Disappearing Acts: The Decline Of Hip Hop Groups

Lackluster sales and the appeal of a solo career may mean large crews and "super-groups" have replaced traditional two and three member Hip Hop groups.

Try to name all of your favorite Rap groups from the ‘80s and ‘90s.

Instinctively, most of us can rattle off enough names to run out of breath before actually needing to think. Acts such as Group Home and Camp Lo inevitably slip your mind. A fleeting thought of The Pharcyde somehow reminds you of Tha Alkaholiks, and then, “Where the hell is my Dogg Food album?” A kid in New Jersey might favor The Artifacts, while my Shaolinian primacy demands greater respect for The UMCs.

Now try to list your favorite groups from any time after 2000. Need a minute?

Don’t even bother. Just accept the grim, Twilight Zone-ish reality. It’s about time we acknowledge this 11-year dearth of new groups in the genre that gave us Run-DMC, Outkast, and Cypress Hill.

Despite the presence of some captivating talents such as Elzhi (a former member of the beloved Detroit collective Slum Village), Lupe Fiasco, and Hopsin, an undeniable sense of dissatisfaction pervades much of Hip Hop’s core audience these days. Knee-jerk, stuck-in-the-‘90s traditionalists (myself included, to an extent) often attribute that lingering disenchantment to an abundance of superficial subject matter and simplistic rhymes. But the artists mentioned above, and a few not mentioned here, easily nullify such thoughts about the current scene.

Nevermind a debate about the substance and standards of one era versus another. It’s not about preference-based conclusions; it’s about Hip Hop missing something tangible—one of its most distinct, elemental aspects. This unprecedented void of traditional Hip Hop groups provides an explanation, a partial one at least, for the perception of inferior quality. Books and Drayz might have had successful solo careers, but would any Das Efx fan want to live in a world without Straight Up Sewaside or Hold It Down? H.N.I.C. was a dope album, but right now an estranged Mobb Deep might be cheating us out of another The Infamous or Hell On Earth.

To be fair, we’ve seen the rise of some praiseworthy crews recently, such as Odd Future and Pro Era. But they’re crews, not groups. They have more of a Juice Crew / D.I.T.C. vibe than Wu-Tang, or even Heltah Skeltah. Remember, the Boot Camp Clik collective began as a crew of separate groups.

When I interviewed Slaughterhouse about four years ago, I realized that the then, newly formed “supergroup” had actually ended a fairly significant drought of new Rap groups. As a collaboration of established soloists, we were already somewhat familiar with their capabilities. Aside from Slaughterhouse and the above-mentioned crews, Hip Hop hasn’t seen a debut from any significantly capable group since the Twin Towers still ruled New York City’s skyline.

Little Brother And The Tradition Of Hip Hop Groups

In August of 2001, rappers Phonte, Big Pooh and producer 9th Wonder, released their debut single, “Speed.” The trio called themselves, Little Brother, because they intended to carry on the tradition of groups likes Public Enemy and De La Soul.

“They were like our big brothers in the game,” Phonte said back in 2003. “Now they got a little brother following in their footsteps and carrying on the tradition of good music.”

In the years between the Run-DMC era and Little Brother’s emergence, there was the ‘90s, a decade highlighted by rugged, fiercely poetic duos, crews, and cliques. Sound evolved and subject matter changed to reflect the times, but the tradition persisted.  

Grandmaster Flash, Kurtis Blow and them passed the torch to us,” Whodini’s Jalil said in the 1997 film Rhyme & Reason. “Us and Run-DMC, LL Cool J had it, passed it on with Rakim, Public Enemy, Boogie Down Productions...They passed it on to who’s getting it, you got EPMD comin out, then you got A Tribe Called Quest comin’ out…The torch is going on, to the next one and goin’ on.”

Hip Hop’s Westward expansion in the ‘80s evolved into a generation of regionally distinct styles in the ‘90s. When Dr. Dre and Ice Cube established respective solo careers, Eazy-E went and found Bone Thugs-N-Harmony, who have secured Cleveland, Ohio’s inclusion in Hip Hop history. Meanwhile, the Southernplayalistic sounds of Outkast and Goodie Mob rose from the bottom of the map.

“We were nothing but a spinoff of Public Enemy and N.W.A. mixed all in one,” Goodie Mob’s T-Mo told Maurice G. Garland after the group’s 2009 reunion. “We followed them. There’s groups that followed us, too. We raised these groups that are out right now.”

Little Brother stepped into the new millennium with classic material on deck and seemingly boundless potential. Pooh and Phonte filled a lyrical void, while 9th Wonder laced tracks with an airy, boom-bap sound that evoked Pete Rock and Ski. The group released their critically acclaimed—though weakly promoted—debut album The Listening in 2003, which led to a major label deal with Atlantic Records.

Tension began while recording their major label debut, The Minstrel Show, and it is widely believed that tension ultimately lead to the group’s demise. An outside demand for 9th Wonder’s talent grew. And while his time restrictions and limited contributions may not have been the underlying cause of their split, it was one of L.B.’s earliest public displays of internal turmoil.  

Little Brother still excelled as an emcee duo, despite the departure of their most prominent member and in-house producer. It should be noted that aside from a brief Twitter spat and some press speculation, the reason behind the split has remained, for the most part, a mystery. Although the story lacks an easily identifiable cause for 9th’s departure, the broad sentiment seems obvious. The inevitability that their business relationship would corrupt their friendship drove Phonte and Pooh to a mutual disbandment after the release of Little Brother’s 2010 album, LeftBack.

"If you're doing business with a friend, you gotta decide, well, do I end this business relationship and keep my friendship?” Phonte told the Village Voice in 2010. “Or do I continue this business relationship and end up wrecking both?"

Oddly enough, the tradition that inspired Little Brother seems to have expired with them.

The Financial Benefits Of Being A Solo Artist

So if the tradition is dead, then who or what killed it? Was it the corporate types, apathetic conformists or maybe the vanity-driven egoism of artists incapable of recognizing how a partner can complement their own distinct abilities? Does anyone want to listen to a solo Greg Nice or Smooth B album?

Most likely, a combination of all of the above steered artists away from the tradition. The recurring narrative of bitter break-ups and ruined friendships certainly didn’t help. Major label aversion toward traditional Hip Hop groups might have further depleted whatever incentive remained.

The “industry” is always the easiest scapegoat. Arguing that corporate interests ended a tradition of critically acclaimed and marginally commercially successful Hip Hop groups over-simplifies reality. But to totally dismiss such an argument would be naïve. Corporate interests are inclined to value high-selling mediocrity over substance that only generates moderate sales regardless of medium or genre. And with the overall decline in record sales, radio-friendly, ringtone jingles become essential for mere consideration from a major label.  

I think The Minstrel Show’s poor sales might have impacted Atlantic in a way that lead to the label’s mishandling of Saigon and Lupe Fiasco preceding the release of Lasers. Logically, why would a label continue giving artists enough freedom to make great music that doesn’t sell, when conforming to marketable trends seems far more conducive to the bottom line? The most effective strategy would be to control the content of soloists and not waste time with groups, which despite a few exceptions have never displayed much monetary value.  

Little Brother produced a widely revered, classic album that floundered on the charts. The Minstrel Show peaked at #56 and spent only three weeks on Billboard magazine’s Top 200 Albums chart. That same year, one of 50 Cent’s more forgettable efforts, The Massacre, hit #1 and remained on the chart for over a year.

To be fair, the mishandling of group efforts wasn’t just limited to boom-bap era outfits like Little Brother. Boyz N Da Hood, one of the only traditional groups to come out after Little Brother, further validated any major label skepticism. The solo career of former member Young Jeezy dwarfed the moderate success achieved by the group. Anyone could have easily read this as an ominous blunder on P. Diddy’s behalf.

Signed to Diddy’s Bad Boy Records, the group’s debut and sophomore albums peaked at #5 and #51 respectively, on Billboard’s Top 200 chart. Jeezy’s Def Jam debut peaked at #2, followed by two consecutive #1 albums.

All relevant signs pointed to the dominant solo rapper who could grab his nuts and proclaim sole occupancy of G.O.A.T. status. To further illustrate, just look at Lil Wayne’s post-Hot Boys success and the recent ascendency of 2 Chainz after Playaz Circle.

Even during the golden era, Rap groups seldom hit #1. A Tribe Called Quest’s Beats Rhymes and Life eventually did. But in these times, The Low End Theory’s peak of 45 would’ve deterred support for Midnight Marauders, which hit #8, and preceded the chart-topping Beats. This happened during a brief stretch, when quality music actually equated to success. In 1995, ‘96, and ‘97 alone, we saw #1 albums from Bone Thugs-N-Harmony, A Tribe Called Quest, and Wu-Tang Clan, respectively.  That’s part of why people refer to the era as golden.

The lack of #1 albums from emcee duos and small groups seems even more severe than that of larger groups. Outkast didn’t hit #1 on the Top 200 until they released two solo discs, packaged as a group album with Speakerboxxx/The Love Below.

The success of Tha Dogg Pound’s 1995 #1 debut album might have had as much to do with timing as merit. Death Row’s momentum—following The Chronic and Doggystyle—had, at least partially, powered Dogg Food’s success. Still, a few years later, Daz and Kurupt traded lyrical blows on diss tracks and verbal jabs in the press, as the friends/business conflict eventually got the best of them. Their 2005 reunion seemed more like a genuine reconnection of long-time friends, a la EPMD, than the soap opera saga of A Tribe Called Quest’s forced return, or The Fugees ill-fated resurrection.

Until Big Boi’s ominous “Gillette shit remarks this week, Outkast, was one group that never seemed to struggle with personality clashes or conflicting individual ambitions. Nevertheless, their label’s infringement overrode the group’s lack of self-destructiveness.

Jive Records seemed to suffer from dollar-driven myopia while Big Boi recorded his solo album, Sir Luscious Left Foot: The Son of Chico Dusty. The ATLien refused to cave to Jive’s demand for simplistic, catchy tunes, and eventually took his album to Def Jam, with Jive’s permission. Jive, however, banned Andre 3000 from appearing on his partner’s solo album, because Outkast was still signed to Jive as a group. The label’s vindictiveness overshadowed the technical validity of their decision, and ultimately denied Hip Hop a solo project that reflected Big Boi’s full potential. Jive didn’t care for the distinctness and creativity that brought Outkast to such legendary status. They just wanted a buzzing single.

“They told me to go in and make my version of Lil Wayne's ‘Lollipop’,” Big Boi told GQ shortly before the album dropped. “[H]ow you gonna tell me to go bite another MCs style?... That's the highest form of disrespect ever.”

Enter The Void

Most things in life are too complicated to indicate one sole cause, especially so in this situation.

With Outkast, we can safely assume they fell victim to label politics—which is strange since moving 10 million copies of Speakerboxxx/The Love Below has to make them one of the most successful Hip Hop groups ever. With Playaz Circle, 2 Chainz's newfound popularity and commercial success made it clear that being a soloist was more profitable for him. And, in the case of Goodie Mob and Black Eyed Peas, we can connect the dots and see that changing personal aspirations (for Cee-Lo, will.i.am and Fergie), and the prospect of not having to divide those royalty splits as much, made breaking up—even if not on a permanent basis—inevitable.

But for every cautionary tale, there are groups like De La Soul that have been rocking together for the better part of two decades. And despite a very public breakup on Yo! MTV Raps, Leaders of the New School's brief reunion at the Brooklyn Hip-Hop Festival proved that Hip Hop groups can eventually find common ground. Admittedly, sometimes it’s only a temporary reunion to satiate the fans.

Still, any ephemeral satisfaction from a reunion can’t fill the void of new groups. And although various intertwined complexities underlie the cause, there is at least one easily identifiable effect of the tradition’s absence; fans will suffer. Hip Hop, right now, feels about as complete as New York City’s post-9/11 skyline. Sure, there’s plenty to admire, but the captivation has waned.

One World Trade Center now unctuously stretches 1,776 feet into the sky, like some kind of proverbial middle finger to the perpetrators and their sympathizers. We can only hope a new group rises to serve as a proverbial middle finger to the industry, much like Wu-Tang did for RZA. Right now, it seems like the mountain climbers with electric guitars took heed to the Wu’s warning, but rather than protecting their own necks, they ripped the jugular right out of our genre.

Michael Cohen is a freelance journalist from Staten Island, New York. He has contributed to the New York Daily News, The Village Voice, Urban Latino Magazine and others. He is currently working on his first documentary film, Staten ill-Land; Forgotten Flava From The Forgotten Borough. You can follow him on twitter @mcohenSINY


  • solo

    i was listening to fugees and couldn't think of any other hip-hop or rap groups with major success after them ...not really thinking about the effect on the genre or music... but more just why? just seems a bit odd.... back then, you could rattle off so many groups... and now all the top acts are solo

  • Gary

    Those dumb hats on backward and unswear sticking out of their pants make them look like a bunch of clowns, or worse. I really don't think this is culture. It is more uneducated ignoramus types.

  • Dozen

    Essay structure: -exposition -thesis -support (preferably cohesive support) -final argument/recap -conclusion This article was so poorly structured, I didn't know if it's was going to be a remember them days rant or Little Brother exposee...

  • J

    Ground Up CunninLynguists Bliss n Eso Hilltop Hoods Doomtree Move.meant League of Extraordinary G'z Blue Scholars Cannibal Ox The Roots Strange Fruit Project There's plenty of good new/new-ish stuff out there. You just need to know where to look.

  • Ken

    Excellent article. I want a Slaughterhouse next album date and title like right now.

  • mr r

    I want more of dat Mobb shit

  • djbvax

    Man. It's a LOT of angry ass people on here. "WHY DIDNT YOU MENTION (fill in favorite group here)!!!!?? It's not about THAT. It's an article about the decline of the Hip Hop group. Me personally have been saying this fro years. No groups anymore. The shit is sad. It seems like people just love to fight and argue SO much that they LOOK for it especially online. Damn it's just an article. Stop looking for "hidden disses." Your favorite group wasn't mentioned. So what? What does that mean? is it the end of the world? Oh this writer favors other groups and not mine. So fucking what? That's his right if he choses. Why do Hip Hop heads always get upset if you don't agree with them. He even said in the article different areas liked different groups. It's just opinion. PLEASE caim down. It's not worth being that upset. wow.

  • Beyuu

    How the hell are you gonna forget clipse....nicest group...hands down

    • K.S.

      @Beyuu nicest Group hands down are you out of your mind? lol The Clipse are dope yes but best group of all time don't know about that one. Do you not know EPMD, Eric B & Rakim, A Tribe Called Quest, Boogie Down Productions, Kool G Rap & DJ Polo, Public Enemy, De La Soul, The Roots, Outkast, Mobb Deep, Geto Boys, The Beatnuts, Cypress Hill, Wu Tang Clan, Gangstarr, Black Moon, NWA, The Liks, RUN DMC, Naughty by Nature etc? Either way I got love for a lot of Groups and it sucks when they split up. As for the new Cats today I dig PAC DIV and The Cool Kids damn what happened to Hip Hop groups most of the Cats coming out today are Crews not Groups.

  • Anonymous

    Flash Bang Grenada.



  • Cythe

    TDE odd Future Pro Era Brown Bag All Stars Pac Div Clear Soul Forces

  • gkar

    left out the nicest rap group of the last 5 years or so PAC DIV download thier mixtape CHURCH LEAGUE CHAMPIONS or DONT MENTION IT and tell me they aint the hardest they kill off slaughterhouse AND black hippy at the SAME DAMN TIME no lie people they need and deserve some shine foreal tho...

  • Anonymous

    hhdx forgot the only group that mattered post 2000 dipset fuck hhdx editors get your shit together

  • Donnis

    Why don't you acknowledge groups like the Geto boys, Crucial Conflict, UGK or Eightball & MJG... If you think OutKast is the only note worthy group to mention from the south or midwest than I would say you don't know much about 90's hiphop at all. Or maybe your just NYC biased.

  • nonsense123321@yahoo.com

    Heres One of the last HipHOps groups. MY Man Daugse ON the Mic And me on The beats. Real Shit. Download OUR FREE MIXTAPE here: NO SPAM You wont reget it :) http://www.mediafire.com/?ktwwh6xxpz9r70y

  • Anonymous

    Regardless of whether you're talking about Slaughterhouse, or just T.I. the problem is labels don't promote anybody anymore. It's up to the group or solo artist to be able to tap into what's popular and basically make music that will generate interest. Most of the groups mentioned all had their shot, but most never really broke through because they didn't stay consistent. "Boyz in the Hood" was one example given. Go back and listen to that album. It's not surprising they didn't make it. Yet Young Jeezy as a solo artist did because at the time he made music that people liked. That's what it comes down too.

  • Anonymous

    good to seee Dinco D and charlie brown are still alive heh

  • killz

    You guys are dumb as hell. The purpose of the article was to state the decline of hip hop groups in the new millineum, not to give a history lesson on every rap group.

    • OsaGz

      Very true, but not referencing groups Geto Boys, Dipset, G-Unit, The L.O.X who all clearly fit in this context was a bit disappointing.

  • steee

    this is an article, its not just a list of rap groups... obviously he didn't include them all. i do agree that the roots and the lox are two of the best examples of groups doing it for a long time that are still together now and are tight in both personal and business ways

  • bras4real

    'nobody is ready for us' --> the beatnuts, whera are they by the way

  • el boogie non violent

    Fugees lala

  • Anonymous

    Clear Soul Forces.

  • Anonymous

    Flatbush Zombies is a tight and very new hip hop group. They have great chemistry and are very talented with good potential.

  • Grendel

    Don't sleep...Clear Soul Forces doin their thing

  • Simple like ABC, 123

    Three 6 Mafia

  • Anonymous

    Most groups and crews and groups that are out now are one of their members stepping stone and nothing else. It's good to see group members stand out as individuals and combined but they all really looking for that solo deal these days, it's no longer actual friends that both just happen to rhyme and are cool beyond the stage and booth.

  • uptown 215

    So many groups you missed in this article homie you must not have done your homework. How you gonna do an article on groups and their longevity without mentioning the Roots who are like 11 or 12 albums deep in the game and been rocking since the early 90s and still going strong. They setting the gold standard for groups with longevity.

  • JSilvers




    • Slbsgo

      Killem Dafoe: You got life fucked all up if you think Wutang Asian history kung fu rapping asses are better than Geto Boys. And even if were disbanded and Wutang was still together, give them mofos another 50 years and they couldn't touch GB.

    • Anonymous

      Geto Boys disbanded. The Wu still together putting out quality projects.

    • Killem Dafoe

      They shouldn't have forgotten The Geto Boys, but they not better than Wu-Tang....

    • topdawg

      Man shit like this ain't even worth tripping on because even the bias mofos who write the articles don't believe it. It's easily apparent that the Geto Boys is above the flock lyrically and musically. Read his name last name, Cohen. That says it all. lol

  • So Icy Boi!

    5 letters: YMCMB. da best hip hop group of all time. fuck deze old ass niggaz in da article. swag

  • best group of all time


  • Anonymous

    Justus League not justice league

  • epinz

    the top groups of the 2000 is clipse and little brother...no one esle comes close... they got undisputed classics. pusha t and phonte are still 2 of the top lyricist in the game right now

  • Anonymous

    Good thing to know that Hip Hop has BLACK HIPPY

    • Anonymous

      Time will tell But all 4 of them are dope lyricist IMO And they sound like a group, something Slaughterhouse lacks 70% of the time Don't get me wrong, I'm a big fan of Royce, Crooked, Budden & Ortiz is dope too But they are not as dope as a group, lyricwise...yeah, groupwise...nah, but that's IMO Crooked & Royce would be cool tho

    • Anonymous

      What good are they if their album is only going to be mediocre at best.

  • corporate made

    black hippy-next album=slaughterhouse-welcome to our house : Its funny how we getting robbed for our classic albums nowadays because the majors dont let the groups develope.

  • Che

    Pac Div, OverDoz? Both 3 group members...

  • ...

    THE CLIPSE!...wtf. how are you going to write an editorial on two & three man groups and not touch on The Clipse.

  • ...

    Hopsin has subject matter?...and how are you going to touch on lyrical rap and not mention the likes of J. Cole and Kendrick Lamar, but name drop Hopsin...

    • Anonymous

      Hopsin is a better lyricist then J Cole and Lamar ...want subject ?? lets take Ill Mind of Hopsin 5,then Gazing At The Moonlight,Pillow Man,Chris Dolmeth,Nocturnal Rainbows,Sexy Cyber,Rise Until You Fall,I Can't Decide etc...learn ur shit man before u talk...all of u guys dick ride Lamar,not saying he's bad but hes overrated as fuck...

  • Killem Dafoe

    Now THIS is an article! Why can't you write more provocative stuff like this instead of your regular drivel? Huh?

  • Anonymous

    Ego Ego Ego. Phonte, Q-Tip, Andre 3000, etc all ruingreat groups with their egos' FYI, Roots still together!

  • Anonymous

    No love for Three 6 Mafia I see.

  • Gang 'Em Style

    You forgot about D12 and G-Unit. D12's albums both hit #1 and went platinum and The Unit's first sold 2 million. And you can't forget about Bad Meets Evil and The Throne's releases last year. You can't alienate the mainstream from your lil post.

  • natep


  • Hidden By Leaves


  • Street Knowledge

    Good article, I wish black hippy would have made an album before they signed to a Major. I dont think it would come out as good with the mountain climber telling them what to do. I dont get why people are naming groups in there comments. I guess they didnt understand what they were reading or they dont have a sense of hip hop history.

  • hiphopish

    what about the deans list, fort minor(even though they broke up), styles of beyond, aer, demigodz, just go look youll find plenty of rap groups still they just arent popular yet

  • j

    Selling a mil is a flop in labels eyes when it's their flagship artist. Why the fuck do you think they rerelease albums with an extra song or video. Where the fuck have you guys been? I never said the 80's. You can't say those type of acts are disappearing. They just aren't profitable to market and make a household name, WHICH IS WHAT A LABEL DOES. If you want that music, you have to go find it on your own. "You have it backwards" Nope. You cannot comprehend

    • anon

      Maybe if you're Michael Jackson, selling a mil was a flop. Other than Arrested Development - who was released after selling two million copies of "16 years..." because the label decided it was no longer pushing positive rap music - name one artist or group dropped right after selling 1 million records?

  • aaannnooonnn

    The traditional group is gone, but there still are plenty of Avenger style - team up for a few missions type collaborations now. Wu Block, for example. Watch The Throne, for example. Mac and Malone. Maclemore & Ryan Lewis. Nas & Damien Marley. Pete Rock and Camp Lo (80 Blocks). Random Axe. Money Making Jam Boys (Black Thought, STS, PORN, DIce Raw...), !llmind and Skyzoo. Dead Prez just dropped another album. MayDay had a big year. The point is, industry economics absolutely make it difficult to get signed as a group, sure. But there are only 3 labels anyway. And if you're not signed to one of those, you're not getting on the radio. So even the groups mentioned in this article, LB for example, how many 9th wonder produced joints have been on the radio since he left? How many Phonte joints? And both were nominated for grammys. But even within the context of this article, artists are finding ways to collaborate organically. Groups may not be presented in the traditional context anymore, but the traditional model is broadly extinct anyway. Group albums still exist. They come out every year. We just call it something else. Like the 12 song EP...which is still an album...artists just call it "EP" now. Like the mixtape with original production. It's still a mixtape...we just call it a "project" now.

  • PJ

    Black Hippy needs to release a group album. I checked out A$AP Mob recently in concert, good energy but need to see more than one mixtape to consider them a good group.

  • Anonymous

    Both amazing artists

  • Anonymous

    what about Cunninlynguist and Blue Scholar?!!?!

  • Anonymous

    hip hop was all about the dj. remember when every album had a song about the dj? thats hip hop so when ppl say kendrick lamars album is a classic (or any decent album) i just laugh because there is no heavy sampling/ turntablism

    • dbeith

      Well in terms of Hip-Hop that's kind of true. I don't know if it's more or less creative without samples.

    • ...

      believe me i'm all for sampling...I love Kanyes production and Q-tips, but to sit there and tell me a beat needs a sample to stand on its on two feet is ludicrous. Besides the production on GKMC was on point.

    • Anonymous

      lol his album was not sample-based give me a break some of those beats were clearly made on a teeny bopper keyboard and yes if it aint got samples then its not hip hop classic to me

    • ThaKritic

      Dog ura clown... Kendricks whole album is pretty much sample based. U sleepin' bro

    • Anonymous

      so in order for his album to be classic he has to sample...RAH RAH LOL LMAO ROFL

  • RK4L


  • Anonymous

    the outdoorsman-- every one of those bums-- it utter fucking dogshit. Meyhem sure likes Ralph Lauren and Bronstein will eat and smoke ANYTHING... nobody ever said he was "intelligent" but it allows white nerds not to think either, neat trick. GO LAUGHTERHOUSE! GO LAUGHTERHOUSE!

  • cinavenom

    That's why we need a full length Outdoorsmen album.

  • Anonymous

    This is wrong The Lox Dipset G Unit Terror Squad Ruff Riders

    • T


    • anon

      GUnit is more of a crew anyhow

    • LucasO11

      G-Unit is like a cancer to Hip-Hop. I can safely say that the Hip-Hop decay we've been facing for so long started at the very moment Get Rich Or Die Tryin was released

    • jakefromstatefarm

      The Lox formed with biggie in the 90s. The ruff ryders formed in the 90s. Terror squad formed in the late 90s. Dipset formed in the late 90s. I'll give you g-unit. That means your 20% right.

  • T

    there better be a wu-tang reunion

  • T

    "an undeniable sense of dissatisfaction" couldnt have said it better myself

  • T

    cant forget Souls of mischief and the Hieroglyphics crew

  • Neazy

    I disagree with this article. There aren't a whole lot of groups in name anymore, but no one truly works alone. Drake always works with 40 (who doesn't always make the beat, but always adds his own touch to it), Chief Keef always works with Young Chop, and Kanye works with fucking everyone.

    • Neazy

      And my point is, who gives a shit if it's called a group or not? The point of a group is to create chemistry, but if a "solo" artist and a "solo" producer have that chemistry and always work together how are they any different from a formal group?

    • ETK

      this isn't about who works with who, silly nigga. we're talking straight up GROUPS IN NAME.

    • Neazy

      How? You're collaborating with the same people to come up with a consistent sound. Only difference is that it's labeled "Drake" instead of an OVOXO album.

    • blackdragon6

      lol that's not the same as a group.

  • j

    Dear Michael Cohen, Why don't you take a look at the industry status vs sales. How can you compare groups from the 90's to today. How many people could sell a million records at that point in time? Remember when selling a million was considered a flop. Do you really think it's a "gee I wonder why" question? Or is it the state that the music industry is in. Go down music row in Nashville and look at all the for sale signs at all the recording studios and labels. Times have changed. Not an era of artists.

    • anonon

      1. selling a mil was never considered a flop. 2. You have it backwards. It's absolutely the era of artists. It's just not the era for the label; the traditional music industry model no longer floats.

    • Anonymous

      dumbass! selling a million was never a flop! get the fuck out of here! You been acting if every rapper sold milions. Selling a million in the 80's or 90's was good. In fact goin gold was good in the 80's.

  • Anonymous

    D12 doesnt need to be reunited cuz D12 was always together...even if Eminem did something else...the thing is Bizarre and Mr Porter left...right now Eminem,Fuzz Scoota,Kuniva and Swifty are the ones left...i dont want a D12 reunion...let Bizarre do his thing and lets see D12 doing an album in this new formula...thats what i wanna hear

  • mrgreen520

    u know nowadays i've been seeing more solo acts than hip hop groups acts

  • 1_hg

    I think there must be more solo rappers joining a group because on their own they are not good enough! For example; - lloyd banks - fabolous - cassidy These are 3 rappers who cant carry a whole album because they only can make 5 dope tracks and the rest is average

  • hmmm

    HipHopDX is improving its editorials. This isn't a new insight, but clearly one supported by more evidence than the old Hail Mary opinion passes.

  • Anonymous

    funny i was jus thinkin this mornin we needed that d12 reunion to happen

  • Anonymous

    i see why this site did not get the award for best hiphop site

  • Jus10

    ...but from another perspective, lack-luster sales means more collabo albums. Bridge fanbases to create hype.

    • saint, the

      there's a difference between groups and collabo albums though. like Jay-Z & Kanye West - not a group, they just make one album.