One of those acts more known for their appearances on other rappers' records rather than their own. Greg Nice rapped as the loud, hype guy while Smooth B always backed him up with a life story that somehow related to the song title. The duo's debut has an expansive "We're The Rappers, He's The DJ" vibe that doesn't always work to their benefit. When they cut to the chase and match clear party raps with outrageous retro samples ("Early to Rise" and "Funky for You"), it's a winner.

This is different than the Geto Boys lineup which came to mainstream popularity in the early 90's. Different lineup and style of music. The only song from this period which crossed over to that phase of the group was "Assassins", albeit in remixed form. The music just doesn't go together at all. It's…MAKING TROUBLE! That's it!

The rapper who spelled out the words he rapped. The video for the single "Spellbound" came off like a hip-hop version of Sesame Street. Spelling was the hook but behind the flashy gimmick was an adept and brainy MC, one of the few able to clearly put across the up-tempo rapping style on record. His Hit Squad association helps immensely, as Parrish Smith of EPMD produced, making sure Madison is the spotlight of this lyrically focused, surprisingly-oddball affair, as tracks like "Tales from the Crackside" and "Drums of Death" fervently prove.

The previous record was definitely a landmark in more ways than one, but do not skip over the follow-up effort, which is what most people tend to do. Admittedly, it's a mixed entry in the Jazzy Jeff/Fresh Prince catalog, but a fairly interesting one, if only because the duo's humor reaches near-outrageous levels. "I Think I Can Beat Mike Tyson" was one of those tracks that got pigeonholed as a novelty upon release, but rivals past hits on sheer laughs alone. That doesn't mean it's a total upgrade, because the subject matter feels trite more often than not ("Everything That Glitters" is a real low point). But then again, that is a big part of the album's charm, too.

Released when he was still calling himself "Master Ace" and known for his lead verse in the Cold Chillin' posse cut "The Symphony", Ace's debut aims to present him as a smart young star on the rise. He's rapid-fire riffing on many different things, from old Grand Funk bass lines ("Music Man") to Gil Scott-Heron (the title track), because he's a man of many talents, and the breadth of it all is mildly impressive. Yeah but…was nearly 70 minutes of it necessary? At this point, there was potential yet to be fulfilled…