Classic Album Review: Raekwon, "Only Built 4 Cuban Linx..."

In 1993 when the Wu-Tang Clan released their debut album "Enter the Wu-Tang (36 Chambers)," the group emphatically put the New York scene back on the map in a big way, and helped to shepherd in East Coast Renaissance of hip-hop. The album enabled members of the group to put out solo albums, many of which were good, such as "Tical" from Method Man and "Iromman" from Ghostface Killah.

While releases from Ol Dirty Bastard and RZA were successful as well, the most influential and arguably most important album released from the group came from the one and only Raekwon.

His debut album "Only Built 4 Cuban Linx..." was released in 1995 to great critical acclaim and is considered one of the most creative and inventive hip-hop albums out there. The album is structured in a cinematic style and features Wu-Tang members Ghostface Killah as the "guest-star," and producer RZA as the "director." Ghostface appears on numerous tracks throughout while RZA produced the entire album.

"Only Built 4 Cuban Linx..." plays out in a beautifully cinematic way and details the types of things Raekwon and Ghostface Killah experienced in their lives in Staten Island, including tracks revolving around hustling, cocaine dealing, street life, and the Mafioso lifestyle. Another aspect of the album that elevates it above the rest is how Raekwon and Ghostface seamlessly incorporate Italian Mafia influences, nicknames and distinctive slang throughout the connected tracks on the album.

From top to bottom the lineup of tracks is fantastic, with highlights including "Criminology" and "Ice Cream," "Rainy Dayz" and the utterly distinctive "Wu-Gambinos,"

"Criminology" was the second single released of the album, but in my opinion was one of the best. Like many of the tracks, it features a sample from a film, this one being the '80s crime classic "Scarface." The dialogue fits in perfectly on the track, which features two illustrative and fierce verses from Raekwon and Ghostface and one of the smoothest beats on the album.



The second half of the track is strong as Raekwon spits: "But anyway, let's toast, champagne thoughts with Ghost/I max the most shotguns through the nose/Phonograph hip-hop put me on top/'Lo wears, and Tommy Hil fly shit with a knot /The witty unpredictable live shit, drive by shit/Do or die shit, I'll take your lie and shit /And then you know, I'm runnin through the penal, foul/Four-toothed child was wild/The old lady snitched, but fuck it, you know it, one love kid/No I'm not doin a bid."

"Rainy Dayz" is one of the more laid back tracks on the album, but what it lacks in explosiveness it makes up for in quality. RZA's production is at its sharpest on the track, with the beat having a haunting, creepy repetitive sound to it. Ghostface has some of his best lines on this track, but its Raekwon who steals the spotlight on the track.



The second verse is one if his best as he spits over the memorable beat: "What brings rain hail snow and earthquakes/The beat breaks, cause all my niggaz to break son / Styles is similar to criminals locked up/With gats, ghetto tabernacles is fucked up/I live once though, the mind stays infinite/Travel in the church, nine planets, in my midst/While I carry, to earn a decent salary/Soon get married, raise a family, but the plan'll be/real great, to sit up in the loft, count stacks and max/And real cats cold watch my back."

"Wu-Gambinos" is easily my favorite track on the album and is one of the most creative and original of the bunch. The track features numerous samples of dialogue from the John Woo film "The Killer" and features verses from Ghostface Killah, Masta Killa, RZA and Method Man. The track prominently features the various nicknames and "la cosa nostra" Mafia influences mentioned earlier.



Raekwon's verse on the track is another example of the rapper's skills as a lyricist, showing of how illustrative he can be, as he raps: " This goes for niggaz who know/Wu will grow like llello, ley no/Plus coolin in Barbados/Ricaans be givin me much shit, the dutch shit/Stay cool papi, seize it with enough shit/Back at the lab a, crack's bagged up/Yo niggaz act up, what blow up the workers if they hafta/Senoritas, fuckin up a storm buyin guards margaritas/Suckin his dick, up in the whip long."

"Only Built 4 Cuban Linx..." is an album which warrants numerous listens, allowing yout to fully soak in all the lyrical details, slang and intricacies that make it so inventive. Raekwon and crew form a sort of "Mafioso" family of their own, and RZA's production is second-to-none and helps create a completely connected atmosphere throughout the tracks on the album.

The lyrics are realistic and complex, the first person narratives detailed and ambitious. No matter what way you look at it, Raekwon's "Only Built 4 Cuban Linx..." is one of hip-hops all time best and most definitely a classic.

Classic Album Review: Scarface, "The Diary"

Houston-born rapper Scarface gained notoriety early in his career as a member of the Geto Boys, along with artists Willie D and Bushwick Bill. The group was known for their explicit lyrics, many of which included misogyny, gore, psychotic experiences, and necrophilia among other controversial topics.

The group was fairly successful, even with the fact that several American politicians were attacking gangsta rap at the time, along with artists like Ice-T and the N.W.A. Through the controversy, the group continued to put out music, and even broke some new ground with their soulful southern sound.

As time went on all the members of the group started working on solo careers. While the group didn't break-up exactly, once Scarface started working on his solo material, it was clear he was meant for some bigger things than just the Geto Boys.

Scarface released two albums, "Mr. Scarface is Back" and "The World Is Yours," to strong sales, but his sophomore album didn't gain as much recognition with critics. This set the stage for his third album, and arguably his best, titled "The Diary."

Released in October of 1994, Scarface sheds away the excess of his previous album by keeping "The Diary" much shorter than the 70-minute long "The World Is Yours," which had some solid tracks (like "Now I Feel Ya") but was cluttered with mediocre work. Clocking in at a succinct 43-minutes, the album has no filler and is filled with strong tracks, especially "I Seen a Man Die," "Hand of the Dead Body," "Jesse James," "Mind Playin' Tricks '94" and "No Tears."

"Hand of the Dead Body" was the first track released from the album and features a verse from gangsta rap veteran Ice Cube as well as Devin the Dude. Scarface outshines both artists by spitting some of his best lines on this track, which centers on the government and media critics who attacked gangsta rap for its violent imagery.



Scarface brings it hard on this track as he raps: "Shot in the face by a cop, close casket / An open and shut situation/Cop gets got, the wanna blame it on my occupation/If you don't dig me, than nigga you can sue me/Because the shit that I be sayin ain't worse than no western money/Don't blame me blame your man Gotti/So you can feel the hand of the dead body."

"I Seen a Man Die" is one of the more thoughtful tracks on the album, but it's also one of the best. Scarface shows off his versatile skills as an artist by switching things up here, using a more existential and somber tone. The song is a tale of a young kid released from prison after numerous years looking for a better life only to get caught up on the crime side once again. The track goes over how he's robbed by his enemies only to die in the hospital while feeling regrets.



The track is one of the deepest on the album and you can hear how close the subject matter is to Scarface as he spits: "Imagine life at it's full peak/Then imagine lying dead in the arms of your enemy/Imagine peace on this earth when there's no grief/Imagine grief on this earth when there's no peace/Cuz everybody's got a different way of endin' it/And when your number comes for service then they send it in/Now your time has arrived for the final touch/I see the fear in your eyes and hear your final breath/How much longer will it be til it's all done?/Total darkness and ease be in all one."

Minus the interludes, there are only ten songs on this album (which is a good thing) and the understated production is fantastic with most of the production coming from N.O. Joe and Mike Dean and some from Scarface as well. "Jesse James" is one of my favorite tracks on the album, with Scarface making some connections himself to one of history's most notorious criminals. The slow beat is also intoxicating and just oozes the aura of street living.

"The Diary" is some of Scarface's best work and the album is one of the few to receive a perfect rating from both The Source Magazine and XXL, which is a pretty impressive feat in itself.

The album may be short, but what it lacks in quantity it surely makes up for in quality. It's hard to find one that's worth skipping while listening to it straight through, and that's something that is usually the exception not that standard for most rappers.

Classic Album Review: Common, "Be"

As it is with many different types of people in all fields of life, sometimes an artist's biggest disappointment can lead to their biggest success.

Way back in the year 2000, Common released his fourth album "Like Water for Chocolate" and received great reviews as well as solid sales results. The recognition from the album elevated Common to a point where he was on the cusp of mainstream success and stardom. So two years later when he was set to release his next album, anticipation and expectations were very high.

In 2002 Common dropped the hotly anticipated "Electric Circus", but that mainstream success was put on a screeching hold when the album proved to be disastrous commercially. Critics praised the album, and I don't think anyone questioned how skilled Common was as a musician and rapper, but clearly something didn't work out quite right, and the album was considered a big disappointment.

Hoping to have a better outcome for his new album, Common made one of the best moves of his career when he decided to team up with fellow Chicagoan Kanye West to produce his next album. In 2005 Common released "Be" under Kanye's own label, 'GOOD Music' to stellar reviews and excellent commercial sales. The album sold over twice as many as "Electric Circus" and catapulted Common into the mainstream.

Released in May 2005, "Be" is solid and concise from top to bottom. Although there are only 11 tracks, the tight song list doesn't have a single 'skippable' track in the bunch. You literally listen to the album straight through without ever having to touch a dial. Clearly Common was inspired to make a great album, and he emphatically succeeded, crafting some truly fantastic tracks. While I feel the whole set list is excellent, "Go!", "Testify", "They Say", "The Corner", and "The Food" stand out above the rest.

"Go!", which featured John Mayer, was the most commercially successful track on the album and one of the best. Although Common at first was unsure if he wanted to bring on a non-hip-hop artist onto the track, it proved to be an extremely good move, with Mayer providing a perfect compliment to the rapper. On top of that, Kanye West's production is top notch, creating one of the catchiest beats on the entire album.



Common really has a great way with words, as proved on this verse as he raps with supreme confidence: "Freaky like the daughter of a pastor, said I was bait for her to master/Little red corvette now she was faster, wet dreams Le'maire cream the bathroom/We made love and then laughter, and anyway I wanted I could have her/Said there were some girls that did attract her, a new chapter she was after so I said let's/To a place that you wanna be, uh get what you want from her and me uh/Free love I wanna see uh, hot sex in the third degree uh/You gettin' served while servin' me uh, dirty words encourage me to/Rock steady and sturdily on, you turnin' me no turnin' back the further we."

"The Corner" is one of my favorite tracks on the album, and it very well may be one of the best. The track features Kanye West and The Last Poets and was nominated as Best Rap Performance by a Duo or Group at the Grammy's that year. Detailing what life is like on the street corners of tough neighborhoods, Common sounds his most inspired, rapping seamlessly over another solid beat produced by Kanye.



Common paints a fully illustrative portrait of life on the street as he raps: " Streetlights & deepnights cats trying to eat right/Riding no seat bikes with work to feed hypes/So they can keep sweet Nikes they head & they feet right/Desires of streetlife cars & weed types / It's hard to breath nights days are thief like/The beast roam the streets the police is Greeklike/Game at it's peak we speak & believe hype/Bang in the streets hats cocked left or deep right."

One of the most fitting parts of the track is the spoken word segment by The Last Poets to close out the track, perfectly placing the idea of the 'corner' in cultural and historical context: "The corner was our Rock of Gibraltar, our Stonehenge/Our Taj Mahal, our monument/Our testimonial to freedom, to peace and to love/Down on the corner..."

"Testify" is one of the most creative an interesting tracks on the album and it also was nominated for a Grammy, this time for Best Rap Solo Performance. The track details a story about a woman who manipulates a judge and jury to find her partner guilty of a crime she committed. Common has always had the skill of telling a story through his rhymes, and this track might be the perfect example of that.



His slick rapping and passionate tone coupled with another quality produced beat by Kanye make you completely visualize the story as it's unfolding. Common builds up the story on top of the beat as each verse goes on leading to a thrilling conclusion/last verse, which is one of his best on the whole album: "The court awaited as the foreman got the verdict from the bailiff/Emotional outbursts tears and smeared makeup/He stated, he was guilty on all charges/She's shaking like she took it the hardest/A spin artist, she brought her face up laughing/That's when the prosecutor realized what happened/All that speaking her mind testifying and crying/When this bitch did the crime- the queenpin..."

While I don't think "Be" rewrote the rulebook, or was all that groundbreaking in any particular way, it's hard to argue with its quality as an overall album. Common raps as good as he has throughout his entire career, and the production from Kanye West (with a little help from J Dilla) provided the foundation for an all around solid album with some jazz and soul sounding beats.

In my opinion "Be" is Common's best work. The album is a tightly condensed yet utterly enjoyable collection of tracks that holds up many years down the line. Although not revolutionary or a game changer, the album was easily one of the best of the decade, and is surely a classic.

Classic Album Review: Big Pun, "Capital Punishment"

Like most artists, filmmakers, MC's, writers, authors and other creative talents, rapper Big Pun and his music career was greatly affected by his childhood and upbringing.

Hailing from the South Bronx, Big Punisher had a tough time growing up, witnessing drug abuse, his father leaving his family and dealing with an overbearing stepfather.

But through all this Christopher Rios, better known as Big Pun, came out stronger for it, pushing past adversity to achieve great success in the industry, although it wasn't an easy road. Throughout the 1980's and early '90's Big Pun began laying the groundwork for what was to come in the future, forming his own crew and refining his rapping skills.

The most significant moment of his early career came when he met rapper Fat Joe, who gave him his first chance to be a star, a move that paid off in ways neither of the two could have imagined. Although he passed away only two years after releasing his debut, Big Pun left a huge impact on the industry, becoming the first solo Latino rapper to have his album go platinum.

That album was the 1998 release "Capital Punishment", which was Big Pun's studio debut and the album that emphatically put him on the map. The album is filled with some amazing hardcore tracks, including "You Came Up", "I'm Not a Player", "Punish Me", "Still Not A Player" and "Beware". Although there are a bit too many skits and interludes on the album (seven), the rest of the track list outweighs that negative aspect.

"Beware" is the first full track on the album and is arguably one of Pun's best. It's a perfect way to kick start his debut, setting the tone right away with a haunting beat and a sweet Mobb Deep sample. Pun starts off with one of his best verses as he raps: "Yo...what you thought punk, shit was sweet, now you can't sleep/Gotta keep ya eyes open wide and hide ya face from the streets/I'm like the beast with a warrant, far from alarmin'/Gave you fair warnin' now you on the stairs swallin'/I'm callin' out any rapper that I doubt, smack 'em in the mouth/Throw 'em in the yoke, BOOM!, then I knock 'em out."



Many tracks on the album feature guest appearances including "You Came Up" which features Norega. The track is an excellent example of how Pun can swiftly and seamlessly change up styles, from some truly hardcore tracks on the album to this one, which has more of a laid back, R&B tone to it. Pun spits some fantastic lines on this track and references Tupac multiple times including at the edn of his firs verse when he raps: "I had to pay my due, lay a few/But I ain't saying who, stayin' true to da game/No names, playin' it cool just me and da crew/Holdin' it down long as we round/We gonna keep sockin' it to you like Homey the Clown/Going down like Pac ready to ride or die nigga/La da le la la la la la."



Two of the most well known and popular tracks on the album are "I'm Not a Player", and the remix of that track, "Still Not A Player". While "I'm Not A Player" was the first of the two to be released and is a very solid track, it's the remix that really helped Big Pun reach the top of the charts. The song is catchy and shows off Pun's lyrical skills, making himself seem arrogant yet self deprecating at the same time. In my opinion the beat is one of the best of the past couple decades, maybe even of all time. Looking back now, the beat is so recognizable paired with Big Pun's fantastic flow on the track.



Throughout each verse he spits some of his best lines, and the appearance of Joe on the track only adds to it. The two team up for one of the best choruses of all time as they spit: "I don't wanna be a player no more…I'm not a player I just fuck a lot/But Big Punisher, still got what you're lookin for/For my thug niggas, for my thug niggas/Uptown baby, uptown/Don't wanna be, don't wanna be - I don't wanna be a player no more/I'm not a player I just fuck a lot/But you know Big Punisher still down by law/Who's down to crush a lot."

Pun spits one of the best verses on the entire album on this track as he raps so smoothly: "I love from butter pecan to blackberry molass'/I don't discriminate, I regulate every shade of the (ass)/Long as you show class, and pass my test/Fat (ass and) breasts, highly intelligent bachlorettes/That's the best, I won't settle for less/I wanna ghetto brunette, with unforgettable sex/I lay your head on my chest, come feel my heartbeat/We can park the Jeep, pump Mobb Deep, and just spark the leaf."

Although I wouldn't say this album is groundbreaking in regards to style or in the evolution of the genre, one thing I would say is that it is one of the purely best produced albums of the entire decade. The beats are fantastic from top to bottom, and Pun's lyrics and flow are nearly second to none in regards to quality and delivery. Just listen to hip-hop classic "Twinz (Deep Cover '98)":



Many more of the album's cuts are considered the best tracks from the '90s without a doubt, and due to the sad fact that he passed away before his time was up, Big Pun will as well. Skits aside, this album is Big Pun's definitive album and is definitely a classic.

Classic Album Review: DMX, It's Dark and Hell Is Hot

In the mid-90s the hip-hop community was reeling. Everyone was still dealing with the tragic deaths of both 2Pac and the Notorious B.I.G. and the industry was entering one of its toughest periods it had ever known. People were angry, people wanted answers.

Hip-hop was waiting for something to happen, for someone to take the flag from those fallen stars and continue to bring hardcore rap into the new century. Whether it was out of anger, frustration or timing, DMX was that man.

Soon after those tragedies DMX came along, his Ruff Ryder crew in tow, and brought on some inner-city toughness and machismo that the industry was looking for. While he had done some guest work and had released some lesser known tracks, Earl Simmons, aka DMX was still looking for his breakout.

That breakout came in May of 1998 with his debut album, the aptly titled "It's Dark and Hell is Hot". The album introduced DMX to the masses, and unlike most other hardcore rappers who had more bark than bite, he had the physical presence to go along with his aggressive rapping style.

Filled with barking, growling, and snarling, the album had a personality of its own, personified by the man who made it. Produced in parts by Swizz Beats, Irv Gotti, and Dame Grease, the album is filled with some great tracks including "Stop Being Greedy", "How's It Goin' Down", "X-Is Coming", "Get at Me Dog", "For My Dogs", and of course the "Ruff Ryders' Anthem".

The album itself helped throw the spotlight back on hardcore rap, and showcased that DMX was more than just a growling machine, with him bringing so much emotion to the album while portraying different characters and mindsets throughout, including on the track "Damien".

"X-Is Coming" is one of the most interesting but also dark tracks on the album. The beat a sort of horror or gothic sound to it, referencing the film "A Nightmare on Elm Street" throughout the track as well. DMX delves into some serious lyrics, involving issues such as violence, murder and rape. The beat is haunting, and DMX is fierce on the track as he raps: " And ask you seriously what you wanna do?/Frustratin isn't? Wanna kill me but I'ma kill you!/Now watch me f**k, just a little while longer, please will you?/This is revenge, know that before you die,/Despite how much I hate to see a grown man,/ I'ma make you suffer,/See yo' ass in hell motherf**ker!"



"How's It Goin' Down" was the third single off of the album and could be considered a bit less hardcore than the rest of the tracks. The lyrics go over DMX meeting a girl and eventually carrying on an affair with her, which leads to the girl's current boyfriend attacking a man he believes is DMX. By the song's end, DMX decides that carrying on the relationship would be wrong and tells the girl she should go back to her boyfriend. I actually think this is one of DMX's most underrated tracks because of his ability to change up from his usual hard delivery into a smoother rap style.



One of his best verses on the track comes at the end as he spits: " Aiyyo this chicken got me digging her moves, 'cuz she smooth/Wanna lose, whoever she choose, it's the dues/Respect is not expected but it's given 'cuz it's real /Being neglected and all, expect it, the deal/Lie, cheat, and steal for me/Putting something in a nigga's wig if you squeal for me/Kill for me, you still with me/'Cuz we get down like what."

"Stop Being Greedy" has one of the best beats on the album hands down. It samples a part of a Diana Ross track and from the second the track starts you can see how ferocious DMX is, starting off barking and spitting some fast rhymes. One of the most interesting aspects of the track is something DMx does throughout the album, showing two sides of his voice. He uses the smooth voice to represent no trouble while the angry voice represents hostility and trouble. Lyrics on this track are focused on violence and stress which represents DMX's anger towards greedy people not wanting to help the one who needs it.



The "Ruff Ryders' Anthem" is easily the most recognizable tracks on the album and is also one of the best. Produced by uber-producer Swizz Beats, the repetitive and pounding beat is impossible to ignore. Whether you liked it or not, the song was catchy, and showed off DMX's skills as a rapper as well as his penchant for humor.



DMX brings it full force on this track as he sets the tone and raps: "Niggaz wanna try, niggaz wanna lie /Then niggaz wonder why, niggaz wanna die/All I know is pain/All I feel is rain/How can I maintain, with madd shit on my brain/I resort to violence, my niggaz move in silence/Like you don't know what are style is/New York niggaz the wildest."

While many may not think of this album as one of the best of all time, looking back over ten years down the line, there's no doubt it is. DMX makes his voice a character like no other rapper can, and throughout the album he intelligently battles with the good and evil sides of himself.

On top of that, unlike most of the hardcore rappers of that time, DMX makes his lyrics meaningful and symbolic, rather than just about material issues. He raps about inner strength, as well as qualities like survival, wisdom, strength, respect, and faith, while also maintaining his hard edge.

While DMX may have slipped off in his later years, there is no doubt that "It's Dark and Hell is Hot" is his best work, and easily a classic hardcore hip-hop album.

Classic Album Review: Notorious B.I.G., "Ready to Die"

When writing about such an iconic album and artist it's hard to remember that there was a time that Notorious B.I.G. was at one time an up-and-coming rapper, unsure of how successful he'd become.

Biggie was only a kid, 21 years old when he started recording his debut album. He had been signed to Uptown Records by Sean "Puffy" Combs and started to make a name for himself, making numerous appearances on some of the labels' other artist's albums. But with anything great, some sort of uncertainly usually comes with it, so when Puffy was fired from Uptown, everything was stuck in limbo.

Biggie began to hustle, selling drugs again before he returned to recording with Puffy on the brand new Bad Boy Records label. By the time "Ready to Die" was released Biggie already had a large word-of-mouth following from his first full-length LP, but West Coast rap was still dominating the industry. "Ready to Die" was exactly what the East Coast was waiting for, and exactly what Bad Boy Records needed.

Released in September of 1994, "Ready to Die" thrusted Bad Boy and Biggie into the spotlight. While it was clear the album would be a hit, no one realized quite how significant the release was. Using his unique voice and sound, Biggie showed off his ample skills as a storyteller, which is what truly drives this album.

Every track on the album has something to offer, but in my eyes "Who Shot Ya?", "Ready to Die", "Gimme the Loot", "Juicy", and "Everyday Struggle" stand above the rest. Ironically, through most of the album there's a sense of dread hanging in most of his stories, with the fierce bandits on "Gimme the Loot", the hustler's girlfriend on "Me & My Bitch", and robbers out for his new money on "Warning" all falling in parades of gunfire.

"Juicy" is one of the most memorable tracks on the album, but also one of the best. Biggie spits with ferocity on this track, waving his hat ant anyone who ever doubted him along the way. He tells a story through this track while also bringing the bravado that made him the legend that he was.



The opening verse of the track is one of the greatest of all time: "It was all a dream; I used to read Word Up magazine/Salt'n'Pepa and Heavy D up in the limousine/Hangin' pictures on my wall/Every Saturday Rap Attack, Mr. Magic, Marley Marl/I let my tape rock 'til my tape popped/Smokin' weed and bamboo, sippin' on private stock/Way back, when I had the red and black lumberjack/With the hat to match/Remember Rappin' Duke, duh-ha, duh-ha/You never thought that hip hop would take it this far/Now I'm in the limelight 'cause I rhyme tight /Time to get paid, blow up like the World Trade"

The title track "Ready to Die" could be considered an anthem of sorts for Biggie, as he illustrates what things were like on the way up through the ranks. The track also comments on the material nature of culture and what drives some to do what they do.



Biggie paints a perfect picture as he raps: " Biggie Smalls the savage, doin your brain cells much damage/Teflon is the material for the imperial/mic ripper girl stripper the Henny sipper/I drop lyrics off and on like a lightswitch/Quick to grab the right bitch and make her drive/the Q-45, glocks and tecs are expected when I wreck shit/Respect is collected, so check it".

"Who Shot Ya?" is probably the most controversial track on the album, due to the fact that many thought it was a diss track aimed at Tupac. All feuding aside, I still the track is noteworthy and contains some of Biggie's most cleverly worked lyrics and one of the most solid beats on the album.

Biggie name drops Wu-Tang's C.R.E.A.M. and asserts that the East coast is where the best rap is at: "Fuckin with B.I.G. it ain't safe/I make your skin chafe, rashes on the masses/Bumps and bruises, blunts and Landcruisers/Big Poppa smash fools, bash fools / Niggaz mad because I know that Cash Rules/Everything Around Me, two glock nines/Any motherfucker whispering about mines/And I'm, Crooklyn's finest/You rewind this, Bad Boy's behind this."



Unquestionably Biggie is a legend now, but even before death and everything that occurred, this album was one of the best. Displaying an immense skill and flair for storytelling and a completely memorable vocal tone Biggie Smalls created one of the most enduring gangsta rap albums of any era.

Its significance is still felt in the industry today and is definitively one of the best hip-hop albums of the genres' entire history.

Classic Album Review: N.W.A., "Amerikkka's Most Wanted"

When Ice Cube left N.W.A. and their label in early 1990 over some royalty disputes, everyone in the industry knew that he would probably waste little time before he started working on his own project. They were right.

Soon after the split he jumped right into the recoding studio and got to work on what would become his solo debut. While Ice Cube originally wanted Dr. Dre to produce the album, the label powers didn’t allow it, so he employed Dre's cousin Sir Jinx and Public Enemy's production team The Bomb Squad to help craft it instead.

Using notebooks full of songs he had planned to use for N.W.A, Ice Cube brought on a fierce, determined attitude to his solo debut, crafting an album that is considered to be one of the most defining hip-hop records of the '90s.

Released in May 1990, the album was filled with social and cultural commentary. The title itself was an intelligent statement by Ice Cube, alluding to the controversial television show "America's Most Wanted" in which real life crimes are reenacted.

Many, including Ice Cube felt that the show perpetuated stereotypes of African Americans and other minorities, which led him to misspell the title the of the show, making a pointed and cultural statement, equating the show to the racist group.

The album is filled with commentary like the title, including conscious and political commentary and dealing with issues such as life in the ghetto, drug addiction, racism, and poverty. He delves even deeper throughout the album, calling Arsenio Hall a sell-out, and tackling mainstream hip-hop radio for its broadcasting practices. Ice Cube gives an eye level view of life in the inner city, filled with vivid and at times frightening details and style.

The album is filled with great tracks, but in my mind "Endangered Species (Tales from the Darkside)", the title track, "AmeriKKKa's Most Wanted", "Turn off the Radio", "Once Upon a Time in the Projects" and "It's a Man's World" stand out above the rest.

The title track, "AmeriKKKa's Most Wanted" is easily one of the best on the album. The beat is great and you can hear Ice Cube's intensity on the track as he spits "Ice Cube has got the 4-1-1/All the ol' school house fellows are crooks/So I get jealous looks / They keep thinkin did my hair grow?/Will the boys 'n' the hood have to beat down Ice Cube?/Hell no, I'll static son, you'll see it's okay/I keep my 9 anyway."



"Once Upon a Time in the Projects" might be the most illustrative track on the album. The beat has a funky, guitar string vibe which fits perfectly with the idea that the track is sort of a 'fairy tale' story about the inner city.

Ice Cube sets things perfectly as he raps: "Lookin at a fucked up black and white / her mom's bitchin cause the county check wasn't right/She had another brother that was three years old/and had a bad case of the runny nose/He asked me who I was then I had to pause/It smelled like he took a shit in his little drawers/I saw her sister that needs get her ass kicked/only thirteen and already pregnant/I grabbed the forty out the bag and took a swig."

"Turn off the Radio" is another excellent track and showcases Ice Cube's thoughts on the radio industry and how they operate. He doesn't pull any punches, calling out Arsenio Hall and proving he wasn't afraid to take on anybody, anywhere in the industry.



Coupled with the fantastic Bomb Squad production, which included tons of samples from TV and the radio, Ice Cube proves that the only important radio is the one that's playing his tracks. Ice Cube brings attention to the radio and is blunt and ironic as he raps: "Turn on the radio take a listen/What you're missing/Personally I'm sick of the ass-kissing/What I'm kicking to you won't get rotation/Nowhere in the nation/Program directors and DJ's ignored me/Cause I simply said fuck Top Forty."

"Endangered Species (Tales from the Darkside)" is my favorite track on the album and just might be the best of the bunch. The title of the track comes from the opening excerpt of the track, in which a reporter in a mock newscast talks about African American males becoming endangered.



From its content and style is may be the most politically and socially charged track on the album, which makes it also one of the most important. Throughout the track he showcases the plight of many in the country as well as the awful racial tendencies of institutions throughout the nation.

Ice Cube even plays Nostradamus a bit as he predicts that his neighborhood would eventually become a point for violence even years before the Rodney King scandal and L.A. Riots later on. You can hear how personal all this is to him as he raps the points he's trying to make: "Every cop killer goes ignored/They just send another nigga to the morgue/A point scored- they could give a fuck about us/They rather catch us with guns and white powder/If I was old, they'd probably be a friend of me/Since I'm young, they consider me the enemy/They kill ten of me to get the job correct."

Ice Cube proved on "AmeriKKKa's Most Wanted" that he was one of the most talented rappers in the industry at the time and also that he didn't need N.W.A. to be a success. The album is easily one of the best of the era, and the production by The Bomb Squad proved that they shouldn’t always be linked to Public Enemy, because their work on this record was phenomenal and underappreciated.

Ice Cube showed he wasn't afraid of anybody, leveling institutions and the government for their overly obvious racial biases and tendencies, as well as exposing the social issues that allowed the oppression of those living in LA to exist.

Apart from the references to Arsenio Hall (which just wreaks of early 90's) the album is timeless, angry and has more social commentary in it than I can begin to discuss. As a debut, it may be one of the best ever, and is most definitely a classic.

Classic Album Review: N.W.A., “Straight Outta Compton”

No matter what type of artist, musician, singer you are, the main purpose of a debut album remains the same. The idea is to make an impact in some way, whether it is on society, on the industry, with fans, critics, or both. With a debut album artists are attempting to establish a voice and show to the masses exactly why their name should be known.

Now of course some debut albums have more of an impact than others. For example, it's clear that Nas's first album "Illmatic" had a greater effect on the industry than let's say, Nappy Roots' freshman effort, but the point that I'm trying to get at, is that a debut album has a purpose and when it's done right, everyone in the industry feels it. One album that could be considered the perfect example of this is N.W.A's "Straight Outta Compton".

Released in August of 1988, the album arguably had one of the biggest impacts on the industry than any other. The album embodied the genre of gangsta rap, and launched it into mainstream popularity. One of its biggest impacts was how it helped shift focus from the East coast to the West, establishing that coast as the power player of rap in the early '90s.

While it's true that "Straight Outta Compton" was not the first gangsta-rap album released, it was a game changer for many reasons. Between the superb production from Dr. Dre and DJ Yella, which added some elements to gangsta rap that hadn't been seen before, and its realistic, harsh language and illustrative lyrics, "Straight Outta Compton" was unlike anything the industry had seen.

N.W.A. put together a listing of tracks that dwarfs most other albums in comparison. There are some legendary tracks on the album including "Express Yourself", the title track "Straight Outta Compton", "Fuck tha Police", "Gangsta Gangsta", and "Something Like That".

The three opening tracks on the album "Straight Outta Compton", "Fuck tha Police", "Gangsta Gangsta" might be one of the best one, two, three lineups of all-time. The three tracks are all made with supreme quality, but what adds to them is the fact that they are all connected by looking at the city the group comes from through many different prisms.

The title track "Straight Outta Compton" is one of the best of all-time, and sets the tone for the rest of the album. The track takes a hard look at a city that is controlled by crime, and gives a realistic portrayal of what it was like in Compton for the members of the group.



From the very beginning Ice Cube shows how passionate he is as he raps with ferocity in the opening verse: "Straight outta Compton, crazy motherfucker named Ice Cube/From the gang called Niggaz With Attitudes/When I'm called off, I got a sawed off/Squeeze the trigger, and bodies are hauled off/You too, boy, if ya fuck with me/The police are gonna hafta come and get me."
One thing the group does on this album so well is being political without being so obvious about it. On its face you could look at its harsh language and lyrics as just for show, but it all has underlying meaning.

This comes out clearly on the second track "Fuck Tha Police". Just the title itself was a political statement, but the track goes even further, detailing why the city is controlled by crime and who’s to blame for it. The track was extremely controversial for its language and stance on condoning violence against the police, but proved that the group wasn't afraid to take on anybody. The track at its core is about raising hell and not allowing authority to take control over everything.



The track is important because it embodied a truthful mindset of the people living in the community. The track spoke for them, the ones who had no voice, in such a harsh but frustrated way especially the verse: "To the police I'm sayin fuck you punk/Readin my rights and shit, it's all junk/Pullin out a silly club, so you stand/With a fake assed badge and a gun in your hand."
"Gangsta Gangsta" is a fantastic track as well, and illustrates the lifestyle that takes over the city due to all of the outside and institutional influences. The song conveys the dangers of living on the streets, but also the appealing side of the gangsta lifestyle.

The track has some of the most memorable lines on the entire album including Ice Cube's verse, which is one of his personal best: "Homies all standin around, just hangin/Some dope-dealin, some gang-bangin/We decide to roll and we deep/See a nigga on Dayton's and we creep/Real slow, and before you know/I had my shotgun pointed in the window/He got scared, and hit the gas/Right then, I knew I has to smoke his ass."

"Express Yourself" is my personal favorite track on the album, party because I love the beat, but mostly because of the message in the track itself. The song's lyrics center on ideas of free expression and the constraints in place by censorship. Even more so the track talks about how some artists are afraid to express themselves fully for fear of what other people might think.



That's one thing N.W.A. proved it wasn't afraid of and you can hear it as Dre raps: "I'm expressin with my full capabilities/And now I'm livin in correctional facilities/Cause some don't agree with how I do this/I get straight and meditate like a Buddhist/I'm droppin flava, my behavior is hereditary/But my technique is very necessary."

"Straight Outta Compton" took the industry by storm and even listening to it today the album still sounds refreshing and relevant, even though it's over twenty years old now (yeah, I'm surprised too). The album reached double platinum sales status, pretty mush with no airplay support and without any major tours making it a true rarity in the business.

N.W.A. was young and truly didn't give a fuck about anything except saying what they believed in and putting it on their album. While there isn't much in your face social criticism, the album itself is a social critique, which is what it has stood the test of time.

It's almost impossible to quantify what this album meant to hip-hop, but no matter how much time goes by, it remains an essential landmark, one of hip-hop's all-time greatest.

Classic Album Review: Usher, Confessions

After Usher released his third studio album, "8701", he found himself at somewhat of a crossroads. Although he had sold more than 8 millions records over the previous decade, his music seemed to only have one purpose: keeping young female hearts brooding over him (in his defense, it was working, and well).

Usher was transitioning from a teenage R&B idol to an adult artist, and without careful treading, that transition can be a career killer. Thankfully for Usher, his transition was as smooth as his singing voice.
If "8701" was Usher's last 'teen' album, "Confessions" was his graduation into adulthood. Usher sang on his previous album with a boyish breeziness that few could match, but on "Confessions" it's clear the boy is now a man.

Usher recorded over forty tracks for "Confessions", which was released in March 2004 to great reception from critics and fans alike. The album had the biggest first-week sales for an R&B album ever, and Usher was nominated for 8 awards at the Grammy's that year.

The album finds Usher hitting on some heavier, more personal topics than his past records, like infidelity, unplanned pregnancies, tough relationships and of course, breakups. The album has a heavy R&B sound that is punctuated with some appreciation for jazz and old school traditions, making it a unique piece of work.

The album is an hour long and has some truly fantastic tracks, but it's the beginning of the track listing that shines above all else. The first 22 minutes of this album is truly epic music. "Yeah!", "Throwback", "Caught Up", "Confessions Part II", "Burn" and "Caught Up" to me are the best tracks on the album, and some of Ushers best work period.

The album starts, obviously, with "Yeah!", Ushers cyber-crunk meets R&B club banger with Lil' Jon and Ludacris. After this track came out it was hard to escape it. It played on the radio more times than could be counted and at every party from New York to Los Angeles. Over Lil Jon's semi-amazing car-alarm beat, Usher sings a simple story about a girl who won't let him leave the nightclub.

The track topped the Billboard charts for five weeks and was nominated for two Grammy awards. It's Usher's own "go to" track for the album, his number one, his "Thriller".



The track is epic party music, and I think even people who say they don't like this track actually do deep down, it's that good. Usher shows off how talented he is as he spits so quickly: "So she's all up in my head now, got me thinking that it might good idea to take her with me/'Cause she's ready to leave (ready to leave)/But I gotta keep it real now, 'cause on a one to ten she's a certified twenty/but that just ain't me/Hey!"

"Burn", like many of the other tracks on the album was influenced by some of Usher's real life situations and experiences. This track came about from a situation where Chilli Thomas from the group TLC was about to end.

The track is great for many reasons, one of which is that Usher can flat out sing just as well as anyone in the industry, and he proves it here. On top of that, the lyrics and tone of the song work on many levels. Obviously, Usher is breaking up with his girl, he's not happy but he wants to move on. She's really sad about this, she can't deal, and he feels bad for her but he knows that she's going to have to accept it.



You can tell this song is close to his heart as he croons: "It's been a long time coming/ But we done been fell apart/Really wanna work this out/But I don't think ya gonna change ya/I do but you don't/Think it's best we go our separate ways/Tell me why I should stay in this relationship/When I'm hurting baby, I ain't happy baby/Plus theres so many other things I gotta deal with/I think that you should let it burn."

Another track that was based on a real life situation was "Confessions Part II", Ushers most personal and possibly the best track on the album. Part of the song details the situation and aftermath of telling your long-term girlfriend about impregnating your mistress.

The subject matter is intense, but somehow Usher still grabs the audience's sympathy. That's part of the brilliance of the song, and of Usher himself. He tries to own up to what he has done, and okay, he can sing pretty well too.



You can hear how personal the track is to Usher as he sings: "Now this gon' be the hardest thing I think I ever had to do/Got me talkin' to myself askin' how I'm gon' tell you/'bout that chick on part 1 I told ya'll I was creepin' with, creepin' with/Said she's 3 months pregnant and she's keepin' it/The first thing that came to mind was you/Second thing was how do I know if it's mine and is it true."

Usher truly shows maturity on "Confessions", as he deals with all sorts of romantic infatuation and regret. While some parts of the album don't always portray Usher in such a flattering light, all it did was sell 1.1 million copies in its first week, earn a Grammy for Best Contemporary R&B album, and was certified diamond in sales, selling over 10 million worldwide. Not bad.

Ushers "Confessions" spawned many impersonations from R. Kelly's "Ignition" to "Don't Wanna Try" by Frankie J. Either way the album is definitely a classic.

Looks like Tiger Woods is in the wrong business.

Classic Album Review: Lauryn Hill, “The Miseducation of Lauryn Hill”

Watching an artist blossom from a tiny little seed into a flourishing star right before everyone's very eyes is a beautiful thing to watch. This symbolic act of growth is the perfect example of how Lauryn Hill made her way to the top of the hip-hop industry.

Although the Fugees had been hugely successful, a lot in part due to the talents of Hill, few were prepared for her stunning debut album, "The Miseducation of Lauryn Hill". Not in the sense that people expected her to fail, but due to the fact that her debut went above and beyond what anyone realized she could do.

At their peak, the Fugees were capable of blurring the lines between 90's American urban music and the conscious soul and reggae of the 1970s to produce a passionate kind of hip-hop. This same arena is where Hill's solo debut also resides.

The inspiration for "The Miseducation of Lauryn Hill" began after Hill met Bob Marley's son Rohan Marley, with whom she became very close with. She eventually got pregnant and took time off from writing and touring, but found that the pregnancy inspired her.

Hill ended up writing over 30 songs in her attic studio in New Jersey, many of which were about the turbulence she experienced while with the Fugees, and also some of her past love experiences that didn't turn out so great.

Only 23 years old when she recorded the album, you could almost call Hill a prodigy, but even that would be understating how skilled she was on her debut. The album was released on August 25, 1998 with great reception from critics and fans alike. The album raced to the top of the charts and made Hill a bonafide superstar.

The album is filled with amazing tracks from top to bottom, but "Lost Ones", "To Zion", "Doo Wop (That Thing)", "Superstar", "Every Ghetto, Every City" and "Everything is Everything" truly stand out above the rest.

"Doo Wop (That Thing)" was the first single released from the album, and easily the most popular. The track won two Grammy Awards and debuted at number 1 on the Billboard 100, only the tenth single to ever do so. The track an intelligent look at the sex game from both angles, but even more so, the track is an amazing mix of soul beats and a beautiful hook. It was impossible to escape the track on radio and its hook line of "that thing, that thing…" is one of the most recognizable of all time.



You really can hear the youthfulness and intelligence coming from Hill as she sings: "Now Lauryn is only human/Don't think I haven't been through the same predicament/Let it sit inside your head like a million women in Philly, Penn./It's silly when girls sell their soul because it's in/Look at where you be in hair weaves like Europeans/Fake nails done by Koreans/Come again/Win win come again, brethren come again, my friend come again, yo come again"

"To Zion" featured Carlos Santana and is one of the highest quality tracks on the entire album. The track is an ode to Hill's son, who in turn helped inspire her to make the album in the first place. Santana brings his amazing talents to the track and he just kills it with his wonderful guitar licks that the legend has been strumming since before Woodstock.



The track's message is excellent, with Hill crooning how her child comes first before her career: "But then an angel came one day/Told me to kneel down and pray/For unto me a man child would be born/Woe this crazy circumstance/I knew his life deserved a chance/But everybody told me to be smart/Look at your career they said,/"Lauryn, baby use your head"/But instead I chose to use my heart."

"Everything is Everything" is my personal favorite on the album, and is one of Hill's best tracks overall. Although at the time he was unknown, the track features background music from John Legend, still a teen at the time, which really adds to its quality. You could see then that he had the talent to be a star.



Hill drops may philosophical type theories on the album, but none more than on this track. Her "everything is everything" mentality shines through her and her vivid use of language on this track makes it one of the most intelligent on the album.

Hill dishes out wisdom like quarterbacks fling passes as she sings: "I wrote these words for everyone/Who struggles in their youth/Who won't accept deception/Instead of what is truth/It seems we lose the game/Before we even start to play/Who made these rules? We're so confused/Easily led astray/Let me tell ya that/Everything is everything."

"The Miseducation of Lauryn Hill" firmly supplanted the artist in the realm of being one of hip-hop's best and brightest. At the Grammy's Hill was nominated a whopping ten times for her debut, making her the first female to be nominated that many times in one year. Winning five awards, she set a record in the industry, being the first woman to win that many awards.

While the accolades are enough to make this album a classic, it's Hill's devotion to the music and care and attention to the production (which she had a huge hand in) that sets this album apart.

"The Miseducation of Lauryn Hill" isn't just one of the best hip-hop albums of all time; it is an essential piece of music, no matter what the genre is. It's Hill's magnum opus, a classic work, and at least for now, her only work.

Classic Album Review: Run D.M.C., "Raising Hell"

The 1980's were an incredible time for hip-hop.

While there was some truly amazing music being produced by the likes of Run D.M.C., Grand Master Flash, LL Cool J, The Beastie Boys, and Chuck D, hip-hop had still not broken fully through to the main stream.

Although the water (aka hip-hop) had been constantly breaking through cracks in the mainstream music dam, it wasn't until Run D.M.C. unleashed "Raising Hell" that the river of hip-hop finally began to flow through. For so long it had been the forgotten child, but now was the prominent star.

Released in the summer of 1986, the album ignited the popularity of hip-hop and trumped all perception of what people thought the industry was. The album eventually went triple-platinum and it launched Run D.M.C. into the hip-hop stratosphere.

"Raising Hell" was produced with the help of the legendary Rick Rubin, who broke almost all the conventions of hip-hop with his work on the album. There are tons of hooks, more drum beats, more scratching, and more samples here than had ever been used before.

The group doesn't waste any time on this album, which is filled with some amazing, catchy tracks. Some of the best of the bunch includes, "Walk This Way", "My Adidas", "You Be Illin" and "Perfection", although I think every track is pretty damn good.

The most well known track off the album is "Walk This Way" which featured one of the biggest musical groups at the time, Aerosmith. While I am not the biggest fan of the track, without it, the album may not have become as huge and immensely popular as it did. This was the first time in music history that the two genres (rock and rap) had collaborated in such a way.

Whether you feel the track is a novelty or something of that sort, you still must admit that it is catchy, and is easily one of the most fun songs to listen to of all time. It's clear that Run D.M.C. thoroughly enjoyed how things turned out, and you can hear the enthusiasm and youthfulness as they rap: "With the boys in/tune/And her feet just fly up in the air/Singin hey diddle diddle with a kitty in the middle/And they swingin like it just don't care/So I took a big/chance/At the high school/dance/With a lady who was ready to play".



While "Walk This Way" was the most popular of the tracks off the album, "It's Tricky" might be the most recognizable and is one of my favorites. To this day Run D.M.C.'s impact is felt from this track, with it having appeared in countless films and TV shows since its release, such the 2000 hilarious comedy film "Road Trip"

"My Adidas" was the first single off the album and was produced by Rick Rubin and Russell Simmons. Any rapper who writes lyrics referencing the clothes or styles they enjoy owe a debt to Run D.M.C. for making that aspect of hip-hop more than just about brand names. The group was known for their love of Adidas, track suits, sneakers and all, and they crafted it into one of the most interesting tracks in hip-hop.



You can truly hear the connection of the group and the brand (in a good way and not a corporate ploy type way) as they rap: "I wore my sneakers but I'm not a sneak/My Adidas cuts the sand of a foreign land/with mic in hand I cold took command/my Adidas and me, close as can be/we make a mean team, my Adidas and me."

My personal favorite track on the album is "You Be Illin", which was the third single released off "Raising Hell". The beat is one of the best on the album and you might as well credit the group for making the term "Illin" popular and bringing it to the cultural lexicon. It was just another way that the group made an affect on society which still resonates today.



The track is easily the most humorous on the album, with the group describing events when someone is actually "illin". They describe a guy coming into KFC and asking for a Big Mac, as well as shouting out "Touchdown!" at a basketball game.

The best verse on the track is the final one, which describes a guy getting a bit confused about his meal. You can hear the irony as they rap: "(For) dinner, you ate it, there is none left/It was salty, with butter and it was def/You proceeded to eat it cos you was in the mood/But holmes you did not read it was a can of dog food!/You be illin'".

It's quite hard to put into words the impact that Run D.M.C. had on hip-hop and just the music industry in general. Either way it's clear from their work on "Raising Hell" that they were willing to push the envelope in regards to what hip-hop could be, and they succeeded beautifully.

"Raising Hell" is Run D.M.C.'s most important album,, and is easily one of the best of all time. It gives true meaning to the word "classic". R.I.P. Jam-Master Jay.

Classic Album Review: Eric B. & Rakim, “Paid in Full”

When Eric B. and Rakim's first hooked up with famed producer Marley Mall to record their first single, "Eric B. Is President", I don't think either man knew what was about to come in regards to their music careers.

Sure, Marley Mall was a legend, but nothing in life is a sure thing. But after the single dropped, Eric B. and Rakim proved that they were just that, legends in the making. The landmark track is one of the best of all time, and Rakim's opening of "I came in the door/said it before" is one rap's most quoted ever.

Building on this, the duo decided to connect again with Mall, and recorded their debut album at his home studio (Power Play Studios) in New York City. When "Paid In Full" was released in the summer of 1987, the album ultimately ended rap’s status as novelty music and ushered in a new school of hip-hop.

Throughout the album Rakim showcases his adept lyrical skills by smoothly and confidently spitting complex verses that are full of literate and distinct imagery. Eric B.'s turntable fueled backgrounds and beats represented the beginning of heavy sampling on hip-hop records. The combination of these two truly meant a step forward into the modern era of hip-hop.

While the album has only 9 tracks, Eric B. and Rakim definitively prove that quality outweighs quantity. "Eric B. Is President" is obviously fantastic, but "Paid in Full", "Eric B. Is on the Cut", "I Know You Got Soul" and "I Ain’t No Joke" are all excellent tracks as well.

"I Know You Got Soul" is one of the best tracks on the album, and it pretty much started off the industry’s trend of sampling James Brown songs. The bass line and the beat on the track are just amazing, and Eric B. & Rakim show off the lyrical prowess that they posses so naturally with some flashy lyrics.



The track opens with one of the best verses on the album as they rap: “It's been a long time, I shouldn't have left you/Without a strong rhyme to step to/Think of how many weak shows you slept through/Time's up, I'm sorry I kept you/Thinking of this, you keep repeating you miss/The rhymes from the microphone soloist.”

“Eric B. Is President” was the debut single released by the duo, and is one of the most memorable songs in hip-hop history. This track also samples James Brown, but it’s the funky beat and the sample of “The Champ” by The Mohawks that really gets this track going.



Rakim’s opening lines have become one of the most quotable lyrics of all time, he is ferocious as he raps: “I came in the door, I said it before/I never let the mic magnatize me no more/But it's biting me, fighting me, inviting me to rhyme/I can't hold it back, I'm looking for the line.”

The title track, "Paid in Full", is one of my favorite on the album. Although the subject matter was serious in nature, the track had a sort of fun undercurrent to it. I love how the duo attempts to embrace their future prospects about getting paid, not from the corner or the daily grind, but from their own work in the studio. The beat is amazing, and any hip-hop fan knows that this track has been sampled more times than anyone can count.

As usual, the duo shows how intelligent and unique they are as Rakim raps: “A pen and a paper, a stereo, a tape of/Me and eric b, and a nice big plate of/Fish, which is my favorite dish/But without no money it’s still a wish/Cos I don’t like to dream about gettin paid/So I dig into the books of the rhymes that I made/To now test to see if I got pull/Hit the studio, cos I’m paid in full.”

“Paid in Full” is indispensable listening for anyone even remotely interested in hip-hop. This album pretty much set the example for what modern day hip-hop would become. Eric B. had reinstated the art of turntable mixing and soul-filled sampling became influential in future hip hop production.

“Paid in Full” helped change the landscape of hip-hop and without it, we might not have most of the great music in the industry we do today. The album is Eric B. and Rakim’s signature work, and is most definitely a classic hip-hop album.

Classic Album Review, Common, "Resurrection"

Over the years the city of Chicago hasn’t been quite as successful as New York or Los Angeles when it comes to producing hip-hop stars. But what Chicago lacks in quantity, it makes up for in quality.

Kanye West, Lupe Fiasco, and Common Sense all hail from the Second City, and each of the three are bonafide rap stars, some of the best in the business.

Although you’d most likely say that Kanye is the biggest star of the group, it’s Common that has been in the game the longest. After debuting with “Can I Borrow A Dollar?” which received a lot of underground attention, he released “Resurrection” in 1994.

Although “Resurrection” didn’t have much mainstream success, it did very well with critics and proved how truly skilled Common is as an MC. The South Side native doesn’t hesitate to show off how original he is, with his complex style of rapping, intelligent lyrics and witty lines.

The jazzy flavored sound of the album combined with Common’s socially conscious lyrics inspire comparisons to “A Tribe Called Quest”, “De La Soul” and “The Fugees”, but Common really is in a league of his own.

He doesn’t let you forget where he’s from either. Inspired by the city he hails from, the album is divided into two sections, the "East Side of Stony" and "West Side of Stony". Stony Island Avenue is a street that runs through the South Side of Chicago, which was where Common was raised.

“Resurrection” has a ton of great tracks, including "Watermelon", "Nuthin' to Do", "Pop's Rap" and "Book of Life", but standout track on the album easily is "I Used to Love H.E.R.”, which arguably is best track that Common ever made.

The album opens up with the title track, “Resurrection”, which perfectly combines the scratches by Mista Sinista with the jazzy melody. Common opens it up by rapping how he is literally immersed in his music: “In spite I've been indicted as a freak of all trades/I got it made/I bathe in basslines, rinse in riffs, dry in drums/Come from a tribe of bums.”



On "Nuthin' to Do", Common speaks out on the deterioration of Chicago's neighborhoods, and describes some of the best ways to kill time on the South Side.

He illustrates a perfect picture of what it’s like to grow up in Chi-town as he raps: “The days of Old Chicago and Fun Town and shorties we run round/Play strike outs till sun down, but the shit ain't as fun now/And the city is all run down, we troop down to Jew Town/Talking cat down on some gear, have enough for a Polish incom fair/I stare, at what use to be Bubbles and think about who use to cop our liquior.”

"Book of Life," is the most introspective track on the album. The track is an autobiographical look at Common’s struggles over the years, and gives him a chance to put things in perspective over the mellow beat.



You can hear the realism and truthfulness from Common as he raps: “It's my life I live it up/The cup I gotta give it up/One day/I'm cruisin' down a one way street and I done passed fun day/Three blocks ago/It itself life is an obstacle/As I maneuver through the manure I try to be responsible/I want a job but I ain't lookin - how come?”

“I Used to Love H.E.R.” is my favorite track, and is easily the best track on the album. The track is genius in its use of metaphor and symbolism. On its face the track seemingly describes a lover's moral and spiritual decline, but it’s about much more than that. The track employs the use of an extended metaphor, with a woman representing hip-hop music itself. The acronym “H.E.R.” in fact stands for Hip Hop in its Essence and Real, so when spelled out the track really reads: "I Used to Love Hip Hop in its Essence and Real.”



On the track Common give us a history lesson into how hip-hop has changed and criticizes the direction that hip-hop was taking during the late 1980s and early 1990s. Specifically he refers to the fall of conscious rap as well as the rising popularity of West Coast hip-hop and G-funk.

He also intelligently makes an analogy comparing the degradation of a woman with the deterioration of hip-hop music after its commercial success brought it into the mainstream. Common is able to convey his feelings so well through his lyrics as he raps: ”She said that the pro-black, was goin out of style/She said, afrocentricity, was of the past/So she got into R&B hip-house bass and jazz/Now black music is black music and it's all good/I wasn't salty, she was with the boys in the hood.”

The track boasts one of the best beats ever constructed, a simple yet sleek melody, and opens with some of Common’s best written lines: "I met this girl, when I was ten years old/And what I loved most she had so much soul/ She was old school, when I was just a shorty/ Never knew throughout my life she would be there for me."

“I Used to Love H.E.R.” perfectly epitomizes what Common is all about and is one reason why “Resurrection” is such a great album. One thing that makes Common stand out as such a unique MC is that he never tried to change who he is, or use an image to sell records and he proves it with his truthfulness and intelligence on this album.

It has a timeless quality about it, and to me it is on par with some of the other great albums of the early 90’s like “Illmatic”, by Nas, “Enter the Wu-Tang (36 Chambers)”, by Wu-Tang Clan, and “Ready to Die”, by the Notorious B.I.G.". “Resurrection” is Common’s defining work, and is definitely a hip-hop classic.

Classic Album Review, Wu-Tang Clan, "Enter the Wu-Tang (36 Chambers)"

In the early 90’s East coast rap took a backseat to the West coast scene. Dr. Dre had released “The Chronic”, and along with N.W.A., Snoop and Nate Dogg, he took West coast rap to the mainstream.

While “The Chronic” was a significant debut, soon after that, another group from the opposite coast emerged, blazing a trail for an East Coast comeback that would bring on what many in the industry called “the East Coast Renaissance”.

Wu Tang Clan’s debut album “Enter the Wu-Tang (36 Chambers)” is easily one of the most influential hip-hop albums of all time. RZA’s distinctive production style and Wu Tang’s cast of unique and talented MC’s created the blueprint for hardcore hip-hop and helped revitalize the New York rap scene. The album laid the groundwork for young rappers on the East coast such as Nas, Jay-Z, Notorious B.I.G. and Mobb Deep.

Released in November 1993 the album's title originates from the martial arts film The 36th Chamber of Shaolin. As the group’s de facto leader, RZA produced the entire album and used some eerie, peculiar beats along with a raw sound based on movie clips and soul music samples.

His production, along with the talents of Method Man, GZA, Raekwon, Ghostface Killah, and the rest of the Clan, helped make the album feel completely original.

Every track on the album is packed with fresh, inventive rhymes, which are filled with martial arts metaphors, pop culture references, threats of violence, and a truly twisted sense of humor. The album is great from top to bottom, but “Protect Ya Neck”, “Method Man”, “C.R.E.A.M.”, “Bring da Ruckus” and “"Wu-Tang Clan Ain't Nuthing ta Fuck Wit” stand out above the rest.

“Bring da Ruckus” is the first track on the album, and in a way it epitomizes everything the group wanted to accomplish on “36 Chambers”. The track is a burst of energy as it opens with a martial arts audio clip, leading into the opening line, with RZA emphatically stating: “Bring da motherfuckin ruckus/Bring da mother, bring da motherfuckin ruckus”.

The ferocious opening sets the stage for Ghostface Killah, who has the best verse on the track. He drops some perfectly placed cultural references as he raps: “However, I master the trick just like Nixon/Causin terror, quick damage ya whole era/Hardrocks is locked the fuck up, or found shot/P.L.O. style, hazardous, cause I wreck this dangerous/I blow sparks like Waco, Texas.”



"Method Man" is one of the most unique and original tracks on the album. Method Man the rapper introduces himself in a big way as he spits one of the best, yet simple choruses of all time: “I'm…/M-E-T, H-O-D, Man/ M-E-T, H-O-D, Man.”

Throughout the track Method Man shows off his confidence and bravado as he raps: “Here I am here I am, the Method Man/Patty cake patty cake hey the method man/Don't eat Skippy, Jif or Peter Pan/Peanut butter, Cause I'm not butter/In fact I snap back like a rubber.”

Essentially every track on this album is great, but "Wu-Tang Clan Ain't Nothing Ta F'Wit” might be the best of the bunch. The track has one of the best beats I have ever heard and RZA spits some truly great lines as he raps: “I be tossin, enforcin, my style is awesome/I'm causin more Family Feud's than Richard Dawson/And the survey said -- ya dead/Fatal Flying Guillotine chops off your fuckin head.”



"C.R.E.A.M." is easily my favorite track on the album. Raekwon and Method Man both spit some great verses, but this track is all about the chorus. Method Man’s gritty East coast drawl is instantly recognizable as he raps: “Cash, Rules, Everything, Around, Me/C.R.E.A.M./Get the money/Dollar, dollar bill y'all.”



The sound and style of the album became hugely influential in modern hip-hop production, while the group members' explicit, humorous, and free-associative lyrics created a blueprint for future rappers to follow.

“Enter the Wu-Tang (36 Chambers)” was the start of something truly great in hip-hop, and the album is a definitive classic.

Classic Album Review, 2Pac, "All Eyez On Me"

1995 was a landmark year for Tupac Shakur.

In February he began serving a one-and-a-half to four-and-a-half year prison sentence for sexual assault. Soon after that he released the album “Me Against the World”, which gave 2Pac the distinction of being the only artist ever to have an album at number one on the Billboard 200 while serving a prison sentence.

While incarcerated, 2Pac read many books by Machiavelli, Sun Tzu's The Art of War and other works of political philosophy and strategy, which would later influence his music.

In October 1995, after serving eleven months, 2Pac was released from the penitentiary due in large part to the help and influence of Suge Knight, CEO of Death Row Records, who posted a $1.4 million bail pending appeal of the conviction in exchange for 2Pac to release three albums under the Death Row label.

While not the most customary way to score a record deal, it gave 2Pac the chance to immediately start recording his next album.

Maybe it was his time in prison, or maybe it was simply his signing with Knight's Death Row label, but whatever the case, 2Pac emerged hardened and hungry with “All Eyez on Me”, the first double-disc album of original material in hip-hop history. It only took 2Pac two weeks to record the 27-track epic.

“All Eyez on Me” was released on February 13, 1996 almost a year after 2Pac began his prison sentence. Sadly, the Grammy nominated album was the last to be released during 2Pac's lifetime.

The album opened at number 1 on the Billboard 200, making 2Pac the first rapper to have two straight albums debut at number one. Although 2Pac spent most of 1995 locked up and battling the system, the album makes it obvious that, rather than reducing his artistic abilities, the struggles only elevated his skills.

Most of the tracks on “All Eyez on Me” are unapologetic celebrations of living the thug lifestyle (“California Love”) and while there is the occasional reminiscence about past and present friends ("Heartz of Men"), it moves away from the social and political consciousness of “2Pacalypse Now”.

The album featured six singles, the most of any 2Pac album up to that point and at 132 minutes, truly is an epic set of music. While every track has something to offer, “I Ain’t Mad At Cha”, “How Do U Want It”, “Picture Me Rollin” and “2 of Amerikaz Most Wanted” (which features Snoop Dogg), stand out above all the rest.

While “California Love” was released as the “comeback” single for 2Pac, it also epitomizes the west coast lifestyle, and is easily one of the best hip-hop tracks of all time. The song was nominated for two Grammy Awards and features Dr. Dre and Roger Troutman.



2Pac is ferocious on the track, showing that he was motivated and ready to be back on the rap scene: “Out on bail fresh outta jail, California dreamin/Soon as I stepped on the scene, I'm hearin hoochies screamin/Fiendin for money and alcohol/the life of a west side playa where cowards die and its all ball/Only in Cali where we riot not rally to live and die.”

Dr. Dre has one of the cleverest and most recognized verses on the album as he raps: “Now let me welcome everybody to the wild, wild west/A state that's untouchable like Elliot Ness/The track hits ya eardrum like a slug to ya chest/Pack a vest for your Jimmy in the city of sex.”

“I Ain’t Mad At Cha” is a personal track for 2Pac, a heartfelt tribute to his friends he knew before he was famous. He speaks of losing touch with people and how many people turned on him after his success.



On the track 2Pac raps about his younger days, his time in prison and how his life has changed from being in the ghetto to being a celebrity. "So many questions, and they ask me if I'm still down/I moved up out of the ghetto, so I ain't real now?/They got so much to say, but I'm just laughin at cha/You niggaz just don't know, but I ain't mad at cha."

"Life Goes On" is arguably the most emotional track on the album and is a tribute song to his friend Kato. Ironically, it also talks about his own death, and his funeral. You can hear the truthfulness and sadness as 2Pac raps: “As I bail through tha empty halls/breath stinkin' in my jaws/ring, ring, ring, quiet y'all/incoming call, plus this my homie from high school/he's getting bye/It's time to bury another brotha nobody cry.”

The track also has one of the best and most meaningful choruses on the album, as 2Pac croons: “How many brothas fell victim to tha streetz/Rest in peace young nigga, there's a Heaven for a 'G'/be a lie, If I told ya that I never thought of death/my niggas, we tha last ones left/but life goes on.”

“2 of Amerikaz Most Wanted” is my personal favorite track on the album. Featuring Snoop Dogg, the track has an infectious beat, and some of the best lyrics on the album. The duo paints a perfect picture of the California lifestyle and show why they are two of the best MC’s of all time.

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2Pac brings it with confidence and bravado as he raps: “So now they got us laced/Two multimillionare motherfuckers catchin cases (mmm)/Bitches get ready for the throwdown, the shit's about to go down/Uhh, me and Snoop about to clown/I'm "Losin My Religion", I'm vicious on these stool pigeons/You might be deep in this game, but you got the rules missin.”

Snoop uses some great culture references as he spits the verse: “I got a pit named P, she niggarino/I got a house out in the hills right next to Chino/and I, think I got a black Beamer/but my dream is to own a fly casino/like Bugsy Seagel, and do it all legal.”

With all his past success, 2Pac could have put out a run-of-the-mill album and still probably sold millions, but instead he put something truly original and epic.

With solid tracks from top to bottom, the album is easily one of the best of all time. Throughout his career 2Pac released some truly great music, but I think “All Eyez on Me” is his defining work and is most definitely a classic.