The Saga Continues... (Bad Boy, 2001) by P. Diddy

Diddy's third album is a descent return to form.  Rather than the all-star Hip-Hop cast that cluttered Forever, Puff puts the spotlight back on his Bad Boy roster on this go-round and it works out well for everyone involved.  The flaws to this album though are that it's too long and that it has too many interludes.  All things considered, this LP is a fun listen where P. Diddy reclaimed his spot as one of Hip-Hop's elite.

Crown Royal (Arista, 2001) by Run-DMC

Run-DMC's Crown Royal is not very good, but it does make an honest attempt to reintroduce the most influential rap group ever to the next generation.  However, the project is quite guest-heavy and D.M.C. makes minimal contributions.  Therefore, the intent of it seemingly got lost in the execution.  But this less than stellar album didn't do anything that takes away from group's legendary status in the long-run.

1st Born Second (Interscope, 2001) by Bilal

I like this album a lot.  It is a very good mix of Hip-Hop and R&B.  It's cool because it isn't just singing over rap beats either.  The sound is like a modern-day Sly & the Family Stone.  Contributions from Hip-Hop heavyweights make the project that much sweeter too.  Jadakiss, Dr. Dre, Common, and Mos Def all shine with their respective roles in assisting Bilal with his memorable debut release.  By far, "Fast Lane" is the best track in my opinion.

Complaints and Grievances (Atlantic, 2001) by George Carlin

This isn't George's strongest set.  But to be fair, the events of September 11, 2001, did considerably change the vibe of the show (which Carlin does acknowledge).  Where his career highs are cynical perspectives with a bleeding heart, the majority of this are complaints that just come across as insults.  One bit on here that's really great is the one where Carlin picks apart and revises The Ten Commandments.

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.

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.

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"

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.

Stillmatic (Columbia, 2001) by Nas

No disrespect to Eminem's Recovery or LL's Mama Said Knock You Out, but Nas' Stillmatic is the best comeback in the history of hip-hop.  Not only was Nas struggling in his own career at the time, but Jay-Z was kicking him while he was down as well.  Everyone, myself included, thought Nas was finished when "The Takeover" came out.  But once "Ether" dropped, that was a game changer.  Then, on top of that, the rest of the album was fire too.  "2nd Childhood" is one of my favorite songs ever and "One Mic" still sends chills.  In addition to being critically acclaimed, I'm glad Stillmatic sold well commercially because it gave Nas a second-wind in his career.  And because of that, he has made even more great music to add to his already legendary catalogue.

Devil's Night (Shady, 2001) by D12

"If I could capture the rage of today's youth and bottle it/Crush the glass from my bare hands and swallow it/Then spit it back in the faces of you racists/and hypocrites who think the same shit but don't say shit/You Liberace's, Versace's, and you nazis/Watch me, cause you thinkin' you got me in this hot seat/You motherfuckers wanna JUDGE me cause you're NOT me/You'll never STOP me, I'm TOP speed as you POP me/I came to save these new generations of babies/from parents who failed to raise 'em cause they're lazy/to grow to praise me I'm makin 'em go crazy/That's how I got this whole nation to embrace me/And you fugazi if you think I'ma admit wrong/I cripple any hypocritic critic I'm sic'd on/And this song is for any kid who gets picked on/A sick song to retaliate to, and it's called.."                                                            -Eminem, "Fight Music"

All For You (Virgin, 2001) by Janet Jackson

All For You is the sexiest album I have ever encountered (how appropriate that it came out on my fourteenth birthday).  Not only is Janet captivating in the album artwork, but her sensual vocals and subject matter make for an intriguing listen.  Production-wise,  the set holds up.  But All For You's highlight is Ms. Jackson on "Would You Mind."  Considering the album's aforementioned sexuality, this is the most extreme case.  It is the only time a song has ever given me an erection.