Do you like vocals used as instrumentation? If so, this is the album for you. Really, really good—solid the whole way through, while still being very innovative. Satisfying on repeat listens but accessible enough for parties.

Very good. Very, very good. The Betty Harris track “Break in the Road” has some of the most amazing drumming I have ever heard; it’s almost as good as the drum work on Hook ‘n’ Sling (Part II) by Eddie Bo.

A great introduction to one of the funkiest places on earth. Maybe you’ve heard some of the tracks on it elsewhere, but it’s fantastic overall—a good selection, and really nice liner notes and pictures. Soul Jazz Records forever!

A different picture of Doom than you Johnny-come-latelys are used to. Doom is, in his heart of hearts, a gangsta rapper, and it is here that it is most apparent (not that it’s hidden in his other work at all). Unusual beats, good rhymes, incredible skits (The Hands of Doom has one of the sickest beats I’ve ever heard.)

If you’re new to true underground hip-hop (and no, Common does not fall into this category), this may be too far out for you. Come back when you have more experience.

Doom says it himself right in the first song or two: “the back end sucks.”

For completists only.

Doom seems to catch a lot of flak for this album, despite the fact that some of his best MCing takes place here. Fave tracks for me include The Drop and G.M.C. G.M.C., particularly, shows Doom at his most abstract and philosophical.

It’s not like this is bad, but if you’re any kind of a fan of either artist, this just isn’t that exciting. I think one of the tracks even appears on The Funky 16 Corners as a bonus track. Really for completists only.