Get your G.O.A.T.

LL Cool J might not have been rap's first artist but he may well be one of its most durable. Since his auspicious emergence in 1985, LL has navigated through hip-hop's stormy waters, catapulting himself from overnight sensation to bona fide cross-cultural phenomenon. In his 15th year, Cool J is back on the scene and looking to elevate his game to even loftier levels with the release of his eighth album, G.O.A.T. (Greatest of All Time).

At the time of his teenage debut, 1985's Radio, LL Cool J was the archetypal B Boy from Queens. Radio mated a sexually charged persona with Rick Rubin's raw production, carrying the rapper, Def Jam Records and a new streetwise music genre into the mainstream. As 90s hip-hop fans slowly watched Cool J's metamorphosis into "Uncle L"-a wholesome social icon with an affinity to creating "hip-pop"-Cool J simultaneously watched his stock decline. G.O.A.T. is a definitive answer to his critics and a valiant attempt to affirm his place as a rap legend among true fans.

Perhaps it's the inner battle to regain his hip-hop cred that makes G.O.A.T. a highly absorbing listen. G.O.A.T. is LL's most engaging album in a decade, if solely for the irritable and embittered attitude he displays throughout the entire album. Far from the Uncle L that Generation Y hip-hoppers have grown accustomed to, G.O.A.T. sports a highly erratic, insanely tempered, potty mouthed Cool J. Obviously, LL's focus is on proving to his critics that his mainstream pop success hasn't detracted from his ability to identify with the streets.

Although it is this burning inspiration that makes G.O.A.T. a success, the album is far more than a simple petition for respect. G.O.A.T. is an impressive synthesis of accessible rhythm and sublime rhyme. Backed by production by Rockwilder, Premier, DJ Scratch and Trackmasters, Cool J's exuberant rhymes finally have equally exciting production. On the head-pounding "Back Were I Belong" featuring Ja Rule, LL's lyrical intensity is searing. On the tropical tinged "Fuhgidabowdit" Cool J trades raps with heavyweights Method Man, Redman and DMX without missing a step. On the albums deepest cut, "Homicide," Cool J's representation of the streets reaches a pinnacle, as he proclaims "I don't mean this in a disrespectful way / But Columbine happens in the ghetto every day."

Despite the effort, G.O.A.T. is not a perfect album. Mundane tracks detract from the album's more stellar cuts. The heroin-paced "Farmers" sounds more like the result of too much No-Doz and extra studio time than true thought and provocation. The cheesy "Take it Off" is just plain corny. "U Can't F**k with Me" is a bland screed that leaves you wondering if anyone wanted to in the first place. Perhaps the album's biggest drawback is the narcissistic nature of the title: G.O.A.T.-The Greatest of All Time-as if 2pac, Biggie and Rakim were all figments of our collective imagination.

Despite the setbacks, this album is still an accomplishment. LL's ambition is admirable, especially considering his already-mythic status in contemporary culture. With over 20 million albums sold, he's one of the most successful artists in hip-hop history, yet G.O.A.T. illuminates the fact that his fame should not overshadow his artistic achievements. The Greatest of All Time? No. LL Cool J's best effort in a long time? That's more like it.