“What really matters is what you like, not what you are like.”
– Nick Hornby, High Fidelity (1995)
Readers who have enjoyed our interviews from time to time know that we typically ask artists to share their five favorite albums of all time at the end of our conversations with them. No matter who the artist is, it’s always fascinating to discover which long players have impacted their personal and professional lives. A few of our interview subjects have even scoffed at the standard five-album limit, rattling off upwards of a dozen or so titles and second-guessing if they’ve made the right choices.
Today, and considering that we’re still in the midst of the year 2020, we’re excited to reveal our writers’ respective lists of their 20 all-time favorite albums. We all reserve the right to change our minds about these choices in the future, but for now, here are the indispensable albums that we can’t live without and the reasons why.
Explore Kenneth Hicks’ 20 favorites below, click the “Next” button at the bottom of the page to browse the lists or return to the main index.
Erykah Badu | Baduizm
Kedar/Universal (1997)
Listening to Baduizm puts me at ease. There's a sense of spirituality that the album, and all of Erykah Badu's music, gives off. It helps me think more clearly in some moments and forget my concerns in others.
Anita Baker | Rapture
Elektra (1986)
Anita's vocal performance on Rapture is one of the best I've ever heard in R&B. She strikes an amazing balance between being technically sound and truly conveying the emotion described in her lyrics.
Black Star | Mos Def & Talib Kweli Are Black Star
Rawkus (1998)
I enjoy the Black Star album a lot because of how it balances homage and innovation. Mos and Talib channel the spirit and sound of early hip-hop on certain songs, but they still offer cuts like "Thieves in the Night" that add new dimensions to the genre.
Brandy | Full Moon
Atlantic (2002)
Full Moon is a fitting title for this album because it sounds like music from another part of the galaxy. Brandy and Rodney Jerkins, the main producer on the album, took cues from the futuristic sounds crafted for Aaliyah by Timbaland and Missy Elliott. But instead of making a cheap imitation, Brandy and Jerkins created their own spaceship. Jerkins' beats are unique, but he manages to make them rhythmic and accessible. And Brandy's vocal range is on full display.
D’Angelo | Brown Sugar
EMI (1995)
Almost every song on Brown Sugar opens with a sequence that leaves me with the stink face. The instrumentation is that good. And soon after each sequence, D'Angelo enters the fold, singing with a slick tone that's just as striking as the music behind it. As good as the writing is on the album, D'Angelo often expresses the most emotion without words when he riffs and hits high notes.
Marvin Gaye | I Want You
Tamla (1976)
I Want You is the slickest music I've ever heard, so it's a go-to for me when I want to relax. On top of that, I marvel at how strong Marvin's presence is on the album given how laid-back his delivery is, as well as how much time is given to instrumentation on its own.
Intro | Intro
Atlantic (1993)
This is my favorite album from an R&B group, largely because of the performance of the late Kenny Greene. His voice was powerful and it impressed on uptempo tracks just as much as on ballads. And the album's production is emblematic of early '90s R&B, which is an era of music that I love.
Joe | Doubleback: Evolution of R&B
Massenburg (2013)
I don't know if a perfect album exists, but I think Doubleback comes pretty close. Joe's vocals are polished throughout, blending seamlessly with the production on ballads and uptempo tracks alike. Sonically, the album pulls inspiration from R&B and Soul of the '70s. Yet it avoids sounding dated, and instead becomes the audio equivalent of a black-tie affair.
Jon B | Cool Relax
Yab Yum/550 Music/Epic (1997)
I can't sing, but I forget that when I listen to Cool Relax. The choruses and harmonies throughout the album are infectious, largely because of Jon B.'s slick tone. I can't help but sing along.
Donell Jones | Where I Wanna Be
LaFace (1999)
Where I Wanna Be is one of the smoothest albums I've ever heard. Donell Jones has a voice that glides over beats and it helps his verses become nearly as memorable as his choruses.
Dom Kennedy | From the Westside with Love II
The Other Peoples Money Company (2011)
When I want to set a good tone for the day, this Dom Kennedy album is one of the first things I put on. His delivery is laid-back and charismatic, conveying a calm confidence that can rub off on listeners. And Kennedy's rhymes are matched perfectly by beats from the likes of Cardo and Mike & Keys that revamp the G-Funk sound.
Ryan Leslie | Ryan Leslie
Universal Motown (2009)
Few artists in R&B can match the level of musicianship Ryan Leslie showed on his debut album. He produced every song, crafting a sound that's futuristic, but still resonates with listeners. Leslie's singing tone meshes well with each beat and his songwriting is honest. I'll always wish that the album received more attention.
Mint Condition | From the Mint Factory
Perspective (1993)
Stokley Williams' vocals are so strong that I'd expect them to overshadow the other elements of the songs. But somehow the play of the band he sings with impresses just as much, and it makes the album one of the first that I think of when I remember '90s R&B.
Mos Def | Black on Both Sides
Rawkus/Priority (1999)
Black on Both Sides is brilliant in so many ways. Mos Def's rhymes are poetic at some points and frank at others, but are always insightful. The perspectives he shares on race, government and other topics are thought-provoking. And the moments when he croons are just as compelling as when he raps.
Nas | Illmatic
Columbia (1994)
Nas' debut remains a standard-bearer for me when it comes to things like lyricism, substance and production. I spent a lot of bus rides in middle school listening to the album and, from that point on, I haven't stopped studying hip-hop.
The Notorious B.I.G. | Life After Death
Bad Boy/Arista (1997)
Beyond its showcase of how well-rounded Biggie was as an emcee, Life After Death is the audio embodiment of a mafia movie. Biggie's able to capture the luxury, violence, ego, and paranoia that we see play out on the screen from the likes of Tony Montana and Frank White.
Toro y Moi | Underneath the Pine
Carpark (2011)
I usually spend a lot of time with this album during the summer, either to help me reflect or to just clear my mind. The man behind the music, Chaz, isn't nearly as talented vocally as the other singers I've mentioned on this list. Yet, his vocals work with the album's production to create an otherworldly sound.
A Tribe Called Quest | Midnight Marauders
Jive (1993)
You can find albums that have more complex rhymes or more thought-provoking content than Midnight Marauders, but I doubt that there's an album with a better marriage between the rappers and the production. I honestly don't skip a song when I listen to it.
Usher | Confessions
Arista (2004)
Usher has been my favorite singer since I was a kid and on Confessions, he found production and songwriting that matched the quality of his vocals. Every type of song I'd like to hear from an R&B singer is on the album and they're all done well.
Zhané | Pronounced Jah-Nay
Motown (1994)
Zhané's harmonies and the beauty of the group's voices makes their debut one of the smoothest albums I've heard. And the album's singles remind me of the music I'd hear when my family got together during my childhood.