The Best Rap Verses of 2021

Who had the best rap verse of 2021? From Nicki Minaj's "Fractions" to André 3000's "Life of the Party" verse, we rank the 40 best rap verses of the year.

Dec 29, 2021

Complex Original

Image via Complex Original

It’s our favorite time of the year at Complex Music. We’ve already celebrated all the best songs and albums of the year, and now it’s time to answer the question: Who had the best rap verse of 2021? Forget the beats and the hooks—this time, we’re only focusing on the bars.

Of course, there are lots of different approaches to making a great rap verse in 2021. Some artists choose to tell a story, some go for a more abstract and poetic approach, and others try to squeeze in as many intricate metaphors and cadences as possible.

There were a lot of verses that stopped us in our tracks this year, and they came in all sizes and shapes. Some of them were radio freestyles (shout out Vince Staples), some were album cuts (shout out Mach-Hommy), and one was leaked in a chaotic way before ultimately ending up on streaming services because everyone loved it so much (shout out André 3000).

For the purposes of this list, we decided to only include a maximum of one verse per artist, in an effort to include as many voices as we can. With that being said, it’s time to rank our favorites. These are Complex’s picks for the 40 best rap verses of the year.

youtube.com

**Verse:** 1

Akai Solo is a lyrical wizard, and his skills are on full display throughout “Heavy Sigh,” a highlight from his *True Sky* project with Navy Blue. The Brooklyn-based rhymer darts through Navy Blue’s jazzy soundscape with wordplay and wisdom in tow, telling wack MCs “y’all lactose verse is sweeter than raw brand glucose” and taking us on an esoteric journey through the power of language. *—Andre Gee*

Verse: 2

Rico Nasty sounds like she’s having a lot of fun on “Take It.” Her verse is punchy and upbeat as she attacks her haters straight-on. “You want that back and forth, ain’t interested in no verse/ It’s funny how the people scared to take risks can make me nervous,” she raps over the danceable beat. The whole thing is fun and energetic, and she sounds great over Juicy J production. We’d love to hear more collaborations between the duo in the near future. —Jessica McKinney — youtube.com

**Verse:** 2

Rico Nasty sounds like she’s having a lot of fun on “Take It.” Her verse is punchy and upbeat as she attacks her haters straight-on. “You want that back and forth, ain’t interested in no verse/ It’s funny how the people scared to take risks can make me nervous,” she raps over the danceable beat. The whole thing is fun and energetic, and she sounds great over Juicy J production. We’d love to hear more collaborations between the duo in the near future. —Jessica McKinney

youtube.com

**Verse:** 2

Rico Nasty sounds like she’s having a lot of fun on “Take It.” Her verse is punchy and upbeat as she attacks her haters straight-on. “You want that back and forth, ain’t interested in no verse/ It’s funny how the people scared to take risks can make me nervous,” she raps over the danceable beat. The whole thing is fun and energetic, and she sounds great over Juicy J production. We’d love to hear more collaborations between the duo in the near future. —Jessica McKinney

Verse: 1

The beauty of MIKE’s verse on “Evil Eye” is that it seems simple, but a lot is going on here. His bars and the volume of his voice power through the beat, and despite only rapping 16 bars, MIKE still delivers a riveting snapshot of his life, from using rap to evade his thoughts of hunger to admitting that, “It was months of doing way bad ‘fore I saw the cake/ Then there’s years of tryna change paths, fears of coming late.” “Evil Eye” is a verse stripped of fundamental rap mechanics that still works extremely well because of MIKE’s compelling lyrics and an even more hypnotizing flow. —Jordan Rose — youtube.com

**Verse:** 1

The beauty of MIKE’s verse on “Evil Eye” is that it seems simple, but a lot is going on here. His bars and the volume of his voice power through the beat, and despite only rapping 16 bars, MIKE still delivers a riveting snapshot of his life, from using rap to evade his thoughts of hunger to admitting that, “It was months of doing way bad ‘fore I saw the cake/ Then there’s years of tryna change paths, fears of coming late.” “Evil Eye” is a verse stripped of fundamental rap mechanics that still works extremely well because of MIKE’s compelling lyrics and an even more hypnotizing flow. *—Jordan Rose*

youtube.com

**Verse:** 1

The beauty of MIKE’s verse on “Evil Eye” is that it seems simple, but a lot is going on here. His bars and the volume of his voice power through the beat, and despite only rapping 16 bars, MIKE still delivers a riveting snapshot of his life, from using rap to evade his thoughts of hunger to admitting that, “It was months of doing way bad ‘fore I saw the cake/ Then there’s years of tryna change paths, fears of coming late.” “Evil Eye” is a verse stripped of fundamental rap mechanics that still works extremely well because of MIKE’s compelling lyrics and an even more hypnotizing flow. *—Jordan Rose*

Verse: 1

Maybe it’s just because he’s so good at making moshpit anthems that his pen gets overlooked, but Ski Mask the Slump God is a very underrated lyricist. Fortunately, he had a chance to remind everyone of his abilities when he visited the Power 106 Los Angeles studios for an LA Leakers freestyle earlier this month. Over Busta Rhymes’ “Put Your Hands Where My Eyes Could See” beat, Ski Mask declares he’s “top five of this generation” and points out he’s “been snappin’ like wet towels, a bad boy like Mike Lowrey.” Later, he drops gems like, “Hills may have eyes, but the hills that I’m in is Beverly/ I been a wizard, my residence is the Waverly.” By the end of it, he can’t help but laugh and let out a triumphant, “Ayyyyyyyyyyyyyyyyyyyyy!” What a freestyle. —Eric Skelton — youtube.com

**Verse:** 1

Maybe it’s just because he’s so good at making moshpit anthems that his pen gets overlooked, but Ski Mask the Slump God is a very underrated lyricist. Fortunately, he had a chance to remind everyone of his abilities when he visited the Power 106 Los Angeles studios for an *LA Leakers* freestyle earlier this month. Over Busta Rhymes’ “Put Your Hands Where My Eyes Could See” beat, Ski Mask declares he’s “top five of this generation” and points out he’s “been snappin’ like wet towels, a bad boy like Mike Lowrey.” Later, he drops gems like, “Hills may have eyes, but the hills that I’m in is Beverly/ I been a wizard, my residence is the Waverly.” By the end of it, he can’t help but laugh and let out a triumphant, “Ayyyyyyyyyyyyyyyyyyyyy!” What a freestyle. *—Eric Skelton*

youtube.com

**Verse:** 1

Maybe it’s just because he’s so good at making moshpit anthems that his pen gets overlooked, but Ski Mask the Slump God is a very underrated lyricist. Fortunately, he had a chance to remind everyone of his abilities when he visited the Power 106 Los Angeles studios for an *LA Leakers* freestyle earlier this month. Over Busta Rhymes’ “Put Your Hands Where My Eyes Could See” beat, Ski Mask declares he’s “top five of this generation” and points out he’s “been snappin’ like wet towels, a bad boy like Mike Lowrey.” Later, he drops gems like, “Hills may have eyes, but the hills that I’m in is Beverly/ I been a wizard, my residence is the Waverly.” By the end of it, he can’t help but laugh and let out a triumphant, “Ayyyyyyyyyyyyyyyyyyyyy!” What a freestyle. *—Eric Skelton*

Verse: 1

It’s been a while since we’ve heard Gucci Mane go this hard. On “Shit Crazy,” he’s spitting like he did back when he was dropping mixtapes every other week. His delivery is smooth as he raps about his lethal trigger finger and wealth. “No shade, I’m too rich to to fade, he ran up so I blazed the nigga,” Guwop spits over Twysted Genius and 30 Roc production. Gucci’s contribution on “Shit Crazy” is exactly what we want to hear from him at this point in the game. —Jessica McKinney — youtube.com

**Verse:** 1

It’s been a while since we’ve heard Gucci Mane go this hard. On “Shit Crazy,” he’s spitting like he did back when he was dropping mixtapes every other week. His delivery is smooth as he raps about his lethal trigger finger and wealth. “No shade, I’m too rich to to fade, he ran up so I blazed the nigga,” Guwop spits over Twysted Genius and 30 Roc production. Gucci’s contribution on “Shit Crazy” is exactly what we want to hear from him at this point in the game. *—Jessica McKinney*

youtube.com

**Verse:** 1

It’s been a while since we’ve heard Gucci Mane go this hard. On “Shit Crazy,” he’s spitting like he did back when he was dropping mixtapes every other week. His delivery is smooth as he raps about his lethal trigger finger and wealth. “No shade, I’m too rich to to fade, he ran up so I blazed the nigga,” Guwop spits over Twysted Genius and 30 Roc production. Gucci’s contribution on “Shit Crazy” is exactly what we want to hear from him at this point in the game. *—Jessica McKinney*

Verse: 1

Latto shows off her freestyle skills on Power 106’s LA Leakers with a fierce verse that takes aim at her competition and establishes herself as one of the most exciting new voices coming out of Atlanta. Over Yung L.A.’s 2009 track “Ain’t I,” Latto effortlessly spits, “Bitch, stop playing with my pen, I been that since 16, a bitch mean/ I’m pulling rap hoes cards like the vaccine.” She barely breaks a sweat as she displays impressive breath control, while dropping an array of metaphors and real-life references. “Look, fuck who ain’t feeling me/ I’m in my prime, Amazon can’t fuck with my delivery on God,” she punctuates. —Jessica McKinney — youtube.com

**Verse:** 1

Latto shows off her freestyle skills on Power 106’s *LA Leakers* with a fierce verse that takes aim at her competition and establishes herself as one of the most exciting new voices coming out of Atlanta. Over Yung L.A.’s 2009 track “Ain’t I,” Latto effortlessly spits, “Bitch, stop playing with my pen, I been that since 16, a bitch mean/ I’m pulling rap hoes cards like the vaccine.” She barely breaks a sweat as she displays impressive breath control, while dropping an array of metaphors and real-life references. “Look, fuck who ain’t feeling me/ I’m in my prime, Amazon can’t fuck with my delivery on God,” she punctuates. *—Jessica McKinney*

youtube.com

**Verse:** 1

Latto shows off her freestyle skills on Power 106’s *LA Leakers* with a fierce verse that takes aim at her competition and establishes herself as one of the most exciting new voices coming out of Atlanta. Over Yung L.A.’s 2009 track “Ain’t I,” Latto effortlessly spits, “Bitch, stop playing with my pen, I been that since 16, a bitch mean/ I’m pulling rap hoes cards like the vaccine.” She barely breaks a sweat as she displays impressive breath control, while dropping an array of metaphors and real-life references. “Look, fuck who ain’t feeling me/ I’m in my prime, Amazon can’t fuck with my delivery on God,” she punctuates. *—Jessica McKinney*

Verse: 2

Westside Gunn told us earlier this year that he wants guest features to kill him on his albums, otherwise he feels like the collaboration process is pointless: “I want you to kill me, because that’s only going to make the best music.” So it’s fitting that he also takes that mindset on the road, like he did on “Salute” from Russ’ Chomp 2 project. He buoys the triumphant beat with a dense verse filled with assonance and decadence. The vision that he usually expends on curation is instead lent to vivid one-liners like “Palm Angels was fallin’ out the sky, one said, ‘Peace Allah’” and “corduroy toys peekin’ out the left wing, we bling joy.” Westside Gunn is just fine running point with Griselda, but “Salute” is a late-year reminder that he can drop 40 himself whenever he feels like it. —Andre Gee — youtube.com

**Verse:** 2

Westside Gunn told us earlier this year that he wants guest features to kill him on his albums, otherwise he feels like the collaboration process is pointless: “I want you to kill me, because that’s only going to make the best music.” So it’s fitting that he also takes that mindset on the road, like he did on “Salute” from Russ’ *Chomp 2* project. He buoys the triumphant beat with a dense verse filled with assonance and decadence. The vision that he usually expends on curation is instead lent to vivid one-liners like “Palm Angels was fallin’ out the sky, one said, ‘Peace Allah’” and “corduroy toys peekin’ out the left wing, we bling joy.” Westside Gunn is just fine running point with Griselda, but “Salute” is a late-year reminder that he can drop 40 himself whenever he feels like it. *—Andre Gee*

youtube.com

**Verse:** 2

Westside Gunn told us earlier this year that he wants guest features to kill him on his albums, otherwise he feels like the collaboration process is pointless: “I want you to kill me, because that’s only going to make the best music.” So it’s fitting that he also takes that mindset on the road, like he did on “Salute” from Russ’ *Chomp 2* project. He buoys the triumphant beat with a dense verse filled with assonance and decadence. The vision that he usually expends on curation is instead lent to vivid one-liners like “Palm Angels was fallin’ out the sky, one said, ‘Peace Allah’” and “corduroy toys peekin’ out the left wing, we bling joy.” Westside Gunn is just fine running point with Griselda, but “Salute” is a late-year reminder that he can drop 40 himself whenever he feels like it. *—Andre Gee*

Verse: 2

Jadakiss had one of the best years of any rapper in 2021 without even releasing solo music. His Verzuz performance alone made him the rap world’s Time person of the year (according to the memes anyway) but he was also outside for 2021 guest verses, including “Right Now” from Hitler Wears Hermes: 8. He sounds at home on the warm Denny Laflare production, hurling an onslaught of boasts and barbs at imaginary battle opponents who “inherited money [and] never learned how to hustle.” The ease in which he rips through his verse is a corollary of his Verzuz moment, as he demonstrates a mastery of craft that’s something to marvel at 25+ years into the game. —Andre Gee — youtube.com

**Verse: 2**

Jadakiss had one of the best years of any rapper in 2021 without even releasing solo music. His *Verzuz* performance alone made him the rap world’s Time person of the year (according to the memes anyway) but he was also outside for 2021 guest verses, including “Right Now” from *Hitler Wears Hermes: 8.* He sounds at home on the warm Denny Laflare production, hurling an onslaught of boasts and barbs at imaginary battle opponents who “inherited money [and] never learned how to hustle.” The ease in which he rips through his verse is a corollary of his *Verzuz* moment, as he demonstrates a mastery of craft that’s something to marvel at 25+ years into the game. *—Andre Gee*

youtube.com

**Verse: 2**

Jadakiss had one of the best years of any rapper in 2021 without even releasing solo music. His *Verzuz* performance alone made him the rap world’s Time person of the year (according to the memes anyway) but he was also outside for 2021 guest verses, including “Right Now” from *Hitler Wears Hermes: 8.* He sounds at home on the warm Denny Laflare production, hurling an onslaught of boasts and barbs at imaginary battle opponents who “inherited money [and] never learned how to hustle.” The ease in which he rips through his verse is a corollary of his *Verzuz* moment, as he demonstrates a mastery of craft that’s something to marvel at 25+ years into the game. *—Andre Gee*

Verse: 4

It’s been a while since we’ve heard Kanye rap like this, as he punctuates “Off the Grid” with a dizzying verse over a drill beat. Following Fivio Foreign’s standout verse (more on that later), Kanye addresses the media frenzy surrounding him, and comments on his masked appearance. “First, it go viral, then they go digital/ Then they get critical, no, I’m not doin’ no interview/ Mask on my face, you can’t see what I’m finna do,” he spits. Staying true to his no-cursing policy, he lays down a clean verse, referencing biblical characters and teachings, pulling off one of his most technically impressive and captivating verses in years. —Jessica McKinney — youtube.com

**Verse:** 4

It’s been a while since we’ve heard Kanye rap like this, as he punctuates “Off the Grid” with a dizzying verse over a drill beat. Following Fivio Foreign’s standout verse (more on that later), Kanye addresses the media frenzy surrounding him, and comments on his masked appearance. “First, it go viral, then they go digital/ Then they get critical, no, I’m not doin’ no interview/ Mask on my face, you can’t see what I’m finna do,” he spits. Staying true to his no-cursing policy, he lays down a clean verse, referencing biblical characters and teachings, pulling off one of his most technically impressive and captivating verses in years. *—Jessica McKinney*

youtube.com

**Verse:** 4

It’s been a while since we’ve heard Kanye rap like this, as he punctuates “Off the Grid” with a dizzying verse over a drill beat. Following Fivio Foreign’s standout verse (more on that later), Kanye addresses the media frenzy surrounding him, and comments on his masked appearance. “First, it go viral, then they go digital/ Then they get critical, no, I’m not doin’ no interview/ Mask on my face, you can’t see what I’m finna do,” he spits. Staying true to his no-cursing policy, he lays down a clean verse, referencing biblical characters and teachings, pulling off one of his most technically impressive and captivating verses in years. *—Jessica McKinney*

Verse: 1

On “Little Havana,” Rick Ross delivers bars that touch on his money and business moves. The first verse, in particular, caused some conversation online due to a few lines which some fans thought took subtle shots at Jay-Z. “Niggas soul being sold and still on a leash/ Roger Goodell boy, he ain’t a corniche/ I was really throwin’ money, I really saw Meech/ And I let them rappin’ niggas get closer to Meek,” Ross raps. The bars seem to reference NFL Commissioner Roger Goodell, who has worked with Jay in the past, and Meek Mill, who signed a management deal with Hov’s Roc Nation in 2012. Aside from the suspected beef, though, “Little Havana” simply demonstrates Rick Ross’ strength in delivering sharp raps and luxurious flows. —Jessica McKinney — youtube.com

**Verse:** 1

On “Little Havana,” Rick Ross delivers bars that touch on his money and business moves. The first verse, in particular, caused some conversation online due to a few lines which some fans thought took subtle shots at Jay-Z. “Niggas soul being sold and still on a leash/ Roger Goodell boy, he ain’t a corniche/ I was really throwin’ money, I really saw Meech/ And I let them rappin’ niggas get closer to Meek,” Ross raps. The bars seem to reference NFL Commissioner Roger Goodell, who has worked with Jay in the past, and Meek Mill, who signed a management deal with Hov’s Roc Nation in 2012. Aside from the suspected beef, though, “Little Havana” simply demonstrates Rick Ross’ strength in delivering sharp raps and luxurious flows. *—Jessica McKinney*

youtube.com

**Verse:** 1

On “Little Havana,” Rick Ross delivers bars that touch on his money and business moves. The first verse, in particular, caused some conversation online due to a few lines which some fans thought took subtle shots at Jay-Z. “Niggas soul being sold and still on a leash/ Roger Goodell boy, he ain’t a corniche/ I was really throwin’ money, I really saw Meech/ And I let them rappin’ niggas get closer to Meek,” Ross raps. The bars seem to reference NFL Commissioner Roger Goodell, who has worked with Jay in the past, and Meek Mill, who signed a management deal with Hov’s Roc Nation in 2012. Aside from the suspected beef, though, “Little Havana” simply demonstrates Rick Ross’ strength in delivering sharp raps and luxurious flows. *—Jessica McKinney*

Verse: 1

After topping this list last year, Freddie Gibbs didn’t put out nearly as much music in 2021, but when he did, it landed with a punch. On “Black Illuminati,” a single featuring Jadakiss, Gibbs doesn’t hold back, describing grizzly scenes in vivid detail. In one line, he’s rapping about brute force: “Brain hemorrhage, blunt-force trauma, I make him feel that.” Then he reveals, “I let the fiends catch a bean, usеd to vomit off the secondhand.” It’s a bleak scene Gibbs describes, but the way he weaves it all together, it makes for an incredible verse that reminds us (once again) that he’s one of the most talented rappers doing it right now. —Eric Skelton — youtube.com

**Verse:** 1

After topping this list last year, Freddie Gibbs didn’t put out nearly as much music in 2021, but when he did, it landed with a punch. On “Black Illuminati,” a single featuring Jadakiss, Gibbs doesn’t hold back, describing grizzly scenes in vivid detail. In one line, he’s rapping about brute force: “Brain hemorrhage, blunt-force trauma, I make him feel that.” Then he reveals, “I let the fiends catch a bean, usеd to vomit off the secondhand.” It’s a bleak scene Gibbs describes, but the way he weaves it all together, it makes for an incredible verse that reminds us (once again) that he’s one of the most talented rappers doing it right now. —Eric Skelton

youtube.com

**Verse:** 1

After topping this list last year, Freddie Gibbs didn’t put out nearly as much music in 2021, but when he did, it landed with a punch. On “Black Illuminati,” a single featuring Jadakiss, Gibbs doesn’t hold back, describing grizzly scenes in vivid detail. In one line, he’s rapping about brute force: “Brain hemorrhage, blunt-force trauma, I make him feel that.” Then he reveals, “I let the fiends catch a bean, usеd to vomit off the secondhand.” It’s a bleak scene Gibbs describes, but the way he weaves it all together, it makes for an incredible verse that reminds us (once again) that he’s one of the most talented rappers doing it right now. —Eric Skelton

Verse: 2

Nas’ “Death Row East” is a bit of crucial hip-hop history put to wax. Aside from the track outlining his perspective on the infamous feud between him and Tupac, Nas manages to give us important information while still maintaining the song’s integrity. Blessed with Hit-Boy production, the verse makes sense in the fabric of the song, but it also sounds like it could be pulled away from the track completely and read without a rhythm and you would still get a clear understanding of what happened all those years ago at Bryant Park. That’s a true testament to Nas’ superior storytelling ability. —Jordan Rose — youtu.be

**Verse:** 2

Nas’ “Death Row East” is a bit of crucial hip-hop history put to wax. Aside from the track outlining his perspective on the infamous feud between him and Tupac, Nas manages to give us important information while still maintaining the song’s integrity. Blessed with Hit-Boy production, the verse makes sense in the fabric of the song, but it also sounds like it could be pulled away from the track completely and read without a rhythm and you would still get a clear understanding of what happened all those years ago at Bryant Park. That’s a true testament to Nas’ superior storytelling ability. *—Jordan Rose*

youtu.be

**Verse:** 2

Nas’ “Death Row East” is a bit of crucial hip-hop history put to wax. Aside from the track outlining his perspective on the infamous feud between him and Tupac, Nas manages to give us important information while still maintaining the song’s integrity. Blessed with Hit-Boy production, the verse makes sense in the fabric of the song, but it also sounds like it could be pulled away from the track completely and read without a rhythm and you would still get a clear understanding of what happened all those years ago at Bryant Park. That’s a true testament to Nas’ superior storytelling ability. *—Jordan Rose*

Verse: 2

Ransom rolls through on Lloyd Banks’ album and drops an absolute heater of a verse on “Falsified.” Over old school boom-bap drums and ominous synths, Ransom outlines why he’s a better MC than your favorite, and has the chops to back it up. He spits, “There’s no discussion, the flow disgusting, I blow percussions/No adjusting, spin a round at your head like a ’fro from Ruffin.” The call back to Temptations frontman David Ruffin’s trademark afro is the sort of cultural touchstone that elevates this verse from simply good to magnificent. —Will Schube — youtube.com

**Verse:** 2

Ransom rolls through on Lloyd Banks’ album and drops an absolute heater of a verse on “Falsified.” Over old school boom-bap drums and ominous synths, Ransom outlines why he’s a better MC than your favorite, and has the chops to back it up. He spits, “There’s no discussion, the flow disgusting, I blow percussions/No adjusting, spin a round at your head like a ’fro from Ruffin.” The call back to Temptations frontman David Ruffin’s trademark afro is the sort of cultural touchstone that elevates this verse from simply good to magnificent. *—Will Schube*

youtube.com

**Verse:** 2

Ransom rolls through on Lloyd Banks’ album and drops an absolute heater of a verse on “Falsified.” Over old school boom-bap drums and ominous synths, Ransom outlines why he’s a better MC than your favorite, and has the chops to back it up. He spits, “There’s no discussion, the flow disgusting, I blow percussions/No adjusting, spin a round at your head like a ’fro from Ruffin.” The call back to Temptations frontman David Ruffin’s trademark afro is the sort of cultural touchstone that elevates this verse from simply good to magnificent. *—Will Schube*

Verse: 3

On “Price of Fame,” Che Noir contemplates the value of getting rich and the lifestyle that comes with it. She also reflects on years of racial injustice. “Look, they put a Black person for sale/ Use churches and tell that the man we worship is pale/ If you could read that’s why they murdered the males/ Now, it’s ironic how these niggas catch a sentence fore they learn to spell,” she raps. Though Che Noir comes in on the third and final verse of “Price of Fame,” she steals the show with a phenomenal performance. —Jessica McKinney — youtube.com

**Verse:** 3

On “Price of Fame,” Che Noir contemplates the value of getting rich and the lifestyle that comes with it. She also reflects on years of racial injustice. “Look, they put a Black person for sale/ Use churches and tell that the man we worship is pale/ If you could read that’s why they murdered the males/ Now, it’s ironic how these niggas catch a sentence fore they learn to spell,” she raps. Though Che Noir comes in on the third and final verse of “Price of Fame,” she steals the show with a phenomenal performance. *—Jessica McKinney*

youtube.com

**Verse:** 3

On “Price of Fame,” Che Noir contemplates the value of getting rich and the lifestyle that comes with it. She also reflects on years of racial injustice. “Look, they put a Black person for sale/ Use churches and tell that the man we worship is pale/ If you could read that’s why they murdered the males/ Now, it’s ironic how these niggas catch a sentence fore they learn to spell,” she raps. Though Che Noir comes in on the third and final verse of “Price of Fame,” she steals the show with a phenomenal performance. *—Jessica McKinney*

Verse: 1

The great Billy Z decided to come down from his mountain, where he frequently hangs out at the pantheon with the likes of Zeus and other titans, to bless us mere mortals with knowledge and wisdom. Pray for Haiti was his introduction to the “mainstream,” and what better way to turn heads than with this intro cut? Mach-Hommy is an icon, end quote. —Angel Diaz — youtube.com

**Verse:** 1

The great Billy Z decided to come down from his mountain, where he frequently hangs out at the pantheon with the likes of Zeus and other titans, to bless us mere mortals with knowledge and wisdom. *Pray for Haiti* was his introduction to the “mainstream,” and what better way to turn heads than with this intro cut? Mach-Hommy is an icon, end quote. *—Angel Diaz*

youtube.com

**Verse:** 1

The great Billy Z decided to come down from his mountain, where he frequently hangs out at the pantheon with the likes of Zeus and other titans, to bless us mere mortals with knowledge and wisdom. *Pray for Haiti* was his introduction to the “mainstream,” and what better way to turn heads than with this intro cut? Mach-Hommy is an icon, end quote. *—Angel Diaz*

Verse: 3

DMX was teasing his Griselda collaboration before he passed, and the version included on his posthumous LP, Exodus, did not disappoint. Though each member of Griselda brings their fastball (you better when you’re spitting with DMX), Conway the Machine steals the show with a slick reference to Nas and a flex about riding to the Nets game with Kevin Durant. Though Conway is a Buffalo kid at heart, he’s taken over New York City and Brooklyn thanks to bars like these, making it sound like he’s having the most fun in the world. Plus, if basketball isn’t your thing, Conway’s always got other options: “I’m in Harlem at Lighthouse eatin’ lobster fries/ Vee & Shooter with me, I got mobster ties.” —Will Schube — youtube.com

**Verse:** 3

DMX was teasing his Griselda collaboration before he passed, and the version included on his posthumous LP, Exodus, did not disappoint. Though each member of Griselda brings their fastball (you better when you’re spitting with DMX), Conway the Machine steals the show with a slick reference to Nas and a flex about riding to the Nets game with Kevin Durant. Though Conway is a Buffalo kid at heart, he’s taken over New York City and Brooklyn thanks to bars like these, making it sound like he’s having the most fun in the world. Plus, if basketball isn’t your thing, Conway’s always got other options: “I’m in Harlem at Lighthouse eatin’ lobster fries/ Vee & Shooter with me, I got mobster ties.” —*Will Schube*

youtube.com

**Verse:** 3

DMX was teasing his Griselda collaboration before he passed, and the version included on his posthumous LP, Exodus, did not disappoint. Though each member of Griselda brings their fastball (you better when you’re spitting with DMX), Conway the Machine steals the show with a slick reference to Nas and a flex about riding to the Nets game with Kevin Durant. Though Conway is a Buffalo kid at heart, he’s taken over New York City and Brooklyn thanks to bars like these, making it sound like he’s having the most fun in the world. Plus, if basketball isn’t your thing, Conway’s always got other options: “I’m in Harlem at Lighthouse eatin’ lobster fries/ Vee & Shooter with me, I got mobster ties.” —*Will Schube*

Verse: 2

To start off, for context, rappers’ disgust with rats isn’t just posturing. Prison is the worst place someone could be and anyone who sends someone there to save themselves is questionable, so I understand the sentiment behind “Kill All Rats.” And I also understand that Rome Streetz destroyed this verse, delivering assonant bars, attacking the topic and showing why he deserves more attention as one of the game’s strongest lyricists. We could’ve chosen any number of verses from his Death & The Magician project, but we chose this one because in my book he got the better of Conway and Ransom, which is a tough task. Oh, and “turned one to two and then the clan fed/ Took a oath that I would slice the throat of any Danny Hernandez” is one of the hardest couplets of the year. —Andre Gee — youtube.com

**Verse:** 2

To start off, for context, rappers’ disgust with rats isn’t just posturing. Prison is the worst place someone could be and anyone who sends someone there to save themselves is questionable, so I understand the sentiment behind “Kill All Rats.” And I also understand that Rome Streetz destroyed this verse, delivering assonant bars, attacking the topic and showing why he deserves more attention as one of the game’s strongest lyricists. We could’ve chosen any number of verses from his *Death & The Magician* project, but we chose this one because in my book he got the better of Conway and Ransom, which is a tough task. Oh, and “turned one to two and then the clan fed/ Took a oath that I would slice the throat of any Danny Hernandez” is one of the hardest couplets of the year. *—Andre Gee*

youtube.com

**Verse:** 2

To start off, for context, rappers’ disgust with rats isn’t just posturing. Prison is the worst place someone could be and anyone who sends someone there to save themselves is questionable, so I understand the sentiment behind “Kill All Rats.” And I also understand that Rome Streetz destroyed this verse, delivering assonant bars, attacking the topic and showing why he deserves more attention as one of the game’s strongest lyricists. We could’ve chosen any number of verses from his *Death & The Magician* project, but we chose this one because in my book he got the better of Conway and Ransom, which is a tough task. Oh, and “turned one to two and then the clan fed/ Took a oath that I would slice the throat of any Danny Hernandez” is one of the hardest couplets of the year. *—Andre Gee*

Verse: 1

Reflective Jim Jones is the best Jim Jones. Across two minutes with Harry Fraud on “Laps Around The Sun,” the Diplomats legend illustrates why he was one of the most thrilling MCs in the game at his peak, and how he continues to rap with the best of them. It’s not like Jones regrets anything he did coming up, but he celebrates the place he’s in now and the luxury that status affords. “We was young, goin’ hard off the Hennessy/Rockin’ 95s, but I’m just joggin’ my memory,” he spits. It’s a tour de force from a Hall of Fame rapper. —Will Schube — youtube.com

**Verse:** 1

Reflective Jim Jones is the best Jim Jones. Across two minutes with Harry Fraud on “Laps Around The Sun,” the Diplomats legend illustrates why he was one of the most thrilling MCs in the game at his peak, and how he continues to rap with the best of them. It’s not like Jones regrets anything he did coming up, but he celebrates the place he’s in now and the luxury that status affords. “We was young, goin’ hard off the Hennessy/Rockin’ 95s, but I’m just joggin’ my memory,” he spits. It’s a tour de force from a Hall of Fame rapper. *—Will Schube*

youtube.com

**Verse:** 1

Reflective Jim Jones is the best Jim Jones. Across two minutes with Harry Fraud on “Laps Around The Sun,” the Diplomats legend illustrates why he was one of the most thrilling MCs in the game at his peak, and how he continues to rap with the best of them. It’s not like Jones regrets anything he did coming up, but he celebrates the place he’s in now and the luxury that status affords. “We was young, goin’ hard off the Hennessy/Rockin’ 95s, but I’m just joggin’ my memory,” he spits. It’s a tour de force from a Hall of Fame rapper. *—Will Schube*

Verse: 1

As a whole, “Bloody Canvas” is a very vulnerable song that recalls a traumatic incident in which a friend of Polo G’s was murdered. The first verse reflects on his upbringing on the North Side of Chicago and the events that led up to the fatal shooting. “Seein’ Jacob on the floor, that was some shit they couldn’t believe/ His eyes rolling back, his auntie trying to tell him, ‘Breathe’” Polo recalls midway through the song. It’s a tragic subject matter, but Polo G’s transparency and storytelling abilities make it the most powerful moment on his album Hall of Fame. —Jessica McKinney — youtube.com

**Verse:** 1

As a whole, “Bloody Canvas” is a very vulnerable song that recalls a traumatic incident in which a friend of Polo G’s was murdered. The first verse reflects on his upbringing on the North Side of Chicago and the events that led up to the fatal shooting. “Seein’ Jacob on the floor, that was some shit they couldn’t believe/ His eyes rolling back, his auntie trying to tell him, ‘Breathe’” Polo recalls midway through the song. It’s a tragic subject matter, but Polo G’s transparency and storytelling abilities make it the most powerful moment on his album *Hall of Fame*. *—Jessica McKinney*

youtube.com

**Verse:** 1

As a whole, “Bloody Canvas” is a very vulnerable song that recalls a traumatic incident in which a friend of Polo G’s was murdered. The first verse reflects on his upbringing on the North Side of Chicago and the events that led up to the fatal shooting. “Seein’ Jacob on the floor, that was some shit they couldn’t believe/ His eyes rolling back, his auntie trying to tell him, ‘Breathe’” Polo recalls midway through the song. It’s a tragic subject matter, but Polo G’s transparency and storytelling abilities make it the most powerful moment on his album *Hall of Fame*. *—Jessica McKinney*

Verse: 1

One of my personal favorite rappers of 2021, Detroit’s Babyface Ray raps with an effortless style and “Like Daisy Lane” is a perfect example of what makes his music so enjoyable. It’s like he’s rapping in bullet points and matters of fact, making it hard not to believe everything he’s saying. He should’ve been casted in BMF and his character should only wear suits. —Angel Diaz — youtube.com

**Verse:** 1

One of my personal favorite rappers of 2021, Detroit’s Babyface Ray raps with an effortless style and “Like Daisy Lane” is a perfect example of what makes his music so enjoyable. It’s like he’s rapping in bullet points and matters of fact, making it hard *not* to believe everything he’s saying. He should’ve been casted in BMF and his character should only wear suits. —*Angel Diaz*

youtube.com

**Verse:** 1

One of my personal favorite rappers of 2021, Detroit’s Babyface Ray raps with an effortless style and “Like Daisy Lane” is a perfect example of what makes his music so enjoyable. It’s like he’s rapping in bullet points and matters of fact, making it hard *not* to believe everything he’s saying. He should’ve been casted in BMF and his character should only wear suits. —*Angel Diaz*

Verse: 1

There’s something about Earl Sweatshirt’s elongated verse on “2010” that sounds futuristic and archaic at the same time. Maybe it’s the synthetic nature of Black Noi$e’s production. Maybe it’s his slick flow that travels back to ‘03 and makes his mom “stressin’ up the wall playin’ Mary J. songs” feel tangible. Or perhaps Earl’s verse on “2010” slaps this much because it sounds like his stream-of-consciousness thoughts are gaining more direction, like a lazy river turning into a babbling brook. We’re headed in the right direction with this one. —Jordan Rose — youtube.com

**Verse:** 1

There’s something about Earl Sweatshirt’s elongated verse on “2010” that sounds futuristic and archaic at the same time. Maybe it’s the synthetic nature of Black Noi$e’s production. Maybe it’s his slick flow that travels back to ‘03 and makes his mom “stressin’ up the wall playin’ Mary J. songs” feel tangible. Or perhaps Earl’s verse on “2010” slaps this much because it sounds like his stream-of-consciousness thoughts are gaining more direction, like a lazy river turning into a babbling brook. We’re headed in the right direction with this one. *—Jordan Rose*

youtube.com

**Verse:** 1

There’s something about Earl Sweatshirt’s elongated verse on “2010” that sounds futuristic and archaic at the same time. Maybe it’s the synthetic nature of Black Noi$e’s production. Maybe it’s his slick flow that travels back to ‘03 and makes his mom “stressin’ up the wall playin’ Mary J. songs” feel tangible. Or perhaps Earl’s verse on “2010” slaps this much because it sounds like his stream-of-consciousness thoughts are gaining more direction, like a lazy river turning into a babbling brook. We’re headed in the right direction with this one. *—Jordan Rose*

Verse: 1

It’s always fun when the OGs shout out the next generation, and appreciate the way they advance the game. During Royce’s verse on Ransom’s excellent “Greed,” he calls out misogyny in his community while showing off his listening diversity. There are nods to Lil Uzi Vert, Juice WRLD, and Kurt Cobain, before he confirms that when he’s in the Bentley, he’s bumping Coltrane. That helps explain Royce’s lyrical dexterity, infusing his bars with changes and movements like a ‘Trane classic. Royce’s verse on “Greed” is a masterclass for any aspiring MC, one that is timeless while also tapping into the topics captivating the culture today. —Will Schube — youtube.com

**Verse:** 1

It’s always fun when the OGs shout out the next generation, and appreciate the way they advance the game. During Royce’s verse on Ransom’s excellent “Greed,” he calls out misogyny in his community while showing off his listening diversity. There are nods to Lil Uzi Vert, Juice WRLD, and Kurt Cobain, before he confirms that when he’s in the Bentley, he’s bumping Coltrane. That helps explain Royce’s lyrical dexterity, infusing his bars with changes and movements like a ‘Trane classic. Royce’s verse on “Greed” is a masterclass for any aspiring MC, one that is timeless while also tapping into the topics captivating the culture today. *—Will Schube*

youtube.com

**Verse:** 1

It’s always fun when the OGs shout out the next generation, and appreciate the way they advance the game. During Royce’s verse on Ransom’s excellent “Greed,” he calls out misogyny in his community while showing off his listening diversity. There are nods to Lil Uzi Vert, Juice WRLD, and Kurt Cobain, before he confirms that when he’s in the Bentley, he’s bumping Coltrane. That helps explain Royce’s lyrical dexterity, infusing his bars with changes and movements like a ‘Trane classic. Royce’s verse on “Greed” is a masterclass for any aspiring MC, one that is timeless while also tapping into the topics captivating the culture today. *—Will Schube*

Verse: 2

“You should hang this 1,000-word verse in your cell like a picture.” What else is there to say other than we are grateful to live during the life and times of Jay Electronica, one of the most mystifying pop culture figures of his generation. Now all we need is an Elect album fully executive produced by Gunn. We might get it when the comet comes, but by then it would be right on time. Elpadaro F. Electronica Allah’s train always runs on schedule. —Angel Diaz — youtube.com

**Verse:** 2

“You should hang this 1,000-word verse in your cell like a picture.” What else is there to say other than we are grateful to live during the life and times of Jay Electronica, one of the most mystifying pop culture figures of his generation. Now all we need is an Elect album fully executive produced by Gunn. We might get it when the comet comes, but by then it would be right on time. Elpadaro F. Electronica Allah’s train always runs on schedule. *—Angel Diaz*

youtube.com

**Verse:** 2

“You should hang this 1,000-word verse in your cell like a picture.” What else is there to say other than we are grateful to live during the life and times of Jay Electronica, one of the most mystifying pop culture figures of his generation. Now all we need is an Elect album fully executive produced by Gunn. We might get it when the comet comes, but by then it would be right on time. Elpadaro F. Electronica Allah’s train always runs on schedule. *—Angel Diaz*

Verse: 1

Boldy and Alchemist had themselves a year as they gave us two of rap’s strongest projects in Bo Jackson and Super Tecmo Bo. Boldly’s “First 48 Freestyle’’ is a masterclass in rapping as he takes us through a day in the life of Detroit’s crime boss. His delivery is cold and sinister, but then he adds in something funny like, “Twin F&Ns in my Benz, call ‘em Puff and Mase” and then follows that up with vivid lines like these, “At the loadin’ dock with a crowbar, bustin’ up a crate/Dead body parts from the river floatin’ up the lake/ Zombies in the trap spendin’ tens on a dub of base/Auntie kickin’ back with her stem, smokin’ up the shake.” Boldly James is one of the best storytellers of his era. —Angel Diaz — youtube.com

**Verse:** 1

Boldy and Alchemist had themselves a year as they gave us two of rap’s strongest projects in *Bo Jackson* and *Super Tecmo Bo*. Boldly’s “First 48 Freestyle’’ is a masterclass in rapping as he takes us through a day in the life of Detroit’s crime boss. His delivery is cold and sinister, but then he adds in something funny like, “Twin F&Ns in my Benz, call ‘em Puff and Mase” and then follows that up with vivid lines like these, “At the loadin’ dock with a crowbar, bustin’ up a crate/Dead body parts from the river floatin’ up the lake/ Zombies in the trap spendin’ tens on a dub of base/Auntie kickin’ back with her stem, smokin’ up the shake.” Boldly James is one of the best storytellers of his era. *—Angel Diaz*

youtube.com

**Verse:** 1

Boldy and Alchemist had themselves a year as they gave us two of rap’s strongest projects in *Bo Jackson* and *Super Tecmo Bo*. Boldly’s “First 48 Freestyle’’ is a masterclass in rapping as he takes us through a day in the life of Detroit’s crime boss. His delivery is cold and sinister, but then he adds in something funny like, “Twin F&Ns in my Benz, call ‘em Puff and Mase” and then follows that up with vivid lines like these, “At the loadin’ dock with a crowbar, bustin’ up a crate/Dead body parts from the river floatin’ up the lake/ Zombies in the trap spendin’ tens on a dub of base/Auntie kickin’ back with her stem, smokin’ up the shake.” Boldly James is one of the best storytellers of his era. *—Angel Diaz*

Verse: 2

For years now, JID has been swirling around beats like the roadrunner around Wile E. Coyote, leaving a cloud of dust and awe at how he navigated his 16s. Such was the case on “Scatter Brain,” a track ideally named to encapsulate what he did with his verse. He toyed with the playful beat, showing off to listeners and fellow MCs alike that he’s done his 20,000 hours and then some. He’s a master of his craft. There’s no overarching theme for his rapid-fire verse, but the way he executed, especially on a track with Ludacris and Conway, deserves praise. Both men have done their share of show-stealing, but JID’s nimble display just might have bested them on this one. —Andre Gee — youtube.com

**Verse:** 2

For years now, JID has been swirling around beats like the roadrunner around Wile E. Coyote, leaving a cloud of dust and awe at how he navigated his 16s. Such was the case on “Scatter Brain,” a track ideally named to encapsulate what he did with his verse. He toyed with the playful beat, showing off to listeners and fellow MCs alike that he’s done his 20,000 hours and then some. He’s a master of his craft. There’s no overarching theme for his rapid-fire verse, but the way he executed, especially on a track with Ludacris and Conway, deserves praise. Both men have done their share of show-stealing, but JID’s nimble display just might have bested them on this one. —*Andre Gee*

youtube.com

**Verse:** 2

For years now, JID has been swirling around beats like the roadrunner around Wile E. Coyote, leaving a cloud of dust and awe at how he navigated his 16s. Such was the case on “Scatter Brain,” a track ideally named to encapsulate what he did with his verse. He toyed with the playful beat, showing off to listeners and fellow MCs alike that he’s done his 20,000 hours and then some. He’s a master of his craft. There’s no overarching theme for his rapid-fire verse, but the way he executed, especially on a track with Ludacris and Conway, deserves praise. Both men have done their share of show-stealing, but JID’s nimble display just might have bested them on this one. —*Andre Gee*

Verse: 1

Lupe Fiasco’s “Steve Jobs SLR 3 1/2” was made in the middle of an intense back-and-forth with Royce Da 5’9” this summer. I’ll spare you the drama (you can read about everything that ignited the beef here) but what’s important here is that the whole thing lit a competitive fire under Lupe, resulting in a wildly impressive verse. No matter whose side you’re on, you have to admit Lupe’s astonishing talents as an MC after hearing him rip through this four-minute verse. At times it’s funny, at times it’s harsh, but one thing is inarguable: he’s rapping at an extremely high level throughout. —Eric Skelton — youtube.com

**Verse:** 1

Lupe Fiasco’s “Steve Jobs SLR 3 1/2” was made in the middle of an intense back-and-forth with Royce Da 5’9” this summer. I’ll spare you the drama (you can read about everything that ignited the beef here) but what’s important here is that the whole thing lit a competitive fire under Lupe, resulting in a wildly impressive verse. No matter whose side you’re on, you have to admit Lupe’s astonishing talents as an MC after hearing him rip through this four-minute verse. At times it’s funny, at times it’s harsh, but one thing is inarguable: he’s rapping at an extremely high level throughout. *—Eric Skelton*

youtube.com

**Verse:** 1

Lupe Fiasco’s “Steve Jobs SLR 3 1/2” was made in the middle of an intense back-and-forth with Royce Da 5’9” this summer. I’ll spare you the drama (you can read about everything that ignited the beef here) but what’s important here is that the whole thing lit a competitive fire under Lupe, resulting in a wildly impressive verse. No matter whose side you’re on, you have to admit Lupe’s astonishing talents as an MC after hearing him rip through this four-minute verse. At times it’s funny, at times it’s harsh, but one thing is inarguable: he’s rapping at an extremely high level throughout. *—Eric Skelton*

Verse: 3

Sauce Walka is one of the rap game’s most colorful characters, and the whole spectrum is on display on “Westheimer,” a standout from Westside Gunn’s Hitler Wears Hermes: 8 extravaganza. He shows out from the door with the image of a black and pink Rolls “painted like Serena Williams in pink tights,” and keeps that momentum churning throughout the bombastic boast fest. It’s not just that his technique is on point—he finishes off every pocket he goes into with a quotable line like, “I done had so much pepper jack, I should’ve owned a deli,” which he says with the emphasis of a man who sounds dead serious. Along with the one-liners are the candid memories of having to “switch cells in the pen’, punched down my celly” and Jay-Z calling “Ghetto Gospel” one of his 2018 favorites. Sauce sounds at once ravenous, reflective, and flashy here, which makes it one of the most thrilling moments of the year. —Andre Gee — youtube.com

**Verse:** 3

Sauce Walka is one of the rap game’s most colorful characters, and the whole spectrum is on display on “Westheimer,” a standout from Westside Gunn’s *Hitler Wears Hermes: 8* extravaganza. He shows out from the door with the image of a black and pink Rolls “painted like Serena Williams in pink tights,” and keeps that momentum churning throughout the bombastic boast fest. It’s not just that his technique is on point—he finishes off every pocket he goes into with a quotable line like, “I done had so much pepper jack, I should’ve owned a deli,” which he says with the emphasis of a man who sounds dead serious. Along with the one-liners are the candid memories of having to “switch cells in the pen’, punched down my celly” and Jay-Z calling “Ghetto Gospel” one of his 2018 favorites. Sauce sounds at once ravenous, reflective, and flashy here, which makes it one of the most thrilling moments of the year. *—Andre Gee*

youtube.com

**Verse:** 3

Sauce Walka is one of the rap game’s most colorful characters, and the whole spectrum is on display on “Westheimer,” a standout from Westside Gunn’s *Hitler Wears Hermes: 8* extravaganza. He shows out from the door with the image of a black and pink Rolls “painted like Serena Williams in pink tights,” and keeps that momentum churning throughout the bombastic boast fest. It’s not just that his technique is on point—he finishes off every pocket he goes into with a quotable line like, “I done had so much pepper jack, I should’ve owned a deli,” which he says with the emphasis of a man who sounds dead serious. Along with the one-liners are the candid memories of having to “switch cells in the pen’, punched down my celly” and Jay-Z calling “Ghetto Gospel” one of his 2018 favorites. Sauce sounds at once ravenous, reflective, and flashy here, which makes it one of the most thrilling moments of the year. *—Andre Gee*

Verse: 1

We all love an artist whose music is an experience, and who can’t easily fit on any old playlist or be played without someone taking notice of what the hell they’re saying. One of 2021’s most intriguing examples of that is San Pedro, California rapper Remble. When I Googled the Stinc Team MC for quick research, it said his age is “between 21 to 28,” which is as hilarious as his viral “Gordon R Freestyle.” Remble spits bars with a calm, exaggerated delivery that gives you the sense he knows that the seemingly simple act of enunciating is a novelty in 2021 rap. But it’s not just presentation. He delivers bar after bar in his distinct cadence, before turning up a bit at the end and showing you he’s no one-trick MC. The extended verse is at first funny and confounding, but then hilarious once you catch the groove of what he’s doing. This is one of the wittiest, most unique verses of the year for sure. —Andre Gee — youtu.be

**Verse:** 1

We all love an artist whose music is an experience, and who can’t easily fit on any old playlist or be played without someone taking notice of what the hell they’re saying. One of 2021’s most intriguing examples of that is San Pedro, California rapper Remble. When I Googled the Stinc Team MC for quick research, it said his age is “between 21 to 28,” which is as hilarious as his viral “Gordon R Freestyle.” Remble spits bars with a calm, exaggerated delivery that gives you the sense he knows that the seemingly simple act of enunciating is a novelty in 2021 rap. But it’s not just presentation. He delivers bar after bar in his distinct cadence, before turning up a bit at the end and showing you he’s no one-trick MC. The extended verse is at first funny and confounding, but then hilarious once you catch the groove of what he’s doing. This is one of the wittiest, most unique verses of the year for sure. *—Andre Gee*

youtu.be

**Verse:** 1

We all love an artist whose music is an experience, and who can’t easily fit on any old playlist or be played without someone taking notice of what the hell they’re saying. One of 2021’s most intriguing examples of that is San Pedro, California rapper Remble. When I Googled the Stinc Team MC for quick research, it said his age is “between 21 to 28,” which is as hilarious as his viral “Gordon R Freestyle.” Remble spits bars with a calm, exaggerated delivery that gives you the sense he knows that the seemingly simple act of enunciating is a novelty in 2021 rap. But it’s not just presentation. He delivers bar after bar in his distinct cadence, before turning up a bit at the end and showing you he’s no one-trick MC. The extended verse is at first funny and confounding, but then hilarious once you catch the groove of what he’s doing. This is one of the wittiest, most unique verses of the year for sure. *—Andre Gee*

Verse: 1

On “Fractions,” Nicki Minaj demonstrates exactly why she’s called the Queen. After taking a brief hiatus to focus on her growing family, she returned with a song that shows off her still razor-sharp rap skills. “Fractions” only consists of one long verse, but for three minutes straight, Nicki whips through powerful bars about her status in the game. “I put these bitches on game, they should be kissin’ my feet/ I tried to give ‘em some press, they tried to say it was beef,” she spits, referencing her suspected feuds with various artists. What makes Nicki’s verse particularly memorable (besides the technical skill) is the way in which she’s hyper-aware of everything happening around her, from acknowledging criticisms to name-dropping Alex Rodriguez and “Gorilla Glue Girl.” —Jessica McKinney — youtube.com

**Verse:** 1

On “Fractions,” Nicki Minaj demonstrates exactly why she’s called the Queen. After taking a brief hiatus to focus on her growing family, she returned with a song that shows off her still razor-sharp rap skills. “Fractions” only consists of one long verse, but for three minutes straight, Nicki whips through powerful bars about her status in the game. “I put these bitches on game, they should be kissin’ my feet/ I tried to give ‘em some press, they tried to say it was beef,” she spits, referencing her suspected feuds with various artists. What makes Nicki’s verse particularly memorable (besides the technical skill) is the way in which she’s hyper-aware of everything happening around her, from acknowledging criticisms to name-dropping Alex Rodriguez and “Gorilla Glue Girl.” *—Jessica McKinney*

youtube.com

**Verse:** 1

On “Fractions,” Nicki Minaj demonstrates exactly why she’s called the Queen. After taking a brief hiatus to focus on her growing family, she returned with a song that shows off her still razor-sharp rap skills. “Fractions” only consists of one long verse, but for three minutes straight, Nicki whips through powerful bars about her status in the game. “I put these bitches on game, they should be kissin’ my feet/ I tried to give ‘em some press, they tried to say it was beef,” she spits, referencing her suspected feuds with various artists. What makes Nicki’s verse particularly memorable (besides the technical skill) is the way in which she’s hyper-aware of everything happening around her, from acknowledging criticisms to name-dropping Alex Rodriguez and “Gorilla Glue Girl.” *—Jessica McKinney*

Verse: 1

Alright, who pissed Benny off? Months after dropping one of the year’s best rap albums, he sat behind a microphone on Bars On I-95 and rapped with a chip on his shoulder. Making it clear that “this the only part of that game that still excite me,” Benny somehow managed to reference everyone from Rory and Mal to Tarzan to Brandon Roy to Maria Sharapova on a single verse, reminding everyone that he’s one of the best lyricists doing it right now. Who else but Benny could deliver a line like this, in such a believable way? “Got a movie deal, chill, but my real life like a book/ Loose steel knife with a jux, so don’t be that life that I took/ And next time you sneak diss me, just pay me, I’ll write the hook.” By the time he finished, he couldn’t help but talk his shit, pointing out he’s the “only rapper to not have a major deal that’s on that B Dot top 10.” Sheesh. Take notes, everybody. This is what you’re supposed to do when you sit down for a radio freestyle. —Eric Skelton — youtube.com

**Verse:** 1

Alright, who pissed Benny off? Months after dropping one of the year’s best rap albums, he sat behind a microphone on *Bars On I-95* and rapped with a chip on his shoulder. Making it clear that “this the only part of that game that still excite me,” Benny somehow managed to reference everyone from Rory and Mal to Tarzan to Brandon Roy to Maria Sharapova on a single verse, reminding everyone that he’s one of the best lyricists doing it right now. Who else but Benny could deliver a line like this, in such a believable way? “Got a movie deal, chill, but my real life like a book/ Loose steel knife with a jux, so don’t be that life that I took/ And next time you sneak diss me, just pay me, I’ll write the hook.” By the time he finished, he couldn’t help but talk his shit, pointing out he’s the “only rapper to not have a major deal that’s on that B Dot top 10.” Sheesh. Take notes, everybody. *This* is what you’re supposed to do when you sit down for a radio freestyle. *—Eric Skelton*

youtube.com

**Verse:** 1

Alright, who pissed Benny off? Months after dropping one of the year’s best rap albums, he sat behind a microphone on *Bars On I-95* and rapped with a chip on his shoulder. Making it clear that “this the only part of that game that still excite me,” Benny somehow managed to reference everyone from Rory and Mal to Tarzan to Brandon Roy to Maria Sharapova on a single verse, reminding everyone that he’s one of the best lyricists doing it right now. Who else but Benny could deliver a line like this, in such a believable way? “Got a movie deal, chill, but my real life like a book/ Loose steel knife with a jux, so don’t be that life that I took/ And next time you sneak diss me, just pay me, I’ll write the hook.” By the time he finished, he couldn’t help but talk his shit, pointing out he’s the “only rapper to not have a major deal that’s on that B Dot top 10.” Sheesh. Take notes, everybody. *This* is what you’re supposed to do when you sit down for a radio freestyle. *—Eric Skelton*

Verse: 1

Meek Mill has become a master of the intro song, and the first track on his fifth studio album, Expensive Pain, is one of his best yet. Despite having the lofty shadow of Nas’ “Hate Me Now” looming in the background, Meek lives up to the moment and wastes no bars while using the classic beat. What makes this verse even more impressive is the intention in Meek’s voice. Every line sounds like it’s being spit with a purpose and razor-sharp precision. And it wouldn’t be a Meek verse if the elegance of his new rap lifestyle wasn’t coupled with the trenches he can never leave behind, enjoying being “on a yacht with a bad thot,” while still reminding us he “got the streets in a headlock.” —Jordan Rose — youtube.com

**Verse:** 1

Meek Mill has become a master of the intro song, and the first track on his fifth studio album, *Expensive Pain*, is one of his best yet. Despite having the lofty shadow of Nas’ “Hate Me Now” looming in the background, Meek lives up to the moment and wastes no bars while using the classic beat. What makes this verse even more impressive is the intention in Meek’s voice. Every line sounds like it’s being spit with a purpose and razor-sharp precision. And it wouldn’t be a Meek verse if the elegance of his new rap lifestyle wasn’t coupled with the trenches he can never leave behind, enjoying being “on a yacht with a bad thot,” while still reminding us he “got the streets in a headlock.” *—Jordan Rose*

youtube.com

**Verse:** 1

Meek Mill has become a master of the intro song, and the first track on his fifth studio album, *Expensive Pain*, is one of his best yet. Despite having the lofty shadow of Nas’ “Hate Me Now” looming in the background, Meek lives up to the moment and wastes no bars while using the classic beat. What makes this verse even more impressive is the intention in Meek’s voice. Every line sounds like it’s being spit with a purpose and razor-sharp precision. And it wouldn’t be a Meek verse if the elegance of his new rap lifestyle wasn’t coupled with the trenches he can never leave behind, enjoying being “on a yacht with a bad thot,” while still reminding us he “got the streets in a headlock.” *—Jordan Rose*

Verse: 1

In true West Coast fashion, Vince Staples pulled up to the Power 106 studio and delivered a wildly impressive freestyle over Dr. Dre’s classic “Xxplosive” beat for the LA Leakers. Blending his unique sense of humor (“We spun around his block, he did the Running Man/ Shawty did the Lil Kim, missed him but we hit his friend,”) with bars that start out light but carry a heavier meaning, (“Listening to ‘Many Men,’ living out my favorite songs/ They killed my lil’ homie ‘fore he got to see his baby grown”) all within the same four stanzas, Vince is in rare form here. Vince’s authenticity complements the duality of his lyrics as well, as he spits about how rappers make him sick to his stomach for acting more gangster than they are, doubling down on this by honoring someone he actually lost to the streets, his friend Jabari, only to remind us that this is rap, not real life, so if you “think I’m finna mourn a nigga over bars then you bugging.” —Jordan Rose — youtube.com

**Verse:** 1

In true West Coast fashion, Vince Staples pulled up to the Power 106 studio and delivered a wildly impressive freestyle over Dr. Dre’s classic “Xxplosive” beat for the LA Leakers. Blending his unique sense of humor (“We spun around his block, he did the Running Man/ Shawty did the Lil Kim, missed him but we hit his friend,”) with bars that start out light but carry a heavier meaning, (“Listening to ‘Many Men,’ living out my favorite songs/ They killed my lil’ homie ‘fore he got to see his baby grown”) all within the same four stanzas, Vince is in rare form here. Vince’s authenticity complements the duality of his lyrics as well, as he spits about how rappers make him sick to his stomach for acting more gangster than they are, doubling down on this by honoring someone he actually lost to the streets, his friend Jabari, only to remind us that this is rap, not real life, so if you “think I’m finna mourn a nigga over bars then you bugging.” *—Jordan Rose*

youtube.com

**Verse:** 1

In true West Coast fashion, Vince Staples pulled up to the Power 106 studio and delivered a wildly impressive freestyle over Dr. Dre’s classic “Xxplosive” beat for the LA Leakers. Blending his unique sense of humor (“We spun around his block, he did the Running Man/ Shawty did the Lil Kim, missed him but we hit his friend,”) with bars that start out light but carry a heavier meaning, (“Listening to ‘Many Men,’ living out my favorite songs/ They killed my lil’ homie ‘fore he got to see his baby grown”) all within the same four stanzas, Vince is in rare form here. Vince’s authenticity complements the duality of his lyrics as well, as he spits about how rappers make him sick to his stomach for acting more gangster than they are, doubling down on this by honoring someone he actually lost to the streets, his friend Jabari, only to remind us that this is rap, not real life, so if you “think I’m finna mourn a nigga over bars then you bugging.” *—Jordan Rose*

Verse: 1

Lil Wayne comes out of the gate on “Seeing Green,” rapping with precision and control. It’s as if he transported us back in time to Weezy’s mixtape era, delivering bar-heavy verses, throwing in wild entendres (“The cash blue, but I’m still seein’ green/ I’m in the bathroom, and I’m peein’ lean”) and witty metaphors (“Nina Ross on the hip, the .44 is my mistress”). Though the verse is reminiscent of his early career, Wayne keeps it current with plenty of topical references, spitting lines like, “And ever since the pandemic/ They don’t wanna let Drake out of Canada.” “Seeing Green” marked the beginning of a solid string of features from Lil Wayne, and it remains our favorite of the year so far. —Jessica McKinney — youtube.com

**Verse:** 1

Lil Wayne comes out of the gate on “Seeing Green,” rapping with precision and control. It’s as if he transported us back in time to Weezy’s mixtape era, delivering bar-heavy verses, throwing in wild entendres (“The cash blue, but I’m still seein’ green/ I’m in the bathroom, and I’m peein’ lean”) and witty metaphors (“Nina Ross on the hip, the .44 is my mistress”). Though the verse is reminiscent of his early career, Wayne keeps it current with plenty of topical references, spitting lines like, “And ever since the pandemic/ They don’t wanna let Drake out of Canada.” “Seeing Green” marked the beginning of a solid string of features from Lil Wayne, and it remains our favorite of the year so far. *—Jessica McKinney*

youtube.com

**Verse:** 1

Lil Wayne comes out of the gate on “Seeing Green,” rapping with precision and control. It’s as if he transported us back in time to Weezy’s mixtape era, delivering bar-heavy verses, throwing in wild entendres (“The cash blue, but I’m still seein’ green/ I’m in the bathroom, and I’m peein’ lean”) and witty metaphors (“Nina Ross on the hip, the .44 is my mistress”). Though the verse is reminiscent of his early career, Wayne keeps it current with plenty of topical references, spitting lines like, “And ever since the pandemic/ They don’t wanna let Drake out of Canada.” “Seeing Green” marked the beginning of a solid string of features from Lil Wayne, and it remains our favorite of the year so far. *—Jessica McKinney*

Verse: 4

Oh, you forgot how well Tyler could rap? After spending much of IGOR focusing on melodies and pretty chords, Tyler turns his attention back to bars on Call Me If You Get Lost, even allowing himself to rap for eight minutes straight on “Wilshire.” Eight minutes! It’s the thematic climax of the album, and it features some of the most personal storytelling we’ve ever heard from Tyler. He says every lyric on the album “is real and really my life,” and nowhere is that more apparent than “Wilshire.” Rapping over fairly understated production, he gets vulnerable as he tells the story of a potential relationship that was doomed from the beginning. After setting the scene in the opening bars about how he fell for someone who is already in a relationship with another man, Tyler launches into an incredibly detailed fourth verse that opens a portal into his psyche as he comes to terms with a failed romance in real time. Realizing that the fling won’t work out, he stumbles over his own words for effect (“Gotta rewind it—aw, fuck”), capturing the disorienting feeling of getting sucked into a relationship that’s spiraling out of control, before ultimately taking an L. “I’m in the wrong,” he admits on more than one occasion. Throughout Tyler’s discography, we’ve heard him adopt the personas of fictional characters to tell stories, but this verse feels entirely autobiographical. It’s like hearing a voice note someone recorded for themselves on the night of a bad breakup. We’ve never heard Tyler quite like this, and it immediately deserves recognition as one of the best verses of his career (so far). —Eric Skelton — youtube.com

**Verse:** 4

Oh, you forgot how well Tyler could rap? After spending much of *IGOR* focusing on melodies and pretty chords, Tyler turns his attention back to bars on *Call Me If You Get Lost,* even allowing himself to rap for eight minutes straight on “Wilshire.” *Eight* minutes! It’s the thematic climax of the album, and it features some of the most personal storytelling we’ve ever heard from Tyler. He says every lyric on the album “is real and really my life,” and nowhere is that more apparent than “Wilshire.” Rapping over fairly understated production, he gets vulnerable as he tells the story of a potential relationship that was doomed from the beginning. After setting the scene in the opening bars about how he fell for someone who is already in a relationship with another man, Tyler launches into an incredibly detailed fourth verse that opens a portal into his psyche as he comes to terms with a failed romance in real time. Realizing that the fling won’t work out, he stumbles over his own words for effect (“Gotta rewind it—aw, fuck”), capturing the disorienting feeling of getting sucked into a relationship that’s spiraling out of control, before ultimately taking an L. “I’m in the wrong,” he admits on more than one occasion. Throughout Tyler’s discography, we’ve heard him adopt the personas of fictional characters to tell stories, but this verse feels entirely autobiographical. It’s like hearing a voice note someone recorded for themselves on the night of a bad breakup. We’ve never heard Tyler quite like this, and it immediately deserves recognition as one of the best verses of his career (so far). *—Eric Skelton*

youtube.com

**Verse:** 4

Oh, you forgot how well Tyler could rap? After spending much of *IGOR* focusing on melodies and pretty chords, Tyler turns his attention back to bars on *Call Me If You Get Lost,* even allowing himself to rap for eight minutes straight on “Wilshire.” *Eight* minutes! It’s the thematic climax of the album, and it features some of the most personal storytelling we’ve ever heard from Tyler. He says every lyric on the album “is real and really my life,” and nowhere is that more apparent than “Wilshire.” Rapping over fairly understated production, he gets vulnerable as he tells the story of a potential relationship that was doomed from the beginning. After setting the scene in the opening bars about how he fell for someone who is already in a relationship with another man, Tyler launches into an incredibly detailed fourth verse that opens a portal into his psyche as he comes to terms with a failed romance in real time. Realizing that the fling won’t work out, he stumbles over his own words for effect (“Gotta rewind it—aw, fuck”), capturing the disorienting feeling of getting sucked into a relationship that’s spiraling out of control, before ultimately taking an L. “I’m in the wrong,” he admits on more than one occasion. Throughout Tyler’s discography, we’ve heard him adopt the personas of fictional characters to tell stories, but this verse feels entirely autobiographical. It’s like hearing a voice note someone recorded for themselves on the night of a bad breakup. We’ve never heard Tyler quite like this, and it immediately deserves recognition as one of the best verses of his career (so far). *—Eric Skelton*

Verse: 2

Lil Baby knows how to make the most of a big moment. Coming off the biggest year of his career so far, picking up honors like Complex’s award for 2020’s Best Rapper Alive, he linked up with the guy who has been sitting on rap’s throne for years: Drake. Whenever collaborations like this happen, we can’t help but debate who outrapped who, and in this instance, it was Lil Baby. Drake did his thing in the first verse, but Baby came in hot, sounding like he had something to prove. It’s one of those Lil Baby verses where he sounds like he’s running downhill, picking up momentum with each bar. He starts with a playful boast (“I’m from the four, but I love me a threesome”) before positioning himself as an all-time great (“I’m not a GOAT, but I fit the description/ I like to pour, so I get the prescription”) and then flexing about how easy this is for him right now (“I’m droppin’ hit after hit, I’m just chillin’/ But I’ll send a hit while I chill with my children”). He just keeps one-upping himself. “Wants and Needs” isn’t quite a pass-the-torch moment, because Drake hasn’t left his throne just yet, but it does feel like a defining milestone in the rise of Lil Baby. Coupled with his performance on J. Cole’s “Pride Is the Devil,” Baby is proving he can compete with (and often outrap) anyone on any given track. —Eric Skelton — youtube.com

**Verse:** 2

Lil Baby knows how to make the most of a big moment. Coming off the biggest year of his career so far, picking up honors like Complex’s award for 2020’s Best Rapper Alive, he linked up with the guy who has been sitting on rap’s throne for years: Drake. Whenever collaborations like this happen, we can’t help but debate who outrapped who, and in this instance, it was Lil Baby. Drake did his thing in the first verse, but Baby came in hot, sounding like he had something to prove. It’s one of those Lil Baby verses where he sounds like he’s running downhill, picking up momentum with each bar. He starts with a playful boast (“I’m from the four, but I love me a threesome”) before positioning himself as an all-time great (“I’m not a GOAT, but I fit the description/ I like to pour, so I get the prescription”) and then flexing about how easy this is for him right now (“I’m droppin’ hit after hit, I’m just chillin’/ But I’ll send a hit while I chill with my children”). He just *keeps* one-upping himself. “Wants and Needs” isn’t quite a pass-the-torch moment, because Drake hasn’t left his throne just yet, but it *does* feel like a defining milestone in the rise of Lil Baby. Coupled with his performance on J. Cole’s “Pride Is the Devil,” Baby is proving he can compete with (and often outrap) anyone on any given track. *—Eric Skelton*

youtube.com

**Verse:** 2

Lil Baby knows how to make the most of a big moment. Coming off the biggest year of his career so far, picking up honors like Complex’s award for 2020’s Best Rapper Alive, he linked up with the guy who has been sitting on rap’s throne for years: Drake. Whenever collaborations like this happen, we can’t help but debate who outrapped who, and in this instance, it was Lil Baby. Drake did his thing in the first verse, but Baby came in hot, sounding like he had something to prove. It’s one of those Lil Baby verses where he sounds like he’s running downhill, picking up momentum with each bar. He starts with a playful boast (“I’m from the four, but I love me a threesome”) before positioning himself as an all-time great (“I’m not a GOAT, but I fit the description/ I like to pour, so I get the prescription”) and then flexing about how easy this is for him right now (“I’m droppin’ hit after hit, I’m just chillin’/ But I’ll send a hit while I chill with my children”). He just *keeps* one-upping himself. “Wants and Needs” isn’t quite a pass-the-torch moment, because Drake hasn’t left his throne just yet, but it *does* feel like a defining milestone in the rise of Lil Baby. Coupled with his performance on J. Cole’s “Pride Is the Devil,” Baby is proving he can compete with (and often outrap) anyone on any given track. *—Eric Skelton*

Verse: 1

J. Cole’s The Off-Season is a meta devotion to craft. And while he has plenty of moments on the project where lyrical fireworks are the main appeal, he’s at his best when he dials back and just reflects on his own life. That’s what he did on “Let Go My Hand,” a winding, autobiographical verse where he talks about spirituality and fatherhood, and poignantly delivers the anecdote of his child telling him to let him walk on his own, a reminder that “one day he's gonna be his own man and my job is to make sure he's equipped.” A long, introspective verse is a cheat code to wind up on lists like this, especially when it’s delivered from a star whose big reveals are ripe to strangle the news cycle (like his admission that he did indeed fight Diddy back in the day). That was the true “hook” of the song for many, but it’s just one element of a great verse where Cole takes us on the kind of confessional, vulnerable stream of consciousness that typifies his appeal. —Andre Gee — youtube.com

**Verse:** 1

J. Cole’s *The Off-Season* is a meta devotion to craft. And while he has plenty of moments on the project where lyrical fireworks are the main appeal, he’s at his best when he dials back and just reflects on his own life. That’s what he did on “Let Go My Hand,” a winding, autobiographical verse where he talks about spirituality and fatherhood, and poignantly delivers the anecdote of his child telling him to let him walk on his own, a reminder that “one day he's gonna be his own man and my job is to make sure he's equipped.” A long, introspective verse is a cheat code to wind up on lists like this, especially when it’s delivered from a star whose big reveals are ripe to strangle the news cycle (like his admission that he did indeed fight Diddy back in the day). That was the true “hook” of the song for many, but it’s just one element of a great verse where Cole takes us on the kind of confessional, vulnerable stream of consciousness that typifies his appeal. *—Andre Gee*

youtube.com

**Verse:** 1

J. Cole’s *The Off-Season* is a meta devotion to craft. And while he has plenty of moments on the project where lyrical fireworks are the main appeal, he’s at his best when he dials back and just reflects on his own life. That’s what he did on “Let Go My Hand,” a winding, autobiographical verse where he talks about spirituality and fatherhood, and poignantly delivers the anecdote of his child telling him to let him walk on his own, a reminder that “one day he's gonna be his own man and my job is to make sure he's equipped.” A long, introspective verse is a cheat code to wind up on lists like this, especially when it’s delivered from a star whose big reveals are ripe to strangle the news cycle (like his admission that he did indeed fight Diddy back in the day). That was the true “hook” of the song for many, but it’s just one element of a great verse where Cole takes us on the kind of confessional, vulnerable stream of consciousness that typifies his appeal. *—Andre Gee*

Verse: 2

We all know Drake can make any kind of record he wants at this point, but there’s one style he keeps coming back to over and over: “the life talk” record. As he explained during his Rap Radar interview in 2020, these are the songs where he slows things down and gives a thorough update on his life and everything going on in his head at the moment. The latest of these “life talks” is “Lemon Pepper Freestyle,” and it’s one of his best yet. Rapping for four minutes straight over a soulful sample, he covers a lot of ground, rhyming about everything from his childhood class photos to visions of his own funeral. In between, he leaves plenty of room to talk his shit, acknowledging his influence on the game (“Half the time, I gotta ask n****s what they profession is/ Ushered a generation in, these are where my confessions live”) before ruminating on his new reality as a father. Even when he’s rapping about family, though, he does it with the kind of confidence that can only come from someone who is performing at the very top of their game. “Yeah, teacher-parent meetings, wives get googly eyed,” he raps. “Regardless of what they husbands do to provide/ Askin’ if I know Beyoncé and Nicki Minaj.” Then, with incredible comedic timing, he adds, “Of course.” Drake is feelin’ himself here, and why shouldn’t he be? He was the best rapper of the 2010s, and with verses like this, he’s showing that his reign might not end soon. “Lemon Pepper Freestyle” has it all: intricate wordplay, honest storytelling, topical references, and overflowing confidence. As he happily points out, “Negative thoughts don’t even enter my inner matrix.” —Eric Skelton — youtube.com

**Verse:** 2

We all know Drake can make any kind of record he wants at this point, but there’s one style he keeps coming back to over and over: “the life talk” record. As he explained during his *Rap Radar* interview in 2020, these are the songs where he slows things down and gives a thorough update on his life and everything going on in his head at the moment. The latest of these “life talks” is “Lemon Pepper Freestyle,” and it’s one of his best yet. Rapping for four minutes straight over a soulful sample, he covers *a lot* of ground, rhyming about everything from his childhood class photos to visions of his own funeral. In between, he leaves plenty of room to talk his shit, acknowledging his influence on the game (“Half the time, I gotta ask n****s what they profession is/ Ushered a generation in, these are where my confessions live”) before ruminating on his new reality as a father. Even when he’s rapping about family, though, he does it with the kind of confidence that can only come from someone who is performing at the very top of their game. “Yeah, teacher-parent meetings, wives get googly eyed,” he raps. “Regardless of what they husbands do to provide/ Askin’ if I know Beyoncé and Nicki Minaj.” Then, with incredible comedic timing, he adds, *“Of course.”* Drake is feelin’ himself here, and why shouldn’t he be? He was the best rapper of the 2010s, and with verses like this, he’s showing that his reign might not end soon. “Lemon Pepper Freestyle” has it all: intricate wordplay, honest storytelling, topical references, and overflowing confidence. As he happily points out, “Negative thoughts don’t even enter my inner matrix.” *—Eric Skelton*

youtube.com

**Verse:** 2

We all know Drake can make any kind of record he wants at this point, but there’s one style he keeps coming back to over and over: “the life talk” record. As he explained during his *Rap Radar* interview in 2020, these are the songs where he slows things down and gives a thorough update on his life and everything going on in his head at the moment. The latest of these “life talks” is “Lemon Pepper Freestyle,” and it’s one of his best yet. Rapping for four minutes straight over a soulful sample, he covers *a lot* of ground, rhyming about everything from his childhood class photos to visions of his own funeral. In between, he leaves plenty of room to talk his shit, acknowledging his influence on the game (“Half the time, I gotta ask n****s what they profession is/ Ushered a generation in, these are where my confessions live”) before ruminating on his new reality as a father. Even when he’s rapping about family, though, he does it with the kind of confidence that can only come from someone who is performing at the very top of their game. “Yeah, teacher-parent meetings, wives get googly eyed,” he raps. “Regardless of what they husbands do to provide/ Askin’ if I know Beyoncé and Nicki Minaj.” Then, with incredible comedic timing, he adds, *“Of course.”* Drake is feelin’ himself here, and why shouldn’t he be? He was the best rapper of the 2010s, and with verses like this, he’s showing that his reign might not end soon. “Lemon Pepper Freestyle” has it all: intricate wordplay, honest storytelling, topical references, and overflowing confidence. As he happily points out, “Negative thoughts don’t even enter my inner matrix.” *—Eric Skelton*

Verse: 3

Fivio Foreign steals the show on “Off the Grid,” making the most of the moment to deliver one of the best verses of his career so far. Over a booming drill beat, co-produced by Kanye, 30 Roc, AyoAA, Ojivolta, David & Eli, and Sloane, he performs a lengthy verse, chock full of bravado and religious references. “Know we got God with us/ You look at me and see a God figure/ And when I start vibin’, I know that He with me/ And Imma always catch a hard shiver,” he spits. Sticking closely to the theme of the rest of the album, he opens himself up for a raw verse, getting more vulnerable than we’ve ever heard him on wax. And his intensity resonated with fans so much during the second Donda listening session that it may have even inspired Kanye to go even harder when he wrote his own final verse, which reminded so many of the “old Ye.” Fivio Foreign is owed a lot of credit for making “Off the Grid” one of the best songs of 2021. —Jessica McKinney — youtube.com

**Verse:** 3

Fivio Foreign steals the show on “Off the Grid,” making the most of the moment to deliver one of the best verses of his career so far. Over a booming drill beat, co-produced by Kanye, 30 Roc, AyoAA, Ojivolta, David & Eli, and Sloane, he performs a lengthy verse, chock full of bravado and religious references. “Know we got God with us/ You look at me and see a God figure/ And when I start vibin’, I know that He with me/ And Imma always catch a hard shiver,” he spits. Sticking closely to the theme of the rest of the album, he opens himself up for a raw verse, getting more vulnerable than we’ve ever heard him on wax. And his intensity resonated with fans so much during the second *Donda* listening session that it may have even inspired Kanye to go even harder when he wrote his own final verse, which reminded so many of the “old Ye.” Fivio Foreign is owed a lot of credit for making “Off the Grid” one of the best songs of 2021. —*Jessica McKinney*

youtube.com

**Verse:** 3

Fivio Foreign steals the show on “Off the Grid,” making the most of the moment to deliver one of the best verses of his career so far. Over a booming drill beat, co-produced by Kanye, 30 Roc, AyoAA, Ojivolta, David & Eli, and Sloane, he performs a lengthy verse, chock full of bravado and religious references. “Know we got God with us/ You look at me and see a God figure/ And when I start vibin’, I know that He with me/ And Imma always catch a hard shiver,” he spits. Sticking closely to the theme of the rest of the album, he opens himself up for a raw verse, getting more vulnerable than we’ve ever heard him on wax. And his intensity resonated with fans so much during the second *Donda* listening session that it may have even inspired Kanye to go even harder when he wrote his own final verse, which reminded so many of the “old Ye.” Fivio Foreign is owed a lot of credit for making “Off the Grid” one of the best songs of 2021. —*Jessica McKinney*

Verse: 3

The rap fans’ deadliest sin is entitlement. It’s not our fault. The free market commands services to constantly release the so-called biggest and best version of their product to keep up with demand. Everyone is trying to appease consumers to get our dollars. But that mindset can’t extend into art, and more specifically, what we expect from artists. They don’t owe us our presence. Lauryn Hill said during a September Fugees reunion show that she fell back from the rap industry to explore a childhood that the industry took from her. And when she decides to come back, she does so bearing gifts like her “Nobody” verse, which she begins by letting us know, “all my time has been focused on more freedom now,” before chastising backstabbers, sabotagers, and fans, rhyming, “I’m savin’ souls and y’all complainin’ ‘bout my lateness.” Every bar is packed with jewels, whether it’s an insight into what she’s been up to over the past 20 years, social commentary, a life gem, or the realization that “I don’t need to turn myself into a parody.” This masterful verse displays why fans clamor for more of her presence by expressing why that just can’t be. And we have to learn to be fine with that. —Andre Gee — youtube.com

**Verse:** 3

The rap fans’ deadliest sin is entitlement. It’s not our fault. The free market commands services to constantly release the so-called biggest and best version of their product to keep up with demand. Everyone is trying to appease consumers to get our dollars. But that mindset can’t extend into art, and more specifically, what we expect from artists. They don’t owe us our presence. Lauryn Hill said during a September Fugees reunion show that she fell back from the rap industry to explore a childhood that the industry took from her. And when she decides to come back, she does so bearing gifts like her “Nobody” verse, which she begins by letting us know, “all my time has been focused on more freedom now,” before chastising backstabbers, sabotagers, and fans, rhyming, “I’m savin’ souls and y’all complainin’ ‘bout my lateness.” Every bar is packed with jewels, whether it’s an insight into what she’s been up to over the past 20 years, social commentary, a life gem, or the realization that “I don’t need to turn myself into a parody.” This masterful verse displays why fans clamor for more of her presence by expressing why that just can’t be. And we have to learn to be fine with that. *—Andre Gee*

youtube.com

**Verse:** 3

The rap fans’ deadliest sin is entitlement. It’s not our fault. The free market commands services to constantly release the so-called biggest and best version of their product to keep up with demand. Everyone is trying to appease consumers to get our dollars. But that mindset can’t extend into art, and more specifically, what we expect from artists. They don’t owe us our presence. Lauryn Hill said during a September Fugees reunion show that she fell back from the rap industry to explore a childhood that the industry took from her. And when she decides to come back, she does so bearing gifts like her “Nobody” verse, which she begins by letting us know, “all my time has been focused on more freedom now,” before chastising backstabbers, sabotagers, and fans, rhyming, “I’m savin’ souls and y’all complainin’ ‘bout my lateness.” Every bar is packed with jewels, whether it’s an insight into what she’s been up to over the past 20 years, social commentary, a life gem, or the realization that “I don’t need to turn myself into a parody.” This masterful verse displays why fans clamor for more of her presence by expressing why that just can’t be. And we have to learn to be fine with that. *—Andre Gee*

Verse: 1

André 3000 starts off his “Life of the Party” monologue by greeting the spirit of the late Donda West and simply asking, “You run into my mama, please tell her I said, ‘Say something,’” before delving into his grief at his mother’s loss. “You see, she’d always light a cigarette, we talk/ I would cough exaggeratin’ a lil’ bit so she get the point,” he reflects, after admitting he’s “lost” in her absence.

Every great monologue is written in a way that reflects the randomity of racing thoughts, but is actually purposeful craft. That’s exemplified on “Life of the Party” by the way André reflects on his own avant-garde image in the midst of speaking on his mother’s smoking, noting he hadn’t smoked weed for 20 years, then rhyming, “All that time, y’all thought a ***** was high, thought I was crazy.” The verse progresses with a story about a grade school romance and André ponders about his father who “always smiled, but was he happy inside?”

Any one of those reflections could have made for a really good verse, but André fuses all three while fulfilling the theme of Kanye’s tribute to his mother Donda. That’s mastery.

The verse had a dubious debut, as Drake pettily leaked it in September to disarm Kanye of what may be one of the best songs in his vault. It’s a shame that it got caught up in the midst of an ego war, as both Kanye and Drake started rhyming because they had stories to tell. A vulnerable, beautiful work like this shouldn’t have been weaponized.

Regardless of how the song was released, though, we’re glad it was. André’s verse is at once an ode to a lifetime of craft and a despondency with how that life is going. It’s doleful, with a flicker of hope, that his mom is speaking to him through the universe. And it feels all the more meta that he mused on sensing his loved ones through life’s gentle sounds on a song that feels like a balm. —Andre Gee — youtube.com

**Verse:** 1

André 3000 starts off his “Life of the Party” monologue by greeting the spirit of the late Donda West and simply asking, “You run into my mama, please tell her I said, ‘Say something,’” before delving into his grief at his mother’s loss. “You see, she’d always light a cigarette, we talk/ I would cough exaggeratin’ a lil’ bit so she get the point,” he reflects, after admitting he’s “lost” in her absence.

Every great monologue is written in a way that reflects the randomity of racing thoughts, but is actually purposeful craft. That’s exemplified on “Life of the Party” by the way André reflects on his own avant-garde image in the midst of speaking on his mother’s smoking, noting he hadn’t smoked weed for 20 years, then rhyming, “All that time, y’all thought a ***** was high, thought I was crazy.” The verse progresses with a story about a grade school romance and André ponders about his father who “always smiled, but was he happy inside?”

Any one of those reflections could have made for a really good verse, but André fuses all three while fulfilling the theme of Kanye’s tribute to his mother Donda. That’s mastery.

The verse had a dubious debut, as Drake pettily leaked it in September to disarm Kanye of what may be one of the best songs in his vault. It’s a shame that it got caught up in the midst of an ego war, as both Kanye and Drake started rhyming because they had stories to tell. A vulnerable, beautiful work like this shouldn’t have been weaponized.

Regardless of how the song was released, though, we’re glad it was. André’s verse is at once an ode to a lifetime of craft and a despondency with how that life is going. It’s doleful, with a flicker of hope, that his mom is speaking to him through the universe. And it feels all the more meta that he mused on sensing his loved ones through life’s gentle sounds on a song that feels like a balm. *—Andre Gee*

youtube.com

**Verse:** 1

André 3000 starts off his “Life of the Party” monologue by greeting the spirit of the late Donda West and simply asking, “You run into my mama, please tell her I said, ‘Say something,’” before delving into his grief at his mother’s loss. “You see, she’d always light a cigarette, we talk/ I would cough exaggeratin’ a lil’ bit so she get the point,” he reflects, after admitting he’s “lost” in her absence.

Every great monologue is written in a way that reflects the randomity of racing thoughts, but is actually purposeful craft. That’s exemplified on “Life of the Party” by the way André reflects on his own avant-garde image in the midst of speaking on his mother’s smoking, noting he hadn’t smoked weed for 20 years, then rhyming, “All that time, y’all thought a ***** was high, thought I was crazy.” The verse progresses with a story about a grade school romance and André ponders about his father who “always smiled, but was he happy inside?”

Any one of those reflections could have made for a really good verse, but André fuses all three while fulfilling the theme of Kanye’s tribute to his mother Donda. That’s mastery.

The verse had a dubious debut, as Drake pettily leaked it in September to disarm Kanye of what may be one of the best songs in his vault. It’s a shame that it got caught up in the midst of an ego war, as both Kanye and Drake started rhyming because they had stories to tell. A vulnerable, beautiful work like this shouldn’t have been weaponized.

Regardless of how the song was released, though, we’re glad it was. André’s verse is at once an ode to a lifetime of craft and a despondency with how that life is going. It’s doleful, with a flicker of hope, that his mom is speaking to him through the universe. And it feels all the more meta that he mused on sensing his loved ones through life’s gentle sounds on a song that feels like a balm. *—Andre Gee*

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