To say that, right now, Baltimore is producing an unprecedented number of musical artists feels a bit irresponsible without having done the proper research but over the past two years, the city has seen a significant jump in the number of artists finally being comfortable enough to share their work with the rest of the world. This is especially true with the amount of street music being pumped out. At the turn of the decade, G-Rock and Smash (both now deceased, sadly) were undoubtedly the biggest voices for the streets of Baltimore but technology hadn't reached a point to where their music could travel with the necessary speed to spark a phenomenon. That changed with Instagram and Twitter's increased role in youth culture over the past three years. In 2014, Young Moose and Lor Scoota took the city by storm, as their singles "Dumb Dumb" and "Bird Flu" resonated with the city just as strongly as Rod Lee's "Dance My Pain Away" did in the mid 2000's and Tim Trees' Rod Lee-produced "Bank Rolls" did in the early 2000's. Their success has surely made an impression on the city's youth, showing that if they show their art to the world, recognition, money and a way out of the struggle could soon follow.

At the tail end of 2014's local street music craze came YGG Tay, whose music, like most street rap, covers his experiences in a harsh environment but what sets him apart is his celebration of the benefits that come with that lifestyle. From his first track "Why You So Mad?" to recent cuts like "Ain't No Way," it's hard to imagine Tay not laughing or smiling while recording, enjoying all the money, women and clothes that he can handle. His demeanor is almost Mase-like in that his charm is infectious and before you know it, you're screaming lyrics to his songs with his same level of joy, even though you probably can't splurge the way he died in his music. With at least 10,000 downloads on each of the tapes he's released over the past year, a co-sign from Future and deals on the table, it's gonna be interesting to see where his young career goes. I recently caught up with the 21-year-old to discuss his career goals, what he's learned from Future and how he wants to affect his listeners.

When did you get your start in music?

YGG Tay: Jeezy. Nothing but Young Jeezy. I feel like I know that nigga life. He talks nothing but my life. I listened to a lot of Gotti, Future, and Boosie too.

Most of your music embraces having fun and living this grand lifestyle. When you started out, did you have a goal for what you were trying to portray? Like, do you wanna just speak on your life or are you trying to inspire others to go after what they want?

I can’t say it was a goal because I never planned on being a rapper. I didn’t grow up wanting to rap; I just started this like a year ago. Basically, I just talk my shit and talk about my lifestyle.

When was the moment you decided you wanted to actually pursue a rap career?

One day I was with my homeboy playing around, making songs and then I made a video for the “Why You So Mad?” joint. That shit blew up and I was just playing. I just wanted to do anything. After that, my homeboy came to me and said “We about to take this shit serious.” He locked up now but we been going hard ever since then.

So what even inspired you to make that song?

Man, I can’t even remember. Just being bored yo (laughs). I didn’t have nothing else to do.

You’ve put out your first three tapes within a year and they all have over 10,000 downloads on Spinrilla right now. Why do you think people gravitated to you so quickly?

I think people gravitated because they believe me, you feel me? If I’m on a tape talking this and that, Balmain and all that, you can go to my Instagram and see it.

How did Future come across your work?

I met him through my homeboy G.O. who talked on the intro to the August 13th tape. He locked up right now. But the whole Freebandz is my niggas.

Has he given any game to you directly yet or are you just sitting back and learning from his moves? Because, the rate that he’s dropping projects is insane. It’s only been a year for you and you have three tapes out.

Both. I definitely look up to him the most out of anybody right now. His work ethic is crazy. That motherfucker don’t leave the studio.

Since you dropped your first tape, is it something you told yourself you gotta improve on?

Not really. I’m just getting used to rapping, being in the studio, playing with different flows and all that. At first, I was just going in and whatever was on my mind I would just say it. I didn’t give a fuck about how I said it or anything. I used to freestyle but now I take my time and write some stuff down.

Over the past two years, more and more artists have been popping up in Baltimore, which is a great thing because even four years ago you couldn’t name a lot of people. What do you think is happening here that’s making young kids want to pursue music as a real career? I’m finding a new local artists online damn near everyday.

Niggas coming out of nowhere with them hits, too, I’m not gonna lie. I don’t know yo. Instagram a big part of it, I think. People seeing rappers get a lot of love.

You mentioned already being approached by labels. Is that a route you want to go now or do you want to avoid it?

I’m gonna avoid it right now. I wanna try this independent shit first because I got my own money to do my own shit. It’s a couple labels that’s been talking to me but I wanna see how I can maneuver through this my damn self. The only reason I was thinking about signing to anybody is that machine, man. But if you do it independent, you got your own power and you don’t have to listen to nobody. I’m a boss. I don’t like listening to people.

What do you think Baltimore has to offer that’s not present in music right now?

Baltimore is Baltimore. All this crazy shit going on, we got our own slang. We just different. Nothing compares to it. People always bringing up “The Wire” but “The Wire” don’t got shit on this shit. It’s really wicked! It’s way worse than that.

Last year I performed at sxsw and when I was done, some dude from Philly ran up on me like, “Yeah, I already know about you. I’ve been seeing you and listening to your shit.” I was like, damn. Nobody never blow from here. We don’t have one rapper that blew from here. One! It’s gonna come. And I feel like when one person blow, everybody gonna blow. It’s gonna start flooding. It’s like how it got here. One nigga got hot in the city and everybody started being like, “Oh, I like him too.” I feel like Baltimore time coming. Everything takes time.

Who are you listening to in the city?

I like G-Rock music, who just died. He talk that talk I like. I listen to Moose music. I like FMG’s music. Of course I fuck with Tadoe, Lor Staccks and Dre. YG Teck. I like Shy Money. Hope I didn’t forget nobody.

How are trying move going forward? Three tapes a year every year?

I’m in the studio all the time so I’m definitely gonna be releasing a lot of music. I’m in the studio like four times a week but I need to be in there every day.

What do you want people to gain from your music?

I wanna inspire everybody to get money. Just get the money and everybody can live good.

Where do you see yourself in a year?

Everywhere. TV, awards, everywhere.

1. Tate Kobang- Bank Rolls

Tate Kobang is not a new rapper in Baltimore. He's actively been dropping tapes over the past couple years -- some stuck and some didn't. He went back to the drawing board and revisited his roots this year, though. Following a tradition he's developed over the past two years to drop music in honor of his late mother's birthday, Tate dropped a remake of Tim Trees' Rod Lee-produced "Bank Rolls", a Baltimore hit in the early 2000's that never grew beyond the city. Coincidentally, Kobang's mom was born on April 19th, the same day Freddie Gray died from complications related to his arrest by the Baltimore City Police Department.

"Bank Rolls" is far from a politically conscious track but its rise to becoming a national hit simultaneously grew with Baltimore's uprising against police injustice and brutality, making its shouting out of different neighborhoods and streets throughout Baltimore City, simple production and accompanying dances more unifying that Tate may have intended it to be. -Lawrence Burney

2. President Davo- I Just Be

President Davo made his name in Baltimore for jacking beats last summer when he dropped his own version of Big Pun’s “I Don’t Wanna Be A Player”, which became a local hit and has racked up over 2 million views on YouTube. The stakes for that remake were arguably low considering the original is already a feel-good, party track but deep into Davo’s Underrated 3.0 tape lies “I Just Be”, an epic tale of everything Davo-related over Eminem's "Cleanin' Out My Closet." When the beat dropped on my first listen, there was this "What the fuck?" moment where I questioned why anyone would try rapping over this in 2015 but Davo took the opportunity to spill out everything brewing inside.

"I Just Be" goes from Davo questioning the friends around him, to people thinking he was soft for singing in his tracks, not being able to help his stressed-out little sister, to the fucked up prison system and his penthouse dreams. All the rambling gets a periodical break whenever he says, "I just be," in a way, breaking the story down into chapters. It truly succeeds because once Davo gets into a pocket, pulling you into the complexities of his brain, the fact that the track was originally a smash hit by Eminem becomes secondary, or completely irrelevant. -Lawrence Burney

3. Al Rogers Jr. - Oodlesnoodles

Through his many transformations and vocal progressions, Al Rogers Jr. has always maintained keeping a personal narrative in his music, bringing the listener closer to what makes him tick. This year, Rogers Jr. dropped his second mixtape, an alternate universe where love trumps all the world's ills, called Luvadocious. On "oodlesnoodles" Rogers looks back at his childhood where he watched his brothers cook crack and go to the market with an EBT card just to grab a pack of noodles for dinner. On the surface, it sounds like a hard luck story but its flipped during the hook where Al assures, "some days you smile, some days you frown," through light drums rolls and crashes before the Drew Scott-produced track breaks down to a "Thriller"-like fadeout. - Lawrence Burney

4. Lor Scoota- King Me

Quiet for most of 2015, Lor Scoota delivered another chapter of his Still In The Trenches series at the end of the year, building on his catalog of street stories and gunning for national stardom. Since his "Bird Flu" track and dance had the city in a stronghold last year, Scoota hasn't deliver a track even close to being as impactful but he's been low-key improving with every release. "King Me" is a hook-less, self-congratulating marathon that looks back on where he was a year ago, his hometown hero status and where he's headed. With Scoota, what he's saying probably won't change much but how he delivers it is what will either separate him from the pack or keep him where he is. But for "King Me", his zone spans for the full three minutes. - Lawrence Burney

5. Abdu Ali- Keep Movin (Negro Kai)

Abdu Ali has made his name over the years as a voice of the unheard and muted, usually over Baltimore club-influenced instrumentation. He kept the lyrical content in tact but stripped away from the frantic production for the only track he released in 2015. "Keep Movin' (Negro Kai)" is a minimal, tribal chant-like record with stellar imagery ("every time I step outside, Nina Simone starts to sing.") and detailing of what it's like to deal with constant oppression and fighting off attempts to silence your passion. If you need a pick-me-up, this could be the one. -Lawrence Burney

6 . Young Moose- OTM

The influence and gravitational pull of Young Moose’s music have never been dependent on how polished his raps are. There aren’t any clever metaphors or double entendres waiting for your “Ooooh’s” at the end of each line, just the harsh reality of what Moose has gone through and what he’s facing at the moment. Every once in awhile, though, East Baltimore’s hero gets into pockets like he does with his triplet flow on “#OTM”. Like the bulk of his music, the track details how he’s going to whack the opposition but does so in a way that most haven’t heard over his short career, where staying on beat usually plays second to the storytelling. Here, Moose gets both down tightly. -Lawrence Burney

7. Damond Blue- Godzilla

Damond Blue is quietly one of Baltimore's sharpest rappers with a delivery that cuts deep and a rolodex of flows to choose from. That skill set was best showcased in his "Godzilla" track where he weaves through, bigging himself up and listing off what his raps remind you of: smoking a zip, grabbing a brick, flipping on pissy mattresses in the alley. -Lawrence Burney

8. JPEGMAFIA- Beautiful Pussy

Moving to Baltimore just before The Uprising and thinking back to all the racial tension (both direct and passive) he's faced throughout his life in America and many stops around the world during a stint in the military, JPEGMAFIA had all the fuel he needed to drop his Darkskin Manson project, a straight jab at liberal racism and white supremacy. He took a couple (great) left turns on the tape, though, including the drowned-out lullaby that is "Beautiful Pussy." On the track, JPEG runs through his alchemist abilities, (making a mountain from a rainbow, turning a woman into a God, etc.) surrounded by glitchy snares in a voice that sounds like its fading away. And although Darkskin Manson is a reclaiming of the name from Charles Manson, JPEG's actual voice sounds closer to a black Marilyn Manson here. -Lawrence Burney

9. GMG Tadoe- One Call

At this time last year, GMG Tadoe wasn't on the minds of most of the 20,000 people who've downloaded his The Slick One mixtape on Spinrilla. To his defense (and a celebration of his quick rise), he didn't even have music out at that point. Tadoe has placed himself as one of the most adored rappers in Baltimore since he dropped his "YSN" video which jacked the beat from iLoveMakonnen's "I Don't Sell Molly No More" back in April.

"One Call", like "YSN", puts Tadoe's monotone drawl at the forefront which, in most cases, would seem dry and disengaging, but there's a hypnotizing quality to his dragged-out delivery. The hook's premise ("When you out here gettin' bread, these niggas, they want your head") could be chalked up as the routine "niggas hating on me" rhetoric that pops up in countless rap songs but with the speed of his local rise and Baltimore's murder rate reaching its highest point in over 20 years, there's more validity to why Tadoe may need to make that phone call. -Lawrence Burney

10. Quilez Fargo- Money Bags

Given the deity-like status that the Gucci Mane & Zaytoven super duo has established across hoods and blogs over the past decade, grabbing a beat out of their catalog to rack up some listens is hard to argue against. West Baltimore's Quilez Fargo borrowed the production for Gucci's "I Don't Love Her" for his "Money Bags" freestyle where he rides the beat effortlessly, listing off trap laws and his drink preferences. -Lawrence Burney

11. Joy Postell- Hands Up, Don't Shoot

As portions of Baltimore burned in protest this past April and the city erupted in response to a century's worth of systematic racism and oppression, Baltimore native Joy Postell watched sensationalized news feeds from her then-home in L.A. Not being able to physically contribute to the city's uprising, she took to the mic for "Hands Up, Don't Shoot" -- a timely anecdotal response to police brutality that transcends just Baltimore, and America, for that matter.- Lawrence Burney

12. Butch Dawson & :3lon- Record

Individually, Butch Dawson and :3lon are two of the most active artists in Baltimore's downtown music scene, dropping tracks, collaborative projects and performing seemingly every week. Both also produce the bulk of their own tracks so their joining of heads for their Pvrvllels EP not only showcased what could be done when they weren't at the handles, but also how their content would compliment each other. "Record" is one of their most interesting pieces as, instead of a general narrative being carried throughout, it's both a signature :3lon track and Butch track all at once. "Frequencies on a screen programming every thought," is what :3lon sings on the hook, upholding his futuristic, Anime-influenced subject matter while Butch carries out the verse, bigging up his rap skills and looking back at people who've overlooked him. -Lawrence Burney

13. Beya Likhari- Bad Dream

Beya Likhari's brand of dark, imagery-filled fantasy world R&B, at times, sounds like it could have backed a few Odd Future tracks in the collective's earlier days. That stands true in "Bad Dream" where, in a nightmare, she gets a visit from Edward Scissorhands, sees owls and pterodactyls only to wake up to a lover who isn't there to console her. Her still, unchanging register helps translate the creepy story even more. -Lawrence Burney

14. Lor Chris- #JusticeForFreddie

As it usually goes with similar stories, the bulk of Freddie Gray reactions and tributes over the year have come from people (black and white) who have not lived in his circumstances, consequently revealing their lack of understanding of what obstacles he faced before passing. Lor Chris, on the other hand, comes from Gray's Sandtown section of West Baltimore and routinely speaks on the ills of his environment, making it fitting that he'd make a song paying his respects to Freddie, sharing personal accounts of negligence by neighborhood police in times of crisis and shouting a plain "Fuck You" to Mayor, Stephanie Rawlings-Blake. The video only adds to the song's potency as it was shot in the thick of April's uprising. -Lawrence Burney

15. Grey Dolf & Blaqstarr-D’usse Blunts

Grey Dolf's early career is filled with random acts of impulse: EP's recorded in a day's time, abruptly deleted her SoundCloud account, random covers of Lil Wayne's "Fire Man" The same went for a project she and Baltimore club legend Blaqstarr teamed up for called D'usse Blunts, after a day of indulging in them. The project's title track gets unexpected triplet flow verses from Blaqstarr while Grey Dolf whales throughout to create unexpected, beautiful chaos. -Lawrence Burney

16. Black Zheep DZ- Globetrotter

Wordplay isn't new for Basement Rap's Black Zheep DZ but he hasn't been quite as sharp as he is here on "Globetrotter." Dodging through a flurry of flutes, DZ's lone verse doesn't falter from open to close, making me hope that there's an unreleased second one floating around somewhere. -Lawrence Burney

17. GMG Tadoe- YSN

At nearly 1 million views on Youtube, GMG Tadoe's debut track "YSN" (Young Slick Nigga) quietly went head-to-head with Tate Kobang's "Bank Rolls" for local favorite since both were released in late April. A jack of iLoveMakonnen's "I Don't Sell Molly No More", the track is an introduction to Tadoe's infectious, deep, harmonizing raps where he never stops for a breather. -Lawrence Burney

18. YGG Tay- Money

YGG Tay started rapping in 2015; not bad for an artist who's already grabbed the attention of Future and gotten at least 12,000 downloads on each of the three tapes he's dropped over the year. Barely able to catch a beat in his January-released Rich Before Rap, Tay has improved significantly with both flow and ear for production on his most recent tape, August 13th. A tape full of bangers highlighting his flashy lifestyle and money being blown, "Money" is one of the project's best which is a three-minute-long cash love song. -Lawrence Burney

1 9. James Nasty- Games (Feat. Abdu Ali)

James Nasty lives up to his personal mantra to influence people to "fuck on the dancefloor." His latest offering "Games" is a no-nonsense ode to sexual invitation with a chopped-up vocals of "games ain't my thing, I wanna fuck." The song retains Baltimore club groove while adding percussive and melodic elements reminiscent of tropical bass. -Antonio Hernandez

20. Dakidd Moo- Narcoticz

Dakidd Moo's harsh, raspy voice and delivery alone could save a track from being a complete fail, but luckily, he has the rap skills to bring it all together. "Narcoticz", the title track of his October-released mixtape, runs down Moo's long, complicated relationship with drugs: selling them, consuming them and avoiding being arrested for it all. -Lawrence Burney

21. Juwan ft. Matic808, Jay Verze, Mike-Mike ZOME - Represent

The DJ Juwan-produced posse cut "Represent" is as familiar as it is refreshing. Juwan has gained local notoriety for his club tracks and remixes after being largely unidentifiable for years, both for flipping classic breaks and samples, and giving some of the hottest songs the Baltimore club treatment, such as Hotline Bling. "Represent" features a chant-based hook, driven by a simple synth melody, with impressive showings from Matic, Verze and ZOME. This track in particular showcases the timelessness of Baltimore club and the artists still working to cultivate the sound. -Antonio Hernandez

22. A Mirror and the Reflections- Outta My Bed

"Outta My Bed" is a standout from Amirror and the Reflection's eponymous mixtape released early last month. Lead vocalist Amirror asserts that she's the "queen of the jungle," over the grungey, lo-fi track, backed by the Reflections. I am eagerly to see what's next from the "bangy soul" trio. -Antonio Hernandez

23. Icey Mike- Icey Avalanche

While his music is extremely unpolished, Icey Mike gets by just with upholding the blueprint that Gucci Mane laid out for us all: to get stupid high and to shine at all times. If there isn't one in existence somewhere on the internet, Icey Mike is forging a subgenre based solely on Gucci Mane's zany lyricism and it works well here on "Icey Avalanche" where he says: "You know I' bent behind tint, smelling like a pound of kush and Reggie Bush is your scent/ I'm 'bout to be major, Bitch I'm balling just like I'm Peja/ Stojakovic, I gotta get rich so I can ball on my haters." -Lawrence Burney

24. TT the Artist - "Gimme Yo Love"

TT the Artist shows her more light-hearted side on the infectious "Gimme Yo Love." The Schwarz-produced track combines ubiquitous Baltimore club breaks with bright synths, in a crossover track that is the perfect counter-balance to her anthems such as "Thug It Out" and "Pussy Ate." -Antonio Hernandez

25. Normaling - "Full Metal (Seclusiasis)

Normaling duo .rar Kelly and Lemz really know how to shake things up in the world of club music. When it comes to Normaling, everything you think you know and understand about the native sound of Baltimore is completely irrelevant as they straddle a fine line of club music and techno that sounds like it was made in a creepy sweatshop somewhere. Case in point - "Full Metal". It's a raucous take on club music in which they channel the aggressive machismo of Stanley Kubrick's Full Metal Jacket. Matthew Modine's terrifying screams complement the pounding bass while R. Lee Ermy's orders let us know who's boss. -Casey Embert

26. Histo - "Yung Spvce Cadet" (Space Is The Place)

Baltimore-based label, Space Is the Place, is the perfect launching pad for a future-inspired club track like this. On "Yung Spvce Cadet", Histo skips the typical Baltimore club sound in favor of glitchy bleep-bloops and deep space twinkles for that ultimate extraterrestrial vibe. Now we wait for the rest of the world to catch up with us. -Casey Embert

27. 7uca- "...beaches // los angels (Feat. Rickie Jacobs & Jordxn Bryant

7uca's ode to women and vices "Pink City Motel," shows a growth and focus that was hinted on his "Most Violent Year EP," which was released this past Feburary. Baltimore lyricists Rickie Jacobs and Jordxn Bryant assist in the track's first song "...beaches," and each artist brings their own tale of balancing love and ambition. 7uca goes solo on "los angels," wrestling with his goals and his inner demons, with a sense of urgency. -Antonio Hernandez

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