Hot and Fluffy (Levity, 2007) by Gabriel Iglesias

Iglesias is a very funny comic.  His voices are hysterical and he is a fairly clean performer.  The passion for humor and appreciation he has for his fans is very admirable.  The only thing with this album, as with many stand-up comedy albums, is that some of the jokes are sight gags and obviously that's missed with just the audio recording. 

The Carnegie Hall Performance (Comedy Central, 2006) by Lewis Black

This is not only my favorite Lewis Black album, but one of the few double disc albums that I can play from beginning to end.  A lot of the material ended up in his book Nothing's Sacred (which is a great read), but obviously it is interpreted differently when the material is actually heard by its creator.  In my opinion, this album is one of the funniest LPs from the 00s.  It's a smart and well-sequenced piece of commentary on the times.

Take a Joke America (Warner Bros., 2000) by Carlos Mencia

The thing I like about Mencia's comedy is that he is an equal-opportunity offender.  He jokes about everything and that is very refreshing in the politically-correct climate that we so often find ourselves in today.  Although this album is not as strong as New Territory, it is a very solid collection of material that would ultimately resemble the type of content that Mencia would put on his Comedy Central show a few years later.

Here's Your Sign (Warner Bros., 1996) by Bill Engvall

Although this album may be memorable for its famous catchphrase, the rest of the material is a bit below what Engvall would eventually deliver the future.  The promise of a funny storyteller is there, but he hasn't quite hit his mark yet.  Because of this, the album seems a bit long.  It's a good release, but not a great one.  Fortunately, Engvall's overall albums improved over time.

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.

15 Degrees Off Cool (Warner Bros., 2007) by Bill Engvall

This album is typical Engvall storytelling.  It lack's his catch phrase, but that's okay.  Like Foxworthy, he's an everyman comic and that is very enjoyable.  My favorite bit on here is when he talks about meeting George Strait.  Additionally, the fact that the album was recorded in front of a "home-court" audience in Texas makes the album fun too because the energy from the crowd translates well to the recording.

Shakespeare (Comedy Central, 2010) by Anthony Jeselnik

This album contains Jeselnik's brand of really dark and edgy humor.  But with that being said, it is really funny.  The jokes are recited in a fairly monotone delivery and his comedic timing is flawless.  Highlights of the album are when he compares Buddah to Jesus and when he talks about his standards and practices discussion over an "offensive" joke with a network television employee.  I really enjoy this album, and will probably purchase his recently released sophomore album in the near future.

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.

Midlife Vices (Comedy Central, 2009) by Greg Giraldo

Giraldo is a comic who was taken away too soon.  And Midlife Vices is proof of that aforementioned statement.  He humorously tackles social issues while making very logical points all along the way.  Topics include gay marriage, immigration, childhood obesity, and stem cell research.  My favorite joke on the album is when he talks about marriage/relationships.  He says, "You can't discriminate someone for being who they are.  I don't choose to be attracted to women.  I just happen to be attracted to women and it sucks because every 10 years or so, I have to give half my shit away and start from scratch."  R.I.P. Mr. Giraldo- one of the greatest stand-up comics to ever step up to a mic.

Norman Rockwell is Bleeding (Comedy Central, 2008) by Christopher Titus

This is a very personal album, and Titus' storytelling abilities are absolutely fantastic.  It's a stand-up album delivered by way of anecdotes more so than just straight-forward jokes.  I very much admire Titus' honesty in his delivery.  In my opinion, he is one of the most open comics ever.  Clearly, he has turned his struggles into something with great artistic value and that is something to be greatly admired.  Norman Rockwell is Bleeding is a masterpiece and it  comes across as a comedic catharsis for its creator.

Good Day to Cross a River (Comedy Central, 2006) by Greg Giraldo

This is one of my favorite albums ever.  Giraldo certainly battled with his own demons, but he has no reservations about making observations in regard to American society and culture.  Giraldo's passing was certainly tragic, and his skillful comedic abilities will be missed.  He was a Harvard law student, which should come as no surprise, considering how smart his material is.

It's Bad For Ya (Eardrum, 2008) by George Carlin

Carlin's last album was a good one.  He had the cynic with a bleeding heart type of approach to humor- which is my favorite coming from him.  With him being 70, he tackles things like aging and death.  However, the strongest material comes at the end of the album when he discusses religion and patriotism.  It's funny and smart; George Carlin's forte.

Totally Committed (Warner Bros., 1998) by Jeff Foxworthy

Foxworthy's material is pretty typical here.  There aren't really any surprises as far as content, but it is what Jeff does best.  My favorite routines here is about security in "Protect Our Stuff" and "You Can't Give Rednecks Money" where frivolous spending is discussed.  The album also ends on a high note with some of the best "You Might Be a Redneck" jokes of Foxworthy's career (If you thought the Unibomber was a wrestler; If you think fast food is hitting a deer at 65 miles an hour).

My Secret Public Journal Live (Comedy Central, 2007) by Mike Birbiglia

This is a really funny album.  Birbiglia is just as much a story teller as he is a comedian.  Wether discussing a celebrity golf tournament where he was surprised to be the celebrity or his parents accidentally downloading pornography, Mike doesn't miss a beat.  His delivery is very unique and he presents himself as an oddball in a very good way.  To some degree, this album is a bit self-indulgent.  However, its okay because that doesn't happen too often and it doesn't overshadow his talents as a writer, performer, and comedian.

Laugh at my Pain (Codeblack, 2011) by Kevin Hart

Kevin Hart is my new favorite comedian.  He has an unbelievable knack for telling detailed stories about his own life instead of relying on more common topics like sex, race, and politics.  Like the title suggests, Kevin takes pain from his own experiences-most noticeably his father's drug addiction, and turns them into funny anecdotes while injecting his very laid-back, humble, and friendly personality into near flawless comedic timing and delivery.  The only thing with audio recordings of his stand-up is that some of his humor is sight-driven, and obviously that is missing on an album as opposed to a DVD or Blu-Ray.

Girth of a Nation (Warner Bros., 2006) by Ralphie May

This is my favorite set by Ralphie May.  He walks a fine line with his racial humor, but he is able to pull it off successfully (in my opinion).  The two best routines are about the pope's death and catholicism and commentary provided by movie-goers during a preview for the film Open Water.  The album gets a bit long-winded near the end, but that's only a minor complaint.  Overall, this is a great early album from one of the funniest working comics out right now.  Much respect due.

A Place for My Stuff (Atlantic, 1981) by George Carlin

On this 1981 album, there's a lot of Carlin doing what Carlin does best: best smart, articulate, and (most important of all) funny observations about everyday life.  One of the things that makes this album different from his other ones though is that there are skits and studio recorded things here too; it's not all live.  The skits are good and parody things in American culture, most notably radio and commercials.

Greatest Comedy Hits (Columbia, 1997) by Eddie Murphy

This is a good collection of stand-up material.  However, if a listener has Eddie Murphy and Comedian, there is really no need for this album.  The additions to it are just bits of recordings from his films.  The one thing I can't figure out though is why his legendary routine about Bill Cosby never made it to record.  Even though there is certainly still a sight element to it, it is also funny in audio too.

A Wild and Crazy Guy (Warner Bros., 1978) by Steve Martin

Steve Martin is a smart guy and this album is a perfect representation of a smart guy doing goofy comedy.  From the "King Tut" song to him discussing what he studied in college.  "Cat Handcuffs" also a great inclusion of for SNL fans.  This is a classic comedy album, and I personally would pick this over The Jerk anyday.

Shhh...Don't Tell (Warner Bros., 2004) by Adam Sandler

I'm a big Adam Sandler fan, but I personally did not care for this album.  To me, it felt like he was trying to recapture the blue, off-color humor of his debut from over a decade earlier.  However, given where Sandler was in his career at that time of this album, he had seemingly outgrown solely shock value, cursing, and bathroom humor.  And that's pretty much all this album is .  Props to all the big names who makes appearances though and "Stan the Man" is a great tribute to Adam's father.  However, those high points can't save this release overall from being a bit of a let-down.