996. While the Hitler Wears Hermes Part 1 was decent but largely forgettable, the sequel elevates everything – stronger production, more notable guest stars, and a renewed focus from Griselda’s most eccentric star. It definitely feels like a content dump at times but hey, when the content is this good I’m willing to make exceptions.

48. Skyzoo, All the Brilliant Things

It’s pretty amazing, and quite frustrating, that an artist with a 15-year career and loads of excellent albums still isn’t a recognizable name. But what Skyzoo lacks in props, he more than makes up for it with an unflappable consistency. All the Brilliant Things isn’t back-to-back BANGERZ, it’s a jazzy, thoughtful release that highlights Sky’s impeccable flow. Seriously, while his peers sound like they’re reading their bars from the Notes app on their phone, his effortless delivery elevates every track. This guy, and this album, is too good to be ignored.

47. JoJo, Trying Not to Think About It

JoJo’s 2020 release Good to Know was one of the most pleasant surprises of a dire year, so it’s great to see her keep the momentum rolling with this brief but cohesive EP. Though it might not be an official LP, it feels every bit like a full-length album.  JoJo bares her soul on this one, exploring her struggles with depression and anxiety in an intimate, yet honest settling. Despite the heavy topics, the atmosphere never feels overwhelming or preachy. Her vulnerability makes it all the more relatable. It’s probably not the release JoJo fans would expect, but it’s an important one – for both her artistry and her healing.

46. RJ Payne, Leatherface 3

If you’ve been missing aggression in your hip-hop, look no further than RJ Payne. Approaching every track like it’s the last time he’ll ever step in the booth, RJ’s ferocity is something to behold, and it never. lets. up. NEVER. As you’d expect from an album named after the Texas Chainsaw Massacre, RJ and an array of guests run roughshod over the haunting production – each trying to outdo the last. He’s the last of a dying rap breed, and I’m sure his fury will likely turn off more radio-friendly ears. For the rest of us, we’re just here to witness the mayhem.

45. Rod Wave, SoulFly

I mentioned this in the Soul In Stereo Cypher on Facebook recently and I stand by it – Rod Wave does everything today’s underachieving rappers attempt to do but 10,000 times better. Rod Wave easily surpasses the current trap drum tropes by lacing his production with well-written, introspective bars and solidly sung hooks. No lazy, repetitive verses and ear-splitting autotuned vocals here – it’s melodic rap done right. There’s still room to grow – especially in terms of more diverse production – but the potential for superstardom is clear.

44. India Shawn, Before We Go

When it comes to India Shawn, if you know, you know. She spent most of 2020 peppering the game with notable singles. She’s a protégé of producer D’Mile, R&B’s MVP for the last couple of years. And her music even landed a notable placement on the current season of HBO’s Insecure. Before We Go is a reflection of her potential – a brief but timely EP that swings from playful upbeat numbers to more melancholy soul. With a strong pen and impeccable production from D’Mile behind the boards, Before We Go is just a sample of the stardom that’s yet to come. But, if you’ve been paying attention, you already knew that.

43. Alessia Cara, In the Meantime

Of all the albums here, this one probably surprised me the most. Before In the Meantime, I mainly knew of Alessia Cara through random collabos and her previous pop success. She was cool, I guess, but not really my vibe. What I didn’t expect on her third album was the grounded maturity she showcases throughout the set – trust me, her peers need to take notes. As willing to place the blame as she is ready to accept it herself, Cara’s emotional look at broken relationships works very well, thanks in part to well-structured harmonies and solid writing. In the Meantime is a thoughtful, moving effort that proves that breakup records still can have depth. All it takes is a little talent.

42. Dave East & Harry Fraud, Hoffa

I’m a big fan of Dave East but, honestly, I haven’t always been a big fan of his releases, which tend to be a little on the uneven side. That’s why Harry Fraud gets major props for Hoffa, providing Dave with the focus and consistency that some of his other projects lacked. Fraud’s production is a perfect fit for Dave’s trademark crime sprees and introspective cuts. East sounds like he’s regained his hunger on this one, and Harry Fraud definitely should be in the convo for one of the year’s standout producers.

41. Conway the Machine & Big Ghost Ltd., If It Bleeds It Can Be Killed

If you had to break down the three-headed cerberus that is Griselda, Benny the Butcher has the star appeal, Westside Gunn is the eccentric head-turner but Conway the Machine is the backbone – no frills, all bars. It’s why his union with blogger turned beatmaker Big Ghost (y’all think *I* go too hard on Drake n’ dem? I miss Big Ghost’s venom) is such a perfect match. Galaxy Knuckles crafts haunting tracks straight out of The Conjuring while Conway quite effortlessly batters his opposition into submission. The beauty of If It Bleeds It Can Be Killed is in its simplicity – a brief but potent release that keeps the Griselda juggernaut moving.

40. Robin Thicke, On Earth and In Heaven

Read our review here

If you know Robin Thicke, you know the story: The tabloid drama, lawsuits, family tragedy, and more way too depressing to mention. But you don’t hear enough about the positives – including a new marriage and three new children. His latest release, his first in seven years, marks the rebuilding of both his life and his career. On Earth and in Heaven has Thicke at his most focused and confident in years, belting out breezy R&B that touches on love, family and healing a broken world. From song quality to sequencing to an overarching theme, this may be his Thicke’s most consistent album to date – the redemption story he’s long needed.

39. VanJess, Homegrown

Add VanJess to the list of Quiet R&B MVPs, the artists who may fly under the mainstream radar but consistently lace hungry fans with the sustenance they so often lack. Their latest EP Homegrown doesn’t offer many surprises – it’s more of the same but, with VanJess, that’s welcome news. There are the usual flashes of nostalgia, groovy upbeat cuts and a few glimpses of funk and electronica. It’s R&B that will appeal across generations. Homegrown is a pretty abbreviated release but enough to tide us over until we get that long-awaited next LP.

38. Mac Ayres, Magic 8ball

The very definition of “a vibe,” Mac Ayres’ Magic 8ball is made for Grown Folks’ Functions now that the world is opening back up from COVIDpocalypse. A blend of lo-fi production and classic crooning, Magic 8ball avoids the trappings of “background music” by injecting energy with several upbeat cuts – enough to raise the tempo but not distract from the mood. Mac Ayres’ star was rising right before the world was hit with planetary lockdown. Hopefully, Magic 8ball gets the party restarted.

37. Bobby Sessions, Manifest

Texas MC Bobby Sessions deserved this spot. From sleeping having to sleep in his car before hitting it big to landing a Grammy for co-writing Megan thee Stallion and Beyonce’s “Savage Remix,” his road to redemption has been inspiring. You can feel that energy on his official debut Manifest, an ode to his humble beginnings and an emphasis on never giving up on the grind. Though the inspirational theme never wavers, trust, this one isn’t preachy. He’s in his element flexing his gold Rolex alongside Benny the Butcher and Freddie Gibbs or spitting game to a lovely lady. “Be free, you ghetto child,” he says to listeners, and himself, on “Dream More Doubt Less.” Freedom looks good on him.

36. Rochelle Jordan, Play with the Changes

Read our review here

Everyone loves a comeback story. Ten years ago, Rochelle Jordan seemed to be next up as one of those most prominent faces of the early alt-R&B movement. Ill-timed label woes and health issues took their toll, causing her to drift from the spotlight and see most of the decade pass her by. Play with the Changes could be redemption. Once again bucking R&B conventions (but not totally falling into the trap trappings), Rochelle creates a rave-like atmosphere that swings from vibey electronic sounds to slightly more traditional soul. And she has lots to say too, crafting messages that shatter the impenetrable “strong Black woman” stereotype and seek to protect Black men in a world that sees them as moving targets. Play with the Changes is all about innovation, and we’re here for it.

35. Benny the Butcher & 38 Spesh, Trust the Sopranos

Remember those old DJ Clue albums from the late 90s/early 2000s? Trust the Sopranos, a collab from the ever-grinding Benny the Butcher and partner-in-crime 38 Spesh, revives those feelings in all the best ways. While Benny unquestionably is the star here, 38 Spesh – along with a whole rogue’s gallery of guest spitters – fill in the gaps over upbeat soulful cuts and hard-hitting boom bap. Admittedly, there’s a glaring lack of cohesion throughout the set but that kinda adds to the throwback mixtape feel of the project. Trust the Sopranos is by no means a gamechanger but it’s a fun set filled with random teamups and several memorable cuts.

34. Lucky Daye, Table for Two

Repeat after me: Lucky Daye don’t miss. Table for Two is a short but very sweet collection of duets with an array of R&B stars, each of them feeling very different but Lucky finds unique chemistry in each new setting. From going to war with accusations of infidelity with Yebba to dreaming of rendezvous with Queen Naija, each paring tells a unique story and presents a different side of Lucky Daye, both creatively and artistically. The concept is simple but the results are stellar. It shouldn’t be a surprise, though – Lucky Daye don’t miss.

33. Durand Jones and The Indications, Private Space

One of my boys in the Soul In Stereo Cypher called the new album from Durand Jones and The Indications “Silk Sonic: The Prelude” and that’s a pretty apt description. The five-member ensemble is as progressive as they are a tribute to an era we still cherish. Their brand of energetic funk and harmonious soul make for a great time, and they wisely dash in elements of hip-hop and pop to keep the party moving. Sure, it might feel a little too retro for some modern tastes but these guys know their audience and they’re more than happy to give the people what they want.

32. Ransom & Rome Streetz, Coup de Grace

Is it bars you want? With Ransom and Rome Streetz, it’s bars you shall receive, playa. This short but sweet effort is exactly what you’d expect – two elite lyricists trying to outspit each other on every song. That hunger is a beautiful thing to witness. Though their voices are distinctly different, the chemistry is strong and the goal is the same – tear the track apart. Filled with strong beats and incredible quotables (“sonically I’m likе Socrates on the crowded street”) this album is as hip-hop as it gets.

31. Joell Ortiz, Autograph

I hate that Joell Ortiz’s career has been full of such starts and stops. I remember him getting serious buzz in the mid-00s but never taking off like he should have. Then, when Slaughterhouse turned heads years later he finally seemed destined to blow for real … but the group eventually disbanded. Undeterred, Joell did what he’s always has done – hop back in the booth and spit fire. The Autograph doesn’t really break new ground, it’s Joell once again bearing his soul on wax. But it’s his layered wordplay and unflinching delivery that’s made him one of my personal favorites in the past 20 years. Great production from Apollo Brown and the Heatmakerz, great storytelling and that breathless flow, Joell does what he’s always has done – make dope albums.

30. Joyce Wrice, Overgrown

Read our review here

For like two decades, my generation of R&B fans have been screaming, “we want that old thing back – give us that 90s sound.” Amazingly (and depressingly), we’ve now aged to the point where the generation AFTER us are saying, “we want that old thing back – give us that 2000s sound.” Good news for the 106 & Park kids, Joyce Wrice is your savior. Clearly inspired by the stylings of mid-00s hitmakers, Overgrown feels like a revival, a burst of energy in a genre that had so often felt stagnant in recent years. Overgrown is R&B’s most promising debut this year so far, instantly making Joyce a star

29. Maxo Kream, Weight of the World

Props to Maxo Kream, as he’s an artist who seems determined to top himself with every new outing. Weight of the World – equal parts emotionally raw and sentimentally tender – is probably his best work to date. It’s easy to get caught off guard by his songs. On the surface, the aggressive Texas bounce and choppy, sometimes sing-songy flow, that is the template for most hits these days. But listen more deeply and you’ll be drawn into this world, one where his aunt was swapping tags on jeans in clothing stores or where he wrestles with drug abuse. He’s not afraid to diversify his sound either, with boom bap, soul samples and trap drums serving as soundscapes. Though he often hides it under bravado, Maxo has a lot of heart, and that makes this record special.

28. BROCKHAMPTON, Roadrunner: New Light, New Machine

I’ve always liked Brockhampton, but I never quite loved them as much as other corners of the Internet. The eclectic band certainly had highs on their Saturation series but inconsistency was often their downfall. Roadrunner is where it all comes together, by far their most consistent and focused release to date. Paring down their lengthy verses and more experimental outings have worked wonders, resulting in a blend of hip-hop and pop that never wears out its welcome and showcases the talents of all its many members. The diverse guest list works better than you’d expect too, ranging from Uncle Charlie Wilson to JPEGMafia. It’s an often thoughtful but always fun release from a group that seemingly has finally found themselves.

27. Pharohe Monch & Th1rt3en, A Magnificent Day for an Exorcism

Full disclosure – this one ain’t for everybody. Queens rap kingpin Pharoahe Monch teams with drummer Daru Jones and guitarist Marcus Machado to form the band Th1rt3en, creating a rap-rock hybrid that sounds like an odd mix on paper. And honestly, it IS an odd mix on first listen. But that’s why I don’t rely on ‘one listen’ album reviews – with each repeat listen, my ears got more adjusted to the raucous rock sounds and tuned into Monch’s incredible storytelling. What shouldn’t work eventually does, with Monch’s unparalleled lyricism and insight driving everything home. It’s a risky but rewarding experiment.

26. Big Boi & Sleepy Brown, Big Sleepover

These brothers made it onto this list at the 11^th hour, literally as I was putting the final touches on this post. Trust me, it was worth holding off for a few to recognize such a fun record (and sorry to Kevin Ross for getting bumped to Honorable Mention land. It beez like that sometimes). Big Sleepover shines because in an era where “fun music” is boiled down to dumb TikTok tracks and brain-dead debauchery, it’s refreshing to hear two industry vets having the time of their lives. Big Boi’s energy is infectious as ever – as is the potency of his bars – and Mr. Brown has long been one of the most underrated hook men in rap history. While nothing here will touch their classic tracks, their musings on life, love and politics are as relevant as ever. Don’t, um, sleep on it.

25. Yebba, Dawn

While my timeline continues to bicker over whether Yebba should be classified as an R&B artist or not – because there aren’t ENOUGH things to argue about on Twitter – I’m too busy getting lost in her sound. No matter the label, Yebba’s voice is one of the more impressive ones I’ve heard in recent memory. Whether over guitar licks or slightly more aggressive sounds, she never wavers, sounding angelic over pretty much anything. Soothing vocals and gentle songwriting make this one of the year’s best debuts. Call it whatever you want, just make sure you call it dope.

24. Gallant, Neptune

When you think of Gallant, think of growth. Ology, his underrated but stellar 2016 release, seemed to set him on the path to greatness. While it raised his profile, his follow-up, Sweet Insomnia, failed to reach the high bar set by its predecessor. Neptune puts things right back on track, an ethereal experience that avoids the boring ‘vibey’ pitfalls of its contemporaries by maintaining a strong narrative through each track. The EP plays out as a love affair gone awry, with each track featuring Gallant wrestling with his emotions. Neptune is artistic redemption for Gallant, solidifying his reputation as one of R&B’s most eclectic minds.

23. Conway the Machine, La Maquina

Read our review here

Last year I called Griselda the MVPs of 2020, and that label has proven to be even MORE true in 2021. Due to the pandemic crippling music releases across the board, Griselda has made the most of the scant real estate, throwing the industry on its back to dominate the barren landscape. Conway’s From King to a God LP was a top 5 album last year and, before its follow-up God Don’t Make Mistakes drops later this year, he drops ANOTHER contender. The man doesn’t sleep. From King to a God may have aimed for a more universal appeal at times but La Maquina is pure, uncut Conway – the gritty realness you’ve come to expect from Griselda’s secret weapon. Conway menaces his way through every track. Even with surprising guests like Ludacris and JID at his side, the mood never changes, resulting in an air-tight release. Griselda isn’t just flooding the block, they’re an absolute tsunami right now. Conway might be the most reliable cog in that machine.

22. AZ, Doe or Die 2

Read our review here

Sequel albums feel like trying to cop those new Jordans through an app – you might luck out with a miracle or just end up with soul-crushing disappointment. No middle ground. Thankfully, AZ’s long-delayed sequel to his criminally underrated five-star debut is the former. Maybe that’s because Doe or Die 2 doesn’t feel that much like a direct sequel to the landmark debut. It instead feels like a modern-day affirmation of AZ’s boundless talent. The production is rock solid and AZ’s flow hasn’t aged a day, effortlessly breezing past his contemporaries.

21. Ransom & Big Ghost Ltd., Heavy is the Head

When you’re as talented in the booth as Ransom, all you really need is a producer who can lay the groundwork for the oncoming slaughter. Big Ghost is the man for the job. Jersey City’s Ransom is a no-frills spitter, an MC’s MC, and Big Ghost’s epic score sounds straight out of Camelot. The result is hip-hop Game of Thrones, with Ransom grabbing his blade and beheading all challengers. Ransom’s take-no-prisoners approach is refreshing in an era of style over substances. The bars aren’t pretty but they pack a mean punch. Though the outing is relatively brief, the pair show incredible chemistry. Ransom makes his intentions clear – he’s coming for the crown.

20. DMX, Exodus

Read our review here

I can honestly say this as one of the biggest DMX fans you’ll ever meet (I even have artwork of him hanging in my office): I love DMX; I didn’t love most DMX albums. As great as he was at making iconic hits, his overall projects (outside of the first two) were jarringly inconsistent at times. In my eyes, Exodus, X’s final work before his untimely death, is one of his most cohesive projects to date. What it lacks in blockbuster singles it shines with a more cohesive narrative of an outlaw gunslinger finding one last shot at glory. X regains his hunger alongside fellow veterans like Nas and Jay Z, breaks bread with the next generation of spitters like Griselda, and, heartbreakingly, makes amends with his fractured family on the album’s closing tracks. Sure, it doesn’t measure up to his late-90s peak, but as a final farewell to his fans and family, Exodus does the dog’s legacy proud.

19. Boldy James & The Alchemist, Bo Jackson

I get that Boldy can be an acquired taste, mostly thanks to his methodical flow. But with Alchemist behind the boards, there’s no need to fear. The duo has incredible chemistry, and that continues to be evident here, Boldy’s best record to date. Boldy’s top-notch storytelling is taken to new levels thanks to Alchemist’s willingness to experiment with production. It’s not the constant boom-bap showcase you might expect – Alcehmist’s beat selection keeps your ear guessing while Boldy hooks you with every intricate tale he weaves. If you haven’t gotten the Boldy hype yet, this is the album that likely will hook you for good.

18. Vince Staples, Vince Staples

Vince’s self-titled surprise album is minimalistic in all the best ways. Ten tracks. Twenty-minute runtime. Reserved yet impactful production from Kenny Beats. And, of course, visceral bars from the master of ceremonies himself. Most tracks are barely two and half minutes, but work much better in the context of the album than as loosies. Together, they make a fun blend of off-beat shenanigans and blunt realism. It might not be the overall crowd-pleaser that his last album FM was, but you can’t deny Vince’s artistry.

17. Jam & Lewis, Volume One

It feels weird that after a career that’s spanned four decades, we’re only just now getting the debut release from the incomparable Jimmy Jam and Terry Lewis. Not surprisingly, this one doesn’t disappoint. The duo has worked with nearly every major R&B act during their tenure and Jam & Lewis: Volume One is a reflection of that. This is a treasure trove for R&B nerds, featuring previously unreleased tracks from Usher, Mariah Carey, Boyz II Men, Toni Braxton and more. And these are no mere throwaways – these could have easily been hits in any era. It’s confirmation that Jam & Lewis’ sound is timeless and their contributions to R&B are matchless.

16. After 7, Unfinished Business

After 7 quietly has amassed one of the most underrated discographies of their generation. Their 2016 release Timeless was a magnificent return to form and here, following the passing of founding member Melvin Edmonds and departure of his son Jason, the magic still remains. In an era where R&B is in dire need of a heart transplant, After 7 brings tenderness and sensitivity back to a genre riddled with songs that read like bitter text messages. Great songwriting and sincere performances carry this set, making it yet another winning edition of their catalog. After 7 has endured lots of challenges in recent years but Unfinished Business proves they’re still standing.

15. D Smoke, War & Wonders

Last year’s Black Habits album was one of the greatest (and most overlooked) surprises of 2020. One year later and D Smoke hasn’t lost his underdog hunger. D Smoke’s specialty is painting portraits of Black life, so it’s no surprise that War & Wonders is essentially a love letter to Inglewood. Guest stars like Marsha Ambrosius, John Legend, Sir and Westside Boogie add a lot to the proceedings but it’s D Smoke himself who is the glue that holds it all together. Lessons about home, love and survival abound, but it’s D Smoke’s confident, effortless delivery and willingness to diversity his sound and delivery that makes this a treat. It’s another win from the best rapper y’all never celebrate.

14. Adele, 30

By the time this posts, I expect 30 to be the biggest record of the year. But it’s not just Internet hype this time – 30 is a breakup record for the ages. As mentioned several times throughout this list, breakup records aren’t new – in fact, heartache has been the foundation for some of music’s greatest hits. What sets 30 apart is how it expertly deconstructs every facet of a failed relationship. It’s not just yelling about infidelity and wishing death on your ex.  Adele analyzes how her career, her child and her love life are all affected, while looking to self to pick up the pieces. It’s all shaped by a strong array of production that ranges from pop soul to jazz to GASP, even R&B (can’t wait till R&B Twitter jumps on me for that revelation). We don’t get to say it often around here but 30 is one of the few types where the product matches the hype.

13. Mach-Hommy, Pray for Haiti

Pray for Haiti is the most non-Griselda Griselda album on this list. Mach-Hommy was once a member of the collective before falling out with Westside Gunn. Cooler heads have prevailed and Pray for Haiti serves as a reunion for the duo, with Westside serving as executive producer/guest star/random ad-lib machine as Mach spits barbs sharper than Snoop’s nail gun from The Wire. His flow is so effortless yet impactful, making every track an experience. Of all of 2021’s releases so far, Pray for Haiti might be the biggest sleeper and high on the list of rap’s album of the year contenders.

12. Cleo Sol, Mother

Songstress Cleo Sol made her name as one of the voices behind the vastly overlooked group Sault, but her second solo effort proves that she’s a force in tandem or rolling dolo. Mother is exactly what you’d expect from its namesake – a warm, soulful exploration of both motherhood and feminism. The delicate, jazzy production and Cleo’s airy delivery make this one of the most beautifully sung albums you’ll hear all year. No, there are no radio hits, no BANGERZ or club tracks – instead, it’s the type of inviting soul that seeped from your mom’s speakers during those Saturday morning cleanup sessions. This one feels like home.

11. Benny the Butcher, The Plugs I Met 2

I thought it would be pretty tough for Benny to outdo the original The Plugs I Met but his partnership with producer Harry Fraud certainly makes me question that. The first half of this short, nine-track set is among some of Benny’s best work to date, backed by some of Fraud’s best production in a long time. Benny’s confidence leaps out of the speakers – he KNOWS this is his time and revels in it. While the momentum slows slightly on the second half, Benny never loses his focus, making The Plugs I Met 2 a worthy successor to the celebrated original.

10. Little Simz, Sometimes I Might Be Introvert

Fun fact that I just learned that I’m sure some of you will Internet shame me for – the awkward album title is simply an acronym for Simbi, Simz’s real-life nickname. And before y’all “you so late” me to death, here’s my point – it’s a deeply personal title for a deeply personal album. The UK rapper’s last effort, GREY Area, proved to be a bit of a breakout for her, and with all eyes her way, she’s wasted no time in letting listeners peer into her psyche. While, as you’d expect, much of the album looks inward, Simz is only SOMETIMES introverted, remember, and has no problem being the extrovert, grooving to upbeat records or talking that talk over brash trap beats. While the uninformed continue to typecast female MCs, Simz keeps shattering perceptions, revealing a little more of herself along the way.

9. J. Cole, The Off Season

Read our review here

Being an objective – emphasis on objective – J. Cole fan is often an exercise in frustration. As his fame exploded over the course of the 2010s, it seemed like his LPs, while celebrated as modern-day classics among Twitter stans, lacked less punch each and every time. You knew Cole still had the hunger, as his features on OTHER artists’ song constantly proved, but his own projects rarely matched the hype. The Off Season is a much needed course correction, boasting the cohesion, quality production and tighter lyrics that his more recent works lacked. While Cole has no problem boasting about his successes, it’s the introspection that shines brightest. Ignore the stan accounts that try to convince you that Cole is great – it’s the passionate, fiery storytelling showcased here that proves he’s a giant among his peers.

8. Raheem DeVaughn & Apollo Brown, Lovesick

Four words: I. Told. You. So. When I heard that Raheem DeVaughn (the hardest working man in R&B) and Apollo Brown (arguably hip-hop’s most unsung producer) were uniting for this project, I smelled an R&B album of the year contender. Your boy is (almost) never wrong. Raheem’s vocals are tailor-made for Apollo’s soulful stylings, which is why Lovesick is such a perfect match. R&B’s Love King is in all his regal glory here, delivering bedroom burners and silky slow jams effortlessly. Top-tier MCs like the veteran Skyzoo, next-up Westside Boogie and underrated 3D Na’Tee are great additions too. Lovesick is a standout in Raheem’s already impressive catalog and one of 2021’s brightest highlights.

7. Snoh Aalegra, Temporary Highs in the Violet Skies

Earlier this year, the Twitter Children decided to christen Snoh Aalegra as “the new Sade.” As social media descended into the usual daily meltdown, Snoh herself spoke up, showing love for the legend while calling the comparisons unnecessary. Similarities aside, she’s right, Snoh is her own artist and Temporary Highs in the Violet Skies is a smoldering affirmation of her own legacy. Finding a mellow middle ground between its pop and hip-hop influences, Snoh’s dreamy production and jazzy tones have become the hallmark for her takes on love and life. Production from Tyler, the Creator and the Neptunes provide a slight bit of edge, keeping Snoh from edging into complacency. Yeah, I see the similarities, but make no mistake – Snoh is her own woman and this album is some of her best work.

6. Anthony Hamilton, Love is the New Black

A few months back I ranked Anthony Hamilton’s entire discography. Had I waited until this album dropped, it would be very high on the list – I’m talking No. 2 or 3. It’s mighty impressive that an artist whose career spans 25 years can surpass some of his greatest hits, but that’s just what Anthony did with Love is the New Black. Although Hamilton delivers the usual heaping helpings of sonic soul food he’s known for, this album truly excels when he takes chances. Whether it’s flexing over trap drums with Lil Jon or belting out a show-stopping duet with Jennifer Hudson, Hamilton continues to keep you guessing all while maintaining his trademark cool. It’s one of the best albums of his career, and yes, one of the best R&B offerings of the year.

5. Topaz Jones, Don’t Go Tellin’ Your Momma

Funny thing about Black families – no matter what region of the country you grow up in, there are similarities that seem universal in almost every household. It’s how you can share jokes and experiences with people you’ve just met. It makes us all feel like one big, universal family. That’s the feeling Topaz Jones’ Don’t Go Tellin Your Momma brings. It’s a peek behind the curtain of Black families and that shared familiarity resonates so strongly. The album is loaded with soul and nostalgia, serving as a coming-of-age story for Topaz, but one many of his listeners can relate to. What brings it all home is the warmth and energy that made even the toughest times fun. Don’t Go Tellin Your Momma might be the biggest surprise of 2021, bringing us closer to the normalcy we all crave.

4. The Shindellas, Hits That Stick Like Grits

Read our review here

How exactly would you describe the Shindellas to a curious R&B fan? Well, it’s almost like if 1994 Brownstone studied the stage presence of 1964 Supremes and wrapped themselves in the aura of your fave 2021 Instagram fashion influencer. Basically, they’re what the game has been missing. The Shindellas are more than just a nostalgic throwback to girl groups gone by – they’re an evolution of the foundation that R&B stood firmly on for the better part of 50 years. Their debut, Hits that Stick Like Grits, is a testament to the legacy of their influences but affirmation that their soulful sound can find an audience today.  Live instrumentation that bursts with energy. Hand claps straight outta grandma’s choir stand. Well-written lyrics that provide both strong storytelling and substance and, yes, THE RETURN OF BRIDGES. What a time. It’s unfair to call Hits that Stick Like Grits a throwback to the way R&B used to be. From the strong songwriting, the engrossing production and the impassioned vocals, this is just how R&B SHOULD be.

3. Tyler, the Creator, Call Me If You Get Lost

If you were on the scene in the 2000s, I’m pretty sure you heard DJ Drama’s minion yelling GANGSTA GRILLZ in the background of your favorite mixtape cuts. That’s why it was such an inspiring choice for Tyler to turn back the clock on Call Me If You Get Lost, giving it a throwback feel to an era when artists were destined to prove themselves. Obviously, Tyler is no rookie – six albums in, more than a decade in the game, and tons of media projects adorn his resume – but he’s well aware that some fans and critics (myself included) have often questioned his consistency over the years. Well, this album shuts us right up. With Drama as the loud-mouthed hype man, Tyler delivers his best album to date, flexing the lyrical dexterity that he’s shown glimpses of in the past but rarely to this extent. Combine that with his vastly underrated production skills and storytelling and you have by far the most dynamic project in his catalog. Mixtapes were often used for emerging artists to sell themselves to the public and potential labels. In this case, Tyler uses it to remind us who he always was – an incomparable talent.

2. Silk Sonic, An Evening with Silk Sonic

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A few months ago, fans nearly broke their Twitter fingers arguing about the alleged death of R&B. As with all these debates, it all depends on your perspective and what metrics you use to gauge success. Well, no matter the metric you use, look no further than those Silk Sonic boys. An Evening with Silk Sonic is every bit a time capsule as it is a defibrillator to jumpstart the heart of R&B. Despite the sky-high expectations for one of the most anticipated albums of the year, Bruno Mars and Anderson Paak absolutely delivered, showcasing a keen knowledge of Soul Brothers from the past but using modern-day narratives to shape the story. Essentially one long tale about chasing and falling in love, then rejecting and moving on from a girl, the duo bounce from smoky soul to disco jams to chronicle their journey. Incredible vocal performances and impressive production from the always-capable D’Mile make this the best R&B outing of the year. In fact, its only sin is wrapping up the party a little too soon. But there’s something to be said about leaving them wanting more. I’m down for the sequel.

1. Nas, King’s Disease II

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When you think about it, King’s Disease II could be one of the most important albums of Nas’ storied career. No, it could never have the industry-shaking impact of Illmatic in ’94 (still the best rap album ever recorded). It’s not the sharp sonic left turn that was It Was Written in ’96, nor is it the climatic comeback that was Stillmatic in 2001. It’s not even the shining example of hip-hop maturity that is the vastly underrated Life is Good in 2012. But now, more than any other era in the past decade, all eyes are on Nasir. King’s Disease Part 1, finally, FINALLY, helped Nas land that long-overdue Grammy win that had alluded him for nearly 30 years. Also, he found incredible chemistry with producer Hit-Boy, which helped bridge the gap between Nas’ Day One boom-bap base and younger rap fans who were brought up on a steady diet of trap and autotune. With the respect he was so long overdue, Nas had to earn it all again with King’s Disease II. Not only did he do that, he topped the original King’s Disease in every conceivable way. From production to concepts to pacing, everything flows tighter, hits harder and thinks more deeply.

Time and again, from his humble beginnings in 1994 to his affirmation of power in 2001, to stepping into maturity in 2012 and his introduction to a new generation in 2020, Nas continually has been forced to prove himself worthy of rap’s throne. Twenty-seven years and counting and that crown is still a perfect fit. It’s the best album of 2021.

What’s your pick for best album of the year? Which honorable mentions deserved to make the main list? Who was snubbed? Feel free to yell at me for excluding Jazmine Sullivan and HER’s albums below.