Whitey Ford Sings the Blues (Tommy Boy, 1998) by Everlast

The fusion of rap and rock works a fair amount of the time, but the combination of the two very often sounds deliberate.  However, in the case of this album, it sounds very organic and that makes for a very enjoyable listen.  Not only does Everlast rap like he did with House of Pain, but he also infuses rock and a touch of folk and blues.  "Ends", "Hot to Death", and "What It's Like" are all outstanding.  Considering his heart condition and the surgery that followed while making this album, it's a very personal recording.  Without question, it is Everlast's best work to date.

Born Suspect (DreamWorks, 1991) by Chris Rock

Chris Rock's first album, released a few years prior to his breakthrough LP Roll With the New, is an album that shows a lot of potential.  The jokes aren't quite as polished, but signs of the intelligent comedian that would soon emerge are certainly there.  On race: "Being white is like always having five dollars in your pocket and being black is like always being 50 cents short."  On minimum wage: "That's just a way of saying, 'I'd pay you less if I could.'  And with taxes, that's like kicking Tuesday and Wednesday in the ass."

When Disaster Strikes (Elektra, 1997) by Busta Rhymes

This whole album is incredible and the videos for "Dangerous" and "Put Your Hands Where My Eyes Can See" are both masterpieces.  My fondest memory about this album is that I remember being a pre-teen when the album came out and because of the "Parental Advisory" sticker my mom wouldn't let me buy it.  However, I had a cousin who had the album and one time she came over to babysit me and younger sister.  She just happen to have that CD on her and so I took it up to my room and taped "Put Your Hands Where My Eyes Could See" on a tape (not a CD, a tape).  I listened to the tape so much that I broke the cassette.  It is one of the first rap songs that I learned by heart.  And to this day, Busta Rhymes is still one of my favorite emcees.

    

Waitin' to Inhale (Rap-A-Lot, 2007) by Devin the Dude

"We work nights, we some vampires/Niggas gather round the beat like a campfire/Singin' folk songs, but not no Kumbaya my Lord/You download it for free, we get charged back for it/I know you're saying, they won't know they won't miss it/Besides, I ain't a thief, they won't pay me a visit/So if I come to your job, take your corn on the cob/And take a couple kernels off it that would be alright with you/Hell no! Yeah, exactamundo/But we just keep recording and it ain't to get no condo/And Candy Bentley fanny with no panties in Miami/And that cute lil' chick named Tammy that you took to the Grammys/See we do it for that boi that graduated/ That looked you in your eyes real tough and said 'preciate it/And that he wouldn'ta made it if it wasn't for your CD number 9/And he's standing with his baby momma Kiki and she cryin' talkin' bout/That they used to get high to me in high school/And they used to make love to me in college/Then they told me 'bout they first date, listenin' to my tunes/And how he, like to finger nail polish/I say hate to cut you off but I gotta go/I wish you could tell me mo' but I'm off to the studio, gotta write tonight/Hey, can you put us in your raps? I don't see why not/Devin it's the Dude you gon' probably hear him talking 'bout"

-Andre 3000, "What a Job"

    

Relapse (Aftermath, 2009) by Eminem

I like this album more than the general consensus did.  I do feel that it was way too one dimensional as far as the drug content though.  However, I liked hearing the Slim Shady persona again.  Production-wise, the drums bang on my "My Mom" and the sample of "Reaching Out" is very effective on "Beautiful."  The extreme violence (i.e. "3 A.M.", "Stay Wide Awake") sounds a bit forced, but the dark humor does find its footing by the end of the LP ("Underground").  And I do think "We Made You" is one of the weakest songs in Eminem's entire catalogue, but, to counter that, "Deja Vu" is one of the best.

Straight Outta Compton (Ruthless, 1988) by N.W.A

The impact of this album can not be overstated.  There also is not anything that I can say about it that has not already been said.  Public Enemy challenged the establishment; N.W.A destroyed it.  They exercised free speech and, as a result of it, got a letter from the F.B.I.  "Straight Outta Compton" set a new precedent for gangsta rap.  "Fuck Tha Police" said what so many people wanted to, but were either afraid or did not have a microphone.  And "Gangsta Gangsta" and "Dopeman" painted pictures of life and situations in existence on the tough Compton streets.  But more than that, it spoke for everyone who was screaming to be heard from a place of struggle.  This album forever changed music and we are all better for it.

Tha Blue Carpet Treatment (Geffen, 2006) by Snoop Dogg

This is Snoop's best album since Tha Last Meal.  The opening song, "Think About It", even finds his fluid flow in top form like he was on Doggystyle classics like "Tha Shiznit" and "Gz and Hustlaz."  "Vato" with B-Real was good, but it didn't take off like it should have.  "I Wanna Fuck You" with Akon was an excellent single and the Nottz-produced "That's That Shit" featuring R. Kelly was a perfect choice to keep the momentum going.  For the most part, Dr. Dre's contributions to the project are solid.  However, with the popularity of "Stan", I thought it was very daring to sample Dido's "Thank You" for "Round Here."  The album's best song "Imagine" features Dr. Dre behind the boards and on the mic and is an interesting track which imagines where people would be if hip hop did not exist.  There is some material on this release that could've been left on the cutting room floor, but it's Snoop doing what he does best and that's always something to raise a glass of gin and juice to.

Eat Me, Drink Me (Interscope, 2007) by Marilyn Manson

The songwriting for this album, in my opinion, is its highpoint.  Manson discusses love, in his own unique way, but that is still far from the bizarre antics of Smells Like Children.  Conceptually, "If I Was Your Vampire" is a deep record.  Just the idea of drawing blood from the one you love and connecting on that level, it is very intense.  The production isn't as loud and inconsistent as some of his earlier efforts.  The use of keyboards seems to outweigh heavy guitar riffs.  And the fact that Spin magazine reached out to adult film star Janine Lindemulder for her take on the sex between Manson and Evan Rachael Wood in the clip for "Heart-Shaped Glasses" is really cool.  I was a fan of Janine before, but this made me an even bigger one.

It's Dark and Hell is Hot (Def Jam, 1998) by DMX

This album officially ended Puff Daddy's reign as the king of hip-pop.  X brought back the hardcore attitude that had been absent in rap since the deaths of Tupac and Biggie.  "Get at Me Dog" was a gritty video, which, if I'm not mistaken, has never aired on MTV in its entirety.  "Ruff Ryders Anthem" got the attention of the mainstream, "X is Coming" offended people, and "Stop Bein' Greedy" had me barking like a dog (So when you hear the arf arf, start runnin'/Cause when you hear the arf arf, I'm comin').  It's Dark and Hell is Hot may have come from the bottom, but it took DMX, Ruff Ryders, and Def Jam straight to the top.  There was no excuse for this album not being nominated at The Grammys for Rap Album of the Year.

The Documentary (Aftermath, 2005) by Game

The Documentary is one of the best albums of the 00s.  The production is top-notch, and Game single-handedly brought the West Coast back into the hip-hop spotlight after nearly a decade away from it.  Despite the feud with 50, one of the album's best tracks is  Game's collaboration with him on "Hate It or Love It."  Game is guilty of name dropping a a bit excessively throughout the album, however, particularly on the title track, he is very clever with it.  "Runnin'" has a surprisingly strong guest verse from Tony Yayo and Game correctly admits to Eminem killing him on his own shit  with "We Ain't."  Other highlights include "Dreams" and the confessional "Don't Need Your Love."  This album is one of the reasons why I still want G-Unit to get back together.

Criminal Minded (B-Boy Records, 1987) by Boogie Down Productions

"Di-di di-da, di di-di, dida di-day, aiy!/All you sucka mcs/won't you please come out to play, cause/Here's an example of krs-one, bo!/Here's an example of krs-one/They wish to battle bdp, but they cannot/They must be on the dick of who? dj scott larock/Cause, we don't complain nor do we play the game of favors/Boogie down productions comes in three different flavors/Pick any dick for the flavor that you savor/Mr. magic might wish to come and try to save ya/But instead of helpin ya out he wants the same thing I gave ya/I finally figured it out, magic mouth is used for suckin/Roxanne shante is only good for steady fuckin/Mc shan and marley marl is really only bluffin/Like doug e. fresh said "i tell you now, you ain't nuthin"/Compared to red alert on kiss and boogie down productions/So easy now man, I me say easy now mon/To krs-one you know dem can't understand/Me movin over there and then me movin over here/This name of this routine is called live at union square/Square, square, square, ooooooooooooooooooooooo/What's the matter with your mc, marley marl? Don't know you know that he's out of touch/What's the matter with your dj, mc shan? On the wheels of steel marlon sucks/You'd better change what comes out your speaker/You're better off talkin bout your wack puma sneaker/Cause bronx created hip-hop, queens will only get dropped/You're still tellin lies to me/Everybody's talkin bout the juice crew funny/But you're still tellin lies to me"

-KRS-One (of Boogie Down Productions), "The Bridge is Over"

Vol.2... Hard Knock Life (Roc-A-Fella, 1998) by Jay-Z

Jay-Z's third LP is the crossover album that didn't sell out. "Hard Knock Life," in my opinion, is one of the best singles in hip hop history.  Not only was the use of the Annie sample brilliant, but it also put a light back of the legendary Mark The 45 King.  "Nigga What, Nigga Who" and "Money Cash Hoes" are two spectacular beats with raps worthy of the instrumentals.  "A Week Ago" is a classic that demonstrates Jay-Z's descriptive writing ability and features Short Dog on the hook.  "Can I Get A..." got some attention.  "Reservoir Dogs" introduced the world to Beanie Sigel.  And "Money Ain't A Thang" was two emcees living large who weren't lying about it.  In conclusion, this is one of the greatest albums from arguably rap's last classic year.

Ill At Will Vol.1 (n/a, 2004) by Redman

Due to numerous delays and setbacks, it seemed that Redman's album Red Gone Wild might not ever see the light of day.  Fortunately, Redman took it upon himself to relase something and stay on the radar while the label politics at Def Jam kept holding up his album.  His mixtape, Ill At Will Vol.1, did that and then some.  Not only does Redman rip through industry tracks like "What More Can I Say" and "Bad Intentons," but he also has original material on here as well.  Those highlights are "Da Countdown", a very, upbeat a high energy record, and "I C Dead People" which samples deceased emcees.  And last but not least, he also uses the mixtape as a platform for his Gilla House crew.  Overall, Ill at Will Vol.1 is a great example a rapper bucking the system and doing what needs to be done in order to get quality music to the people.  And isn't that what rap music is all about in the first place?  It's a beautiful thing.

Invasion Part II: Conspiracy Theory (n/a, 2003) by DJ Green Lantern

Of the three mixtapes in the series, the second one is my favorite.  Yes, "The Sauce" was good and "Nail in the Coffin" is one of the best diss records ever (both on the first Invasion), but as an emcee, Benzino never struck me as a worthy opponent for Eminem.  Therefore, it seemed obvious that Eminem would be victorious immediately when everything started.  Ja Rule, who was feuding with 50 at this time, however, had a bit more credibility and had sold millions.  I did think Ja was good on some records ("Holla Holla", "Can I Get A…", "Murdergram", and "Get the Fortune"), but when he began to compare himself to Tupac- he lost me.  And Shady Records took full advantage of that poor decision on Ja Rule's part, the "Hail Mary (Remix)" not only uses Ja's words against him but has three stellar verses from Eminem, 50 Cent, and Busta Rhymes.  As far as Green Lantern's blends, it has one of my favorites that I've ever heard from him, where he takes 50 and Lil Kim's vocals from "Magic Stick" and puts them over "Work It," "Fuck You," and "21 Questions" beats.  There are some skippable tracks on this project, but fewer than the other two and I think the tape concludes on a high note with a live recording of Em and 50 performing "Patiently Waiting" in Detroit, MI.

Have Your Loved Ones Spayed or Neutered (Warner Bros., 2004) by Jeff Foxworthy

Jeff Foxworthy's last solo album was a great swan song.  It's his usual every man comedy routines.  The thing I've liked about Foxworthy's stuff too though is that his material grows with him, not necessarily in maturity, but in topics as far as aging, parenting, marriage, etc.  And this album highlights those topics particularly well.  "Oreo Generation" and "I'm Next in Line" are great bits about looking after children and taking care of parents.  "(On diapers)  And for as hard as it was with the kids, I can't imagine it being any easier with the seniors.  I don't want to be sitting watching football with my father-in-law… [sniffs]  Ed?  Don't you lie to me Ed!"  The only thing I would've done differently, if it me were me, is to come full-circle with "You might be a redneck" material.  I thought it was an interesting decision to close his last album with a new catch-phrase "I believe" that would set itself up for many more jokes, when, in theory, there wouldn't be anymore.

I Am... (Columbia, 1999) by Nas

I Am… definitely has its ups and downs, but I think it's a pretty solid album overall.  "N.Y. State of Mind" is a certified classic, and so coming back to the song was a risk, but Premier and Nas crafted a worthy sequel.  And "Nas is Like," is one of the best songs that Mr. Jones and Mr. Martin have ever done together.  "Favor for a "Favor", the record with Scarface, is excellent and "We Will Survive" pays homage to Tupac and Biggie.  The faults of this project are that it's inconsistent and the album is a few songs too long.  And "Hate Me Now" with Puffy was a great commercial single, but I think "You Won't See Me Tonight" with Aaliyah would have been a better choice.

What the Hell Happened to Me? (Warner Bros., 1996) by Adam Sandler

I was first introduced to Adam Sandler's comedy right around the time of this album's release.  The fact that the album title had a curse word in the title intrigued me and knew I had to get it.  I didn't get it until a few years later, but when I did, I loved it and it seemed like everyone in Middle School knew the skits from the album by heart.  My favorite memory of the material is from 7th grade-our middle school class went to a science camp which was affiliated with a Christian group and even though our class' visit didn't focus on religion at all, the camp had its own staff and they clearly took a more conservative approach to things.  My friends adapted Sandler's "Respect" skit into something for a group project there and even though it was considerably edited, it was hilarious to us because we knew what they were "getting away" with.  Good times.  Adam Sandler's first four albums all have a lot of sentimental value to me, but his sophomore disc, What the Hell Happened to Me?, is my favorite.

The Blueprint 2: The Gift & The Curse (Roc-A-Fella, 2002) by Jay-Z

This album does have too much filler, and could easily be cut down from a double album to a single one.  And there's "'03 Bonnie and Clyde" where Jay-Z and Beyonce take a Tupac classic [where his girlfriend is a metaphor for a gun] and make it a pop/rap record that, because of such a stretch, comes off as cheesy.  However, I can't fault the album for its approach.  Where the first Blueprint, sonically, focused on the past (i.e. where hip hop came from), this one wants to show where the genre can go.  The remix to "U Don't Know" featuring M.O.P. and "Show You How" are prime examples of refreshing and outstanding sounds, both courtesy of Just Blaze.  Jay-Z also demonstrates how hip hop can gel with other genres of music (i.e. rock- "Guns and Roses" featuring Lenny Kravitz and oldies pop which samples "My Way" by Paul Anka for the chorus).  Lyrically, the album also has some very strong points too.  Most notably, "Meet the Parents" where Jay-Z tells one of his most detailed stories ever and "A Dream" where he converses with the late, great Biggie Smalls.  Considering that this album is widely considered one of Jay-Z's weaker efforts, it is also worth noting that it is superior to most emcees greatest material.  Therefore, in addition to his best albums, Jay-Z is so good that even his "bad" ones can be used as evidence that he is one of the best emcees of all-time.  

The Blueprint (Roc-A-Fella, 2001) by Jay-Z

"I know you missin all the - FAAAAAAAME!/But along with celebrity comes bout seventy shots to your frame/Nigga; you a - LAAAAAAAME!/You's the fag model for Karl Kani/Esco ads/Went from, Nasty Nas to Esco's trash/Had a spark when you started but now you're just garbage/Fell from top ten to not mentioned at all/To your bodyguard's "Oochie Wally" verse better than yours/Matter fact you had the worst flow on the whole fuckin' song/But I know - the sun don't shine, then son don't shine/That's why your - LAAAAAAAME! - career come to a end/There's only so long fake thugs can pretend/Nigga; you ain't live it you witnessed it from your folks pad/You scribbled in your notepad and created your life/I showed you your first tec on tour with Large Professor/(Me, that's who!) Then I heard your album bout your tec on the dresser/So yeah I sampled your voice, you was usin it wrong/You made it a hot line, I made it a hot song/And you ain't get a coin nigga you was gettin fucked and I know who I paid God, Serchlite Publishing/Use your - BRAAAAAAAIN!  You said you been in this ten/I've been in it five - smarten up Nas/Four albums in ten years nigga?  I can divide/That's one every let's say two, two of them shits was due/One was - NAHHH, the other was "Illmatic"/That's a one hot album every ten year average/And that's so - LAAAAAAAME!  Nigga switch up your flow/Your shit is garbage, but you try and kick knowledge?/(Get the fuck outta here) You niggas gon' learn to respect the king/Don't be the next contestant on that Summer Jam screen/Because you know who (who) did you know what (what)/with you know who (yeah) but just keep that between me and you for now"

-Jay-Z, "Takeover"

Stark Raving Black (Comedy Central, 2010) by Lewis Black

I've been a fan of Lewis Black for a long time and this is one my favorite sets from him to date.  I really enjoy how he is an equal-opportunity offender in regards to American politics.  My favorite bit though is the one about how 60-year olds are able to communicate with each other, but younger people are completely baffled by it because it seems that they don't remember anything.  And I'm pretty sure I'm going to borrowing Mr. Black's expression the next time I hear I good song, the one he used to describe a song that he saw Vince Gill perform: "I felt exactly the way I feel when I'm taking a bath that is just the perfect temperature."

Southernplayalisticadillacmuzik (LaFace, 1994) by Outkast

One of the things that make this album so incredible, in addition to Andre 3000 and Big Boi's outstanding rapping ability, is that Organized Noize used more live instrumentation.  And to complement the superior production, the ATLiens kick rhymes that are wise beyond their teenage years.  "Git Up, Git Out" discourages drug use, "Crumblin' Erb" addresses violence, and "Player's Ball" explains how, because of poverty, Christmas is just like every other day in the ghetto.  If anyone questioned the validity of Andre 3000's statement, "The South got something to say," all they'd have to do is listen to this album and they would be a believer.  The Source gave the album 4.5 Mics out of 5.  I respectfully disagree; I would have given it 5.

The Massacre (Shady/Aftermath, 2005) by 50 Cent

50's sophomore album seems like a natural extension of his debut.  And because of that, the album falls a bit flat.  The tough talk is all the same and so the artistry didn't seem to show much growth from before.  However, that doesn't mean it isn't entertaining.  My favorite lyric is in "Piggy Bank" wherein 50 dissects Fat Joe's success with Terror Squad's "Lean Back," "That fat n***a thought 'Lean Back' was 'In Da Club'/ My shit sold 11 Mill, his was a dud."  That line is crazy because "Lean Back" was a huge hit.  And yet, it didn't translate to record sales the way 50's smash single, "In Da Club" did.  Then there's "Ryder Music" where Fif claims to have slept with a lot of famous actresses, "Last year I woke up with good luck, damn it feels good/On the low, I done fucked like half of Hollywood."  I really like to beat for "Ski Mask Way" (R.I.P. Disco D) too and Dre's heavy drums on "Outta Control" still bang today.  This album isn't nearly as impressive as his earlier work, just evidence of who was unquestionably one of hip hop's biggest stars at the time.  Hate it or love it.

Californication (Warner Bros., 1999) by Red Hot Chili Peppers

The sound of Californication is more melodic in vocal and instrumental delivery than a lot of their previous work.  As a whole, the album taps into the poetic sensibility that made the deeply personal "Under the Bridge" such huge hit years earlier.  "Scar Tissue" is one of the my favorite records from the band's 25 plus year catalogue.  This album also has strong sentimental value to me as well.  The Red Hot Chili Peppers were my first concert, the Californication tour, - back in the summer of 2000 at Van Andel Arena in Grand Rapids, MI.  They performed with Foo Fighters as their opening act and, even as a hip hop fan, it remains the best concert I have seen to date.  Because Kiedis spent some of his childhood in the Grand Rapids area, it is impossible to not be exposed to the Chili Peppers' music (not that that's a bad thing at all) growing up there.  And, as a result of that hometown connection, the crowd was really into the show.  The only downside to the whole experience was that I couldn't wear the T-shirt that I got from the show to Middle School in the fall because it had the word "Californication" on it.

R. (Jive, 1998) by R. Kelly

Even disregarding the fact that it's a double album, R. is R. Kelly's most well-rounded album.  There's hip hop, R&B, and gospel.  And, for the most part, Kells pulls it all off successfully.  Some songs are better than others, but the album never seems to drag on.  The fact that he puts Celine Dion and Cam'ron on the same album is crazy enough ("I'm Your Angel" and "We Ride" respectively).  But the fact that he put an inspirational song for a movie starring Bugs Bunny (Space Jam's "I Believe I Can Fly") and a materialistic record like "Only the Loot Can Make Me Happy" on the same album, and they're both incredibly catchy, is even crazier.  And then, of course, there are a few sex records too ("Half on a Baby" and "Get Up on a Room").

Hip Hop is Dead (Def Jam, 2006) by Nas

This is Nas' fourth classic album (following Illmatic, It Was Written, and Stillmatic).  The title makes a bold statement, but what I like about the content is that it doesn't attack current music as much as it recognizes and pays homage to what came before ("Carry on Tradition" and "Where Are They Now").  The collaboration with Jay-Z is solid [but I wish they both spit more than 1 verse].  The sample of music from The Godfather Pt. II for the beat to that song made it epic which is of course very fitting.  Other highlights on the album include "Let There Be Light," Blunt Ashes," and "Hustlers."  The final part of the album's final cut, "Hope," is Nas rhyming accappella.  It is very powerful how Nas brought hip hop back to the essence with that.  Hip Hop is Dead reaffirms that Nas is one of the most brilliant minds music has ever seen.  And his skills on the mic prove that hip hop is something worth saving.

Legacy: The Greatest Hits Collection (Universal, 2001) by Boyz II Men

Boyz II Men is my favorite boy band and this is a greatest hits collection that collected all the hits.  For as successful and talented as the group was in their prime, finding enough cuts to fill an album is not the problem.  Therefore, the only thing that could fault the album is its track sequencing. It's almost perfect.  The only change I would make, and this is just my opinion, is that its opening cut, "Motown Philly", is a little upbeat for the ballads that they were most known for. And for that reason, I would've put it a little later in the CD.  Because their first two mega-blockbuster albums came out before and right as I was being introduced to popular music, I never owned the original LPs.  However, because of the group's tremendous success, I was still very aware of their music.  Therefore, this album not only finished the group's contract with Universal, but also put all the hits from one of the most popular groups of the 90s in one place for me to enjoy.

Dangerously Delicious (Comedy Central, 2012) by Aziz Ansari

Although I felt his debut was a bit stronger, Aziz Ansari's latest offering, Dangerously Delicious, does not disappoint.  He sounds more confident on this album which is great, but so much so at times that he comes across cocky.  However, those moments are few and far between.  For me, the best bit on the album is where he brings the audience up to speed on his cousin Harris and talks about his college essay.  Ansari also tells a funny anecdote about 50 Cent and a grapefruit soda.  His comedic timing and delivery are excellent, and that makes his subject transitions very easy.  Aziz continues to prove himself a gifted performer on television, the big screen, and on record.  Overall, Dangerously Delicious serves as another great addition to the body of work of one of the most promising comics to emerge on the scene in recent years.

Fear of a Black Planet (Def Jam, 1990) by Public Enemy

"As I walk the streets of Hollywood Boulevard/Thinkin' how hard it was to those that starred/ In the movies portrayin' the roles, of butlers and maids, slaves and hoes/Many intelligent Black men seemed, to look uncivilized when on the screen/Like a guess, I figure you to play some jigaboo/On the plantation, what else can a nigger do?/And Black women in this profession/As for playin' a lawyer, out of the question/For what they play, Aunt Jemima is the perfect term/Even if now she got a perm/So let's make our own movies like Spike Lee, cause the roles being offered don't strike me/There's nothing that the Black man could use to earn/Burn Hollywood burn"

-Big Daddy Kane, "Burn Hollywood Burn"

Cheers (Shady, 2003) by Obie Trice

I bought this album the the day that it was released.  It opened alongside Outkast's Speakerboxxx/The Love Below.  I bought that too, but I started with Cheers because I didn't have time at the moment for a double album.  I really liked "Rap Name" and "Love Me" from the 8 Mile soundtrack.  However, I didn't know if he had the endurance for a full album.  After one listen, I knew that he did.  Cheers has very little filler (the only two tracks that I skip over are "Spread Yo Shit" and "Got Some Teeth"), and lyrically I thought that it was even a bit better than 50's Get Rich or Die Tryin'.  I met Obie a few years ago in Detroit, and got a chance to tell him how great I thought Cheers was.  He was real humble about it, and it was a great experience for me, as a writer, to develop my style and approach to conducting interviews.

My Way (LaFace, 1997) by Usher

This is what Usher's debut was supposed to sound like.  However, when he released his self-titled debut three years earlier, he was too young to be believable.  Fast forward a  few years and have Jermaine Dupri step in to assist on the writing and production end.  The result is My Way.  The opening lines of "Nice and Slow" are suggestive but not too far-fetched, "My Way" was catchy, and "U Make Me Wanna" was teenage drama without the bubble-gum pop that weighs down so much music that intends to present a youthful perspective.  Usher, along with Justin Timberlake, have gone on to become two of the biggest stars of their generation and this was the album that Usher needed in order to prove that he was the real deal and jumpstart down a path that would lead to one of the most successful careers in modern R&B.