222 (Chunklet Magazine, 2003) by Patton Oswalt

222 is the uncut version of Feelin' Kinda Patton.  Personally, I think this is better.  The live feel and "mistakes" of the performance makes it that much funnier.  It's an album that's perfectly flawed.  It's only two tracks and clocks in at a bit over two hours.  However,  transitions still run very smooth and hilarity ensues as a result of discussion topics ranging from obscure pornography to living in an apartment in an interesting area of L.A.  Overall, it's a fantastic album and a wonderful precursor to the masterpiece that is Werewolves and Lollipops.

God's Stepson (N/A, 2003) by 9th Wonder

9th Wonder is a great producer and this is further evidence of that.  Considering Nas is one of the best lyricist's ever, sometimes his beat selection is less than stellar.  Fortunately, 9th realized this revamped a majority of God Son's tracks and one other.  The two tracks that I do think were better on the original release though were "Get Down" and "Made U Look."  Other than that, he definitely brings new life to a lot of already amazing records with his production.  Props to him for "The Cross" and "Ether" especially.

Speakerboxxx/The Love Below (LaFace, 2003) by Outkast

This album was a big risk, but the big risk resulted in an equally large reward.  The double album, which finds one album from Big Boi and the other from Andre 3000, covering a lot of territory.  Big Boi keeps Outkast's momentum going for Southern Hip-Hop while Andre explores things outside the realm of Hip-Hop.  The only criticism I have of the album is that Andre 3000 doesn't rap on it, and that's a real bummer because he's one of the best rappers ever.

Clones (Star Trak, 2003) by The Neptunes

The greatest strength of this project is that it demonstrates The Neptunes versatility as a production team.  No two tracks sound alike and each beat brings out the strong points of each featured artist.  The weaker point of this album is that none of the instrumentals are the best that The Neptunes have to offer.  Even if the album is a fun listen (which it is), nothing comes close to "Got Your Money" or "Best U Can."

The S. Carter Collection (N/A, 2003) by Jay-Z

“Hey nobody dumpin' on hove/You ain’t in sanitation or sanitarium/What are you crazy Jay-Z’ll bury em/I'll get you drug out the club they have to carry em/Your head bug out I'll raid niggas scared of em/Worry I'm not Mike Jordan/Of the mic recording/Hovi’ baby you Kobe, maybe Tracy McGrady/Matter fact you Harold Miner, J.R. Rider/Washed up on marijuana/Even worse you a Purvis Ellis/You worthless fella/You ain't no athlete you Shawn Bradley/I ain’t talkin' to nobody in particular/My flow just vehicular homicide when I’m kitchen em/Yes, anybody in my path Is a car crash waiting to happen/Nigga what?/I got my foot on the throat of the pulse of this rap game and I ain’t letting up/Yea who’s the nicest life of lifeless mic devices?/And I don't write this I just mic this/I will it to happen/One take hove I’m real in this rapping/My new name is just the facts/While the rest of y'all just adjust the facts/Put words together, just to match/I say what I feel y’all adjust to that/I do the opposite of y’all so I just attract/The realer audience usually unjustly black/Know my flow and the shit they go just match/Like the sound of my voice and a choice just track/I just tackle the something the flack of the public/Nothing, I know real niggas happen to love it/If you don’t like it or look in the mirror/Most likely you ain’t living so you don’t get it/You ain’t did it so you can envision it/The picture I’m painting ain't vivid/The language I’m spitting is so foreign to ya/She was starving a dude to ya/Growin up hard in a little apartment allude to ya/I’m just talkin’ to ya/ I’m just talkin’ through ya”

-Jay-Z, "Pump It Up Freestyle"

Tupac Resurrection Soundtrack (Amaru, 2003) by 2Pac

This is really more of a compilation album than a soundtrack, a few songs don't even appear in the movie.  However, they're still great records that prove the staying power of Tupac's music ("Holler If Ya Hear Me," "Bury Me a G" to name a few).  "Runnin' [Dyin' to Live]" is the crown jewel of this album.  It's one of the best songs Eminem has ever produced (props to "Lose Yourself" as well).  Unfortunately, Loyal to  the Game which also paired Em's production with 2pac's beats wasn't quite as good in my opinion.

Beg for Mercy (G-Unit, 2003) by G-Unit

The fact that this album was released before a second major label set from 50 proves that he has great business savvy.  He knew to introduce the world to his crew before his shadow got too large for any of them to get out from under.  And the album is really good.  The formula is simple: tough talk over great beats and catchy hooks.  Some of the better cuts are actually the singles, the Mr. Porter-produced "Stunt 101" and the Joe-assisted  "Wanna Get To Know You".  Other highlights include "My Buddy" which puts a bad boy spin on the doll commercial and "I Smell Pussy."  At 19 tracks, the album runs a bit long.  However, it does give Banks, Buck and Yayo enough space to introduce themselves.  And Nashville's Young Buck brings it full circle on the Dr. Dre-produced "G'd Up" when he says, "But I'm gonna keep this glock on my waist 'til my dyin' days/It's nuttin' but a G thang, G-Unit and Dr. Dre."

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. 

Invasion Part II: Conspiracy Theory (n/a, 2003) by DJ Green Lantern

Of the three mixtapes in the series, the second one is my favorite.  Yes, "The Sauce" was good and "Nail in the Coffin" is one of the best diss records ever (both on the first Invasion), but as an emcee, Benzino never struck me as a worthy opponent for Eminem.  Therefore, it seemed obvious that Eminem would be victorious immediately when everything started.  Ja Rule, who was feuding with 50 at this time, however, had a bit more credibility and had sold millions.  I did think Ja was good on some records ("Holla Holla", "Can I Get A…", "Murdergram", and "Get the Fortune"), but when he began to compare himself to Tupac- he lost me.  And Shady Records took full advantage of that poor decision on Ja Rule's part, the "Hail Mary (Remix)" not only uses Ja's words against him but has three stellar verses from Eminem, 50 Cent, and Busta Rhymes.  As far as Green Lantern's blends, it has one of my favorites that I've ever heard from him, where he takes 50 and Lil Kim's vocals from "Magic Stick" and puts them over "Work It," "Fuck You," and "21 Questions" beats.  There are some skippable tracks on this project, but fewer than the other two and I think the tape concludes on a high note with a live recording of Em and 50 performing "Patiently Waiting" in Detroit, MI.

Cheers (Shady, 2003) by Obie Trice

I bought this album the the day that it was released.  It opened alongside Outkast's Speakerboxxx/The Love Below.  I bought that too, but I started with Cheers because I didn't have time at the moment for a double album.  I really liked "Rap Name" and "Love Me" from the 8 Mile soundtrack.  However, I didn't know if he had the endurance for a full album.  After one listen, I knew that he did.  Cheers has very little filler (the only two tracks that I skip over are "Spread Yo Shit" and "Got Some Teeth"), and lyrically I thought that it was even a bit better than 50's Get Rich or Die Tryin'.  I met Obie a few years ago in Detroit, and got a chance to tell him how great I thought Cheers was.  He was real humble about it, and it was a great experience for me, as a writer, to develop my style and approach to conducting interviews.

Get Rich or Die Tryin' (Shady/Aftermath, 2003) by 50 Cent

This album is a modern day classic.  It benefited from great timing and came out at a time when sing-songy rap (i.e. Ja Rule) was dominating the airwaves.  The drop of the coin for the introduction was a great set-up for "What Up Gangsta".  Not only does that track set the tone for the rest of the album, but it is a song with great energy that smoothly transfers to an amazing live performance.  And "Patiently Waiting" is the best song that 50 has ever done with Eminem.  Other highlights include "Heat" [gun-shot snares = genius] and "Many Men".  Then, last but not least, there is "In Da Club".  At first look, it appears to be a materialistic rhyme that's been heard too many times.  However, after one listen, it becomes clear that it is anything but that.  Dre's masterful production makes for one of the most memorable beats of his career.  And the "Go Shorty, it's your Birthday" ad-lib that 50 put in at the beginning made this a timeless song because everyday is somebody's birthday and they're always going to want to party.

The Black Album (Roc-A-Fella, 2003) by Jay-Z

Jay-Z is arguably one of the best emcees in the history of hip-hop.  However, since he returned from his "retirement" in 2006, he has never sounded quite as strong as he did on his "last album" from three years earlier.  Minus two tracks, this album is a masterpiece ("Justify My Thug" isn't bad, it just feels out of place and "Change Clothes" does sound a bit forced).  "99 Problems" is a classic (props to Ice-T as well) and "December 4th" is one of the best songs in Jay-Z's entire catalogue.  The versatile production is not only top notch, but it also illustrates Jay's wide range as an emcee.  The way this album coincided with his legendary sold-out Madison Square Garden show was astonishing.  Now, if only Jay-Z's "My 1st Song" would have been his last.