The Battle of Los Angeles (Epic, 1999) by Rage Against the Machine

Overall, I prefer Rage's two previous albums to this one.  However, this is still a great piece of work.  I love the George Orwell and the 1984 references.  Michael Moore directing two music videos for the project is cool, and I think it's a true testament to the band's popularity and skill that this album opened against Mariah Carey and still managed to take the top spot on the album chart its opening week.

Back at One (Motown, 1999) by Brian McKnight

Now Brian McKnight is kind of weird with his 2012 risqué single, his news about about releasing and then not releasing his "adult mixtape."  What makes this all particularly interesting is that instead of singing about graphic sex, he used to sing great love songs like the ones featured on this album.  The standout, in my opinion, is the title track and "6,8, 12" is a really gripping heartbreak song.  Long story short, Brian sounds a lot better singing about passion than he does singing about pussy.

Blackout! (Def Jam, 1999) by Method Man & Redman

"I was gone too but we roam , cellular phones/Doc-Meth back in the flesh, blood and bones/don't condone Spent bank loans and homegrown/suckers break like Turbo/and Ozone, when I, grab the broom/moon-walk platoon hawk my goons bark/leave you in a blue lagoon lost (true)/three nines and a glove with mad soul D-Die in the car/right behind on the bus/Haters don't touch, weigh us both up/now my neighbor doped up/got the cable hooked up. All channels/lift my shirt all Mammal/you ship off keys and we ship Grand Pianos/sawed off shotgun/hand on the pump, sipping on a forty/smoking on a blunt/bust my gun and Red and Meth didn't jump/La la la la, la la la la"

-Redman, "Da Rockwilder"

Can't Stay Away (Jive, 1999) by Too Short

Short Dog's first post-retirement album is a descent "comeback" album, but it relies a little too heavily on the then-current scene on late 90s rappers to draw an audience instead of just giving Too Short fans what it is that they'd been missing for three years.  There is a bit of that with "More Freaky Tales," Can't Stay Away," and "Ain't No Bitches."  But the CD is 17 tracks long, and so that still leaves 14 more tracks that could've taken a different approach in order to make the album not as spotty.

You Are All Diseased (Eardrum, 1999) by George Carlin

Carlin's most famous routine is obviously "Seven Words You Can't Say on Television," but I think another one that he will be remembered for is "There is No God."  In this particular routine, he logically explains many faults in organized religion.  But Carlin, of course, puts his own cynical twist on it and makes his criticisms smart and funny.  Other shorter bits that are very strong are "Angels" and "TV Tonight."  His complaints about kids and airport security are also noteworthy.  Overall, it's not Carlin's best album.  However, it is definitely in the upper echelon of them.

Murda Muzik (Loud, 1999) by Mobb Deep

Havoc and Prodigy's fourth album lives up to its title.  It's a dark and murky collection of insight, rage and fear.  Mobb Deep has always been a few steps above the stereotypical "gangsta rap" cliches, and this is no exception.  "Spread Love" is a cry for a change for the better in at risk areas, "The Realest" is a phenomenal collaboration with Kool G. Rap and the "Quiet Storm" remix is one of the best songs Lil Kim has ever done.  Production wise, Havoc sounds better than ever and Prodigy's rhymes are great ("P holds the pen tightly, explode nightly/I count on one finger all y'all rap niggaz that excite me/Y'all niggaz is trash rap - wanna fight me?/You shook to death, take breaths and step lightly).  Although not quite as powerful as The Infamous, Murda Muzik is landmark hardcore hip hop album that held its own at time when hip hop was at its commercial peak.

The Slim Shady LP (Aftermath, 1999) by Eminem

"Slim Shady, brain dead like Jim Brady/I'm a M80, you Lil' like that Kim lady/I'm buzzin, Dirty Dozen, naughty rotten rhymer/Cursin at you players worse than Marty Schottenheimer/You wacker than the motherfucker you bit your style from/You ain't gonna sell two copies if you press a double album/Admit it, fuck it, while we comin out in the open/I'm doin acid, crack, smack, coke and smokin dope then/My name is Marshall Mathers, I'm an alcoholic (Hi Marshall)/I have a disease and they don't know what to call it/Better hide your wallet cause I'm comin up quick to strip your cash/Bought a ticket to your concert just to come and whip your ass/Bitch, I'm comin out swingin, so fast it'll make your eyes spin/You gettin knocked the fuck out like Mike Tyson/The +Proof+ is in the puddin, just ask the Deshaun Holton/I'll slit your motherfuckin throat worse than Ron Goldman"

-Eminem, "Just Don't Give a Fuck"

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.

…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! 

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?"

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.

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." 

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.

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.

No Limit Top Dogg (No Limit, 1999) by Snoop Dogg

Mystikal and Snoop were the only two No Limit soldiers whose albums didn't sound they were recorded factory-line style.  Even Da Game is to be Sold Not Told sounded a little unique (i.e. the "Gangsta Gangsta" cover "DP Gangsta").  However, Top Dogg made up for Da Game and then some.  Not only did Snoop reunite with Dre and bring Xzibit to the mainstream with "Bitch Please", but he also crafted stellar songs with Raphael Saddiq ("Somethin' Bout Yo Bidness") and Sticky Fingaz ("Buck 'Em").  And "Don't Tell", a DJ Quik-produced track featuring Mauseberg, Warren G and Nate Dogg, is so good that the music held my attention even more than the visuals of the XXX-rated hip hop themed film that it was featured in.

Vol.3...Life and Times of S. Carter (Roc-A-Fella, 1999) by Jay-Z

This album was a guaranteed multi-platinum seller, and I think that's great because this album was a little bit harder than Vol. 2.  Therefore, Jay-Z was eventually able to get a mainstream audience with pop-appeal (but still good) songs like "Hard Knock Life (Ghetto Anthem)" and "Can I Get A…".  However, once he had them, he he went back to some harder hip-hop on this album with cuts like "So Ghetto" and "Come and Get Me."  Production-wise, Timbaland had already proven himself and then some with Aaliyah and Ginuwine.  Tracks like "Snoopy Track" and "Big Pimpin'" on this album then established he could conquer rap the same way that he did R&B.  It was simply foreshadowing that Vol. 3 was the first number one album of the new millennium because Jay-Z would run rap for the next decade, even with a 3-year break from '03-'06.

2001 (Aftermath, 1999) by Dr. Dre

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

Rainbow (Columbia, 1999) by Mariah Carey

If Mary J. Blige is the queen of hip-hop soul, Mariah is the queen of hip-hop pop.  And even though Mariah's hip-hop transition began with Butterfly, Rainbow couples that new hip-hop vibe with her excellent ballad abilities that were first showcased in the early 90s.  Her  vocal talents are displayed on "Can't Take That Away (Mariah's Theme)" and her and Da Brat do a very interesting cover of Snoop's dirty classic "Ain't No Fun" with the "Heartbreaker (Remix)."  The album's final cut, "Thank God I Found You" with Joe and 98 Degrees, is a great collaboration which perfectly illustrates how and why Mariah  appeals to both soccer moms and hip-hop fanatics alike.