Whut? Thee Album (Def Jam, 1992) by Redman

Along with Scarface, I think Redman is another rapper that is not given the proper shine for the trail he blazed.  The personality and energy that Reggie has on display on this album has never been matched.  I never heard anything like "Time 4 Sum Aksion" before and that record still is one of the best hip-hop singles ever.  He was the first rapper that made hardcore rap funny.  Ludacris and Eminem both created their own respective lanes, but there's no denying the influence that Redman had on both of their styles.  Eric Sermon's production is superb on Whut?  as well.  And last, but not least, even with Red's outgoing personality- he doesn't compromise lyrical quality.  In summary, this album is incredible.  A certified hip-hop classic. 

The Don Killuminati: The 7 Day Theory (Death Row, 1996) by 2Pac [a/k/a Makaveli]

"I ain't a killer, but don't push me/Revenge is like the sweetest joy next to gettin' pussy/Picture paragraphs unloaded, wise words bein' quoted/Peeped the weakness in the rap game, and sewed it/Bow down, pray to God hoping that he's listenin'/ Seein' niggaz comin' for me, to my diamonds, when they glistenin'/Now pay attention, rest in peace father/ 'm a ghost in these killin' fields/Hail Mary catch me if I go, let's go deep inside/The solitary mind, of a madman who screams/In the dark, evil lurks, enemies, see me flee/Activate my hate, let it break, to the flame/Set trip, empty out my clip, never stop to aim/ Some say the game is all corrupted, fucked in this shit/Stuck, niggaz is lucky if we bust out this shit/Plus, mama told me never stop until I bust a nut/Fuck the world, if they can't adjust/It's just as well, Hail Mary"

                                                                                                                                                                  -2Pac, "Hail Mary"

American Gangster (Roc-A-Fella, 2007) by Jay-Z

This album made up for the dent in the armor that was Kingdom Come (but the title-track to that album was awesome).  The American Gangster album is carefully sequenced like a cohesive story, and so the songs follow the tale of an ambitious young man who aspires to find success as a hustler and become an affluent drug kingpin.  However, and not surprisingly, the success does not last.  From Jay-Z's perspective, it sort of picks up where Reasonable Doubt left off, as far as hustling themes.  The album itself plays through well as a result of interludes from the movie that was the album's muse.  And production-wise, Jay-Z's music hadn't sounded that soulful since The Blueprint.  Overall, it's still not Jay's best work though.  However, it is an inspired hip-hop package that removed Jay from the un-relatable  and broad content of Kingdom Come.  American Gangster put him back in a space where listeners could identify with some of the things Jay was talking about and they were forced to believe him because of the vivid details that his words provided.  It was with this album that Jay-Z reclaimed the crown and again became the King of New York hip-hop.

A Boy Named Goo (Warner Bros., 1995) by Goo Goo Dolls

John Rzeznik is a great songwriter.  He puts a lot of emotion into his writing, but doesn't come across as whiney or bitchy.  It is just soft-spoken introspection.  "Name" is a brilliant song and one of my favorites from the 90s.  ("Naked" is also a great song.)  Even though "Iris" shot them to superstardom a few years later, I don't think that would've been possible without  A Boy Named Goo because it skillfully combined their punk-rock beginnings with more mature writing which resulted an awesome "crossover over" album. Thus, proving the group had what it took to soon conquer mainstream without compromising what made them a unique band in the first place.  In other words, if Dizzy Up the Girl is Pulp Fiction, A Boy Named Goo is Reservoir Dogs.

Stillmatic (Columbia, 2001) by Nas

No disrespect to Eminem's Recovery or LL's Mama Said Knock You Out, but Nas' Stillmatic is the best comeback in the history of hip-hop.  Not only was Nas struggling in his own career at the time, but Jay-Z was kicking him while he was down as well.  Everyone, myself included, thought Nas was finished when "The Takeover" came out.  But once "Ether" dropped, that was a game changer.  Then, on top of that, the rest of the album was fire too.  "2nd Childhood" is one of my favorite songs ever and "One Mic" still sends chills.  In addition to being critically acclaimed, I'm glad Stillmatic sold well commercially because it gave Nas a second-wind in his career.  And because of that, he has made even more great music to add to his already legendary catalogue.

Theater of the Mind (Def Jam, 2008) by Ludacris

Ludacris is a hip-hop superstar, but I feel like he is still underrated as an emcee.  His punchlines are crazy and he can destroy any beat that he rhymes over.  Mr. Birdges took note of this and crafted a theatrical piece for his 6th album.  I think it is some of the best work that he has released to date.  The song with Floyd Mayweather [Grand Rapids stand up!] ("Undisputed") is my favorite and the fact that he did a song with Jay-Z and Nas together is legendary.  Luda also made history by being the first southern rapper on a Premo beat [wherein he got a beat from Premier for his own album, Scarface appeared on Gangstarr's  "Betrayal" in '98].  And, in my opinion, he outshines Lil Wayne on "Last of a Dying Breed" with one of the best lyrical displays and impassioned deliveries that I've ever heard from him.

That N*****'s Crazy (Stax, 1974) by Richard Pryor

The shock value of this album still holds up, and so I can't even imagine what it was like when this album came out almost 40 years ago.  For as "offensive" as the album is to some, I perceive it as  someone coming to terms with how crazy and different the world can seem. [On Sex] "My Uncle (would say) 'don't you ever kiss no pussy'…I couldn't wait to kiss a pussy.  He'd been wrong about everything else."  [When being stopped by police] "I AM REACHING INTO MY POCKET FOR MY LICENSE."  Eddie Murphy, of course, is also a legend who forever changed comedy.  However, I believe that this album was the first one that really gave it to us raw.

The Carnival (Columbia, 1997) by Wyclef Jean

Wyclef Jean is super-talented.  It is unfortunate that his work on Canibus' debut soiled his reputation as badly as it did.  The Carnival is an awesome album.  Not only does it have all the members of The Fugees on it, but it also has The Neville Brothers on a track.  I'll admit that "We Trying to Stay Alive" is a bit tacky due to the obvious sample.  But he more than makes up for that slight misstep with "Gone 'Til November" and "To All the Girls" (shout out to Bob Dylan for his cameo appearance in the music video for the former as well).

Tical (Def Jam, 1994) by Method Man

Considering that a flood destroyed a lot of beats that RZA created for the album, it is incredible that the majority of this album was created quickly because it is a great debut.  One track that was fortunately not damaged during the flood was "Meth Vs. Chef", my personal favorite cut on the album.  Tical and Warren G.'s Regulate definitely helped Def Jam during a time when Death Row was dominating hip-hop.  The Wu-Tang Clan still ain't nuthin' ta fuck wit.

Death Certificate (Priority, 1991) by Ice Cube

"Now in ninety-one, he wanna tax me/I remember, the son of a bitch used to axe me/and hang me by a rope 'til my neck snapped/Now the sneaky motherfucker wanna ban rap/and put me under dirt or concrete/But God, can see through a white sheet/Cause you the devil in drag/You can burn your cross well I'll burn your flag/Try to give me the H-I-V/so I can stop makin' babies like me/And you're givin' dope to my people chump/Just wait 'til we get over that hump/Cause yo' ass is grass cause I'ma blast/Can't bury rap, like you buried jazz/Cause we stopped bein' whores, stop doin' floors/So bitch you can fight your own wars/So if you see a man in red white and blue/gettin' janked by the Lench Mob crew/It's a man who deserves to buckle/I wanna kill Sam cause he ain't my motherfuckin' Uncle!"

-Ice Cube, "I Wanna Kill Sam"

In My Lifetime, Vol. 1 (Roc-A-Fella, 1997) by Jay-Z

Jay-Z's sophomore album is better than  it is given credit for.  The pop sounds of " (Always Be My) Sunshine", "I Know What Girls Like", and "The City is Mine" overshadowed the rest of the project.  To be fair, those three songs are the weakest on this release.  However, considering how Puffy's sound was dominating the charts at the time, the pop tunes on this set was just a way for Jay to bait listeners with the current trend and then really be able to show people what he was doing with the rest of the album.  For instance: Premier delivered a banger with the opening cut, "You Must Love Me" is as emotional and revealing as rap songs get, and "Where I'm From" is lyrically incredible.  {Writer's note: Because of a busy schedule, I was unable to post for multiple days and so I am posting multiple times now to make up for it.  I apologize for any confusion and/or inconvenience.}

The Black Album (Roc-A-Fella, 2003) by Jay-Z

Jay-Z is arguably one of the best emcees in the history of hip-hop.  However, since he returned from his "retirement" in 2006, he has never sounded quite as strong as he did on his "last album" from three years earlier.  Minus two tracks, this album is a masterpiece ("Justify My Thug" isn't bad, it just feels out of place and "Change Clothes" does sound a bit forced).  "99 Problems" is a classic (props to Ice-T as well) and "December 4th" is one of the best songs in Jay-Z's entire catalogue.  The versatile production is not only top notch, but it also illustrates Jay's wide range as an emcee.  The way this album coincided with his legendary sold-out Madison Square Garden show was astonishing.  Now, if only Jay-Z's "My 1st Song" would have been his last.

Neverlution (Comedy Central, 2011) by Christopher Titus

This album is more political than Titus' earlier material, but it is just as funny.  The great thing about it too is that he does not take a side, he simply dissects American culture as a whole and points out numerous inconsistencies.  The album clocks in at about an hour and forty-five minutes, but it never feels long-winded.  Titus again demonstrates how he is a very gifted storyteller, and that  makes the time just fly by.  I am a big fan of his work and will continue to support him as long as he continues to perform.

Enter the Wu-Tang [36 Chambers] (Loud, 1993) by The Wu-Tang Clan

 Enter the Wu-Tang is amazing because it is so original.  There are nine members in the group, and all of them can rap.  The martial arts film interludes and the classic soul samples are timeless.  RZA's dark, cinematic beats give all the emcees space to kick some of the greatest verses in the history of hip-hop (Raekwon on "C.R.E.A.M.", Ol Dirty Bastard on "Protect Ya Neck").  And the greatest testament to this album, in my opinion, is that it still holds up almost twenty years later.  If this album were to come out today, no current album would be able to compete with it.

The Eminem Show (Aftermath, 2002) by Eminem

I really like how much Em's songwriting skills were showcased on this album.  Not to say that The Marshall Mathers LP didn't have its moments (i.e. "Stan", "Kim", "The Way I Am"), but, for the most part, Marshall Mathers was more about punchlines, verses, and delivery than actual complete songs.  Although the production was not quite as solid this go round, Eminem more than made up for it with lyrical content and records such as "White America", "Cleanin' Out My Closet", "Square Dance", and "'Til I Collapse."

Seriously, Who Farted? (Comedy Central, 2009) by Nick Swardson

Swardson is a very funny comic.  I had seen him various movies, and he stole the scene in every film that he was in.  Therefore, I thought I would give this album a chance and it does not disappoint.  Swardson's humor is very surface material (drinking, weed, sex-related humor), but his delivery is outstanding.  I also love how he references E. Honda from "Street Fighter" when he talks about the woman he received a happy-ending from when getting a massage.  Swardson clearly made the most of the opportunities that Adam Sandler and "Reno 9-1-1" provided for him and now it is great to see him emerge as a star in his own right.

Harlem World (Bad Boy, 1997) by Ma$e

Not counting Biggie, Ma$e is my favorite rapper from Bad Boy.  Although he was criticized for his slower delivery, I really liked it.  It made his voice immediately recognizable and gave him a very unique style.  I love "24 Hours To Live" and "Will They Die 4 U?".  But in my opinion, the whole album really holds up too.  Yes Ma$e was pop, but pop in the sense that he made popular music- not that he compromised himself for record sales.  Bad Boy was unstoppable in 1997 and Ma$e is one of the reasons why.

Rhyme Pays (Sire, 1987) by Ice-T

Ice-T is an incredibly underrated emcee.  He is a fantastic storyteller.  "6 in the Mornin'" is one of the best records in hip-hop history and one of the first gangsta rap records ever.  And never mind the "Cop Killer" controversy, I'm not surprised Body Count, Ice-T's rock band, came about because Black Sabbath's "War Pigs" is sampled at the beginning of Ice's debut hip-hop album, Rhyme Pays.  Rhyme Pays was ahead of its time. And when analyzing the cultural significance of acts like hardcore rappers such as N.W.A or the fusion of rap and rock, i.e. Limp Bizkit, it is foolish to not acknowledge Ice-T and Rhyme Pays and how they helped shape the sound of so many acts that followed. 

The Diary (Rap-A-Lot, 1994) by Scarface

"Imagine life at it's full peak/Then imagine lying dead in the arms of your enemy/Imagine peace on this earth when there's no grief/Imagine grief on this earth when there's no peace/Everybody's got a different way of endin' it/And when your number comes for service then they send it in/Now your time has arrived for the final test/I see the fear in your eyes and hear your final breath/How much longer will it be til it's all done?/Total darkness and ease be at all one/I watch him die and when he dies let us celebrate/You took his life, but his memory you'll never take/You'll be headed to another place/And the life you used to live will reflect in your mother's face"

-Scarface, "I Seen A Man Die"

Greatest Hits (Amaru, 1998) by 2Pac

Greatest hits albums are usually terrible.  Not that the actual music is bad, but it is just a collection of hits with a few rush-recorded tracks by an artist to fulfill a contractual obligation.  Therefore, there is very little incentive to purchase them if you are already a fan of the artist.  However, in this case, there is an exception.  2Pac was a prolific writer and recorder.  There are four unreleased tracks here (as well as the original version of "California Love").  And some of the unreleased tracks are the best ones on this 2-CD set ("Unconditional Love" and "Changes").  The sequencing of the compilation is also done well and the album provides a well-rounded glimpse into the mind of one of the most amazing artists that hip-hop will ever see.  {Writer's note: Because of a family emergency, I was unable to post for multiple days and so I am posting multiple times now to make up for it.  I apologize for any confusion and/or inconvenience.}

Cheap Drunk: An Autobiography (Warner Bros., 2002) by Bill Engvall

I was initially introduced to Blue Collar Comedy via Jeff Foxworthy.  Beyond his famous "you might be a redneck" routine, there was a great storyteller and comedian.  I say the same thing about Bill Engvall.  His routines aren't exactly non-stop laughter, but they are fun laid back routines about middle age and raising a family.  I'm a huge fan of deep/political comedy (i.e. David Cross) too, but I think Engvall serves as a great balance to that intensity.  Some of my favorite bits on this album are the ones about life after two decades of marriage and his story about pair sailing on Vicodin.

Restless (Loud, 2000) by Xzibit

I have been a fan of Xzibit for years (and unlike Granddad on The Boondocks, I really mean it).  From the moment I heard the Taxi Driver-inspired intro on At the Speed of Life, I was an immediate fan.  I remember I was so excited to buy Restless that I made a point of dealing with the heavy snow in Michigan and going out on a snow day to buy it the day of its release.  Xzibit, who is one of the best lyricists out of the West, did not disappoint (especially on "Don't Approach Me").  And Rockwilder, making a beat out of the hydraulic sounds of a lowrider ("Front 2 Back"), is absolutely incredible.

One in a Million (Blackground, 1996) by Aaliyah

Timbaland is a genius and this album proved that he was ahead of his time.  "One in A Million" is one of my favorite records and "If Your Girl Knew" has a phenomenal beat.  Aaliyah is someone who left us too soon and her sophomore album was a proof that she was wise beyond her years.  In addition to Missy and Timbaland's work, Slick Rick and Treach provide great contributions as well.  And yet, no one outshines Aaliyah- as it should be.  There are very few albums that are all killer, no filler.  But this is one one of them.  And as far as Timbaland's production career, One in A Million and Missy Elliot's Supa Dupa Fly did for him what The Chronic and Doggystyle did for Dr. Dre a few years prior.

Paper Trail (Grand Hustle, 2008) by T.I.

I was not a huge fan of T.I. when his career first started to be honest.  Not until I heard his remake of UGK's "Front Back" and "Big Shit Poppin'" (Mannie Fresh provided awesome beats as well) did I began to pay attention to Tip Harris.  It was then that I learned T.I. didn't write his rhymes down and that he was going to on his next album, Paper Trail.  I loved "No Matter What" and was writing for Billboard at the time so I bought the album the day that it was released so I could be ready immediately when the next single from the set was announced.  I was impressed to say the least.  The collaborations were great (especially Ludacris on "On Top of the World" and Justin Timberlake on "Dead and Gone"), the singles had substance ("Live Your Life"), and his lyrics were deep ("Slide Show").  It is one of my favorite southern rap albums and a modern hip-hop classic.   {Writer's note: Because of a family emergency, I was unable to post for multiple days and so I am posting multiple times now to make up for it.  I apologize for any confusion and/or inconvenience.}

2001 (Aftermath, 1999) by Dr. Dre

I like this album and I think it has definitely held up over time.  However, I don't think it is as good as The Chronic.  This album has too many skits, and mediocre verses.  With the exception of Eminem, Snoop, Devin the Dude, and Xzibit, the other emcees makes the album feel too crowded.  Jay-Z does great ghostwriting for the project, but his few contributions obviously can't save all the rapping on the album.  As far as production, "Fuck You" and "Xxplosive" are the best tracks Dre has done in the post Death Row era of his career.  In hindsight, 2001 served its purpose.  It made Eminem a superstar the same way that The Chronic did for Snoop and proved that after a few rough years Dre still had not lost his midas touch.  "Smoke weed everyday!"  R.I.P. Nate Dogg.

Paid in Full (4th & B'Way, 1987) by Eric B. & Rakim

"I ain't no joke, I use to let the mic smoke/Now I slam it when I'm done and make sure it's broke/When I'm gone, no on gets on, cause I won't let/nobody press up, and mess up, the scene I set/I like to stand in the crowd, and watch the people wonder "Damn!"/But think about it, then you'll understand/I'm just an addict, addicted to music/Maybe it's a habit, I gotta use it/Even if it's jazz or the quiet storm/I hook a beat up, convert it into hip-hop form/Write a rhyme in grafitti and, every show you see me in/Deep concentration, cause I'm no comedian/Jokers are wild, if you wanna be tamed/I treat you like a child, then you're gonna be named/Another enemy, not even a friend of me/Cause you'll get fried in the end, when you pretend to be competing, cause I just put your mind on pause/And I complete when, you compare my rhyme with yours/I wake you up and as I stare in your face you seem stunned/Remember me?  The one you got your idea from/But soon you start to suffer, the tune'll get rougher/When you start to stutter, that's when you had enough of/biting it'll make you choke, you can't provoke/You can't cope, you shoulda broke, because I ain't no joke {*echoes*}"

-Rakim, "I Ain't No Joke"

Live and Let Die (Cold Chillin', 1992) by Kool G. Rap & D.J. Polo

In the 90s, it was Biggie, Jay-Z, or Nas.  And in the 80s, it was Rakim, Kane, or G. Rap.  And even though G. Rap did not sell in the millions- what he lacked in sales, he more than made up for in influence.  He pioneered multi-syllabic rhyming and his descriptive street narratives were definitely a first as well.  This is also one of my favorite album covers too.  Two cops tied to nooses while standing on chairs that are attached to dogs.  G. Rap and Polo are then standing just out of the dogs' reach with pieces of meat.  Guess what happens next?

Tougher Than Leather (Profile, 1988) by Run D.M.C.

Raising Hell is unquestionably a flawless album with tremendous cultural significance.  However, because of its success, its follow up was slept on.  I love Tougher Than Leather.  I think that use of  breakbeats in the production prevented them from getting repetitive with heavy drum machines. "Beats to the Rhyme" is ahead of its time. And of the millions of times James Brown's "Funky Drummer" has been sampled, "Run's House" is my favorite use of that over-used track.  Rest in Peace Jam Master Jay.  {Writer's note: Because of Internet connection issues, I was unable to post yesterday, 04/02, and so I am posting twice today on 04/03.  I apologize for any confusion and/or inconvenience.}

Follow the Leader (Immortal, 1998) by Korn

Follow the Leader has a lot of sentimental value to me.  I am not knowledgable enough about rock music to speak comfortably about the technical aspects of this album (but I do think it's really bad-ass that Jonathan Davis also plays the bagpipes on this album in addition to contributing lead vocals).  However, I'll never forget buying this album at Media Play when I was young with my really good friend Ben.  At the time, the "parental advisory" was stuck on the case, not printed on the pamphlet and so we found the only two Follow the Leader albums without stickers on them.  And because I'm paranoid, I took a black magic marker and scribbled over the female nudity in the pamphlet.  The album, of course, was at the forefront of a rap/rock hybrid movement alongside Limp Bizkit and Kid Rock.  And nothing against Rock's "Cowboy" song or Limp Bizkit's "N 2gether Now"- I really like them both, but taken as a whole album, Follow the Leader is my favorite album from that era with that sound.

War & Peace: Vol. 2 The Peace Disc (Priority, 2000) by Ice Cube

This is Cube's most underrated album.  The N.W.A track, "Hello" is better than "Chin Check" off the Next Friday soundtrack.  Chris Rock is hilarious on "You Ain't Gotta Lie to Kick It" and Cube's verse on "The Gutter Shit" is overlooked  Other highlights include "Until We Rich" with Krayzie Bone and the EPMD-inspired "Record Company Pimpin".  This is a great album and made the wait between this and Cube's next solo offering, 2006's Laugh Now, Cry Later, painfully long.