Country Perspective’s Top Ten Albums Mid-Way Through 2020

2020 has been a tumultuous and crazy year around the world. But throughout all the madness of this year, I’ve found this year in albums to be pretty damn amazing in terms of quality. In fact it’s already surpassed the last couple of years and 2020 is easily on pace to be at the fantastic levels of 2014-2016, which saw some of my absolute favorite albums of the 2010s released. By year’s end some really good albums won’t even crack the top ten that would easily make it in average years. From your usual suspects and new contenders to surprise releases and comebacks, my best albums of 2020 list has a little bit of everything in terms of sound and artists. So without further ado, here are Country Perspective’s Top Ten Best Albums of 2020 so far (in no particular order)…

(Click on the titles to read the full review)

Dua Lipa — Future Nostalgia

Dua Lipa delivers an absolutely fantastic album in Future Nostalgia. It has the elements I want to hear in a pop album and it comes oh so close to be an album of the year contender. Despite one slip-up, this album delivers everything else perfectly. It encapsulates disco, electro pop and dance music with the kind of aplomb and grace I would expect out of Carly Rae Jepsen, while at the same time delivering incredibly infectious hooks and vocal performances that will stick with you long after listening. This is one of the best pop albums you’ll hear in 2020.

John Moreland — LP5

LP5 is another fantastic album from John Moreland. He’s always been a great songwriter since his first album, but it’s the recognition to grow and experiment with his sound starting with his last album that’s taken him to a whole new level in my mind. Too many singer-songwriter artists think they have to stick to a stripped-down, folk-y sound for their lyrics to be taken seriously. At the same time, drum machines are dismissed as “not real instruments” used by pop stars. Well with LP5, Moreland proves both these claims to be moot.

Khruangbin — Mordechai 

While I wouldn’t put it at the level of their great, southwestern-flavored 2018 album Con Todo El Mundo, this album is another pretty damn good record from the trio. This album centers mostly around a groovy, psychedelic funk sound with tinges of disco and jam pop mixed in at times. The band also surprises by mixing in some vocals on this record and they actually work pretty well. Most importantly they don’t detract from the hypnotic sounds of the band, which will always be the focus and strength of the group. If I had to pick my favorites they would be “Time (You and I)”, “Father Bird, Mother Bird” and album closer “Shida.” The latter is probably the top song for me, as the bass line is simply flawless. And if you’re looking for a relaxing album, you will be hard-pressed to find one more chill than this one in 2020.

Ashley McBryde — Never Will

Ashley McBryde delivers exactly what I had hoped for and then beyond with Never Will. She leans heavily into her natural heartland rock sound and combines it with traditional country to create an album I will remember for a long time. The songwriting is brilliant and varied, running the gauntlet of emotions and most importantly I think Ashley McBryde delivers a flawless presentation of flawed characters. They’re never framed as likable, but real and as they are, which can be hard to get behind as a listener. But just like Sturgill Simpson’s SOUND & FURY, it can be understandable to not want to listen to music about such real and flawed characters, songs where there are no heroes even. For me though this is the music that is truly intriguing and has a lasting impact.

Tennis — Swimmer

With Swimmer, Tennis delivers an excellent album about love. It’s quickly became one of my favorite love albums. And this isn’t rash hyperbole on my end. I’m being serious when I say that this album truly delivers a heartfelt, genuine and truly touching take on true love. Love albums and love song are an absolute dime-a-dozen. They’re churned out every day. Most only focus on the surface level of love and the flip-side with heartbreak. What they don’t ever seem to focus on are the little things, the nitty gritty of relationships that aren’t easy to convey in an informative and interesting way. But that takes brilliant songwriting with equally high-quality production that aids it. Tennis delivers this.

Jason Isbell and the 400 Unit — Reunions 

While I wouldn’t put this amongst the very best of Jason Isbell’s work, it’s yet another fantastic album from the singer-songwriter and his talented band. Reunions more than anything is a testament to Isbell’s relentless pursuit of his craft and how he constantly pushes himself to do better than he’s done before (which is quite difficult considering how high he sets the bar). Of course as always there are lots of sad songs too. But it’s hard to argue anyone writes sad songs better than Isbell. Every generation has their own Dylan and Lennon. I feel it’s safe to say Isbell is that level of songwriter for this generation.

Denzel Curry & Kenny Beats — UNLOCKED

The songs themselves don’t have any big messages and are essentially bangers that focus on delivering fun bars. So many hip-hop albums are like this today and many are largely forgotten because the delivery just flat-out sucks. But Curry brings so much aggressive passion and rawness in his voice, along with his choice of diction in his delivery makes what would be an average banger into something that’s truly memorable. And this big reason is why UNLOCKED is the first great hip-hop album I’ve heard in 2020. While it doesn’t quite reach the heights of ZUU (an album I’m ashamed I omitted from my best of 2019 list), this is yet another high-quality project from Denzel Curry (and another great one from Kenny Beats too).

Carly Rae Jepsen — Dedicated Side B

Dedicated Side B is yet another pop masterpiece from Carly Rae Jepsen. I can’t believe how she just continues to blow me away with fantastic project after fantastic project. Jepsen won Country Perspective’s 2019 Album of the Year with Dedicated and she’s putting herself in the unprecedented position to win it again in 2020 to make it back-to-back. It’s simply incredible. And oh yeah she still has another album on the way.

The Weeknd — After Hours

After Hours is a phenomenal achievement by The Weeknd. This album is a rich, cinematic experience of love, losing it, fighting to regain it and ultimately reaching the realistic conclusion of realizing that it’s lost. The production team absolutely nails every emotion on this album and takes the lyricism to a whole new level. The juxtaposition of the breezy, mixed cocktail of genres (R&B, pop, hip-hop, dream pop, 80s) feels perfect on this album of frenetic, dark emotions that permeate throughout it. This is without a doubt an album of the year contender.

Tame Impala — The Slow Rush

The Slow Rush is another great album from Tame Impala without a doubt. But it’s also hard not to see this album is a few missteps away from equaling the brilliance of Currents. It lacks focus in a few spots and there’s one song that just isn’t needed. But this is also a bit nitpicking admittedly. The production from Parker is once again deeply rich and textured, engulfing you with it’s fantastic details. And the songwriting mostly hits. So ultimately I can say this is one of the best albums you’ll hear in 2020.

Honorable Mentions (just missed the top ten)

The Endless Music Odyssey, Vol. 3 — Freddie Gibbs, Eric Church, Khruangbin & More!

Hey y’all! There are several albums I’ve been wanting to talk about since taking my break, so no fancy introduction is needed. Let’s talk about some albums….

Freddie Gibbs & The AlchemistAlfredo

Freddie Gibbs and The Alchemist both solidify themselves as two of the most consistent artists in hip-hop with Alfredo. Gibbs’ rapping and flow are flawless while The Alchemist’s beats are smooth and his sampling is completely on point throughout. Opener “1985” may be the best opening song to an album I’ve heard in 2020, as the blaring guitar and Gibbs’ relentless attack approach to the lyrics makes me want to hit play over and over again. The lyricism is what you come to expect from Gibbs, which is not a knock at all, as he raps about cocaine, the dark sides of the street and mixes in his trademark dark humor. He also has more social commentary, as on “Scottie Beam” he ominously raps his execution may be televised, highlighting the systemic racism in the country. All the features on this album fit well, especially Rick Ross and Benny The Butcher (I definitely want to hear Gibbs and Butcher together again). This is a pretty great project and for many artists this would be amongst their best, but Gibbs sets the bar pretty damn high with previous projects like Piñata and Bandana. So I guess you could call this 9/10 album slightly down for Gibbs as hilarious as this is to type. But seriously don’t sleep on this album, as it’s one of the best you’ll hear out of hip hop in 2020. Light 9/10

Run The JewelsRTJ4

Unfortunately this album just flat out bored me and I just lose more interest in it as I delve deeper into it. It certainly has nothing to do with the messages, as they’re timely, important and should be heard. But every other aspect of this project feels like I’ve heard it before from the duo and it was better. While I rated Run the Jewels 3 quite highly, admittedly it didn’t hold up as well as time has passed. I thought it was due to the runtime. But now after listening to RTJ4, the issue is clearer. The delivery, approach and style of the lyrics have simply waned for Killer Mike and El-P. On Run the Jewels 3 they covered over a lot of this because it wasn’t as prevalent like it is on this album and quite frankly the beats were much more interesting and varied on Run the Jewels 3 (there’s not a single beat on this album that comes as close to being as interesting or cool as “Panther Like a Panther”). 

Not to mention the idea well feels empty on this album. Nothing feels new, it all feels the same and maybe that’s the point on how injustice in this country never changes, which is the reoccurring message of this album. But I feel like this album is all about great messages and the songs themselves are an afterthought. As I’ve continually said, great messages won’t be heard if the songs themselves aren’t interesting or good. Run the Jewels 3 managed to deliver timely messages behind great music. And this album seems to forget the latter. That’s largely the conclusion I come away from with this album: the music just isn’t as interesting like the previous three records. Light 5/10

Diplo/Thomas WesleyChapter 1: Snake Oil

I’ve talked about before how electronic and country will eventually be fused together more and how it will become a more prevalent sub genre (for better or worse). So I was actually quite excited to hear that famous electronic producer Diplo would be trying his hand at a country album. The ultimate result? Very hit and miss for me. What works: “Heartless” with Morgan Wallen is surprisingly something I’ve come to enjoy. The delivery of Wallen gives the song an infectious urgency and the drum machines are actually utilized in a way that makes the song enjoyably catchy (so many from the pop genre completely bastardize drum machines and make them a torturous ear worm). The unlikely team up of Thomas Rhett and Young Thug on “Dance with Me” is fun, although I would have liked to have heard more from Young Thug. “On Me” may be my favorite though, as Noah Cyrus delivers a memorable vocal performance. “So Long” and “Heartbreak” are solid tracks too.

What doesn’t work: The Jonas Brothers are good pop artists but don’t belong anywhere near a country record and “Lonely” doesn’t feel country in the slightest. “Do Si Do” has a good idea on paper but it’s bone dry and boring. Julia Michaels continues to prove she’s one of the most boring artists in music today with her appearances (her voice is the music equivalent of paint drying). “Hometown” is your standard generic, mediocre pop country that I’m not shocked Zac Brown signed on to take part in (it would fit nicely on his garbage solo album). And the inclusion of Diplo’s remix of “Old Town Road” is well…Diplo says it best in his interview with Apple Music: “We just added this on because it was on Columbia.” Hey, at least he’s honest! And I appreciate that he admits this album is a bit incoherent (because it definitely is). So while this is by no means a great album, it shows flashes of potential and makes me want to hear what he has in store for the next album. Light 5/10

Gone WestCanyons

You know I had some hope for this group to be a fresh sound in the mainstream realm. Instead I’m not entirely convinced this isn’t Gloriana but they somehow added former pop star Colbie Cailat as the new front-woman. This is just dull, generic pop country album in a sea full of so many albums that already sound like this. Don’t bother with this/10

Jimmy BuffettLife On The Flip Side

Well I’m not sure what I expected listening to this. It’s a Jimmy Buffett album. If you want light beach music this is it. I imagine this is best enjoyed while drinking a few on the beach. It’s five o’clock somewhere/10

Gabby BarrettGoldmine

While lead single “I Hope” is an enjoyable revenge ballad in the same vein as Carrie Underwood’s “Before He Cheats,” the rest of this album is unfortunately your average pop country mediocrity. Barrett really doesn’t establish a unique sound or identity with this album and instead teeters between bad Underwood impersonation and radio bait. Solid 3/10

Blackberry SmokeLive From Capricorn Sound Studios EP

As always an enjoyable listen from one of the best rock bands in music today. Although I will admit I hoped to enjoy this more. While I enjoy the guest vocals of Jimmy Hall, I would have liked to have heard more from Charlie Starr on lead vocals. But it’s a minor nitpick on an otherwise pretty good EP. Light 8/10

Hill CountrySelf-titled

I’ve seen a lot of buzz about this album and Luke Combs even gave this group a shoutout. So I had to check this out even though I found Zane Williams’ solo output to be hit and miss in the past. Ultimately this is a country album that does nothing spectacularly but it does nothing wrong either. It’s an enjoyable mixture of country, roots rock and bluegrass that has something for all types of country listeners. It’s breezy and accessible music that represents a solid start for this new group. 7/10

Khruangbin Mordechai

I find it difficult to get into instrumental music most of the time and even harder to review it. But Khruangbin is easily an exception to this rule. I had never heard of this group until their excellent collaborative Texas Sun EP with Leon Bridges earlier this year. I’m so glad I found them, as I’ve now listened to their entire catalog after hearing the EP. Even better that they’ve dropped even more music with new album Mordechai. While I wouldn’t put it at the level of their great, southwestern-flavored 2018 album Con Todo El Mundo, this album is another pretty damn good record from the trio. This album centers mostly around a groovy, psychedelic funk sound with tinges of disco and jam pop mixed in at times. The band also surprises by mixing in some vocals on this record and they actually work pretty well. Most importantly they don’t detract from the hypnotic sounds of the band, which will always be the focus and strength of the group. If I had to pick my favorites they would be “Time (You and I)”, “Father Bird, Mother Bird” and album closer “Shida.” The latter is probably the top song for me, as the bass line is simply flawless. And if you’re looking for a relaxing album, you will be hard-pressed to find one more chill than this one in 2020. Solid 9/10

Eric Church — “Stick That in Your Country Song”

Finally I have to of course comment on the lead single for Eric Church’s upcoming new album, “Stick That in Your Country Song.” Without a doubt Church has been one of the best artists in country music for the last several years, as both Mr. Misunderstood and Desperate Man were fantastic albums. So he easily has the clout and respect to drop a song that’s basically calling out lazy songwriting and pandering bullshit being released by all kinds of artists in the industry. Church has been a bit more understated and introspective on his last two albums, so he was due to bring back the fiery, passionate side. 

The results are pretty good, as Church brings an infectious energy in all aspects. The lyrics are as subtle as a hammer to the head and get the point across pretty well, while also bringing attention to what needs to be heard more in country songs. It’s interesting how Church did not have a hand in writing this song, as this is not only a rarity for him, but this song also fits him perfectly. While I’m not fond of country songs that focus on if something is country or not these days, this song is not really about being country, but rather demanding more from his fellow artists. And he’s absolutely right to call them out for this. Once again I’m excited for another Church album!

Country Perspective’s Top 10 Albums of 2019

Back in the day, Country Perspective would spend around a month doing end of the year posts, recognizing the best and worst across several categories. While it was fun in a way, it was also quite tiring. And I imagine it had to be quite tiring for the reader too. After all I imagine you read several other music blogs and year-end posts. Speaking also as a reader of many blogs, it gets old after reading so many of these posts when really these things have two major points: 1) Giving proper recognition to the absolute best in music and 2) Giving you the listener a potential new album/artist to listen to. Plus, it’s fun to compare lists.

So with my lack of interest in doing so many year end posts and this blog having it’s major focus on albums, this is going to be the only best of 2019 post, the best albums of the year. It was a pretty good year for albums, as there were so many good ones across multiple genres. While there were some disappointments that stood out for me, pleasant new surprises more than made up for them (you’ll see some of them made the top 10 even). While it certainly didn’t touch the best years of this decade (hello 2014), 2019 is one of the better years of music in the 2010s (I’ll be doing my best of the decade posts in 2020).

But before I get to my top ten albums of 2019, I want to list some honorable mentions that weren’t quite good enough for the top ten, but still good albums that I recommend you check out…

Honorable Mentions

Country Perspective’s Top 10 Albums of 2019

10. Benny The Butcher – The Plugs I Met

Dirty, grimy and nasty is how I would describe the sounds and lyrics of this album. And I love it! The entire Griselda hip-hop collective is fantastic and rightly getting their due now that they’re signed to Eminem’s Shady Records (check out the album they dropped in November). But the star is undoubtedly Benny The Butcher and this album is the proof. All of his work is great, but this is an excellent entry point. When the king of coke rap in Pusha T endorses your coke rap (dropping a great feature on this album too), well you know you’re doing something right.

9. Cody Jinks – The Wanting

While I wouldn’t put the The Wanting as Cody Jinks’ best work, it’s certainly close and features maybe the most badass album cover of 2019. This album offers deep introspection on life, passion and love. The instrumentation is varied, going from slow ballads to rockers. And he did this all while dropping another album the week before that just missed this list. Jinks is undoubtedly one of the hardest working artists in music today and I was impressed by what he accomplished in dropping two great albums within a week of each other. If you’re someone looking to get into country music, Jinks is one of the first you should check out.

8. Dee White – Southern Gentleman

This album was released all the way back in January, but you should not forget about it. Dee White proves himself to be one of the most promising new country artists to watch with his debut album Southern Gentleman. White’s voice evokes memories of Roy Orbison and George Jones and he’s only 19-years-old. And while he feels like a classic artist in every sense, his lyrics are still modern. There are several great storytelling moments on this album and White even holds his own with fantastic vocalists like Ashley McBryde and Alison Krauss. I can’t wait to hear more from Dee White.

7. Tyler Childers – Country Squire

Country Squire is an incredible album and with its perfectly short run time, you’ll find yourself replaying it again and again. While some were disappointed by this follow-up to Purgatory, I was instantly impressed with this album. What’s great is these are old songs that have been played by Childers live for years and with live music being what pays the bills for artists, it only makes sense to record these songs. While we’re still due for Tyler Childers’ absolute best work, this is a pretty damn good album to play while we wait for it.

6. Michaela Anne – Desert Dove

Michaela Anne delivers an amazing album in Desert Dove. It’s full of smooth and breezy songs that only take a couple of listens to truly enjoy. Like my good friend and fellow music writer Zackary Kephart says, this album is quite similar to Kacey Musgraves’ Golden Hour and that was my top album of 2018. So if you enjoyed that album, this is a must-listen. This also feels like Anne’s breakout moment, as she finds the sound and themes she needed to truly show her full potential and prove herself as an artist that should be on your radar if you love country music or just great music in general.

5. Kishi Bash – Omoiyari

Omoiyari is a wonderful album full of beautiful lyrics and sounds that cover an important topic in American history that more people show know about. Why Kishi Bashi is not more covered by music journalists I’ll never know, but this music reviewer is telling you that you need to check him out. He’s a multi-instrumentalist who writes his own lyrics and can cover a wide variety of sounds so damn well. On this album he masters the chamber pop/orchestral pop sound while giving you an informative history lesson too. As a music nerd and history nerd, it’s a double win!

4. Mike and The Moonpies – Cheap Silver and Solid Country Gold

So I would be remiss if I didn’t point that my top four is clearly ahead of the rest, being that they all received 10/10 ratings, with each at one point or another getting consideration for Country Perspective’s 2019 Album of the Year. And out of all them, this was my biggest surprise of 2019. Mike and the Moonpies deliver something special with Cheap Silver and Solid Country Gold. It’s fantastic in both sound and songwriting. The group clearly left their comfort zone. It honors the tried and true, while delivering something that feels new too. This is a band for me that went from releasing two albums I couldn’t get into at all to releasing an album that I can’t find a single fault in.

3. Freddie Gibbs & Madlib – Bandana 

I found hip-hop in 2019 to be pretty disappointing. But I never find the work of Freddie Gibbs and producer Madlib to be disappointing, as this duo once again delivers big with Bandana. After delivering a classic in Piñata, they manage to nearly match it, which absolutely blows my mind. Gibbs raps his ass off on this album, delivering some of his best bars ever, while finding a great balance of bangers and humor while also offering introspection on more serious topics like when he was falsely accused of rape and systematic racism. Madlib brings some of the best beats in the game, picking some excellent samples as he always does. If there’s one hip-hop album you listen to this year, it’s this one.

2. Sturgill Simpson – SOUND & FURY

SOUND & FURY from start to finish feels like one long song, as it’s both cohesive in sound and lyrics, telling several stories that tie into overarching theme of Simpson being angry at a lot of things in the world, but when it comes down to it he’s most angry at himself and what he let himself become. Each track explores the flawed thoughts and actions of a flawed man. This album sounds like early to mid 70s music and sounds like the eccentric, frenetic sounds of Jeff Lyne and Electric Light Orchestra meets the in-your-face, sneering lyrics of Creedence Clearwater Revival. The amount of care and detail given to every aspect makes this one of the best albums you’ll hear in 2019 and yet another excellent album from Sturgill Simpson.

Country Perspective’s 2019 Album of the Year…

1. Carly Rae Jepsen – Dedicated

If you still think of Carly Rae Jepsen as just the “Call Me Maybe” girl, well you’re just plain wrong. Because when she released Emotion and Emotion Side B, she showed me that there’s not a better pop artist making music today. Jepsen further proves with Dedicated that she just gets pop music: the over-the-top production, the overwhelming emotions, the catchy hooks, exciting themes and everything in-between. It’s appropriate she has an album named Dedicated considering she writes hundreds of songs for each album and spends months culling down to the final track list. This true dedication to her music shines through on every lyric and sound on this album. It’s a complete album from front to back, touching on the several emotions of love through the many trials and tribulations of a relationship. And it wouldn’t surprise me a bit that the “B cuts” for this album are equally as great in quality. Not only is this the best album of 2019 in my mind, but one of the best of the 2010s.


Thanks for reading! Be sure to weigh in with your thoughts on Country Perspective’s Top 10 Albums of 2019 below and feel free to offer your own list. Also feel free to ask me about any music releases/news from 2019 too (think of it as a 2019 music AMA), as my late start didn’t allow me to discuss everything I would have liked to discuss.

Album Review — Freddie Gibbs & Madlib’s ‘Bandana’

The last time Freddie Gibbs and Madlib teamed up for an album, they delivered a stone-cold classic in Piñata. So expectations were sky high for Bandana and while it’s not quite as great as Piñata, it comes pretty damn close. From front to back this album is full of bangers, bars and beats that constantly leave you coming back for more.

Opening tracks “Obrigado” and “Freestyle Shit” establish the humor and grittiness that you’re accustomed to hearing in a Gibbs album. “Half Manne Half Cocaine” is a bit of a departure from the usual for Gibbs and Madlib with its heavily trap influenced sound, but you wouldn’t know it with Gibbs’ flawless flow over the beat.

“Crime Pays” is more in line from what you expect from the duo and it’s definitely one of the standouts on the album. Everything about this track is smooth and it’s one of many moments on the album that shows how Gibbs just continues to improve both his technical rapping skills and his bars. “Massage Seats” is a fun banger that features some of my favorite bars (“Golden State, the roster, my garage deep” and “Big baller, father, you my son like Lonzo”).

When looking at the track list, “Palmolive” immediately stands out with its A-list features of Pusha T and Killer Mike. And it goes just as hard you expect with these three on a song, with a perfectly nasty sound. But I would be remiss if I didn’t say there are two disappointments with this song: Freddie’s unfortunate anti-vax bar and Killer Mike not getting a verse. Pusha T however absolutely destroys his verse and it continues a year in which he’s delivered some of the best features in hip hop. I also love the stand-up interlude at the end, as it’s classic Gibbs humor.

“Fake Names” goes into the dark and gritty details of Gibbs’ experience of dealing cocaine and the relationships and the greed of the parties involved. While it’s most definitely a banger, Gibbs also does an excellent job displaying his storytelling chops with all of the intricacies the songs covers. It’s Gibbs at this best at what he raps about best. “Flat Tummy Tea” is another fun song and it sounds so much better within the album compared to when it was first released as a standalone single.

“Situations” is my favorite of the album and it’s because of the smooth, yet frenetic delivery from Gibbs and the grimy production from Madlib. Everything just goes together so well on this track and you just get slapped in the face with bars (my favorite being “Motherfuck Jeff Sessions, I’m sellin’ dope with a weapon”). Gibbs comes through with another great interlude on this song too, this time the funny and insightful cussing pastor.

“Giannis” sees Gibbs dropping great bars about everything, from watching Dora the Explorer with his daughter and then getting right back to making dope to calling out rappers getting screwed on 360 deals. Anderson .Paak comes through with a really nice feature and fits over the production well with his delivery. “Practice” is one of the most introspective songs Gibbs has ever done, as it examines how he treats his loved ones and having to change his ways for them. It’s really nice to see and further proof to those who unfairly dismiss him as just a coke bar rapper.

“Cataracts” is an awesome banger and another standout on the album. “I’m chillin’ in my old school, Chevy thang, Cadillac/Smokin’ on that good, good/Good for my cataracts” is one of the best bars on the album, with its catchy wordplay and flawless delivery from Gibbs. “Gat Damn” is one of the more overlooked tracks, but it’s grown on me with more listens and I’m enjoying it more. I think a lot of people will overlook that the song revolves around Gibbs reflecting on his time in jail for being falsely accused of rape and gets more introspective than you realize. It’s also a different flow from a lot of the album and showcases yet another side of Gibbs’ abilities.

“Education” is a song I feel I can’t really do justice because it not only covers so many important topics, but the amount of amazing lyricism from Yasiin Bey, Black Thought and Gibbs is something you just have to hear for yourself. To me this is the type of song you play for people who thumb their nose down on hip hop and say hip hop artists can’t pen serious lyrics like other genres.

The album’s closing song “Soul Right” is Gibbs reflecting on his lifestyle and his choices, and while he realizes he’s made mistakes, he still hopes for forgiveness from God and to get his soul right with him. The dichotomy of the immorality of his actions and the justification of them in the name of injustice and making ends meet is explored throughout the album and so it’s perfect that it ends with him striving for an inner peace after years of grinding to where he’s at now.

Once again Freddie Gibbs and Madlib deliver big, as Bandana is probably not only the best album you’ll hear in hip hop this year, but one of the best albums you’ll hear out of all genres.

Grade: 10/10