Long Live the Kane (Cold Chillin', 1988) by Big Daddy Kane

Big Daddy Kane's debut album raised the bar for emceeing.  His flow and wordplay were unmatched.  "Ain't No Half Steppin'," "Raw" and "Set It Off" are all hip hop classics.  Not surprising Marley Marl's production is great here all the way trough-from track 1 to 10.  The only misstep on this album was "The Day You're Mine."  It was a cheesy attempt at a hip hop love song.  The record easily could've been left on the cutting room floor.  Taken as a whole though, this album is a highlight from hip hop's Golden Age and one of the reasons that Big Daddy Kane is still used as a barometer to measure greatness when it comes to rapping over 20 years later.

Dare Iz a Darkside (Def Jam, 1994) by Redman

The darker vibe of this album doesn't detract from it as much as some argue.  I think this album is actually very good.  Redman's sense of humor is still there.  Sermon's beats are different, but Redman is talented enough where The Green-Eyed Bandit can experiment.  The album's first single, "Rockafella," is great.  Unfortunately though, given the Leon Haywood sample on the record (the same one used in the iconic "Nuthin' But a G Thang two years earlier), it was seemingly overlooked.  It would be fair to say that this album was a minor misstep in Redman's career.  But he came back stronger than ever with Muddy Waters in '96 and that would help propel him to become one of biggest rap stars in the late 90s.

Word of Mouf (Def Jam, 2001) by Ludacris

Luda's second Def Jam album is arguably his biggest.  He abandoned some of the tough talk of Back for the First Time, and replaced it with witty wordplay.  "Rollout (My Business)", with a beat courtesy of Timbaland, is one of my favorite Ludacris records ever.  That song, along with others (see also "Saturday [Oooh Oooh!] and "Area Codes"), proves he can adapt to any beat and tear it to shreds.  The only issue I have with this album is that it runs a bit long.  Fortunately, it ends on a high-note with "Welcome to Atlanta" alongside Jermaine Dupri.

…And Then There Was X (Def Jam, 1999) by DMX

Considering X put out his first two albums in May '98 and December '98, the wait for his third one, released in late '99, seemed like a very long time.  And the album lived up to the hype.  Sort of.  While it certainly had the aggression and intensity of his first two albums, …And Then There Was X wasn't as aggressive or intense.  The trade off, however, was that it made for a very commercial album that could be marketed to the TRL crowd just as easily as hardcore hip hop heads.  And I'll certainly admit I was a little bit of both, but more so the latter.  Therefore, I would've been more pleased had X recorded more records like "Fame" and "One More Road to Cross," instead of blatant commercial songs (i.e. "What These Bitches Want" featuring Sisqo "Party Up" [but not as much]).  Overall though, it was a good album-with solid rapping and production.  Culturally-speaking, it was Ruff Ryders' top artist while they were in their prime.  The album couldn't fail.  And it didn't.  Ryde or Die! 

Comedian (CBS, 1983) by Eddie Murphy

This is one of the funniest people ever at his funniest.  Murphy's impressions and brazen attitude are in full-effect on "Faggots Revisited/Sexual Prime" and "Singers."  Along with his Bill Cosby impression from Raw (which unfortunately never made to record), Eddie's James Brown impression is one of the funniest ever.  Cosby's influence on Murphy is still very apparent though with the stories told on this album.  "Ice Cream Man/Shoe Throwin' Mothers" and "The Barbecue" are all experiences that one could see the Huxtable children going through.  However, Murphy put his own twist on it with four letter words and youthful energy which gave him a comedic voice all his own.

Me Against the World (Jive, 1995) by 2Pac

"When I was young, me and my mama had beef/Seventeen years old,kicked out on the streets/Though back at the time, I never thought I'd see her face/Ain't a woman alive that could take my mama's place/Suspended from school; and scared to go home, I was a fool/with the big boys, breakin' all the rules/I shed tears with my baby sister/Over the years we was poorer than the other little kids/And even though we had different daddy's, the same drama/When things went wrong, we'd blame mama/I reminisce on the stress I caused, it was Hell/Huggin' on my mama from a jail cell/And who'd think in elementary?/Heeey! I see the penitentiary, one day/And runnin' from the police, that's right/Mama catch me, put a whoopin' to my backside/And even as a crack fiend, mama/You always was a black queen, mama/I finally understand, for a woman it ain't easy tryin' to raise a man/You always was committed/A poor single mother on welfare, tell me how ya did it/There's no way I can pay you back/But the plan is to show you that I understand/You are appreciated"

-2Pac, "Dear Mama"

T.I. Vs. T.I.P. (Grand Hustle, 2007) by T.I.

Conceptually, this album is very ambitious.  It's like Trap Muzik combined with King.  Over the course of 18 tracks, the LP is broken into three acts.  As a result of this though, the project becomes a bit cluttered as a whole.  Nevertheless, there are still some great songs.  "Big Shit Poppin'", with the guitar riff from the "Top Gun Anthem," has some of Mannie Fresh's best board work since Cash Money's reign in the late 90s and Busta Rhymes steals the show as usual with his guest work on "Hurt."  The bluesy vibe of "Watch What You Say" gives Jay-Z space to deliver a solid verse and "Respect My Hustle" finds T.I. and his alter-ego T.I.P. challenging each other.  T.I.'s Paper Trail, released a year later, is a way better album.  But T.I. Vs. T.I.P. shows a young person dealing with his past in the streets, coming to terms with fame and realizing who he is now all at once.  Even if it isn't done really well, the fact that T.I. even attempts to do so still counts for something.

Reset (New Wave, 2012) by D.L. Hughley

Hughley's second album finds him again in top form.  His logic is very reasonable and easy to follow when arguing his perspective.  However, he doesn't hesitate to ask questions either.  And a lot of ground is covered too: the employment crisis, race, Tiger Woods, President Obama and Arnold Schwarzenegger's affair.  Things like- when I go into a Wal-Mart, I can't buy an unedited Jay-Z CD because he raps about guns, and yet I can buy an actual gun.  Just like Notes From the GED Section, Hughley masterfully combines social/political commentary with stories from his family life with bits about kids and marriage.  The set ends on a very touching and funny bit about his son.  Overall, Reset is amazing and, without a doubt, the funniest album of the year so far.

The Slim Shady EP (Web, 1997) by Eminem

This EP is a bit raw.  However, given Eminem's skills, it epitomizes the idea of the diamond in the rough.  "If I Had…" is my favorite track on the 10-song EP and even held up alongside Dr. Dre-produced cuts on The Slim Shady LP released in early '99.  However, that is not the only song that was re-released on Eminem's Aftermath debut.  "Just Don't Give a Fuck" and "Just the Two Of Us" [later renamed "'97 Bonnie & Clyde" without the Bill Withers' sample and replaced with an original beat] also received mainstream exposure after first appearing here.  Dr. Dre is arguably the greatest hip hop producer ever, and if this project caught his ear- clearly, he thought Eminem had something to offer.  Which he did.  And then some.  Almost fifteen years later, Eminem is the best-selling artist of the 2000s decade and one of the most respected emcees in the history of hip hop.

Bigger & Blacker (Dreamworks, 1999) by Chris Rock

The late 90s was an interesting time in America.  The Clinton/Lewinsky scandal.  The shootings at Columbine High School in Colorado.  The increasing popularity of the Internet in society and business.  And Rock's Bigger & Blacker touches on a lot of it.  My favorite routine in this album is his cynical take on insurance and how things will only be done to a point in medicine so that big business will continue to flourish.  "No Sex in the Champagne Room" was a funny video and skit/monologue, but I think the best ones on the album are O.D.B.'s "Words of Wisdom."  The best of them being: "If a brick couldn't sit on walls no more, what would you ask it?"

Life is Good (Def Jam, 2012) by Nas

It's been four years since Nas' last solo effort, but it's clear the wait was worth it after just one listen to Life is Good.  Whereas Nas' two previous solo albums addressed heavy cultural and social themes (Hip Hop is Dead and Untitled respectively), this time Nas gets personal with the poetic brilliance and insight that first captured listeners' ears over 20 years ago.  On the epic opener, "No Introduction", he rhymes, “Hood forever, I just act like I’m civilized/Really what’s in my mind is organizing a billion Black muthafuckas/To take over JP and Morgan Goldman and Sachs/And teach the world facts and give Saudi they oil back."  And "Locomotion" is Illmatic material for this generation.  However, this album is not all about reaffirming past achievements.  On "Daughters", Nas discusses being a single father to a teenage daughter and "Bye Baby" addresses the issue of his split with R&B singer Kelis.  Clearly, there is a strength in Mr. Jones' vulnerability and that is such a refreshing thing to hear in the current rap climate, especially from someone as gifted as Nas.  The Mary J. Blige-assisted "Reach Out" has the Queen of hip hop soul singing over flawless scratching and "Accident Murderers" finds Rick Ross, the album's only guest MC, dropping a surprisingly solid verse.  The album's only misstep is the Swizz Beatz produced "Summer on Smash"- Nas' clear attempt at radio spins, but it sounds forced and it's unnecessary.  With his legendary status in hip hop, radio is not required to draw an audience for Nas.  He can do that himself.  He has proven with Life is Good, like he has many times before, that real personal hip hop is powerful stuff and can connect with people in extraordinary ways (and the excellent production courtesy of No I.D., Salaam Remi, among others, doesn't hurt either).  And this just happens to be one of the best examples of that that hip hop and Nas have offered up in a very long time.

janet. (Virgin, 1993) by Janet Jackson

As the title suggests, this is Janet declaring her independence from the rest of her family (read Janet, period).  The album also continues to show growth in Janet as far as the sexual content of her music.  Control had "Let's Wait a While."  Rhythm Nation had "Someday is Tonight."  And janet has "Throb."  Personal developments aside, Ms. Jackson also covers serious social issues- most notably on "New Agenda" with Public Enemy frontman Chuck D.  The two most popular cuts, "Again" and "That's the Way Love Goes," are both very good.  The former is a great record that also worked well with the promotion of Janet's film Poetic Justice with Tupac and the latter is a chill mellow song that not surprisingly topped the Billboard charts for two months.

Late Registration (Roc-A-Fella, 2005) by Kanye West

"Yep, I got it from here 'ye damn!/The chain remains, the game is in tact/The name is mine, I'll take blame for that/The pressure's on, but guess who ain't gon' crack? [laughs]/Pardon me, I had to laugh at that/How could you falter when you're the rock of Gibraltar/I had to get of the boat so I could walk on water/This ain't no tall order, this is nothin' to me/Difficult takes a day, impossible takes a week/I do this in my sleep, I sold Kilos of coke, so I'm guessin' I can sell CD's/I'm not a businessman, I'm a business, man/Let me handle my buisness, damn!/Kanyeez you got me, Freeway and Foxy/YG, Teairra Mari, Petey watch me/Bleek could be one hit away his whole career/As long as I'm alive, he's a millionaire/And even if I die, he's in my will somewhere/So he can just kick back and chill somewhere, oh yeah/He don't even have to write rhymes/The Dynasty like my money last three lifetimes/Shirley Bassey was in the rear sayin' exactly/What I was sayin' practically me whole career/The diamond is forever, I been minin' this forever/Now the Louis Vuitton Don's timin' couldn't be better/People lined up to see the Titanic sinkin', instead we rose from the ashes like a phoenix/If you waitin' for the end of the dynasty sign, it'll seem like forever is a mighty long time/I'm young bitches [laughs]/Goodnight!" 

-Jay-Z, "Diamonds from Sierra Leone [Remix]"

8701 (Arista, 2001) by Usher

Usher's third album is a solid mix of ballads and up-tempo dance numbers.  "U Remind Me" is basically a more dance-friendly version of "U Make Me Wanna" wherein one girl makes Usher think of another girl.  "U Got it Bad" is a phenomenal ballad and when he says, "Look at your mate, help me sing my song/Tell her, 'I'm your man, you're my girl/I'm gonna tell it to the whole wide world'/Ladies say, 'I'm your girl, you're my man/Promise to love you the best I can,'" it's impossible to not sing along.  The one song that I think was overlooked on this album for some reason though was "Can U Help Me."  The Jimmy Jam and Terry Lewis-produced ballad has beautiful music and displays Usher's range as a vocalist.  Emotionally and technically, it is my favorite record on 8701.

D12 World (Shady, 2004) by D12

The album starts off with an incredible rapid-fire verse from Eminem which sets the tone and momentum for the entire project.  It isn't quite as dark as Devil's Night, and that makes for a well-rounded release.  from the humorous "My Band" to the serious "Good Die Young," D12 World finds the six Detroit emcees in top form.  Overall, Eminem outperforms the other five.  However, on "Get My Gun" and "40 Oz.," the late, great Proof reigns supreme.  Production-wise, the sounds are varied.  Among others, producers include Red Spyda, Hi-Tek, and Dr. Dre.  The album shows growth from their debut, and since the group is now seemingly disbanded- I feel that D12 proved themselves as what they set out to be: shocking and skilled emcees.

Forever (Bad Boy, 1999) by Puff Daddy

Puff's sophomore set is certainly not as strong as his debut, but I don't think it's quite as bad as it is generally written off as.  Rolling Stone described it best when they wrote something to the effect of how the album was too eager to please.  The track "Satisfy You" with R. Kelly was a good hip hop love song and "Best Friend" with Mario Winans was a great record about a higher power.  I thought it was also cool how Puff put Sauce Money on the mic for a record.  Not only is Sauce a talented writer (i.e. Puff's "I'll Be Missing You"), but he's also a great emcee and so I think it's great that Puff gave him exposure alongside amazing artists such as Busta Rhymes and Redman on "Reverse."  And not surprisingly, with The Hitmen behind the boards, this album has top-notch production.

God's Son (Columbia, 2002) by Nas

This album was a worthy follow-up to Stillmatic and proved that Nas really had a second-wind in his career and that his last album wasn't just a flash in the pan.  "Get Down" is classic Nas, and the James Brown samples make the record even stronger.  The simple Eminem produced beat of "The Cross" places emphasis on Nas' rhymes.  "Made You Look" is one of my favorite rap singles ever and "Last Real N***a Alive" is excellent storytelling over a Ron Browz instrumental.  Other highlights are the Alicia Keys-assisted "Warrior Song" and his ode to his recently deceased mother "Dance."  Considering Nas' writing skills, one of my favorite songs is "Book of Rhymes" where he goes through notebooks and raps rhymes, stanzas, and verses that never found their way into a song.  This album is almost ten years old, and it still sounds great.  It makes me even more eager for Life is Good in two days.

It Takes a Thief (Tommy Boy, 1994) by Coolio

Coolio's debut album is a very interesting one.  West Coast hip hop was very gangsta at the time, and Coolio's subject matter covered some of the same topics.  Yet, he spoke about these things with a sense of humor, vulnerability, and humility that a lot of hardcore rap didn't.  "County Line" discussed standing in the welfare line and "I Remember" is about getting shot by a gang member for unknowingly wearing the wrong colors.  Gangsta's Paradise is a great album too, has a great deal of sentimental value to me and was very successful.  Perhaps though, the only downside to its achievements is that it overshadowed Coolio's great piece of work from a year earlier.

Terrorist Threats (Hoo-Bangin', 2003) by Westside Connection

As the title suggests, this album is strongly crafted around the idea of a post-9/11 country.  And considering Cube's political past in rhyme, this seems like a perfect platform for his supergroup to drop street knowledge.  However, that rarely happens.  The album is more just gangsta rap tough talk that has all been heard before.  But considering it's Cube, W.C. and Mack 10, that is not a bad thing and Terrorist Threats is a very entertaining listening.  But, I guess, I  was just expecting more of a thought-provoking one. 

Mama Said Knock You Out (Def Jam, 1990) by LL Cool J

"Bring on the mo's, and hoes/Don't snooze or doze, cause I'm rippin' up shows/Hold your nose, dead bodies are around/I leave scratch marks under the tears of a clown/I write rhymes that shine like lipstick/So much material, but not materialistic/Imperial styles I use, when the mic is lifted the crowd is amused/Come with it, if you feel you're full-fledged/Or yell "Geronimo!" and jump off the edge/Your e-n-d is near when I appear/The stage is yours, but wait until the smoke clears/Rhyme sayer, and I'm here to lay a load/So watch a player when he's playin' in player mode/Uncle L's bad, and you're soon to say/Cause I rip the mic until the tune decay"

-LL Cool J, "Eat 'Em Up, L Chill"

Jammin' in New York (Atlantic, 1992) by George Carlin

George Carlin is my favorite stand up comedian of all-time.  His masterful understanding of language proved that profanity can be profound and his social commentary was always superior to its opposition.  He has quite a few classic albums, but this one, in my opinion is his best.  The strangeness of American culture that Mr. Carlin points out on "Golf Courses for the Homeless" is some of the best stuff that I have ever heard.  Period.  "Rockets and Penises in the Persian Gulf" humorously (and tragically) identifies our country's obsession with war and "The Planet is Fine" really puts human activity and existence into perspective.  The other two tracks, "Little Things We Share" and "Airline Announcements," are not as heavy, but still clever and smart.  Whether discussing looking at a clock and then still not knowing what time it is or humorous observations about airline travel, the simple stuff is still also all fantastic material.  Overall, George Carlin struck me as someone who was cynical and compassionate at the same time.  It made for interesting and insightful jokes, and sometimes those jokes are just what we need to keep our head on straight in a sometimes seemingly crazy world.

Automatic Gunfire (n/a, 2002) by G-Unit

The fourth installment in G-Unit's classic mix-tape run, Automatic Gunfire, brought together the best elements of 50's hunger and his then newly acquired fame.  I really liked how 50 jumped on Rakim's "R.A.K.I.M." beat with "Round Here", and the "I Smell Pussy" record was a big diss toward Murder Inc. with those opening ad-libs.  However, I think the best jabs at Ja Rule are on the interludes where they have "Ja Rule" sing over and on popular songs.  "Doing my Own Thing" finds melody being incorporated into rhyming about living large and "Bitches Ain't Shit" has G-Unit rhyming over classic Dr. Dre.  It's a great mix-tape and has definitely held up over time.

Rage Against the Machine (Epic, 1992) by Rage Against the Machine

This album is sonically incredible.  I'm aware that I'm probably not saying anything new at all.  However, considering I'm not into metal very much, I was very impressed.  Rock and rap have, of course, been merged.  But the way rap and metal is combined on here is great.  The guitar riffs on "Killing in the Name" are some of my all-time favorites and "Bombtrack" is a phenomenal album opener.

Nastradamus (Columbia, 1999) by Nas

It's all but unanimous that this is Nas' weakest album.  I don't dispute that, but there are still a few good records on here.  Considering Nas is one of the best lyricists ever, that should come as no surprise.  The streak of Nas/DJ Premier bangers continue with "Come Get Me," Life We Chose" is a great song and "Project Windows" with Ron Isley is a solid collaboration.  I also like the album artwork and how it correlates with Nas' three previous releases: from child (Illmatic) to adult (It Was Written) to legend (I Am) to prophet (Nastradamus).  And he wasn't wrong as a prophet.  In this millennium, it really is a "New World." 

Eazy-Duz-It (Ruthless, 1988) by Eazy-E

Even though he supposedly had to punch-in line for line when recording his raps at times and had others pen his lyrics, Eazy still put it down for West Coast hip hop-specifically gangsta rap (the remix to "Boyz-n-the-Hood" is great).  If it weren't for Eazy paying money to meet with Jerry Heller and forming Ruthless Records, the course of hip hop would probably be very different.  Cube was a superior rapper, but Eazy-E was the wild one and the character of N.W.A. Eazy had perverse humor, and that worked well to counter some of the harder-edged violent material.  This album, with Dre's trademark bass-lines and Cube's writing, make for a solid set.  In my opinion, for all intents and purposes, Eazy-Duz-It belongs in N.W.A's catalogue just as much as it does in Eazy's.

Spirit (J, 2007) by Leona Lewis

The album has a very generic pop sound for its more upbeat, radio-friendly material.  In fact, it is very paint-by-numbers.  However, Leona's voice is amazing.  It is reminiscent of Mariah Carey at the beginning of her career- a gifted, young woman who makes pop music and adult contemporary material, then puts it all on one album.  My favorite songs are the latter.  If someone has a great voice, I'd rather concentrate on that than be distracted by a catchy beat.  "Yesterday", an album highlight for me, finds Leona singing about how no matter what life holds for love in the future, nothing can take away what was had in the past.  It's a great thought, and it definitely applied to me at the time that I first heard the record in the summer of 2008.

Homebase (Jive, 1991) by DJ Jazzy Jeff & The Fresh Prince

"It's late in the day and I ain't been on the court yet/Hustle to the mall to get me a short set/Yeah I got on sneaks, but I need a new pair/Cause basketball courts in the summer got girls there/The temperature's about 88/Hop in the water plug, just for old times sake/Break to ya crib, change your clothes once more/Cause you're invited to a barbeque that's starting at 4/Sitting with your friends cause y'all reminisce/About the days growing up, and the first person you kiss/And as I think back makes me wonder how/The smell from a grill could spark up nostalgia/All the kids playing out front/Little boys messin' round with the girls playing double-dutch/While the DJ's spinning a tune, as the old folks dance at your family reunion/Then six o'clock rolls around, you just finished wiping your car down/It's time to cruise so you head to the summertime hangout/It looks like a car show/Everybody come lookin' real fine/Fresh from the barber shop or fly from the beauty salon/Every moment frontin', and maxin'/Chillin' in the car they spent all day waxin'/Leanin to the side, but you can't speed through/Two miles an hour so everybody sees you/There's an air of love and of happiness/And this is the Fresh Prince's new definition of summer madness"

-The Fresh Prince, "Summertime"

War & Peace: Vol. 1 The War Disc (Priority, 1998) by Ice Cube

Clocking in at just over 70 minutes, The War Disc finds Cube returning to rap as a solo artist after a five-year absence with something to prove.  It stretches itself a little thin, and finds Cube relying on generic bravado.  But the album is something different, and there's definitely something to be said for that.  "Fuck Dying," which features Korn instrumentally, is a great rap/rock record.  "War and Peace" interpolates No Doubt's "Don't Speak."  And Cube delivers his trademark street knowledge and insight with records like "Ghetto Vet" and "Three Strikes You In."  The Peace Disc is better than The War Disc, but The War Disc is an improvement when compared to Lethal Injection (with the exception of "You Know How We Do It" and "Bop Gun [One Nation]").

Tha Doggfather (Death Row, 1996) by Snoop Dogg

Dr. Dre's absence on Snoop's sophomore album is very apparent.  However, the album still has a few very strong points.  Just like his cover of old school hip-hop on Doggystyle with "Lodi Dodi", the homage continues on Tha Doggfather with "Vapors".  "Snoop's Upside Ya Head" is a great party record, as well as "Groupie".  The latter is good, but is clearly a "Ain't No Fun" part 2.  Lyrically, Snoop is very much a party MC.  Yet, at the end of the second verse on the title track, he addresses the situation that probably delayed the album and could've forever changed Snoop's life and West coast rap had the outcome been different: "You know I ain't tryin' ta floss/But uh, (Murder, murder, murder) was the case that they lost/I'm Tha DoggFather."

No Way Out (Bad Boy, 1997) by Puff Daddy

After the unexpected passing of Biggie, Puffy became the biggest star on the label.  And he rose to the occasion with this album.  He collected some of the best artists from the East coast and put together an ensemble of hip hop superstars for No Way Out.  Jay-Z makes a promise to go multiplatinum on "Young Gs",  Biggie rhymes masterfully over a Jackson 5 sample on the remix to "It's All About the Benjamins", Faith Evans sings beautifully for her late husband on "I'll Be Missing You", Gunuwine sings a great hook on "Is This the End", Busta Rhymes brings his energy to "Victory", Mase becomes the prince of hip-pop, and Puff becomes one of the biggest stars in entertainment by proving that good music not only makes good business, but that good business also makes good music.