In God We Rust (Comedy Central, 2012) by Lewis Black

As usual, Lewis Black is angry and this is material is typical of his ranting and raving.  Although some of it isn't as "political" as he usually is, it is still funny.  Comedy about Farmville and Jersey Shore is not the type of stuff that Black usually discusses.  However, I think that helps because it surprises people who are accustom to Black's social commentary.  The only flaw with Lewis Black is that his comedy has been so consistent over the past decade that it forces stuff to be topical in order for him to have new material.  But I think that's a good problem to have since, on the other hand, it shows he has always found something to talk about and that people have always found him funny.

Bottoms Up (Ingrooves, 2012) by Obie Trice

"I don't suffer the whispers of these envious niggas/Mad cuz his nuts not in my Denim/Wanna be him so much the send slugs to kill him/And keep it on the hush not to become a victim/Vicious, niggas I rid them/I spit, piss on the statistics on that bullshit/I pull up muzzle yell, send the bezel berg back to here/I'mma thug, I'mma clap him till he fail and he fall/I'mma ball, I'm a beast, I'm the streets/I'm the reason you a broad, I'mma boss, I'm me/Obie bout that change, get rich fast/The Claude Van Damme of the game: Kick ass/Trapped until a nigg get out of 'Caine/And bounce back like whiplashes/And dump my cigar ashes on you asses/It's still Trice and Mathers all that matters/Call that other madness, past us/This is passion"

-Obie Trice, "Going Nowhere"

The Blue Album (N/A, 2012) by Jon Connor

This is a great mix tape, and Jon holds his own over beats from Hip-Hop's elite and originally rapped on by one of the greatest to ever do it.  One of my favorite tracks on this set is "Never Change" where he breaks down how someone from Def Jam flew to Flint, MI and listened to Jon's music in his basement.  Lyrically and flow-wise, Jon is absolutely incredible and I truly believe if he doesn't make it big, there is really something wrong with the current Hip-Hop industry.  And last but not least, DJ Green Lantern did his thing on this project as well and deserves props for it.

Trouble Man: Heavy is the Head (Grand Hustle, 2012) by T.I.

The 16-track album is good, but not quite as strong as Paper Trail.  Although it is a very well-rounded album.  It has a great intro song which samples Marvin Gaye's "Trouble Man" and then has material which covers various avenues.  "Trap Back Jumpin'" is reminiscent of Trap Muzik material.  "Guns and Roses" is a great record with Pink that has crossover appeal (but doesn't sell out) and "Hallelujah" has T.I. giving his take on religion.  However, the highlight of the project is Andre 3000's album-stealing verse on "I'm Sorry."

Jesus Piece (Interscope, 2012) by The Game

Game's fifth LP is his strongest in years.  It's a much more cohesive body of work than last year's R.E.D. Album.  The album is a bit too feature heavy, but fortunately Game is never really outshinned on his own project.  Production-wise, the LP is quite creative.  The D'Angelo sample on All That (Lady) is dope, as well as the Bone Thugs one on "Celebration."  Conceptually, the album as a whole is definitely a step up, but the songs by themselves aren't-but they're very close.  Very few rappers have remained relevant five albums deep like this, and so Game deserves a lot of credit.  The only thing Game needs now to bring everything full-circle is a real working reunion with Dr. Dre that goes beyond a few tracks and interludes.  But between this, Wiz's new project, and T.I.'s new album, set to drop next week, Hip-Hop should have a very happy holiday season.

Yay Game: The Best of E-40 (N/A, 2012) by Matthew Africa [mixer]

For an artist that has been around a quarter of a century, this is a good collection of tracks.  It covers solid solo tracks as well as collaborations.  It's the perfect music to put on in a car and just drive.  The best track, and personal favorite 40 track, is "Player's Ball" with Too Short and K-Ci.  Props to Matthew Africa for mixing a great array of material.

HITstory (N/A, 2012) by Hit-Boy

Considering how skilled Hit-Boy is as a producer, it was very impressive to hear him be able to rap with great ability as well.  He is first and foremost a producer, and he plays to those strengths by enlisting the help of other rappers such as Big Sean and Kid Cudi.  But Hit-Boy can definitely hold his own on the mic, my two favorite songs are ones he does by himself, "East Vs. West" and "Jay-Z Interview."

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.

Mr. Flattop (Good Music All Day, 2012) by Fyutch

Three years is a long time.  It's eons in hip-hop-a culture where everything is accelerated.  Therefore, it's a true testament to Fyutch that he has remained a mainstay on the Nashville hip-hop scene between his 2009 releases and now.  And after one listen to Mr. Flattop, it is clear he will be around a while longer.  But unlike many of his contemporaries, Fyutch's longevity has been and will be attributed to sheer skill.  And he wastes no time proving his talents again.  After an intro from Sir Lazenby, similar to J. Prince on some Rap-A-Lot releases, the title track finds Fyutch delivering great rhymes with a standout flow (But you don't get it, this is bigger than my bucks/ It's the same dang story for us all coming up/I struggle as a young'n, cliche and so redundant/ But that still don't change the fact that I grew up with no money).  The next track, "Identity Crisis," addresses the reason for his recent name change from Future to Fyutch with outstanding class.  The mix tape does get slightly repetitive with a few too many club bangers in a row, but scores points for the Spice Girls sample on "My Lover."  The project's next stand out is "Stacey Dash" which is an ode to a car.  But it also makes great use of double entendres.  "Set Me Free" ends everything on a serious note.  However, it is significant because it establishes Fyutch as a well-rounded emcee on this release.  Despite the minor misstep in sequencing, Mr. Flattop is a great mix tape  that showcases a skilled writer and rapper on the verge of stardom.

Download it for free here: http://www.mediafire.com/?y9gcmo6c932mupl  

The People's Rapper LP (All Varsity Music, 2012) by Jon Connor

I heard this mix tape for the first time a few months ago and was very impressed.  Jon Connor's rhymes do the beats justice, and that is no easy feat considering who spit to them on the first go-round. "Don't be a target, or a dead artist/Cause in Flint, blood on the floor is the closest we'll ever get to a red carpet," he raps on the "Cold Wind Blows (Intro)" and Connor's version of "Lose Yourself" is just as inspiring and motivating as Eminem's original.  There are a few missteps here, such as "40 Oz" and "You Don't Know"- two posse cuts that feel interchangeable.  However, weak moments on this mix tape don't occur very often at all.  On "When I'm Gone," Connor says, "I spit my life in every line I hope I'm there for somebody/So I'm a spit this shit until there ain't no air in my body."  I hope so.  Because based on this material, Jon Connor shows that he has the potential to be one of the all-time greats.

Mr. Universe (Comedy Central, 2012) by Jim Gaffigan

Jim Gaffigan's eighth album is very funny, but not as good as his previous two releases.  But don't get me wrong, I think his routines about Disney, hotel pools and working out are great.  Gaffigan's humor about food is still there too, "McDonald's" is especially good, but "Subway" seems to lose some steam and "Domino's Pizza" focuses on a particular dish the same way that Patton Oswalt did with KFC years earlier.  And where his previous sets ended on a high note, this one seemed to gradually conclude.  This is still a good album, and Jim Gaffigan is still a great comedian.  However, this will probably not be remembered as his magnum opus.

Reset (New Wave, 2012) by D.L. Hughley

Hughley's second album finds him again in top form.  His logic is very reasonable and easy to follow when arguing his perspective.  However, he doesn't hesitate to ask questions either.  And a lot of ground is covered too: the employment crisis, race, Tiger Woods, President Obama and Arnold Schwarzenegger's affair.  Things like- when I go into a Wal-Mart, I can't buy an unedited Jay-Z CD because he raps about guns, and yet I can buy an actual gun.  Just like Notes From the GED Section, Hughley masterfully combines social/political commentary with stories from his family life with bits about kids and marriage.  The set ends on a very touching and funny bit about his son.  Overall, Reset is amazing and, without a doubt, the funniest album of the year so far.

Life is Good (Def Jam, 2012) by Nas

It's been four years since Nas' last solo effort, but it's clear the wait was worth it after just one listen to Life is Good.  Whereas Nas' two previous solo albums addressed heavy cultural and social themes (Hip Hop is Dead and Untitled respectively), this time Nas gets personal with the poetic brilliance and insight that first captured listeners' ears over 20 years ago.  On the epic opener, "No Introduction", he rhymes, “Hood forever, I just act like I’m civilized/Really what’s in my mind is organizing a billion Black muthafuckas/To take over JP and Morgan Goldman and Sachs/And teach the world facts and give Saudi they oil back."  And "Locomotion" is Illmatic material for this generation.  However, this album is not all about reaffirming past achievements.  On "Daughters", Nas discusses being a single father to a teenage daughter and "Bye Baby" addresses the issue of his split with R&B singer Kelis.  Clearly, there is a strength in Mr. Jones' vulnerability and that is such a refreshing thing to hear in the current rap climate, especially from someone as gifted as Nas.  The Mary J. Blige-assisted "Reach Out" has the Queen of hip hop soul singing over flawless scratching and "Accident Murderers" finds Rick Ross, the album's only guest MC, dropping a surprisingly solid verse.  The album's only misstep is the Swizz Beatz produced "Summer on Smash"- Nas' clear attempt at radio spins, but it sounds forced and it's unnecessary.  With his legendary status in hip hop, radio is not required to draw an audience for Nas.  He can do that himself.  He has proven with Life is Good, like he has many times before, that real personal hip hop is powerful stuff and can connect with people in extraordinary ways (and the excellent production courtesy of No I.D., Salaam Remi, among others, doesn't hurt either).  And this just happens to be one of the best examples of that that hip hop and Nas have offered up in a very long time.

Dangerously Delicious (Comedy Central, 2012) by Aziz Ansari

Although I felt his debut was a bit stronger, Aziz Ansari's latest offering, Dangerously Delicious, does not disappoint.  He sounds more confident on this album which is great, but so much so at times that he comes across cocky.  However, those moments are few and far between.  For me, the best bit on the album is where he brings the audience up to speed on his cousin Harris and talks about his college essay.  Ansari also tells a funny anecdote about 50 Cent and a grapefruit soda.  His comedic timing and delivery are excellent, and that makes his subject transitions very easy.  Aziz continues to prove himself a gifted performer on television, the big screen, and on record.  Overall, Dangerously Delicious serves as another great addition to the body of work of one of the most promising comics to emerge on the scene in recent years.

The Lost Tape (n/a, 2012) by 50 Cent

Clearly, 50 has a lot of pressure on him musically to succeed with his new LP later this summer and I think that this tape is a great way to bring him back to the masses and set him up for a successful release.  "Get Busy" and "Murder One" do an excellent job of bringing back the gritty street sound that made the industry fear him over a decade ago, while "I Ain't Gonna Lie" and "Complicated" infuse that gangsta pop approach by putting aggressive/explicit talk over infectious and melodic beats.  50 also stays current by doing a solid remix of 2 Chainz' "Riot" Perhaps, the only fault to this tape is that switching back and forth between so much different (but quality) material make the tape seem a little inconsistent as a whole.  But having so much versatility is the best problem an artist can have.  At the beginning of the aforementioned "Murder One" the G-Unit General says, "Don't you ever forget it n***a, I'm the reason you make a mix-tape sucka!"  Damn straight!  50 doing a mix-tape with DJ Drama is already epic, but the quality of the release is a pleasant reminder as to why those two are two of the best to ever make them.