Worst Album of The Year

ackbar · Post by **ackbar** » Fri Dec 06, 2013 9:57 pm

jigga

seagrams hotsauce · Post by **seagrams hotsauce** » Fri Dec 06, 2013 11:52 pm

Tough choice between Em and Jay. Went with em.
Why are drake and pusha here? I'm not a huge fan of either but they were both received pretty well.

alpha · Post by **alpha** » Sat Dec 07, 2013 12:02 am

Like how some of these are on the best album poll too

Spartan · Post by **Spartan** » Sat Dec 07, 2013 6:14 am

That gif maker deserves serious props.

ardamus · Post by **ardamus** » Sat Dec 07, 2013 8:57 am

Yeezus. No contest.

Tommy Bunz · Post by **Tommy Bunz** » Sat Dec 07, 2013 9:35 am

Jay doesn't really deserve to be on here.

YouTube · Post by **Philaflava** » Sat Dec 07, 2013 10:32 am

Tommy Bunz wrote:Jay doesn't really deserve to be on here.

Oh but it does.

peanut butter · Post by **peanut butter** » Sat Dec 07, 2013 1:49 pm

Philaflava wrote:
Tommy Bunz wrote:Jay doesn't really deserve to be on here.
Oh but it does.

Nah. And Yeezus has not business here either.

The answer is Eminem.

PEACE

ardamus · Post by **ardamus** » Sat Dec 07, 2013 11:11 pm

Yes, please explain Magna Carta being in here.

Gregg Popabitch · Post by **Gregg Popabitch** » Sun Dec 08, 2013 11:32 am

Wait, has anyone heard I am not a human being II?

that's not one of the worst albums of all time?

Career Over Like Mike(NJJ) · Sun Dec 08, 2013 11:45 am

I Am Not A Human Being 2 has one of the best singles of 2013/Wayne's best single in years with Rich As Fuck and a Gunplay verse on Beat The Shit.

For those two reasons (and Curtains which is also dope) it doesn't deserve to be listed alongside the Joe Budden, Eminem and Wale atrocities.

Employee · Post by **Employee** » Sun Dec 08, 2013 2:09 pm

Doris.

EMCEE DARTH MALEK · Post by **EMCEE DARTH MALEK** » Tue Dec 10, 2013 1:10 am

12 reasons to pop the disk

ALASKA · Post by **ALASKA** » Tue Dec 10, 2013 10:32 am

yeezus because of the blow potential for making something really interesting as opposed to what it actually was - the half formed ideas of a coke riddled aspergers case that is so insecure he needs to ruin borderline interesting songs by talking about what he came on.

Employee · Post by **Employee** » Tue Dec 10, 2013 2:54 pm

LOLz.

ChaMerZ · Post by **ChaMerZ** » Tue Dec 10, 2013 6:38 pm

Employee wrote:Doris.

Mindbender Futurama · Post by **Mindbender Futurama** » Tue Dec 10, 2013 6:56 pm

ardamus wrote:Yes, please explain Magna Carta being in here.

because, though it is much better than 'Blueprint 3', it's still so shitty that I still have never listened to it all.

it was revealed to be underwhelming after the initial hype died down, but it's not the worst thing of the year.

THE WINNER IS EMINEM.

HL

ing

step one · Post by **step one** » Wed Dec 11, 2013 9:38 am

Mindbender Futurama wrote: it was revealed to be underwhelming after the initial hype died down.

to the suprise of absolutely no-one thats listened to rap for more than 2 years.

Employee · Post by **Employee** » Wed Dec 11, 2013 12:59 pm

ChaMerZ wrote:
Employee wrote:Doris.

http://www.syffal.com/earl-sweatshirt-doris

Roundtable Review: Earl Sweatshirt - Doris

Employee

What's the best track and why?
"Centurion": Earl's only genuine Saafir-on-"Hype shit" moment; Scorcese-style attention to detail courtesy of the finally plugged in protagonist. "Uncle Al" is a close second; nipping at "Centurion"'s brackish backdrop and bomb-drops. Fly ass beat, big and expansive, swirling around an assassin-level Earl laying waste to everyone and everything.

I recommend listening to this record while...
Cleaning your house; changing a diaper; sorting your recycling; trying to impress everyone at your junior college; riding a bike with a cigarette dangling from your Herpes-highlighted lips; cruising Tumblr; evaluating the FDA's statements about Lexapro; seeking out the assistance of a mental health professional; or riding in an elevator.

While I listened to this record, I pictured...
Being admitted to a residential drug rehabilitation center; being involuntarily admitted to a psychiatric hospital; watching MTV while holding a gun to the right side of my head; shook parents; a dismayed Donahue screaming at Earl; social abattoirs; double standards; a thermometer protruding from my hairy chest displaying the cold temperature in my heart; and throwing it out the window of my car on the 880 (a/k/a Nimitz) at 80 MPH.

Anything else to add?
"Doris" is, at its epoch, a half-ass mixtape; one of those weird promotional detours that is ultimately a footnote in a rapper's catalog. Unfortunately for Earl (and myself) "Doris" is his first rap baby: anticipated, planned for, brimming with potential. But somewhere along success' path, the new Rap Savior stumbled onto a bumpy stretch and shat "Doris"; out of what feels and sounds like obligation, really. There's no sense of a contemporary, burgeoning maturity despite the reviews from the Cultural Sensitivity Police loudly citing one. If anything, "Doris" is a sad, disappointing, galactic fart from a post-Camp Brainwash could-be phenom.

So many of its songs fall flat on their face out of the gate ("Pre", "Burgundy", "20 Wave Caps"); others run out of steam too soon, too painfully ("Whoa", "Hoarse", "Sasquatch"). As intros go, "Pre" is among the worst I've had the misfortune of subjecting myself to. Such an acutely mediocre set of hot bars at the outset defines the remainder of the journey. SK La'Flare pulls a reverse Saafir-outshining-Casual by dropping what has to be the highest profile, lowest common denominator intro in recent memory. Why, how, and who is responsible for this are questions I, myself, will ponder for ages. And Mr. La'Flare is not the only guest who outstays their welcome: the countless Odd Future cameos are forgettable save one Tyler punchline: "We're runnin' shit like dingleberries on four cheetahs." And that only sticks out like a sore, psychological thumb because of its authentic absurdity. I know that landing RZA on your debut is an unrealized wet dream for the world at large, but to earn his stamp of approval in the form of a lackluster loop while he gruffly recites "I Fuck THE FRECKLES OFF YOUR FACE, BITCH" redefines underwhelming. Acting like Odd Future is incapable of rapping is (a) dishonest and (b) inaccurate, but on "Doris" they, individually and collectively, plead weaker cases for themselves than a posse of Gary DiPasquales.

Another disconcerting element is Earl's turn toward what can only be described as "whining." The triad of "Chum", "Sunday" and the disgusting "Burgundy" sum up this paradigm. "Burgundy"'s beginning is easily-digestible pablum for crybabies. Why does Earl require that I, the listener, inquire as to why he's so psychologically vexed? Am I suddenly obliged to lead myself to The Guilt Zone for expecting that a rap album from a dope rapper contain dope raps? Preposterous (and I actually like the beat). Where it takes the proverbial cake, eats it, and vomits it all over your church clothes, though, is when the beat drops and the world's coolest man-child utters "My grandma's passin', but I'm too busy tryin' to get this Fuckin' album crackin'...to see her, so I apologize in advance if anything should happen, and my priority's fucked up and I know it..." Ignoring dying elders in order to further one's career is a hallmark of sophistication? Of course it isn't (unless you exist in a thought vacuum where acting like a brat into early adulthood and dressing the act up in Rap Clothes bestows on you false wisdom).

There's been suggestions that "Doris" is one of music's greatest, artistic shell games of all-effing-time; that he purposely comes across as a human Haldol. Teasing the audience with a peculiar assortment of appearances, track placement, production, and his alleged disconnect with reality and rap. You know: that this is a purposeful con job and the true gems are in the mail; that Earl pulled a rap David Chase Art House Facial and left us to wonder what it all means in the end. But the idea that this is an elaborate ruse is not one I can or will buy. Everything it is is mundane and old hat: the album cover with its trademark, "Fuck YOU, MOM & DAD!!!", keychain-esque, Madonna-redux blasphemy; contributing to the Kanye-induced Season of the Whine with his juvenile "Woe is Me" rants and verses; and a patina pockmarked by paltry production. I came here for rap; not for a peek into a bellyacher's allegedly wounded psyche.

ChaMerZ · Post by **ChaMerZ** » Thu Dec 12, 2013 1:15 pm

Employee wrote:
ChaMerZ wrote:
Employee wrote:Doris.

http://www.syffal.com/earl-sweatshirt-doris

Roundtable Review: Earl Sweatshirt - Doris

Employee

What's the best track and why?
"Centurion": Earl's only genuine Saafir-on-"Hype shit" moment; Scorcese-style attention to detail courtesy of the finally plugged in protagonist. "Uncle Al" is a close second; nipping at "Centurion"'s brackish backdrop and bomb-drops. Fly ass beat, big and expansive, swirling around an assassin-level Earl laying waste to everyone and everything.

I recommend listening to this record while...
Cleaning your house; changing a diaper; sorting your recycling; trying to impress everyone at your junior college; riding a bike with a cigarette dangling from your Herpes-highlighted lips; cruising Tumblr; evaluating the FDA's statements about Lexapro; seeking out the assistance of a mental health professional; or riding in an elevator.

While I listened to this record, I pictured...
Being admitted to a residential drug rehabilitation center; being involuntarily admitted to a psychiatric hospital; watching MTV while holding a gun to the right side of my head; shook parents; a dismayed Donahue screaming at Earl; social abattoirs; double standards; a thermometer protruding from my hairy chest displaying the cold temperature in my heart; and throwing it out the window of my car on the 880 (a/k/a Nimitz) at 80 MPH.

Anything else to add?
"Doris" is, at its epoch, a half-ass mixtape; one of those weird promotional detours that is ultimately a footnote in a rapper's catalog. Unfortunately for Earl (and myself) "Doris" is his first rap baby: anticipated, planned for, brimming with potential. But somewhere along success' path, the new Rap Savior stumbled onto a bumpy stretch and shat "Doris"; out of what feels and sounds like obligation, really. There's no sense of a contemporary, burgeoning maturity despite the reviews from the Cultural Sensitivity Police loudly citing one. If anything, "Doris" is a sad, disappointing, galactic fart from a post-Camp Brainwash could-be phenom.

So many of its songs fall flat on their face out of the gate ("Pre", "Burgundy", "20 Wave Caps"); others run out of steam too soon, too painfully ("Whoa", "Hoarse", "Sasquatch"). As intros go, "Pre" is among the worst I've had the misfortune of subjecting myself to. Such an acutely mediocre set of hot bars at the outset defines the remainder of the journey. SK La'Flare pulls a reverse Saafir-outshining-Casual by dropping what has to be the highest profile, lowest common denominator intro in recent memory. Why, how, and who is responsible for this are questions I, myself, will ponder for ages. And Mr. La'Flare is not the only guest who outstays their welcome: the countless Odd Future cameos are forgettable save one Tyler punchline: "We're runnin' shit like dingleberries on four cheetahs." And that only sticks out like a sore, psychological thumb because of its authentic absurdity. I know that landing RZA on your debut is an unrealized wet dream for the world at large, but to earn his stamp of approval in the form of a lackluster loop while he gruffly recites "I Fuck THE FRECKLES OFF YOUR FACE, BITCH" redefines underwhelming. Acting like Odd Future is incapable of rapping is (a) dishonest and (b) inaccurate, but on "Doris" they, individually and collectively, plead weaker cases for themselves than a posse of Gary DiPasquales.

Another disconcerting element is Earl's turn toward what can only be described as "whining." The triad of "Chum", "Sunday" and the disgusting "Burgundy" sum up this paradigm. "Burgundy"'s beginning is easily-digestible pablum for crybabies. Why does Earl require that I, the listener, inquire as to why he's so psychologically vexed? Am I suddenly obliged to lead myself to The Guilt Zone for expecting that a rap album from a dope rapper contain dope raps? Preposterous (and I actually like the beat). Where it takes the proverbial cake, eats it, and vomits it all over your church clothes, though, is when the beat drops and the world's coolest man-child utters "My grandma's passin', but I'm too busy tryin' to get this Fuckin' album crackin'...to see her, so I apologize in advance if anything should happen, and my priority's fucked up and I know it..." Ignoring dying elders in order to further one's career is a hallmark of sophistication? Of course it isn't (unless you exist in a thought vacuum where acting like a brat into early adulthood and dressing the act up in Rap Clothes bestows on you false wisdom).

There's been suggestions that "Doris" is one of music's greatest, artistic shell games of all-effing-time; that he purposely comes across as a human Haldol. Teasing the audience with a peculiar assortment of appearances, track placement, production, and his alleged disconnect with reality and rap. You know: that this is a purposeful con job and the true gems are in the mail; that Earl pulled a rap David Chase Art House Facial and left us to wonder what it all means in the end. But the idea that this is an elaborate ruse is not one I can or will buy. Everything it is is mundane and old hat: the album cover with its trademark, "Fuck YOU, MOM & DAD!!!", keychain-esque, Madonna-redux blasphemy; contributing to the Kanye-induced Season of the Whine with his juvenile "Woe is Me" rants and verses; and a patina pockmarked by paltry production. I came here for rap; not for a peek into a bellyacher's allegedly wounded psyche.

ouch, pretty inflammatory. i'd understand if it was one of your cookie-cutter, flavor of the month rappers but Earl? really?

:omar:

or are you just trolling?

i wrote a rather long-winded, track by track review of earl a while back so might as well venture a shameless plug of my own: http://afroterminal.wordpress.com/2013/ ... w-hip-hop/

my views are on the other extreme of the spectrum.

Employee · Post by **Employee** » Thu Dec 12, 2013 3:24 pm

If you think criticism or critical thinking or not liking an album, even passionately, in a review is trolling, you should probably stop writing.

As for your review: I found it to be milquetoast and very in line with what most tools with limited knowledge write when they are writing about Rap.

ChaMerZ · Post by **ChaMerZ** » Fri Dec 13, 2013 12:29 am

everyone has to start from somewere. well thanks for reading anyhow.

step one · Post by **step one** » Fri Dec 13, 2013 10:48 am

Emp still salty that he's on what must be his 5th or 6th different blog now, put a ton of effort into his writing and still no one gives a fuck what he thinks.

Employee · Post by **Employee** » Fri Dec 13, 2013 12:43 pm

More or less.

illuminati_guy · Post by **illuminati_guy** » Sun Dec 15, 2013 2:18 pm

mmlp2
budden
magna carta

B. Ware tha Siniq · Post by **B. Ware tha Siniq** » Thu Dec 19, 2013 3:36 pm

Yeezus...

I actually like MMLP and Magna Carta

DJCommunist · Post by **DJCommunist** » Sun Dec 22, 2013 12:51 am

MMLP2 with Magna Carta as a close second. Eminem fans make me

My favorite of these albums is french's. Some of the beats banged. All around crap albums though.

Kace · Post by **Kace** » Fri Dec 27, 2013 3:28 pm

I can get how the Kanye and Eminem joints were the most dissapointing albums, but they weren't the worst in that list.

Voted Lil Wayne.

GhostDog · Post by **GhostDog** » Sat Dec 28, 2013 7:37 pm

Yeezus. Easy pick.