It Was Written (Columbia, 1996) by Nas

I am glad that this album caught on over time.  And to be fair, no album in hip-hop history could properly follow the masterpiece that is Illmatic.  Lyrically, this album obviously delivers.  And Nas rapping from the perspective of a gun on "I Gave You Power" is genius and perhaps served as a blueprint for similar gun-related tracks from Tupac and Pharoahe Monch that followed.  Production-wise, the album is solid as well and surpasses board work that followed on the next few Nas releases (not counting "Nas is Like" from I Am).  And "If I Ruled the World", with Lauryn Hill, is one of those rare singles that is able to crossover without compromising its sound or its message.

Gangsta's Paradise (Tommy Boy, 1995) by Coolio

This is the album that got me interested in hip-hop.  "Gangsta's Paradise" is of course a big song, but it has a lot of sentimental value as well.  I'll never forget roller-skating parties in third-grade and the way everyone would react when that song came on.  But there are other strong points on this album as well, "Geto Highlites" is phenomenal with the Eazy-E and Magic Johnson references.  "Kinda High, Kinda Drunk" is a great party song, and "Bright As the Sun" is a solid song about the ghetto birds.  Even though he didn't say it as blatantly as N.W.A, don't get it twisted Coolio represented Compton too.  But he was able to have  fun as well, instead of just providing a soundtrack to chaos.

Never Scared (DreamWorks, 2005) by Chris Rock

Roll With the New is his most iconic set.  Bigger and Blacker is his most famous.  However, Never Scared is my favorite.  I saw him Rock perform this set live near Traverse City, MI years ago and I loved it.  It was the first time that I was old enough to be in touch enough with current events to be able to have educated opinions about the topical subject matter.  My favorite routines from this set are the ones about hip-hop, affirmative action, and wealth.  Rock is a funny comedian who writes very smart and insightful material.  In my opinion, Chris Rock is one of the best stand up comedians of all-time.

Life After Death (Bad Boy, 1997) by The Notorious B.I.G.

"Uhh, I dreams filthy/My moms and pops mixed me with Jamaican Rum and Whiskey/Huh, what a set up/Shoulda pushed em dead off, wipe the sweat off/Uhh, cause in this world I'm dead off, squeeze lead off/Benz sped off, ain't no shook hands in Brook-land/Army fatigue break up teams, the enemies/Look man, you wanna see me locked up, shot up/Moms crotched up over the casket, screamin BASTARD/Cryin, know my friends is lyin/Y'all know who killed 'em filled 'em with the lugars from they Rugers/or they Desert, dyin ain't the shit but it's pleasant/Kinda quiet, watch my niggaz bring the riot/Giving cats the opposite of diets/You gain thirty pounds when you die no lie, lazy eye/I was high when they hit me, took a few cats with me/Shit, I need the company (uh-huh)/Apologies in order, to T'Yanna my daughter/If it was up to me you would be with me, sorta like/Daddy Dearest, my vision be the clearest/Silencers so you can't hear it/Competition still fear it, shit don't ask me/I went from ashy to nasty to classy, and still"                    -The Notorious B.I.G., "My Downfall" 

Doctor's Advocate (Geffen, 2006) by Game

The Documentary brought back the West the same way that Ready to Die brought back the East, but Doctor's Advocate is seemingly more significant for Game himself because it proved to skeptics that he was not just successful by association on the first go-round.  The standout out track, one which I still listen to frequently six years later, is the title track.  It's an emotional song to say the least hearing Game open up and the way Busta spits with such tough love/honesty in the last verse…damn.  The song epitomizes the idea of strength in vulnerability. 

The Buried Sessions of Skylar Grey (KIDinaKORNER, 2012) by Skylar Grey

This three track EP is great- demo quality versions of "Love the Way You Lie", "Coming Home", and "Words".  It is very raw and unpolished.  However, that is what makes it an amazing listen.  It is a very emotionally-driven set that does not become overshadowed by big hip-hop production (where all three of these hooks would eventually end up).  The verses are very poetic (her singing different lyrics than the ones that are rapped in the song's "final" versions) and then are driven home with a strong chorus delivery.  Aside from this EP, I'm glad Eminem's input kept her on "I Need a Doctor" and she was awesome on Tosh.O.  I am eager to hear more from her in the future.

Rainbow (Columbia, 1999) by Mariah Carey

If Mary J. Blige is the queen of hip-hop soul, Mariah is the queen of hip-hop pop.  And even though Mariah's hip-hop transition began with Butterfly, Rainbow couples that new hip-hop vibe with her excellent ballad abilities that were first showcased in the early 90s.  Her  vocal talents are displayed on "Can't Take That Away (Mariah's Theme)" and her and Da Brat do a very interesting cover of Snoop's dirty classic "Ain't No Fun" with the "Heartbreaker (Remix)."  The album's final cut, "Thank God I Found You" with Joe and 98 Degrees, is a great collaboration which perfectly illustrates how and why Mariah  appeals to both soccer moms and hip-hop fanatics alike.

Hell: The Sequel (Shady, 2011) by Bad Meets Evil

“He’s Evil, and I’m Bad like Steve Seagal/ Against peaceful, see you in Hell for the sequel”, and with that the final rhyme of “Bad Meets Evil”, from Eminem’s 1999 Slim Shady LP, are air-borne.  And after twelve years, the sequel has finally arrived.  Once upon a time, Bad and Evil (Royce Da 5’9” and Eminem respectively) were the best unsigned rappers in Detroit, Michigan, and this EP is a reminder as to why.  As far as lyrics and delivery are concerned, this EP is flawless. Hell’s first single, “Fast Lane”, is arguably the most memorable hip-hop duet since “Brooklyn’s Finest” in 1996. While the shock value seemed somewhat uninspired on Eminem’s 2009 album Relapse, “Fast Lane” finds Mr. Mathers back in top form.  And Royce is clearly capable of matching wits with 50’s favorite white boy (Graduated from master debater slash massive masturbator, to Michael Jackson’s activator/ Meanin’ I’m on fire off the top, might wanna back up the data) over the orchestral beat.  Other highlights include “The Reunion”, which find Eminem slowing down his flow and Royce turning down a woman for using the word ‘swagger’.  “Lighters” featuring Bruno Mars is also a good song.  As out of place on the EP as it is, the record does do a great job of breaking up the warped sense of humor and fun approach throughout the rest of the project.  Production-wise, the tracks become a bit repetitive and tiresome by the end.  But to be fair, most of the beats are sparse and tailor-made for spitting.  And in this case, more so than many, the beats are there to accentuate the rhymes.  The use of the Mike Epps vocal sample on “I’m on Everything” seems clever at first, but him saying “Ha ha huh” in the chorus comes off as obnoxious.  And for something as highly anticipated as Hell, it seems improper that the EP would close out with “Loud Noises”- the only track featuring other rappers, supergroup Slaughterhouse, alongside Bad and Evil.  Even with a great set-up for the song by Eminem on the previous number, “Take From Me”, “Loud Noises” still feels out of sequence.  Despite a few faults, Hell: The Sequel is a great release.  It is an EP which clearly aims to satisfy hip-hop purists without compromising anything to appeal to pop sensibilities.  And just because it probably won’t sell in the millions doesn’t mean that it doesn’t deserve to.  Twelve years is a long time.  But it was worth the wait.

Watch the Throne (Roc Nation, 2011) by Jay-Z and Kanye West

In addition to board work by Kanye, other producers such as Q-Tip, Swizz Beatz, and The Neptunes also contribute music to this amazing project.  “Murder to Excellence” is a standout for the way that the beat changes mid-song while both men discuss the serious issue of black-on-black violence. The highlight, however, is The RZA-produced “New Day”.  Atop haunting piano chords, each rapper drops a verse hypothetically addressing their unborn son.  For as much as Watch the Throne was predicted to be an opportunity to capitalize on the popularity of the album’s two stars, it does not.  They can’t leave rap alone.  The game needs them.  Make no mistake, before Jay-Z was a “business man” and President Obama called Kanye West a “jackass”, they were both artists at the top of their craft.  And this album is a reminder of that.  As well as illustrating how far that artistry has taken them, excesses and egos in all.

The R.E.D. Album (Geffen, 2011) by Game

It is a very pleasant surprise to hear Dr. Dre narrate the album.  And after an album introduction where Dre says, “And if you know anything about Killer King [referring to Martin Luther King Hospital], you know this- being born there is just like dying there,” Game, with assistance from Kendrick Lamar, raps with an intensity on “The City” that has not been heard from him in years. It sets the tone for the remaining nineteen tracks.  It is interesting that Pharrell Williams, who also serves as the album’s executive producer, only  contributes one beat.  However, Game’s ability to work with a diverse group of artists and producers is one of the things that have helped him endure over time and generate a fan base that reaches beyond Left Coast hip-hop purists.  Not since Death Row’s heyday has a rapper done for the West what Game has in the past several years. 

Capital Punishment (Loud, 1998) by Big Punisher

Big Pun is one of the best lyricists ever (props to Rakim, Nas, Biggie, and Eminem as well).  The other thing that is amazing about Pun's delivery is his breath control.  His rhymes go on and on and on.  And yet, his words remain clear and understandable from start to finish.  His collaboration with Joe, "Still Not a Player", was a precursor to the J.Lo and Ja Rule collaborations and the original "I'm Not a Player", which samples The O'Jays, is a masterful blend of old and new.  Then, of course, there's "Twinz (Deep Cover '98)": "Dead in the middle of Little Italy/ Little did we know that we riddled some  middleman who didn't do diddily".  Rest in Peace Pun.  You will forever be loved by hip-hop.

Blood Sugar Sex Magik (Warner Bros., 1991) by The Red Hot Chili Peppers

I think it is awesome that Chris Rock is inducting RHCP into the Rock and Roll Hall of Fame this year.  Rock is one of my favorite comedians and Blood Sugar Sex Magik is one of my "desert island" album choices.  If it weren't for BSSM, the blueprint would not have been laid for acts like Rage Against the Machine, Korn, and Kid Rock to follow.  There are very few albums that I can play top to bottom, but this is one that I can.  The rhythmic vocal on "Power of Equality", bass-line on "Give It Away", and the soul-bearing "Under the Bridge", it is a remarkable album.  And one that only grows more influential with time.  Blood Sugar Sex Magik is an album that I bought about ten years ago at Media Play.  It has been in rotation non-stop since then and I do not see that changing anytime soon.

The Marshall Mathers LP (Aftermath, 2000) by Eminem

Mr. Mathers’ third album is his greatest.  It is a cliche statement, but a very understandable one, much like saying Blood Sugar Sex Magik is the magnum opus of the Red Hot Chili Peppers.  Eminem is one of the most technically skilled rappers ever and that combined with his exemplary writing ability makes for a hardcore rap album that is witty, personal, disturbing, and sad all at once.  It is a feat that had not been achieved before and has not been matched since.

Efil4zaggin (Ruthless, 1991) by N.W.A

N.W.A was never the same after Ice Cube left the group.  And even though this album is less culturally significant than Straight Outta Compton, the production value of it makes it noteworthy.  Lyrically, the content is absolutely repugnant.  However, the rhymes are so outlandish that one would be foolish to take them seriously.  But Efil4zaggin is a precursor to The Chronic in its sound.  And even though The Chronic is better, Efil4zaggin put hardcore hip-hop at the top of the pop charts for the first time and properly introduced the world to the G-Funk era.    {Writer's note: Because of Internet connection issues, I was unable to post yesterday, 3/17, and so I am posting twice today on 3/18.  I apologize for any confusion and/or inconvenience.}

50 Cent is the Future (n/a, 2002) by G-Unit

For my first mix-tape entry, I had to start with the best.  I remember hearing "How To Rob" on the In Too Deep Soundtrack a few years earlier.  It was not bad, but I was not blown away.  Then when "Wanksta" took off from the 8 Mile Soundtrack, I thought it was better.  However, I much preferred 50's "Places to Go".  But then I learned that "Wanksta" built a buzz on the mix-tape circuit.  I went to Beat Go On in my hometown to pick up the tape in order to try to give hip-hop's consensus the benefit of the doubt.  However, they didn't have No Mercy, No Fear and so I got 50 Cent is the Future instead.  After hearing the Future cut, "U Should Be Here", it all made sense and I played it along with Guess Who's Back? even more than Fif's Shady/Aftermath debut.  A decade later, with gangsta rap in decline, this mix-tape is a modern day classic that bangs harder than ever.

The Great Adventures of Slick Rick (Def Jam, 1988) by Slick Rick

No disrespect to It Takes a Nation of Millions To Hold Us Back, but The Great Adventures of Slick Rick is my favorite hip-hop album of the 80s.  It is an outstanding collection of songs that prove Ricky Walters is a master of contradiction with his versatile personality. "Treat Her Like a Prostitute" and "Teenage Love" should not make sense on the same album, but they do.  And this is also a testament to Slick Rick's ability as an emcee.  His storytelling skills combined with his British accent on the mic give him a very unique style. "Children's Story" is obviously a timeless classic, but  one track on the album that I feel is often overlooked is "Lick the Balls."  Understandably the title is potentially off-putting, yet his rapid delivery proves he can flow with the best of them.  For as well rounded as Slick Rick is, it is no surprise that some of hip-hop's most popular artists have covered him over the years ( i.e. Snoop Dogg's "Lodi Dodi" in '93, Black Star's "Children's Story" in '98, and Jay-Z's "The Ruler's Back" in '01).

Prime Cut (Warner Bros., 2007) by Ralphie May

Ralphie May is an equal-opportunity offender.  Although this album is not as strong as its predecessor, Ralphie is funny none the less.  From discussing why African-Americans can not wear flip flops ("Cause your feet get too ashy.  Looks like you've been throwing sidekicks at volcanoes all day, right?) to making references to Golden Girls ("Ooh, that crazy Blanch!), May is very witty and entertaining.  I especially like the part when he pays homage to The Luniz "I Got Five on It" by talking about a dessert being prepared by Rachael Ray and how "she put fuuudge onnn it."  He is a comedian that I have followed for years and will continue to as long as he is performing.

Illmatic (1994, Columbia) by Nas

"I rap for listeners, blunt heads, fly ladies and prisoners/Henessey holders and old school niggaz, then I be dissin a/unofficial that smoke woolie thai/I dropped out of Kooley High, gassed up by a cokehead cutie pie/Jungle survivor, fuck who's the liver/My man put the battery in my back, a differencem from Energizer/Sentence begins indented.. with formality/My duration's infinite, moneywise or physiology/Poetry, that's a part of me, retardedly bop/I drop the ancient manifested hip-hop, straight off the block/I reminisce on park jams, my man was shot for his sheep coat/Childhood lesson made me see him drop in my weed smoke"

-Nas, "Memory Lane (Sittin' in da Park)"

Live on the Sunset Strip (Warner Bros., 1982) by Richard Pryor

A phrase that I believe is very overused in entertainment is "keeping it real."  To some, that means holding nothing back when describing one's emotions or series of events.  To me, however, the phrase means being honest to a fault. And no one did that better than Richard Pryor.  And Live on the Sunset Strip is the best example of an artist totally exposed.  Keeping in mind that this was Pryor's return to stand-up after the fire, he had me from the moment he walked on stage and asked if anyone had a light.  And it does not get any realer than that.

The Truth (Roc-A-Fella, 2000) by Beanie Sigel

Beanie Sigel is an underrated rapper.  He is a very gifted lyricist with a commanding flow.  And his debut album, The Truth, is an impressive piece of work that got lost in the shuffle of Jay-Z's meteoric rise to superstardom.  The title track is the first time I ever heard a Kanye West beat.  And "Mac and Brad", where Beanie shares the mic with Scarface, is a flawless example of two emcees going back-and-forth on a record.  Other highlights include "Remember Them Days" with Eve, "Everybody Wanna Be a Star", "What Ya Life Like", and "Die."  In a nutshell: if you do not own this album, go buy it now.

New Territory (Comedy Central, 2011) by Carlos Mencia

I have been a fan of Carlos Mencia ever since the first episode of Mind of Mencia.  Some people say he is a racist, but I don't share that viewpoint.  He has an insightful perspective on America because of his different experiences.  And in this country's politically-correct climate, it is very refreshing to hear someone who is not afraid to speak their mind.  My favorite part of the album is not even a joke, but when Carlos tells a story about what he said to a detractor: "When I tell a racial joke about anything and people laugh, it's an affirmation that they know who I'm talking about.  And they know who I'm talking about because they know what I'm talking about because we live amongst each other to the point where our idiosyncratic behavior is known to all of us because the tapestry of America isn't Black, isn't White, isn't Hispanic.  It is every possible living type of human being.  You do realize that we're the only country that can do jokes about anybody else and we understand what that means."

Dreaming of You (EMI, 1995) by Selena

I saw the movie Selena for the first time last night and was blown away (Jennifer Lopez is mesmerizing).  I was familiar with Selena's music to the extent of "I Could Fall in Love" and aware of her murder, but knew nothing beyond that.  Her story is inspiring and yet all too familiar: a young artist whose potential is tragically cut short.  But the music on this album is magic.  As manufactured as some may say it is, I respectfully disagree.  Selena's voice and spirit is a celebration of life.  Every time I hear "Dreaming of You", I get a little misty-eyed.  Not only do I think of the sad end of Selena, but imagine how special it must be to share with the world how much you love someone.

Reasonable Doubt (Roc-A-Fella, 1996) by Jay-Z

This is my favorite Jay-Z album.  It is also his wordiest album, but that is not a bad thing.  Because he was not catering to the mainstream at the time, it gave him more creative freedom.  "D'Evils" and "Can I Live" might not get played on the radio, but they hold up way better than anything that is.  And "Brooklyn's Finest", Jay's collaboration with The Notorious B.I.G., is the best duet in the history of hip-hop.  Even though everyone was making hustler-themed albums in the mid-90s, Reasonable Doubt is one of the only ones that has remained relevant over the years.  Jay-Z even performed the album in its entirety at Radio City Music Hall on its 10th anniversary.

Gone Madigan (n/a, 2011) by Kathleen Madigan

I was a latecomer to Kathleen Madigan, but better late than never.  This is the funniest album that I have heard in the last five years.  She is irreverent, but not too explicit.  Whether explaining a failing economy as the result of a birthday clown getting a 350K bank loan or poking fun at Kellie Pickler, Kathleen is hilarious and very smart.  I only started watching Last Comic Standing when Greg Giraldo (R.I.P.) was a judge, but now I wish I had tuned in earlier in the series to see Kathleen when she was on.  [Writer's Note: An appropriately sized piece of album artwork could not be located, and so Blu-Ray cover art is used.  The two items look the same.]

The College Dropout (Roc-A-Fella, 2004) by Kanye West

The coolest thing about Kanye's debut is how versatile the production is.  Considering he found his niche with soul samples (i.e. Jay-Z's "This Can't Be Life" and The Blueprint), it is incredible how Mr. West crafts a collection of songs that all sound different.  And for my money, "Jesus Walks" is the best beat of the 00s.  The militant vibe, choir, and auto-tune gospel howls are all astounding.  Then, of course, there is "Through the Wire" where Kanye raps with his jaw wired shut which is positively epic.

TP-2.com (Jive, 2000) by R. Kelly

Controversy aside, I think R. Kelly is a musical genius.  His ability to fuse hip-hop and R&B along with his singing abilities have created some very memorable material over the years.  For as carnal as some of the stuff is on TP-2.com, my favorite tracks off of it are still the more romance/relationship-based material such as  "Just Like That" and "I Decided."  The production on the album is excellent as well, which is evident in the fact that Jay-Z and G-Unit songs both sampled different tracks from the album within a little over three years of its release.

Ready to Die (Bad Boy, 1994) by The Notorious B.I.G.

Biggie Smalls is still the illest.  The introduction on this album is the best intro ever, and the first time I listened to "Gimme the Loot" I thought it was two different emcees.  His flow on Ready to Die is absolutely ridiculous and the beats perfectly accentuate his grim lyrics.  Culturally, this album, along with Illmatic and Enter the Wu-Tang, helps shift attention back to New York hip-hop after years of West Coast dominance.  And even though Biggie is not the first emcee to die at the end of their album (see Scarface's debut), "Suicidal Thoughts" is the first time that I hear someone take his or her own life.

Devil's Night (Shady, 2001) by D12

"If I could capture the rage of today's youth and bottle it/Crush the glass from my bare hands and swallow it/Then spit it back in the faces of you racists/and hypocrites who think the same shit but don't say shit/You Liberace's, Versace's, and you nazis/Watch me, cause you thinkin' you got me in this hot seat/You motherfuckers wanna JUDGE me cause you're NOT me/You'll never STOP me, I'm TOP speed as you POP me/I came to save these new generations of babies/from parents who failed to raise 'em cause they're lazy/to grow to praise me I'm makin 'em go crazy/That's how I got this whole nation to embrace me/And you fugazi if you think I'ma admit wrong/I cripple any hypocritic critic I'm sic'd on/And this song is for any kid who gets picked on/A sick song to retaliate to, and it's called.."                                                            -Eminem, "Fight Music"

The Chronic (Death Row, 1992) by Dr. Dre

There is nothing I can say about this album that has not already been said.  It is a masterpiece.  Snoop Dogg's laid-back flow is a perfect match for the melodic production.  I have never heard dirty music sound so clean.  And as a result of Dr. Dre's innovative board work, hardcore hip-hop is able to cross over to Top 40.  Put simply, The Chronic changed popular music and its influence only continues to increase over time.  Now if only I could get away with pulling a beautiful woman's bikini top off while "Nuthin' But a 'G' Thang" plays in the background (just kidding).

Chef Aid: The South Park Album (Columbia, 1998) by various

Rick Rubin is my favorite producer of all-time and this compilation is a testament to his range of talent.  Elton John.  Primus.  Ozzy Osbourne and 'Ol Dirty Bastard.  Ike Turner and Rick James.  And that's just a few of the many names and collaborations.  Isaac Hayes, as Chef, is obviously outstanding hosting Chef Aid like a live concert.  And because of this, the album is able to maintain cohesion from beginning to end.  In the fall of 2006, Scratch Magazine [R.I.P.] wrote, "When Rick Rubin dies (like Kenny) this album could easily be his eulogy."  Ditto.

All For You (Virgin, 2001) by Janet Jackson

All For You is the sexiest album I have ever encountered (how appropriate that it came out on my fourteenth birthday).  Not only is Janet captivating in the album artwork, but her sensual vocals and subject matter make for an intriguing listen.  Production-wise,  the set holds up.  But All For You's highlight is Ms. Jackson on "Would You Mind."  Considering the album's aforementioned sexuality, this is the most extreme case.  It is the only time a song has ever given me an erection.