Muddy Waters (Def Jam, 1996) by Redman

Redman's third album is one of his greatest.  Dare Iz a Darkside was good, but as the title suggests, it was quite dark.  This album was a great return to the funkiness that made his debut a classic.  I also thought the video for "Whateva Man" was really cool with Meth; it was a great salute to The Blues Brothers movie.

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"

Untitled (Def Jam, 2008) by Nas

As controversial as this album was at the time of its release, it has held up over the years.  There are so many great cuts here: "Hero," America," Sly Fox" Y'all My N****s," "We're Not Alone," and "Black President."  I remember when President Obama was elected in 2008 and driving to work at school early in the morning and blasting "Black President" all the way.  Regardless of the alleged ghostwriting claims that have emerged recently, it doesn't change my opinion that Nas is one of the best lyricists ever.  Over twenty years in Hip-Hop, and Mr. Jones is still going strong.  Much respect due.

Doc's Da Name 2000 (Def Jam, 1998) by Redman

Redman's fourth album brought him to the mainstream as part of Def Jam's big end of the century push with Method Man, Jay-Z, and DMX.  Although not as solid as his first and third albums, Doc's Da Name does deliver some great material.  "I'll Bee Dat!" is a great single, with outstanding production by Rockwilder, and Busta Rhymes and Redman deliver a solid collaboration with "Da Goodness."  My favorite cut on the project though is Redman's cover of Ice Cube's "Once Upon a Time in the Projects" called "Jersey Yo."

Because of You (Def Jam, 2007) by Ne-Yo

This album, Ne-Yo's second, has an incredible amount of sentimental value to me.  One of the singles, "Go On Girl," was the first single review that I wrote that I saw in print in the pages of Billboard.  I remember the first time that I heard the song and picked it to review, it was the day after I told a girl how I had romantic feelings for her and she didn't feel the same way.  It was a very fitting record, and a catharsis to write the review of it.  There was a lot of filler on this album, but the lead single (and title track) was excellent and the dancing that Ne-Yo did in the video was reminiscent of a young Michael Jackson.  In a music industry that seems to have changed faster than ever before in the past ten years, it still doesn't surprise me that Ne-Yo has lasted as long as he has.  And I'll bet he'll be around for a long time from now as well.

Release Therapy (Def Jam, 2006) by Ludacris

The fifth major label release from Ludacris finds him getting a bit more serious than his previous efforts.  He still puts forth humorous punchlines and raps about pretty girls ("Money Maker" and "Girls Gone Wild"), but they seem very out of place alongside his more serious content.  "Runaway Love" with Mary J. Blige has three verses all telling fictitious stories of three girls who ran away to escape problems that they faced at home.  "Do Your Time", which features numerous rappers, is about serving time in prison.  And "Grew Up a Screw Up" finds Luda and Jeezy exploring the tough personal circumstances that they each had to overcome.  Ludacris proved that he could be just as effective when he's serious as when he's funny.  However, he didn't quite figure out how to balance it properly on this go-round.

The Emancipation of Mimi (Def Jam, 2005) by Mariah Carey

This is arguably the greatest comeback in modern pop music.  After a few years of less than stellar material and a public meltdown, Mariah came back and reclaimed her spot as the greatest voice in pop music since Whitney Houston.  The great thing about this album too is that it balances her hip hop and pop sensibilities to make for a very well-rounded release.  Nothing against the project's singles, but the album's highlight, in my opinion, is "Stay the Night."  It has a Motown-esque feel production-wise (it was produced by Kanye West) and Mariah's vocal abilities steal the show-like they often do.

It Takes a Nation of Millions to Hold Us Back (Def Jam, 1988) by Public Enemy

There's nothing I can say about this album that hasn't already been said.  It's political hip hop at its finest.  Chuck D is one of the best emcees ever and Flavor Flav is the greatest hype man of all-time.  The Bomb Squad crafted flawless soundscapes that were a perfect fit for the confrontational nature of the lyrics.  This album changed hip hop forever and is widely recognized as one of the most important albums in music history .  On any top ten list (albums, productions, lyrics, influence, etc.), someone would really only have to think of nine because this album is a shoe in.

The Best of Both Worlds (Roc-A-Fella/Def Jam/Jive, 2002) by Jay-Z & R.Kelly

This album certainly didn't live up to the hype.  The controversy surrounding R. Kelly at the time didn't help either.  The album still has its strong points though- Jay-Z delivers solid raps and The R brings catchy hooks.  The production suited both of these guys' strengths well too.  The problem is that the songs are very cookie cutter and generic both musically and lyrically.  And for two artists who forever changed their respective genres with their innovative styles and amazing talents, a lot more was expected from this project.  Some of this was redeemed though at Jay-Z's Madison Square Garden show when the two of them came out and performed the title track and "Take You Home With Me" while all of NY sang along.

Licensed to Ill (Def Jam, 1986) by Beastie Boys

"Now I chill real ill when I start to chill/When I fill my pockets with a knot of dollar bills/Sipping pints of ale out the window sill/When I get my fill I'm chilly chill/Now I just got home because I'm out on bail/What's the time? it's time to buy ale/Peter eater parking meter all of the time/If I run out of ale it's Thunderbird wine/Miller drinking chicken eating dress so fly/I got friends in high places that are keeping me high/Down with Mike D. and it ain't no hassle/Got the ladies of the eighties from here to White Castle"

                                                                                     -Beastie Boys, "Hold It Now, Hit It"

Dare Iz a Darkside (Def Jam, 1994) by Redman

The darker vibe of this album doesn't detract from it as much as some argue.  I think this album is actually very good.  Redman's sense of humor is still there.  Sermon's beats are different, but Redman is talented enough where The Green-Eyed Bandit can experiment.  The album's first single, "Rockafella," is great.  Unfortunately though, given the Leon Haywood sample on the record (the same one used in the iconic "Nuthin' But a G Thang two years earlier), it was seemingly overlooked.  It would be fair to say that this album was a minor misstep in Redman's career.  But he came back stronger than ever with Muddy Waters in '96 and that would help propel him to become one of biggest rap stars in the late 90s.

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.

…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! 

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.

Mama Said Knock You Out (Def Jam, 1990) by LL Cool J

"Bring on the mo's, and hoes/Don't snooze or doze, cause I'm rippin' up shows/Hold your nose, dead bodies are around/I leave scratch marks under the tears of a clown/I write rhymes that shine like lipstick/So much material, but not materialistic/Imperial styles I use, when the mic is lifted the crowd is amused/Come with it, if you feel you're full-fledged/Or yell "Geronimo!" and jump off the edge/Your e-n-d is near when I appear/The stage is yours, but wait until the smoke clears/Rhyme sayer, and I'm here to lay a load/So watch a player when he's playin' in player mode/Uncle L's bad, and you're soon to say/Cause I rip the mic until the tune decay"

-LL Cool J, "Eat 'Em Up, L Chill"

It's Dark and Hell is Hot (Def Jam, 1998) by DMX

This album officially ended Puff Daddy's reign as the king of hip-pop.  X brought back the hardcore attitude that had been absent in rap since the deaths of Tupac and Biggie.  "Get at Me Dog" was a gritty video, which, if I'm not mistaken, has never aired on MTV in its entirety.  "Ruff Ryders Anthem" got the attention of the mainstream, "X is Coming" offended people, and "Stop Bein' Greedy" had me barking like a dog (So when you hear the arf arf, start runnin'/Cause when you hear the arf arf, I'm comin').  It's Dark and Hell is Hot may have come from the bottom, but it took DMX, Ruff Ryders, and Def Jam straight to the top.  There was no excuse for this album not being nominated at The Grammys for Rap Album of the Year.

Hip Hop is Dead (Def Jam, 2006) by Nas

This is Nas' fourth classic album (following Illmatic, It Was Written, and Stillmatic).  The title makes a bold statement, but what I like about the content is that it doesn't attack current music as much as it recognizes and pays homage to what came before ("Carry on Tradition" and "Where Are They Now").  The collaboration with Jay-Z is solid [but I wish they both spit more than 1 verse].  The sample of music from The Godfather Pt. II for the beat to that song made it epic which is of course very fitting.  Other highlights on the album include "Let There Be Light," Blunt Ashes," and "Hustlers."  The final part of the album's final cut, "Hope," is Nas rhyming accappella.  It is very powerful how Nas brought hip hop back to the essence with that.  Hip Hop is Dead reaffirms that Nas is one of the most brilliant minds music has ever seen.  And his skills on the mic prove that hip hop is something worth saving.

Fear of a Black Planet (Def Jam, 1990) by Public Enemy

"As I walk the streets of Hollywood Boulevard/Thinkin' how hard it was to those that starred/ In the movies portrayin' the roles, of butlers and maids, slaves and hoes/Many intelligent Black men seemed, to look uncivilized when on the screen/Like a guess, I figure you to play some jigaboo/On the plantation, what else can a nigger do?/And Black women in this profession/As for playin' a lawyer, out of the question/For what they play, Aunt Jemima is the perfect term/Even if now she got a perm/So let's make our own movies like Spike Lee, cause the roles being offered don't strike me/There's nothing that the Black man could use to earn/Burn Hollywood burn"

-Big Daddy Kane, "Burn Hollywood Burn"

Whut? Thee Album (Def Jam, 1992) by Redman

Along with Scarface, I think Redman is another rapper that is not given the proper shine for the trail he blazed.  The personality and energy that Reggie has on display on this album has never been matched.  I never heard anything like "Time 4 Sum Aksion" before and that record still is one of the best hip-hop singles ever.  He was the first rapper that made hardcore rap funny.  Ludacris and Eminem both created their own respective lanes, but there's no denying the influence that Redman had on both of their styles.  Eric Sermon's production is superb on Whut?  as well.  And last, but not least, even with Red's outgoing personality- he doesn't compromise lyrical quality.  In summary, this album is incredible.  A certified hip-hop classic. 

Theater of the Mind (Def Jam, 2008) by Ludacris

Ludacris is a hip-hop superstar, but I feel like he is still underrated as an emcee.  His punchlines are crazy and he can destroy any beat that he rhymes over.  Mr. Birdges took note of this and crafted a theatrical piece for his 6th album.  I think it is some of the best work that he has released to date.  The song with Floyd Mayweather [Grand Rapids stand up!] ("Undisputed") is my favorite and the fact that he did a song with Jay-Z and Nas together is legendary.  Luda also made history by being the first southern rapper on a Premo beat [wherein he got a beat from Premier for his own album, Scarface appeared on Gangstarr's  "Betrayal" in '98].  And, in my opinion, he outshines Lil Wayne on "Last of a Dying Breed" with one of the best lyrical displays and impassioned deliveries that I've ever heard from him.