Roots Manuva ‘Run Come Save Me’ (Big Dada)

First things first. Forget all those patronising ‘saviour of UK hip-hop’ soundbites, in fact, forget the repressive UK hip-hop bracket altogether. This is classic hip-hop, plain and simple. Expanding on the elements that made 1999’s ‘Brand New Second Hand’ a landmark record, Rodney Smith displays an improved vocal style that veers from the stream of consciousness of ‘Witness’ to more conventional storytelling on ‘Sinny Sin Sins’. As a fitting conclusion ‘Lazy Days’, matches the poignancy of ‘Inner City Folk’ on Skitz’s ‘Countryman’ with its sing song chorus and orchestral backing. To an accompanying stout and weed fuelled soundtrack that effortlessly shifts from squelching funk to a digital dub sound, the true achievement here is the manner in which Roots Manuva has crafted an album with enough profound lyrics and sonic innovation to warrant repeated play. And lets be honest- you’ve got to lift your hat to any rapper who incorporates ‘ten pints of bitter’ into a rhyme. I know essential purchase is a criminally overused term in rap journalism, but if you only buy one LP this year…welcome to Rodney’s world. Now where’s that Brit award?

Akineyle ‘Anakonda’ (Koch)

With so many sex obsessed rap acts clogging the shelves, its time to make room for one of the OG’s (original gangbangers) to make his sticky mark once again. As an artist who’s been rhyming about porn since most of his X rated contemporaries were wet dreaming about their primary school teachers, this is Akineyle’s third LP, and still the subject matter remains the same. Track titles like ‘Eat Pussy’ and Bomb Pussy’ give a little idea of what to expect, and with the exception of the disco flavoured ‘Spread Your Legs’, despite some initial belly laughs the adult material lacks any substance or long term appeal. When Akineyle chooses to deviate from his chosen topic over the mariachi guitar of ‘Gangsters’, the bar room piano of Guns Bust’ and the Godfather themed, vintage Mobb Deep vibe of ‘Die For Me’, he proves he’s on par with New York’s finest, but its too little, too late. While ‘Anakonda’ never reaches the Large Professor produced heights of 1993’s ‘Vagina Diner’, like a particularly filthy one night stand- its fun while it lasts.

Necro ‘Morbid/Empty the Clip’ (Psycho-Logical)

Like gin and tonic, marmite, or Japanese scat-porn, you either love Necro’s output or you hate it, and once again hip-hop’s very own grinch has returned to gleefully drag rap music from it’s current hi-tech sheen into murkier, lo-fi territories. ‘Morbid’ sees Necro spitting his trademark murderous lyrics over a pulsating bassline, and moody guitar sample, while ‘Empty the Clip’, has a seventies crime flick sound, portraying the artist as a Travis Bickle for the new millenium. Though his questionable subject matter will inevitably raise a few eyebrows, and accusations of shock tactics to sell records, no one can deny Necro’s untouchable production style. There’s certainly enough sonic innovation and verbal prowess on display here to justify his uncompromising vision, and this is a welcome trip into the mind of a true American psycho.

Bas One ‘Toy Story/Mentally Astute’ (Heratik Productions)

When flicking through the racks, it’s easy to become jaded by the influx of dull releases on familiar labels that churn out cliché after cliché in the name of independent hip-hop, so it’s nice to see a small label like Oakland’s Heratik showing the world how it should be done. As the best ode to graffiti since ‘Wrong Side Of Da Tracks’, ‘Toy Story’ is an unexpected treat. Over a chopped up piano sample and a bumping bassline courtesy of Fanatik, Bas One drops tales of racking paint, burners, transport police and guard dogs, with a stark warning to all the toys- "…don’t go over the next cat’s piece if yours ain’t doper…" While ‘Mentally Astute’, with it’s chunky old school beat is solid enough, Bas One’s futuristic revamp successfully adds some abstract keyboards and a harder beat to his impassioned industry lament- "…wack prevails- why does fresh fail?" With purple vinyl, incredible cover artwork and a minute or two of ‘accapella battlebreaks’, this is a value for money package, representing more hip-hop in a single release than most labels do in a lifetime.

Mr Complex ‘Rhapsody’/‘Everybody Everywhere’ (B9000 Records/Landspeed)

I’ll admit it. I’m a sucker for a hip-hop record with a concept- GZA’s ‘Labels’, Biggie’s ‘Dreams of…’, Bumpy Knuckles’ ‘Industry Shakedown’, and J-Zone’s entire output are all personal favourites, because it takes more than aimless braggadocio and dull scientific theory to hold four minutes of my attention. ‘Rhapsody’ has Complex moving around a mythical rap city, where streets and landmarks are named after hip-hop acts past and present. Like a skunk induced b-boy dreamland, "EPMD Hospital" nestles close to the "Organised Konfusion Institution". In the hands of a lesser MC, this would’ve been excruciating, but Mr Complex delivers it like a true veteran, with the aid of some dramatic horns and suitably epic sound effects. The flip side, ‘Everyday, Everywhere’ is a little more smoothed out, with a softer beat and an uplifting street narrative that’s decent enough, if a little overshadowed by the titanic ‘A’ side. As per usual, Mr Complex has delivered another high quality release that should top your next vinyl-shopping list. Great stuff.