For me the most realized of all the Wu solos. Nothing is out of place, even the slightest. I rank this higher than 36 chambers.

The current trend of confusing the art with the person is complete nonsense. There are obvious exceptions, where the art and person is inseparable, like with certain authors. But almost never the case with musicians. In the case of Kanye, I am pretty sure he would still have an audience for his music, if his craft today was anything worth paying attention to. But clearly that is not the case.

As the story goes, Madlib was so restless waiting for MF DOOM to make a Madvillainy 2, that he simply created new beats over DOOMS original lyrics. And hearing some of the beats here.. one wonders what a real follow-up would have sounded like. But actually I did enjoy it quite a bit, if one takes it for what it is.

Skyzoos most cohesive work. And the production from Apollo Brown helps every step of the way.

Few records from the genre has stood the test of time beyond the 90's, but this is possibly more enjoyable today than 30 years ago. The drums, bass and layering was so far ahead of its time its ridiculous. Almost any genre album from the era sounds flat in comparison. If you want to experience the 90s rave/techno scene, this is THE record to start with.

The best from the UK producer in a decade. A fun dusky, psychedelic ride of 90's rave filtered through echoes and memories. You can never get close to what you are hearing; its always from a distance - a production technique many have tried but few can pull of.

An absolute classic. And one of the clear-cut ways to get into Fela's extensive discography.

Grown to be one of my favourites from the Detroit producer. Obviously, with such a mix of guests, lyrically its not that strong, but the production is on par with his best work.

Lyrically, a talented rapper, delivery, so and so. But the production is constantly good-to-great, and over 3 hours that is saying something. There are about at least 10 tracks that stand out that put together would have made an underground classic. But clearly, and understandably, that was not the point. But this is even with 60 tracks an enjoyable ride. Perhaps not in one go, which MF Grimm actually advised against - why the album is split into three parts; Breakfast, Lunch, The Last Supper.

Much better then I remembered it. Theme De Crabtree and Road of the Lonely Ones stands tall amongst his best instrumental work. Compared to other instrumental hiphop records, the whole thing is well put together to get the album feel. Still though, its all a bit to "clean" and polished and not the go-to-album if you want to know why he is one of the best producers of this millennia.

Really tried to get into this, but it all sounds a bit to abrasive for my tasting. There are a few cuts with great ideas but don't really get the hype.

Apollo Browns first great records, soon to be reissued on vinyl

Lyrically, it has its moments. But the production is middle-of-the-road stuff that sound amateurish, and not in the Dr Octagon sense of the word.

This is so bad its not even funny. A talented rapper for sure, but he just never seemed to get it right on his albums.

One of the most insanely creative instrumental records I've ever heard. Every track is over-flooded with original ideas and new ways of combining sounds. That Madlibs sampled Experience for Madvilliany makes, well, perfect sense. Never though ...Endtroducing would be rivaled, but this comes damn near as one of the best instrumental "hip hop" (the term used in the absolute looses sense) albums ever made.

An underrated classic rock gem with a lot of twists and turns. "Caught Short in the Long Run" is an absolute masterpiece that needs to be heard by more people.

Amongst his best work. No fillers. "Lifting Shadows" and "Strength & Weakness has great hooks and lush beats and are obvious stand-outs. His works after Alwasta is nowhere near as exciting.

A game changing album that was a major influence on a whole bunch of important 90s music. It has a few obvious classics, but it also works as a cohesive work of original ideas, and I would argue that the production here holds up better today than on both Protection and Mezzanine.

Compared to Tago Mago and Ege Bamyasi, Future Days falls a bit short. Nevertheless, it completes one of the most astonishing album trilogies.

Possibly the best of both of them to date - combined into a modern classic.