Live From The Underground Big Krit Zip 11
LINK ->->->-> https://urluso.com/2t2PNE
ephmarr 19191a764c -from-the-underground-big-krit-zip-11[ -from-the-underground-big-krit-zip-11 ][ -from-the-underground-big-krit-zip-11 ][ -from-the-underground-big-krit-zip-11 ]link= -from-the-underground-big-krit-zip-11link= -from-the-underground-big-krit-zip-11link= -from-the-underground-big-krit-zip-11
The app can deliver a general overview of the network on which you are trying to communicate with.You can also set up a service for email checking. This particular feature will save you from useless e-mails meant for different inboxes. These are typically not useful elements for you and will quickly accumulate in your inbox. The app needs a good internet connection in order to perform much of its functions. If your provider slows down or the connection dies, Axence NetTools tends to have a reduced number of features.Download Axence NetToolsUsers interested in an app that can provide a general overview of their network can go ahead and -myanmar-medical-dictionary-download/ ec5d62056f jaiode
glyfra 19191a764c -from-the-underground-big-krit-zip-11[ -from-the-underground-big-krit-zip-11 ][ -from-the-underground-big-krit-zip-11 ][ -from-the-underground-big-krit-zip-11 ]link= -from-the-underground-big-krit-zip-11link= -from-the-underground-big-krit-zip-11link= -from-the-underground-big-krit-zip-11
The 2010s already feel like a historic decade for both rap and R&B. The early 1990s managed to snag the title of rap's "golden age," but there's a good argument to be made that this decade's music was just as crucial to the ongoing development of the genre, and at the very least, it's clear that both rap and R&B are still evolving at a rapid rate (which, as many thinkpieces in the 2010s pointed out, cannot be said for rock). This decade's popularization of free internet mixtapes allowed a whole new crop of rappers to compete with the mostly-stagnant rap mainstream of the late 2000s and eventually overthrow it, and so many different types of rap emerged or had resurgences in the process. We also witnessed tons of genre cross pollination between rap, R&B, electronic music, jazz, indie rock, and beyond. We saw new faces like Kendrick Lamar, Tyler the Creator, and Chance the Rapper go from the underground to the Grammys and arenas. We saw Kanye West hit his highest peak and fall hard. We saw Drake become the decade's most omnipresent rap superstar. We saw veteran rappers like Pusha T, Killer Mike, Big Boi, and A Tribe Called Quest rejuvenate their careers in thrilling ways. We also saw more women in rap's spotlight at once than ever before, with Cardi B, Nicki Minaj, Noname, Little Simz, Megan Thee Stallion, DeJ Loaf, Kamaiyah, Rapsody, Rico Nasty, Tierra Whack, and more all releasing much-loved records throughout the decade.
In R&B, we saw the drastic rise of "alt-R&B," a genre name I put in scare quotes for most of this article because of all the deserving criticism the term has received, but also do use throughout this article because using the widely-used term just makes the conversation a little easier to have. The genre started out in the underground, but it quickly rose to the mainstream as megastars like Beyonce, Rihanna, and Justin Timberlake started incorporating it into their own work (and often started collaborating with the smaller artists who helped pioneer it). Once the sound got too mainstream to accurately be called "alternative," certain artists started taking R&B in even more experimental directions, resulting in late 2010s classics from Solange, Frank Ocean, SZA, and more that injected new life into the genre once again.
You'll see all of these trends and more represented in this list of the 100 best rap and R&B albums of the 2010s. Throughout the list, there's minimal electronic R&B, heavily arranged live-band soul, psychedelic soul, industrial rap, jazz-rap, abstract rap, trap, G-Funk, grime, tons of music I can't neatly describe with a word or three, and lots of other stuff too. 100 may seem like a lot, but really it's a pretty small number for an entire decade, especially given how fruitful rap and R&B has been for the past ten years. So your favorite artist might not be here, and since all lists are subjective, some of my personal bias of course factored in. But I aimed for this list to present a wide scope of music, from the poppy and popular to the underground and experimental, and plenty of the in-between. Hopefully you gain something from the list, and if not, feel free to leave glaring omissions and hate mail in the comments.
On a pure skill level, Rapsody has been one of the best in the game for a while. But even as various factors prevent her from achieving the widespread recognition she deserves ("dressed too tomboy, rap too lyrical"), she keeps pushing herself to get better and better. Just about every project she's released has been even more breathtaking than the last, which makes Eve her clear winner for the decade. Her delivery and lyrical content are as showstopping as they were on previous albums (like 2017's Laila's Wisdom, which appears slightly lower down on this list), but Ever has a clearer concept than any other Rapsody album. Each song is named after a different iconic, powerful woman, and the theme of black, female excellence runs throughout the consistently strong album. Even when Rapsody isn't discussing powerful women directly, she's proving herself as one of modern hip hop's most powerful women as she cruises through her carefully penned lines and leaves the listener hanging on every word.
When Big K.R.I.T. broke through with his 2010 mixtape K.R.I.T. Wuz Here and the addictive bounce of its single "Country Shit," he seemed primed to be one of hip hop's next breakout stars. He pledged his allegiance to Southern rap vets like UGK, OutKast, Goodie Mob, 8Ball & MJG, Devin the Dude, and more (all of whom he quickly became affiliated with), and he reinvented that sound in a way that felt fresh. Unfortunately, once he signed to Def Jam, the quality of his music took a hit, and as trap became the dominant sound of the South, K.R.I.T.'s '90s / early '00s revival didn't sound so fresh anymore. I had been rooting for K.R.I.T., but it got to a point where I was feeling like I had to accept he'd just be a flash in the pan. But then, he split from Def Jam and released the double album 4eva Is A Mighty Long Time, which not only delivered on the promise of K.R.I.T. Wuz Here but blew it out of the water. Part one was a perfected version of the sound he was shaping on K.R.I.T. Wuz Here, and part two saw K.R.I.T. successfully exploring organic, vintage soul territory. 4eva sorta did for Southern soul what To Pimp A Butterfly did for jazz, resurrecting the very old style of music in a way that fit right in with modern-day rap. K.R.I.T. still never became a big star, but on 4eva, he sounds at peace with the fact that he's best-suited for the fringes of mainstream rap music, and able to write his most creative music without major label execs breathing down his neck.
From the moment OutKast introduced the world to Killer Mike (first on a deep cut on Stankonia, then on the gigantic single "The Whole World"), it was obvious that a new Southern rap great was born. He popped up a couple other times during Southern rap's early 2000s mainstream boom, scoring his own minor hit with "A.D.I.D.A.S." and lending his voice to Bone Crusher's massive "Never Scared," but Mike quickly ran into issues with his major label, and his career took a hit that wasn't easy to recover from, despite releasing plenty of great material in the years that followed. Mike was already settling into his role as an underground hero on 2011's PL3DGE, when he met an unlikely collaborator who would help him reach the heights he was always destined for: New York alt-rap icon El-P. The pair were introduced by Adult Swim's Jason DeMarco, and they immediately struck up a friendly and artistic relationship that led to El-P producing all 12 songs on Killer Mike's 2012 album R.A.P. Music, rapping on one of them, and inviting Mike to rap on a song on the El-P album Cancer 4 Cure that came out one week later. I don't know who would've guessed that Killer Mike's Atlanta drawl would've sounded so good over El-P's futuristic, outsider production, but it resulted in Killer Mike's best solo album by a landslide. From the trunk-rattling assault of "Big Beast" to the incisive political commentary of "Reagan," R.A.P. Music saw Killer Mike perfecting everything he had been spending his entire career working towards, and El-P's focused production tied it all together in a way that was more cohesive than any previous Killer Mike album. The pair connected so well that they decided to stop releasing solo albums and form a group together, Run The Jewels, who went on to dominate the 2010s musical landscape -- within and outside of rap -- and who became a bigger deal than either of these two veteran artists ever were in the past. It's been a long time coming for both of these guys, and as a duo responsible for some of the decade's best rap music, Run The Jewels deserve the fame. But with all due respect to the Run The Jewels name, Killer Mike and El-P's best music together came out before RTJ was formed, on R.A.P. Music.
Atlanta trap became one of the most prevailing trends in 2010s hip hop, and though trap wasn't always an album game -- at least not in the traditional sense -- there's a good argument to be made that if there's one definitive 2010s trap album, it's Future's DS2. Titled as a sequel to his buzzed-about 2011 mixtape Dirty Sprite, DS2 came after Future tried to go mainstream with two just-okay major label albums, and then reverted back to his mixtape roots and put out the unstoppable run of Monster, Beast Mode, and 56 Nights that eventually led to him making this proper studio album in the same druggy, rough-around-the-edges style. It was a big hit, but it wasn't Future trying to go pop; he made pop come to him. Various tracks from the three preceding mixtapes ended up on DS2's deluxe version (the deluxe version is really the one to get), and every other song on the proper album is just as good. One of the big shifts in rap in the 2010s was rapping about doing lots of drugs, rather than selling them, and DS2 sounds like a rap album that's been doused in a bottle of Robitussin. It's sexed up, drugged up, melancholic, angry, and all kinds of fucked up, and Future delivers every mood with conviction over gorgeous, innovative production from some of trap's key producers (Metro Boomin, Southside, Zaytoven). Within what remains a very crowded subgenre -- including countless subsequent releases by Future himself -- DS2 still stands out as a masterpiece. 2b1af7f3a8