Tha Carter III (Cash Money, 2008) by Lil Wayne

"Shyea/I'm right here, in my chair/With my crown and my dear/Queen B, as I share/Mic time with my heir/Young Carter, go farther/Go further, go harder/Is that not why we came?/And if not, then why bother?/Show no mercy ta Murciélagos/Far from being the bastard that Marcy had fathered/Now my name's been mentioned with the Martyrs/The Biggie's and the Pac's, and the Marley's and the Marcus'/Garvey, got me a molotov cocktail/Flow, even if you box well, can't stop the blows/Kaboom! The Roc Boy in the room/The Dopeboy just came off the spoon/Also, I'm so fly I'm on auto-/Pilot, where guys just, stare at my wardrobe/I see Euros, that's right, plural/I took so much change from this Rap game it's your go/Young!"

-Jay-Z, "Mr. Carter"

Cocktails (Jive, 1995) by Too $hort

This is standard Too $hort fare.  Dirty raps over funky tracks.  "Cocktales" is a great updated version of "Freaky Tales."  The other stand out track is "We Do This" with 2Pac, MC Breed, and Father Dom.  The album also ends on a high note with "Sample the Funk" where Short Dog pays homage to funk legends like George Clinton, James Brown, and the Ohio Players.

Duets: The Final Chapter (Bad Boy, 2005) by The Notorious B.I.G.

On paper, this isn't a terrible idea.  However, in reality, it is.  Remixing a lot Biggie of verses from his two classics over "current" beats with "current" rappers contributing new verses just doesn't work.  It sounds fake and forced.  The only saving graces to the album are the songs with unreleased material.  "Whatchu Want" with Jay-Z and "Living in Pain" (produced by Just Blaze) with 2Pac, Mary J. Blige, and Nas are both descent records.  But they still come nowhere near making up for the rest of the project.

good kid, m.A.A.d city (Top Dawg/Aftermath, 2012) by Kendrick Lamar

This album is already being hailed as an instant classic and I can't say I disagree.  Even this early in its release, there isn't much I can say that hasn't already been said.  Kendrick has a very different approach to gangsta rap and I think that has worked to his advantage.  The conceptualized album is brilliant and the way that the voicemails work to tie the story together is amazing.  The storytelling on "The Art of Peer Pressure" is stellar as well as the Janet Jackson sample on the cleverly titled "Poetic Justice."  And what better way to close out the album than with a song named after your hometown of Compton with the legendary Dr. Dre (Props to Mc Eiht for his guest appearance on "m.A.A.d city" too).  Section 80 is good, but I feel that this ups the bar even higher.  Kendrick has lived up to the hype and very well may be the voice of this next generation of rappers.

Deep Cover Soundtrack (Solar, 1992) by various

This soundtrack is a classic for the title track alone.  The song is genius for so many reasons.  The beat is great, and the rhymes are solid.  Additionally, Dr. Dre, on of the best producers ever, used his first solo track to introduce a new artist-how brilliant is that?  And last but not least, that new artist was Snoop Doggy Dogg.  The song led to bigger things like The Chronic and Doggystyle.  But it would be wrong to not acknowledge where one of the greatest duos in Hip-Hop history began.

Volume 1 (Interscope, 1994) by Thug Life

This a very good album that complements Tupac's idea of "Thug Life" very well.  There is definitely a raw quality about the delivery of a lot of the material on this project.  However, there is certainly social commentary woven into it too.  "How Long Will They Mourn Me?" is a stand out and props to Warren G for the production on it as well.  Other highlights are "Pour Out a Little Liquor" and the somber "Cradle to the Grave."  Volume 1 is great and it makes me wish that more were made when Pac was still alive.

Let the Rhythm Hit 'Em (MCA, 1990) by Eric B. & Rakim

Lyrically, of course, Rakim delivers.  And as far as the beats, Eric B. brings the goods.  However, i don't feel that this album is quite as good as the previous two albums from the duo.  It doesn't show much growth from the earlier work.  The title track, "In the Ghetto," and "Mahogany" are all classics, but the bragging about mic skills throughout most of the LP have been heard before.  In Rakim's case, it's pretty much true.  Yet, it does seemingly limit the album's potential.  Fortunately, it was all made up for on Eric B. and Rakim's next and final release, Don't Sweat the Technique.

At the Speed of Life (Loud, 1996) by Xzibit

"It took a long time comin but we waited/Xzibit went from underrated, to now most anticipated/never would of thought that I would rock your set/And get love and respect without no special effects/Only the rugged ruff shit that the hard rock need/Lyrics must contain more then just clothes bitches and weed/Thinkin how you like to see the next man bleed/Tryin to glorify greed; livin life at ridiculous speed - indeed!/The main goal's to achieve, to succeed/Have it laid out for your seed/But the world gets colder every day by day/Physically, mentally gettin drained by L.A./Trying to find piece of mind is like tryin to find a gold mine/It just won't happen, no time for relaxin/Real soldiers of fortune  the front line of the action/ So never show a nigga what you packin (You know what I'm sayin?)/It's too much weight to be jugglin/who do you picture when you think about strugglin/Kids in the bed, no food stomach bubbilin/Or niggaz in the E-class heavy drug smugglin"

-Xzibit, "At the Speed of Life"

Sleepwalk With Me Live (Comedy Central, 2011) by Mike Birbiglia

The set up of this album/one man show is a perfect set up for Birbiglia's style of humor.  He is very, very funny, but he is more of a storyteller than a joke teller.  The story about his sleepwalking and falling out of a hotel window in "The Missile" is the album's closer and highlight.  Although not quite as strong as some of Birbiglia's earlier material, the album is a successful experiment in presenting stand up in a traditional theater setting.

In Other Words (Warner Bros., 2006) by Kathleen Madigan

This is not a great album.  It's not that it isn't funny; it's just that it sounds like material and style is still being developed.  To be fair, the album does show potential for Madigan in the future.  Some of her routines, such as her jokes about Oprah are better put together and retold on her later release Gone Madigan.  In my opinion, that is a better release than this one.

4, 5, 6 (Cold Chillin', 1995) by Kool G. Rap

Lyrically and rap-wise, this album is incredible.  Kool G. Rap is one of the best rappers ever period.  His multi-syllablic rhymes allow him to fit an incredible amount of words into every bar without rapping too fast beyond comprehension.  As far as production, Dr. Butcher produces a lot of the album's material.  However, his beats aren't quite on par with what G. Rap has rhymed over in the past.  The album's highlight is the Buckwild-produced "Fast Life" which features Nas and makes better use of the Surface sample than R. Kelly would three years later on "Only the Loot Can Make Me Happy."

Power (Sire, 1988) by Ice-T

In my opinion, Ice-T's sophomore album is his greatest to date.  It's has Ice's signature storytelling and cautionary tales ("Drama," High Rollers").  "I'm Your Pusher" makes great use of Curtis Mayfield's "Pusherman" with a double entendre.  "Soul on Ice" pays homage to Iceberg Slim and "Radio Suckers" provides his opinion on radio programming and censorship.  Before "ganagsta rap" became filled with cliches of violence, drugs, and sex- raps about hard living were strongly rooted in reality.  And the people that lived it knew it was nothing to glorify, and Ice-T and Power are the perfect examples of that much more mature approach to rhyming through a microphone.

Big Funny (Dreamworks, 2000) by Jeff Foxworthy

This isn't Foxworthy's best, but it still has its moments.  I've always like Jeff as a storyteller, but this album doesn't have a lot of them.  A lot of the material are just short bits.  However, when stories/scenarios are told- it's Foxworthy in top form.  The best track here, in my opinion, is "It's a Different World" where he explains the differences between the way he grew up and the way that his children are.

The Re-Up (Shady, 2006) by various

If I'm not mistaken, this album was originally intended to be a mixtape.  I think it should have stayed that way.  I say that not because the music is bad, but because it lacks the cohesion of an album.  Eminem does a good job of introducing new Shady artists on the intro, but after that all that tracks seem to have been just thrown together with minimal consideration for sequencing.  Obie's "Pistol Pistol (Remix)" was solid as well as "You Don't Know" which help introduce Cashis to the mainstream.  However, other than Eminem's "No Apologies," there aren't really many standout songs here.  But the fact that Eminem drew the album cover makes up for a bit of it.

Street Fighter Soundtrack (Universal, 1994) by various

"In the Rotten Apple, take a bite taste the worm/Embrace the world of reality we're faced to learn/Coke connection drug bust, graveyards where thugs rest/I keep my mug blessed, the evil is illegal substance sold/Roll mob deep, guns in the black Jeep/Mac-11's and legends, cracks in the streets/Patroller, gold money-folder, gun happy soldiers/Never sober takin over, my blood is colder/Niggaz respect violence so I become it/I'm from it, I even done it blunted so run it"

-Nas, "One on One"

Rock City (Game, 2002) by Royce Da 5'9"

Despite Royce's beef with D12 at the time, that fortunately did not overshadow his debut album.  Lyrically, he's one of the best and his beat selection does a good job of showcasing that skill.  "Boom" is a great record and "Rock City," with Slim Shady on the hook, does an excellent job of creating a catchy chorus without compromising quality verses.  "Life" is a deep song which finds its counterbalance in "My Friend" which is an ode to his genitals.  Overall, this album does a wonderful job of presenting Royce as a well-rounded emcee.  It's no surprise he's still successfully making music 10 years later.

Supreme Clientele (Epic, 2000) by Ghostface Killah

In my opinion, this is the second best Wu-Tang solo album ever (number one being Raekwon's Only Built 4 Cuban Linx).  Lyrically, Ghostface has always been interesting and this album is no exception.  The best song is "Child's Play."  With piano-heavy production courtesy of RZA, the track itself is also a highlight.  The album isn't overloaded with features, which, especially in today's Hip-Hop climate, is a rarity.  Vibe once ranked the album as one of the 10 best Hip-Hop albums ever.  I don't know if I'd put it that high, but it's definitey in the upper echelon.

Return of the Boom Bap (Jive, 1993) by KRS-One

KRS-One's solo debut is a phenomenal release.  DJ Premier, one of Hip-Hop's greatest producers ever, handles the bulk of the project's production.   And my favorite cut on the album is not even one of the two singles, "Sound of Da Police" or "I Can't Wake Up."  The record that stands outs the most to me on this release is "Outta Here."  In my opinion, along with Jay-Z's "December 4th", they are two of the best autobiographical Hip-Hop records ever made.  I saw an interview with DJ Premier online from a few years ago where Premo hinted at doing a sequel to the album with Mr. Parker.  Hopefully, that's still in the works.

Lethal Injection (Priority, 1993) by Ice Cube

This is an often overlooked album in Cube's catalog.  One legitimate criticism of the album is that it imitated the sound of Dre's Chronic album.  I can see where that comes from, but Cube certainly still brings his signature flow and content to the music.  "You Know How We Do It" was a great laid back joint to ride to and getting George Clinton on Bop Gun [One Nation] was amazing.  "Ghetto Bird" was good.  And B-Real's cameo in the "Really Doe" video was great too.  Overall, the album is descent.  But hip-hop was changing at the time, the profoundness of Cube's west coast street knowledge was now taking a back seat to the revival of east coast rap (e.g. Wu-Tang, Nas, Biggie).  Almost 19 years later, the album still holds up though.

My Weakness is Strong (Warner Bros., 2009) by Patton Oswalt

Following up 2007's Werewolves and Lollipops is no easy task, but Oswalt did it with My Weakness is Strong.  Although not as strong as its predecessor, the album does deliver Oswalt's very intelligent and clever commentary on his life and modern American society.  Oswalt's interest in religion is clear on "Sky Cake" and "Grocery Robots" is very, very funny.  The thing that doesn't make the album stand up quite as strong as Werewolves and Lollipops though is that the material doesn't transition quite as smoothly.  However, that is only a minor fault which is far outweighed by his comedic brilliance.  Oswalt is one of my favorite comics and this is one of the reasons why.

Aquemini (LaFace, 1998) by Outkast

This is a perfect album.  Everything about this album is flawless.  The production, the lyrics, the sequencing, the features.  All of Outkast's stuff is great, but this one was a game changer.  On their debut, they were teenagers.  On ATLiens, their differences started to show.  But on Aquemini, the perfect balance was found.  Big Boi became a phenomenal emcee and Andre 3000 proved that there wasn't anything he couldn't do.  "Rosa Parks", especially with that breakdown in the middle of the song, is one of rap's greatest singles. Raekwon is awesome on "Skew It on the Bar-B" and that is one of my al-time favorite Organized Noize beats.  Multiple epics like "Liberation" and "SpottieOttieDopaliscious" (clocking in at over eight minutes and seven minutes respectively) sit comfortably on an album that received critical and commercial acclaim.  It's a damn near impossible feat, but Outkast did it.  Therefore proving, once again, that these guys were ahead of their time.  This isn't just a classic rap album, it's a classic music album- regardless of genre.

You Can't Stop the Reign (Interscope, 1996) by Shaquille O'Neal

"A lime to a lemon, my D.C. women, bringin in to G-minumums to condos with elevators in them/vehicles with telivision's in them/watch they entoruage turn your's to just mirages, disaperin acts, strictly nines and macs/killers be sureal, Copperfeild material, my dreams is vivid, work hard to live it/any place I visit I got land there/how can players stand there and say I sound like them/hello, push wigs and back and push six coup's that's yellow/bust clips to expand some hand to elbow/spray up your days in, any teller you win/crack ?? to ?? is how I may be drivin/??? of street sweepers beside the beamer wagon/I rely on Bigs status, surely down if I die/put that on my diamond bezil/you're messin with the Devil/why"

- Notorious B.I.G., "You Can't Stop the Reign"

Charge It 2 Da Game (No Limit, 1998) by Silkk the Shocker

This is a basic run of the mill No Limit album.  However, it was released at the height of the label's power and so it is all very entertaining.  The album's best cuts are "I'm a Soldier" and "It Ain't My Fault."  The album's fourth cut, "Just Be Straight With Me," also featured a then-relatively unknown Destiny's Child.  Silkk's rap skills are mediocre, but all the guest features help shield the issue.  Although this album doesn't stand out as one of No Limit's best, it was released at a time when the company was very popular and it therefore reaped those benefits.

They're All Gonna Laugh At You! (Warner Bros., 1993) by Adam Sandler

Adam Sandler's debut is an excellent mix of songs and skits.  The interesting thing about the album though is the comedy is set up like his teenage demographic films.  However, the content is very blue.  That not a bad thing, but it was unexpected.  The Buffon skits are my favorite and "I'm So Wasted" is hilarious too.  "Lunchlady Land" is the best song, but it does lose something without seeing Chris Farley wearing a hairnet.

Born to Mack (Jive, 1987) by Too $hort

The memorable contribution to hip-hop from this set is "Freaky Tales."  The nine and a half minute rap about sexual escapades cemented Short Dog as a playboy in hip-hop culture.  The bass of the beat and the dirty raps are timeless.  There are rappers who adopted a similar approach later, but no one did it as well as $hort's original.  The album cover is really cool too with the clear picture of the Cadillac and Too $hort barely in sight.

What's Your Name? (Warner Bros., 1997) by Adam Sandler

Adam Sandler's first full-length musical album is a mixed bag.  The cleverness and shock value of some of Sandler's previous songs are still there, but 14 tracks is a long time and the music can't hold on for that long.  Some songs are just weird ("Zitty Van Zittles," "Moyda").  However, there are some good tunes here.  "Pickin' Daisies" and "Listenin' to the Radio" aren't bad and "The Goat Song" is a seven-minute epic that is a great extension from "The Goat" skit on Sandler's previous album.  Overall, this album is mediocre at best- a fun listen, but not anything amazing.  Considering it was released in 1997, I'd rather watch The Wedding Singer instead.

Lock 'n Load (A&M, 1997) by Denis Leary

Leary's rants are perfected on this album with disdain aimed at coffee, beer, and Hanson among other things.  "Deaf Mute Cocktail Party" is brilliant and his routine about his kids is great.  I didn't become a fan of Leary until seeing Rescue Me years later, but I can clearly see where the outstanding writing, commentary, and perspectives on that show came from with material like this.  Oh, and I think someone should play "Life's Gonna Suck" at a high school graduation ceremony sometime.

Doc's Da Name 2000 (Def Jam, 1998) by Redman

Redman's fourth album brought him to the mainstream as part of Def Jam's big end of the century push with Method Man, Jay-Z, and DMX.  Although not as solid as his first and third albums, Doc's Da Name does deliver some great material.  "I'll Bee Dat!" is a great single, with outstanding production by Rockwilder, and Busta Rhymes and Redman deliver a solid collaboration with "Da Goodness."  My favorite cut on the project though is Redman's cover of Ice Cube's "Once Upon a Time in the Projects" called "Jersey Yo."

The Lost Tapes (Columbia/Ill Will, 2002) by Nas

"Pushin drop-tops, Stacy Lattisaw tapes, the 80's had us all apes/Youngest gorillas up to bat at home plate/That was a uncanny era, guns in my pants/Yeah X-Clan hair, with dreads at the top of my fade/Homicide and feds on the blocks where I played, b-ball/That's when I wondered was I here for the cause, or be-cause/Cause Ray Charles could see the ghetto/Was told to stay strong and I could beat the Devil/Cause yo, I used to play Apollo balcony seats/Watchin niggaz swing razors in the front row, then out in the streets/The car show, 560's, chemical afros/Acuras pumpin Super Lover Cee and Casanova/Live chicks be, asses bustin out of they clothes/Wearin lip gloss, big door knockers pealin they earlobes/So where them years go? Where the old gold beers and cheers go?/But now them shorties here doe, so"

-Nas, "Doo Rags"

You Might Be a Redneck If...(Warner Bros., 1993) by Jeff Foxworthy

The title track is obviously the routine that helped launch the career of one of the greatest comedians of all-time.  However, the album in its entirety really delivers too.  This is a classic album with no filler.  Foxworthy's everyman observations about marriage, fatherhood, and the single life are spot on.  His material is universal, clean, and hilarious.  It's been almost twenty years since its release and it still sounds like it could've been recorded yesterday.

The Day (Epic, 1996) by Babyface

This album has some very memorable tracks, the most popular being "Everytime I Close My Eyes."  Overall though, the project, in my opinion, showcases Babyface's ability as a writer more than his chops as a singer.  "Simple Days" is a wonderful look back on childhood  and LL proves why he's one of the best at hip hop love songs with "This is For the Lover in You."  The other thing that Edmonds does here really well is merge hip hop and R&B (without getting a singer to just sing over a rap beat).  This is a good release, but the best showcase of Babyface's talents are his collaborations with other artists such as Mariah Carey and Boyz II Men.