Snoop Dogg Presents Tha Eastsidaz (Dogghouse, 2000) by Tha Eastsidaz

Snoop's first foray into breaking new talent turned out to be pretty good.  In 2000, while Dre was still riding off the success of 2001 and Snoop was experiencing a return to critical acclaim with Top Dogg, the time was prime for new talent from the west to emerge.  There's ample filler here, but the single "G'd Up" was one of the best west coast rap records to come out in years.  It's why DJ Battlecat's name should be up there with Dre and Quik.  Xzibit steals the show on "The Big Bang Theory" and "Take it Back to '85" seemingly captures that era perfectly.  Tray Deee and Goldie Loc are good rappers, but Snoop, in addition to the album's heavy guest load, make it difficult for the two of them to stand out on the 22-cut album.  Nevertheless, the album sold a million and Tha Eastsidaz became stars in the midst of a west coast revival.

N****r Noize (n/a, 2007) by Bishop Lamont

"Fuck the radio, fuck a video/And fuck any rapper tryin' to rap typical (FUCK YOU!)/It ain't that difficult,To spit some shit that's dope/Or maybe it is, but luckily for me, nope/You know that shit you wrote, ain't no shit to quote/Unless it's XXL 'Step Your Game Up' hoe/Peace to Mad Linx, but Rap City's soft/When the fuck they turn The Basement to an art loft?/I ain't mad at Tigger, get your money nigga/I would have done the same thing just to fuck Melissa/It's a God damn shame/When our music went corporate and fucked up the game/And like B.I.G. said, "Things Done Changed"/Labels merged, the raps and beats all sound the same/Seem like damn near, every rapper bang/Well I just hope Andre 3000 rap again"

                                                                                                                                                                      -Bishop Lamont, "Translator"

Release Therapy (Def Jam, 2006) by Ludacris

The fifth major label release from Ludacris finds him getting a bit more serious than his previous efforts.  He still puts forth humorous punchlines and raps about pretty girls ("Money Maker" and "Girls Gone Wild"), but they seem very out of place alongside his more serious content.  "Runaway Love" with Mary J. Blige has three verses all telling fictitious stories of three girls who ran away to escape problems that they faced at home.  "Do Your Time", which features numerous rappers, is about serving time in prison.  And "Grew Up a Screw Up" finds Luda and Jeezy exploring the tough personal circumstances that they each had to overcome.  Ludacris proved that he could be just as effective when he's serious as when he's funny.  However, he didn't quite figure out how to balance it properly on this go-round.

God's Plan (n/a, 2002) by G-Unit

The second set of tracks that 50 flooded the streets with continued his streak of album quality cuts on mix tapes.  50 and the G Unit not only jump on others artist's tracks and outshine the originals, they also bring their own personalities to them which made them rap stars, in addition to credible emcees.  "Catch Me in the Hood" and "You're Not Ready" finds them ripping through Eminem and Beanie Sigel cuts respectively.  Biggie is also featured on the tape.  Some of his vocals are used for "N****s" (Puff also does a drop at the beginning) and "The World is Filled…" track is rhymed over on "The World."  This is a good tape that proved 50 and his crew were ready for superstardom.  

The Emancipation of Mimi (Def Jam, 2005) by Mariah Carey

This is arguably the greatest comeback in modern pop music.  After a few years of less than stellar material and a public meltdown, Mariah came back and reclaimed her spot as the greatest voice in pop music since Whitney Houston.  The great thing about this album too is that it balances her hip hop and pop sensibilities to make for a very well-rounded release.  Nothing against the project's singles, but the album's highlight, in my opinion, is "Stay the Night."  It has a Motown-esque feel production-wise (it was produced by Kanye West) and Mariah's vocal abilities steal the show-like they often do.

Age Ain't Nothing but a Number (Blackground, 1994) by Aaliyah

The controversy surrounding R.Kelly's marriage to Aaliyah seemed to overshadow the album itself.  However, the album is very good.  It blended hip hop and R&B very well.  And even if Mary held the title of the queen of hip hop soul, Aaliyah had the youthful attitude and swagger that provided her an identity all her own.  "Back and Forth" still holds up almost twenty years later and the title track still bangs too.  The video is bittersweet though.  It has Aaliyah, of course, and Proof.  Two artists whose lives were tragically cut short.  Fortunately, through music, they will never be forgotten and will always be appreciated.

Bad Hair Day (Scotti Bros., 1996) by Weird Al Yankovic

Bad Hair Day is my favorite Weird Al album.  Not only were the parodies outstanding- "Amish Paradise," "Syndicated Inc.," Gump" and "Phony Calls."  Al's original material was solid too.  "Callin' in Sick" and "The Night Santa Went Crazy" are both very funny.  This album also proved that Al was a credible producer as well.  Al's a funny guy, but he is no joke.  He will be forever embraced by popular culture for his humorous contributions to it.  If I were a recording artist, my sign of "making it" would be to have one of my records parodied by Weird Al.

Recovery (Aftermath, 2010) by Eminem

This album was vital to Eminem's legacy and it did not disappoint.  In my opinion, it is his best album since The Eminem Show.  The material on the album balanced the clever, "just don't give a fuck" attitude ("Cold Wind Blows") with strong substance ("Talkin' 2 Myself").  Lyrically, Eminem proves again that he is one of the best writers ever.  And in perhaps his most emotional record since "Mockingbird", atop a sample from "The Lost Boys" and production from Just Blaze, Eminem pays homage to Proof with "You're Never Over."  Dr. Dre's only track "So Bad" is decent, but Just Blaze and DJ Khalil are the album's star producers.  Taken as a whole, Recovery was Eminem's return to glory professionally and evidence that he was able to make music that grew with him personally.

Liquid Swords (Geffen, 1995) by GZA

"TOMMY ain't my motherfuckin' BOY/When he fake moves on a nigga you employ/Well I'll EMIRGE off ya set, now ya know God damn/I show LIVIN LARGE niggaz how to flip a DEF JAM/And RUFF up the motherfuckin' HOUSE/Cause I smother you COLD CHILLIN' mother fuckers are still WARNER BROTHERS/I'm RUTHLESS my clan don't have to act wild/That shit is JIVE, an old SLEEPING BAG/PROFILE/This soft comedian rap shit ain't the rough witty/On the reel to reel it wasn't from a TUFF CITY/Niggas be game, thinking that they lyrical surgeons/They know their mics are formed at VIRGIN/And if you ain't boned a mic you couldn't hurt a bee/That's like going to Venus driving a MERCURY/The CAPITOL of this rugged slang, is WU-TANG/Witty Unpredictable Talent And Natural Game/I DEATH ROW an MC with mic cables/The EPIC is at a RUSH ASSOCIATED LABELS/From EASTWEST to ATCO, I bring it to a NEXT PLATEAU/But I keep it phat though/Yo, I'm hittin' batters up with the WILD PITCH style/I even show an UPTOWN/MCA style/Who thought he saw me on 4TH & BROADWAY/But I was out on the ISLAND, bombing MC's all day/My PRIORITY is that I'm FIRST PRIORITY/I bone the secret out a bitch in a sorority/So look out for A&M, the abbot and the master breakin' down your PENDULUM/As I fiend MC's out with a blow that'll numb the/a-ppendix, I'm holdin more more weight than COLUMBIA/Index INTERSCOPE, we RCA. clan/That's comin' with a plan to free a/slave of a mental death MC don't panic/Throw that A&R nigga off the boat in the ATLANTIC/Now who's the BAD BOY character, not from ARISTA/But firin' weapons released on GEFFEN/So duck as I struck with the soul of MOTOWN/While CENTRAL BROADCASTING SYSTEMS are slowed down/You're Dirty, like that Bastard/It's gettin drastic"

-GZA, "Labels"

Raw Footage (Lench Mob, 2008) by Ice Cube

Raw Footage saw Cube get political like he was in the early part of his solo career.  "Gangsta Rap Made Me Do It" is an excellent defense of hardcore hip hop.  "Why Me" is an insightful song told from the perspective of someone who has been shot and "Hood Mentality" questions people who limit their own potential because of their surroundings and situations.  Keith David also appears on the album for a few vocal interludes.  As far as production, beats come in from all over:  Emile from New York, DJ Crazy Toones from California and Maestro from Atlanta.  Guests include WC, Game, Young Jeezy and Cube's son Doughboy.  They're all good, but none outperform Cube on the mic.  Ice Cube is one of the best emcees of all-time and this album is one of his best releases in recent years.

Graduation (Roc-A-Fella, 2007) by Kanye West

Kanye West's third album is a great album which commercially and artistically surpassed 50 Cent's Curtis when they were released on the same day in the fall of 2007.  The Steely Dan sample in "Champion" and Daft Punk one in "Stronger" prove that Kanye is a walking encyclopedia of music and his wide range of influences allow him to create music that appeals to a lot of people.  Kanye is a mediocre emcee and lyricist, but he is a true visionary.  His artistic approach to music making has made him one of the premiere producers of his time.  The DJ Premier assisted "Everything I Am" finds Premo putting his scratching skills on display and "Big Brother" finds Ye paying homage to Jay-Z.  "Good Life" is also a very noteworthy song because, in my opinion, it is the only good song that T-Pain has ever done.  Graduation isn't as good as either of Kanye's two previous releases, but, artistically speaking, it's clear that Kanye is still in a class all by himself.

It Takes a Nation of Millions to Hold Us Back (Def Jam, 1988) by Public Enemy

There's nothing I can say about this album that hasn't already been said.  It's political hip hop at its finest.  Chuck D is one of the best emcees ever and Flavor Flav is the greatest hype man of all-time.  The Bomb Squad crafted flawless soundscapes that were a perfect fit for the confrontational nature of the lyrics.  This album changed hip hop forever and is widely recognized as one of the most important albums in music history .  On any top ten list (albums, productions, lyrics, influence, etc.), someone would really only have to think of nine because this album is a shoe in.

Intimate Moments for a Sensual Evening (Comedy Central, 2010) by Aziz Ansari

Aziz is a very funny comedian and this is a great debut album.  The best routines are the ones about his cousin Harris on Facebook and his stories about Kanye West and R. Kelly.  Other highlights include "Walking With Dinosaurs" and "Are White People Psyched All the Time?"  Intimate Moments was released at a great time- less than a half a year after Aziz received a lot of publicity for his appearance in Judd Apatow's Funny People alongside Adam Sandler and Seth Rogen.  Between this album and Dangerously Delicious, he is two for two.  Now I am eagerly awaiting to hear material from his Buried Alive tour.

Dr. Dre Presents The Aftermath (Aftermath, 1996) by Dr. Dre

Dr. Dre's first release on Aftermath, a compilation, wasn't a commercial blockbuster like his contributions to Death Row's catalogue.  However, his sound certainly did evolve.  The g-funk element that made Dre one of the best producers ever is absent here, but his knack for R&B production is apparent.  The best R&B track on the album, "Choices," samples the popular Issac Hayes' tune "The Look of Love" and again the use of it does not fail.  There is some hip hop on here.  Dre's contribution "Been There, Done That" deliberately separates himself from gangsta rap.  It's decent, but it's no "Let Me Ride."  And "East Coast/West Coast Killas" was a good show of unity at a time when hip hop was very divided.

Too Hard to Swallow (Jive, 1992) by UGK

This is a really gritty album.  It's very aggressive and raw-sounding.  However, these factors complement Bun B and Pimp C's abilities because their writing still stands out, even amidst the aggressive content.  "Something Good" is a great record as well as "Pocket Full of Stones."  The beats are really hard, and UGK's sound would eventually evolve with the input of better productions and melodies.  But, in 1992, this was a tough album that established them as underground royalty.  Within a few years, they would become one of the greatest duos in hip hop history.

Kill at Will EP (Priority, 1990) by Ice Cube

"I was told, cause I didn't witness the whole act/In and out was the movement of the bozack/It was hot and sweaty and lots of pushin'/Then the nut came gushin'/And it was hell tryin to bail to the ovary,with nuttin' but the Lord lookin' over me/I was white with a tail/But when I reached the finish line, young black male!/One cell made two, and two cells made fo'/and so on, so now I'm a embryo/Then I got a hunch/That I'ma be on lockdown, for nine months/Chillin, with my mother to guide me And nuttin' but a stomach to hide me/From all that worry and bullshit/Nine months later, I elbow, pull and kick/Cause my time is up, and I don't care/With one big push, I'm outta there/June 15th, it's just my luck/In 1969, a nigga is the product"

-Ice Cube, "The Product"

The Coming (Elektra, 1996) by Busta Rhymes

Along with Michael Jackson, Sting and Ice Cube, Busta Rhymes is one of the best artists to go solo and really come into their own after leaving a group.  "Woo Hah!! Got You All in Check" is better than Sugarhill Gang's "8th Wonder." "It's a Party" is an overlooked gem and Busta holds his own alongside Redman and Q-Tip on "Ill Vibe" and "Flipmode Squad Meets Def Squad" respectively.  Production-wise, DJ Scratch and Easy Mo Bee provide music that unleash the dragon accordingly. 

The Velvet Rope (Virgin, 1997) by Janet Jackson

The part in that episode of Family Guy where Brian shoots at a copy of this album is really funny.  The album is too long and has too many interludes.  But I really like a couple tracks on here.  "Got 'Til It's Gone" with Q-Tip and the Joni Mitchell sample does Joni's "Big Yellow Taxi" justice, "Go Deep" is a great upbeat song, and "Together Again" is rightfully one of the biggest hits of Janet's career.  All the sexual material on the album is cool, but nothing is left  to the imagination and so it comes across as shock for shock's sake instead of intimate expression (the cover of Rod Stewart's "Tonight's the Night" and how Janet made it a song about lesbian love was pretty dope though).

To Russell, My Brother, Whom I Slept With (Warner Bros., 1968) by Bill Cosby

Bill Cosby is such a skilled stand-up comedian that he performs it sitting down.  And this album has some of his best material.  The title cut exemplifies what makes Dr. Cosby one of the best comics ever- he is a master storyteller.  In 26:43, he describes what it was liking growing up and sharing a room with his brother.  It's these common experiences and emotions that Cosby is able to focus in on.  And as a result of his ability to do so, he gets a laugh from everyone.  Cosby is one of the greatest comedians of all-time and this album is one of the reasons why.

The Best of Both Worlds (Roc-A-Fella/Def Jam/Jive, 2002) by Jay-Z & R.Kelly

This album certainly didn't live up to the hype.  The controversy surrounding R. Kelly at the time didn't help either.  The album still has its strong points though- Jay-Z delivers solid raps and The R brings catchy hooks.  The production suited both of these guys' strengths well too.  The problem is that the songs are very cookie cutter and generic both musically and lyrically.  And for two artists who forever changed their respective genres with their innovative styles and amazing talents, a lot more was expected from this project.  Some of this was redeemed though at Jay-Z's Madison Square Garden show when the two of them came out and performed the title track and "Take You Home With Me" while all of NY sang along.

Unfinished Business (Sleeping Bag, 1989) by EPMD

EPMD weren't as loud as N.W.A or as poetic as Rakim.  However, they were more relaxed like the latter.  This not only served as an excellent compliment to Erick Sermon's masterful production, but also forced the duo to deliver lyrically.  Not that they didn't before, but it was nothing that hadn't already been heard.  Fortunately, Erick and Parrish overcame the sophomore jinx and offered up "You Had Too Much to Drink"-a song speaking out against drunk driving and "Please Listen to My Demo"-one of the best records by rappers about wanting to be rappers ever.

The Invasion (n/a, 2002) by DJ Green Lantern

The first installment in this legendary mix tape series is famous because it, for all intents and purposes, ended Benzino's career as a rapper.  Eminem's "The Sauce" is a great diss at The Source and his "Nail in the Coffin" is more of a personal, damning record aimed squarely air the magazine's "co-founder."  Obie's "Welcome to Detroit City" is a great take on Cam'ron and Jay's "Welcome to New York City."  And 50's "The Hood", with a beat courtesy of Dr. Dre, and G-Unit's "G'd Up" are also standouts.  Other highlights include DJ Green Lantern's blend of "Lose Yourself" and The Flipmode Squad spitting over the remix to "U Don't Know."

Licensed to Ill (Def Jam, 1986) by Beastie Boys

"Now I chill real ill when I start to chill/When I fill my pockets with a knot of dollar bills/Sipping pints of ale out the window sill/When I get my fill I'm chilly chill/Now I just got home because I'm out on bail/What's the time? it's time to buy ale/Peter eater parking meter all of the time/If I run out of ale it's Thunderbird wine/Miller drinking chicken eating dress so fly/I got friends in high places that are keeping me high/Down with Mike D. and it ain't no hassle/Got the ladies of the eighties from here to White Castle"

                                                                                     -Beastie Boys, "Hold It Now, Hit It"

Stan & Judy's Kid (Warner Bros., 1999) by Adam Sandler

This is an underrated Adam Sandler album.  It is a pleasant return to skits, and his songs are an improvement from his previous effort as well.  The dirty humor is still there, but there is a bit more humanity in it.  "The Champion" is a really funny skit about a golf champion who falls apart while playing on the course.  "Inner Voice" is a skit about a guy nervously flirting with a girl while listeners hear his inner voice as it tries to play it cool for her.  And the most interesting of them all, "Whitey," is a fifteen minute plus conversation between two guys at a food court in the mall.  It shouldn't work, but it does.  It is very funny and  a bit touching at the same time.  My only issue with the album is that I wish it didn't end on a such a dark comedic note with "The Psychotic Legend of Uncle Donnie."  Other than that though, this is a great album and an excellent addition to Adam Sandler's impressive body of work.

Curtain Call: The Hits (Aftermath, 2005) by Eminem

Three of the four new tracks here are nothing spectacular at all.  "When I'm Gone" plays like an inferior sequel to "Mockingbird."  "Shake That", even with strong contributions from Nate Dogg, comes off as too silly and playful.  And "Fack" is just weird.  The one highlight of new material is the previously unreleased live version of "Stan" that Eminem performed with Elton John at The Grammys in 2001.  It was a legendary performance, moment in Eminem's career and event in hip hop history.  I'm glad it was finally released on record.  The only thing a recorded version of the performance doesn't capture is Mr. Mathers throwing his middle fingers in the air at the end.

The End of the Universe (Stand Up, 2002) by Lewis Black

Black's 2nd LP [3rd record release overall] is in the same comedic style as most of his work.  He is an cynic with a bleeding heart.  Personally, I really enjoy that perspective because it shows that someone still cares, and yet they are are not foolishly optimistic.  The thing that makes this recording especially interesting is that it was recorded in two parts- one part was before 9/11/01and another part after it.  It isn't very noticeable.  However, it is noteworthy especially because Black is a topical comic.  My favorite bit on the album is the one that's alluded to on the album cover: the end of the universe is in Houston, Texas, where two Starbucks (and therefore everything they represent) are right across the street from each other.

Yeeeah Baby (Loud, 2000) by Big Pun

This album, while not quite as strong as its predecessor, shows an emcee's emcee doing what he does best.  Big Pun again showcases that his lyrics and flow are pretty much unmatched.  "Watch Those" is a perfect example of that.  Pun also puts his Latin heritage in the spotlight with a flute charanga sample on "100%."  A very interesting cut on the album, "N***a Shit", finds him rapping about African-American stereotypes and "New York Giants" with M.O.P. is an excellent collaboration.  Tragically, Big Pun passed away two months before this album's release.  The album's lead single, "It's So Hard," isn't anything new, but the video is an amazing tribute to a man that the world lost too soon.

Supa Dupa Fly (Elektra, 1997) by Missy Elliot

Missy Elliot not only looked different than her contemporaries, she sounded different too.  The spacey vibes and free associations of Missy raps made her a standout.  At a time when women were using sex to sell, Missy challenged that by just being herself.  But she can't take all the credit for this masterpiece of an album, this album certified Timbaland as a genius.  His sounds stutter, he has crazy arrangements and crafted a sound that has never been duplicated (but often imitated).  The sound that Timbaland introduced to the world to on Aaliyah's One in a Million are perfected here.  In my opinion, this is one of the best produced hip hop albums ever, right up there with Dr. Dre's The Chronic.

Unpredictable (No Limit, 1997) by Mystikal

Other than Snoop Dogg and Mac, Mystikal is the only emcee out of the No Limit camp whose records had technical merit and didn't just move units as a result of the seemingly invincible No Limit movement that Master P ushered in during the late 90s.  The opening cut, 'Born 2 Be a Soldier," gives Mystikal a proper introduction to the No Limit army and then Mystikal drops a solid collection of songs with few guest emcees. Even if one of the album's highlights is "Here We Go" with B-Legit, E-40 and Master P, there is no denying Mystikal's talent on solo cuts such as "Unpredictable" and a song he recorded about his deceased older sister called "Shine."

The B. Coming (Dame Dash Music Group, 2005) by Beanie Sigel

"I sit alone in my 4 cornered room staring at hammers/Ready to go bananas/2 vests on me, 2 techs, extra clips on me/I know my mind ain't playing tricks on me/I ain't skitz homie, ain't no body drop a nick on me/It's like they tryna plot a set on me/ I hear this voice in the back of my mind like Mack tighten up your circle/Before they hurt you/Read they body language/85% communication non-verbal, 85% swear they know you/10% you know they story, man the other 5... time'll show you, just know you/Then pull they strings, you the puppet master/Fuck them other bastards/Man watch who you puffing after/Play your cards, go against all odds/Shoot for the moon, if you miss, you still amongst those stars"

-Beanie Sigel, "Feel It in the Air"

Warriorz (Loud, 2000) by M.O.P.

This album is rowdy, and it clearly delivers the high every rapping and stellar production that M.O.P. followers have come to expect.  DJ Premier's board work is excellent as usual.  He even samples Jimi Hendrix's "Burning of the Midnight Lamp" on "Follow Instructions."  "Ante Up" was a great single, but I think album's strongest points are the Fizzy Womack-produced cuts, "Calm Down" and "Cold as Ice" which sample Nona Hendryx and Foreigner respectively.