Often cited as one of the best albums of the '90s, is the undisputed classic upon which ' reputation rests. It helped spearhead the artistic renaissance of New York in the post- era, leading a return to street aesthetics. Yet even if marks the beginning of a shift away from -inspired , it's strongly rooted in that sensibility. For one, employs some of the most sophisticated producers around: , , and , who underpin their intricate loops with appropriately tough beats. But more importantly, takes his place as one of 's greatest street poets -- his rhymes are highly literate, his raps superbly fluid regardless of the size of his vocabulary. He's able to evoke the bleak reality of ghetto life without losing hope or forgetting the good times, which become all the more precious when any day could be your last. As a narrator, he doesn't get too caught up in the darker side of life -- he's simply describing what he sees in the world around him, and trying to live it up while he can. He's thoughtful but ambitious, announcing on that "I never sleep, 'cause sleep is the cousin of death," and that he's "out for dead presidents to represent me" on Elsewhere, he flexes his storytelling muscles on the classic cuts and the latter a detailed report to a close friend in prison about how allegiances within their group have shifted. fans accustomed to 73-minute opuses sometimes complain about 's brevity, but even if it leaves you wanting more, it's also one of the few '90s albums with absolutely no wasted space. reveals a great lyricist in top form meeting great production, and it remains a perennial favorite among serious fans. ~ Steve Huey