8. Undisputed (2012)

After six years away from the album market, DMX returned with Undisputed, a record that finds him revisiting the street-centered approach that made his name. There are flashes of the old intensity, and his unmistakable voice still carries plenty of force, but the material rarely matches the standards set by his first run of albums. The production is the main problem. Much of it sounds thin and poorly balanced, with uneven mixing that takes some of the impact out of the harder tracks. For an artist whose music depends so heavily on presence and energy, that lack of sonic weight is particularly frustrating.

Swizz Beatz reconnects with DMX on “What They Don’t Know,” one of the album’s strongest moments. Its forceful beat and familiar Ruff Ryders urgency provide a reminder of how effective their partnership could be. “Get Your Money Up” also has the directness of an old-school DMX street anthem, while “Head Up” finds him leaning into a more motivational approach. “Have You Eva” and “Already” offer further glimpses of his ability to command a track, even when the surrounding production lacks polish. “Slippin’ Again” inevitably invites comparison with the introspective classic from Flesh of My Flesh, Blood of My Blood. It does not reach the same emotional depth, but its presence points to the personal struggles that have always been central to DMX’s writing.

There are less convincing moments, including the awkward “I Don’t Dance,” where the pairing with Machine Gun Kelly does little to bring out the best in either artist. Several other tracks sound underdeveloped, and the album never achieves the consistency or atmosphere of DMX’s strongest work. Still, Undisputed has enough worthwhile material to make it an imperfect but respectable return. It is a long way from his peak, though the idea that this is an outright embarrassment gives the album too little credit. | 6/10

7. Year Of The Dog... Again (2006)

By 2006, DMX’s personal problems were increasingly overshadowing his music, and the three-year gap since Grand Champ had done little to restore the fire of his earlier work. Year of the Dog… Again finds him relying heavily on the same formula that had brought him success: Swizz Beatz production, aggressive street anthems, confrontational barking, and occasional appeals to God. The ingredients are familiar, but the inspiration is harder to find. DMX still has moments of genuine intensity, and his gruff delivery carries weight, but the repetition is becoming difficult to ignore. What once sounded urgent and distinctive now often comes across as a routine exercise in revisiting past glories.

Swizz Beatz supplies much of the production, and tracks such as “We in Here” and “I Run Shit” have the pounding drums and confrontational energy associated with their best collaborations. “Come Thru (Move),” featuring Busta Rhymes, brings some welcome intensity, while “It’s Personal” pairs DMX with Jadakiss and Styles P for a strong dose of East Coast street rap. Scott Storch’s “Lord Give Me a Sign” is the album’s standout. Built around a dramatic, gospel-tinged arrangement, it gives DMX room to address his struggles and search for spiritual guidance. His conviction makes the song one of the more affecting moments in his later catalog.

Elsewhere, the material is considerably less convincing. “Dog Love,” featuring Amerie, is an awkward R&B detour, and several tracks struggle to distinguish themselves from the familiar DMX template. The contrast between the album’s aggressive cuts and its more reflective moments is still part of his appeal, but the writing and production rarely bring those elements together with the force of his early work. The album has worthwhile moments, and DMX’s personality is never entirely absent, but too much of it sounds like a repetition of past successes.

Year of the Dog… Again is a mixed bag rather than a complete misfire. “Lord Give Me a Sign” alone makes it worth revisiting, and the stronger street tracks offer occasional reminders of what made DMX such a compelling presence. As a full album, however, it lacks the freshness and consistency needed to recapture the intensity of his first releases. | 6/10

6. Exodus (2021)

DMX’s death on April 9, 2021, came while work on Exodus, his eighth studio album and first Def Jam release since Grand Champ, was nearing completion. Swizz Beatz, his longtime collaborator and friend, took charge of finishing the project, with contributions from producers including DJ Premier and Kanye West. The circumstances surrounding its release inevitably shape how we hear the record. Although much of the album had reportedly been completed before DMX died, Exodus often sounds like a project assembled around him rather than one fully guided by him. The sheer number of guest appearances and the uneven production leave surprisingly little room for the man whose name is on the cover.

There are worthwhile moments. “Bath Salts,” with Jay-Z and Nas, brings three generations of New York rap together over a hard-hitting beat. “Hood Blues,” featuring Westside Gunn, Benny the Butcher, and Conway the Machine, connects DMX with Griselda’s grimy aesthetic, while “That’s My Dog” reunites him with The LOX. Lil Wayne delivers one of the album’s strongest guest performances on “Dogs Out,” matching DMX’s energy with a lively verse of his own. The emotional center is “Letter to My Son,” a heartfelt reflection on family, regret, and the relationships left behind. Here, DMX’s vulnerability gives the album some of its most affecting material.

The production, however, rarely reaches the level these collaborations suggest. Swizz Beatz supplies much of the musical direction, but too many tracks rely on generic, underpowered beats. The guest list also gets out of hand. Alicia Keys makes little impression, Bono’s appearance is an awkward fit, and Moneybagg Yo turns up on “Money Money Money,” reportedly the only track DMX had not heard before his death. That song is among the album’s weakest. With so many outside voices competing for attention, DMX sometimes sounds like one guest among many on his own record.

Still, Exodus has an emotional weight that its musical shortcomings cannot erase. It offers a more fitting final chapter than the unauthorized Redemption of the Beast or the disappointing Undisputed. The album is an imperfect farewell, with enough strong performances and personal moments to make its final release meaningful. DMX’s voice, presence, and unmistakable intensity are sorely missed. | 7/10

5. DMX - The Great Depression (2001)

By the time The Great Depression arrived in October 2001, DMX had already released three albums in three years, each one debuting at number one. The remarkable momentum of his initial run was beginning to show signs of wear. His fourth album retains the aggression and emotional intensity that defined his earlier work, but the music around him takes a noticeably more commercial direction. The production leans toward bigger hooks and smoother arrangements, while some of the raw urgency that made It’s Dark and Hell Is Hot and Flesh of My Flesh, Blood of My Blood so compelling has faded. DMX still sounds committed, but the material occasionally gives the impression of an artist repeating familiar themes without finding much new to say.

There is plenty worth hearing, though. “We Right Here” is a forceful opener, driven by a hard beat and DMX’s unmistakable confrontational delivery. “Who We Be” is more distinctive, built around a compelling collage of observations about life, violence, and the state of the world. Its reflective tone brings out a different side of DMX’s writing without sacrificing his intensity. “Damien III” continues the dark storytelling tradition of the earlier Damien tracks, while “A Minute for Your Son” finds him addressing God with the desperation and spiritual uncertainty that have always been central to his music. “I Miss You,” featuring Faith Evans, is another strong moment, its emotional directness giving the album some welcome warmth. “We In Here” also delivers the kind of uncompromising street energy that listeners expect from DMX.

The album is less consistent than its predecessors, and its more polished approach occasionally softens the qualities that made DMX such a compelling artist. Still, the performances are strong enough to carry much of the material, and several tracks rank among the best of his later career. The Great Depression may signal the first real dip in his album run, but it is a better record than its reputation sometimes suggests. | 7/10

4. DMX - Grand Champ (2003)

Grand Champ completed an extraordinary run: DMX’s fifth consecutive studio album to debut at number one on the Billboard 200. It also marked the end of that particular streak, and, in retrospect, the end of his strongest period as a recording artist. The album does not quite recapture the ferocity of his first three releases. At 78 minutes, it is also considerably too long, with several skits, unnecessary guest appearances, and stretches of production that lack distinction. Still, these shortcomings shouldn’t obscure how much good music DMX packed into this record. Grand Champ is often overlooked in discussions of his catalog, but it deserves considerably more credit than it gets.

The opening “Dog Intro” sets an appropriately aggressive tone, leading into “Where the Hood At?,” one of the defining anthems of DMX’s career. Its blunt hook and uncompromising attitude make it an immediate standout. Swizz Beatz provides another high-energy moment with “Get It on the Floor,” while “Dogs Out,” produced by Kanye West, brings a darker, more menacing feel. “Shot Down,” featuring 50 Cent and Styles P, is another strong street-rap collaboration, with all three MCs bringing plenty of intensity. “We’re Back,” featuring Eve and Jadakiss, reconnects DMX with the Ruff Ryders family, and “The Rain” offers a welcome change of pace. Built around a soulful sample, it gives DMX room for a more reflective performance without losing his characteristic edge.

The album’s length does expose its weaker stretches. Some of the later tracks are forgettable, and the abundance of features occasionally pulls attention away from DMX himself. But the best material is strong enough to carry the record, and his performances have a conviction that was becoming less consistent on his subsequent releases.

Grand Champ may not have the concentrated impact of DMX’s early classics, but it contains some of his most memorable songs. It was the last time we heard him deliver a full album with this many moments of genuine force. That makes it an important closing chapter to his first and greatest run. | 7.5/10

3. DMX – …And Then There Was X (1999)

By the end of 1999, DMX had delivered two albums in less than a year, both debuting at number one and establishing him as one of the dominant forces in Hip Hop. …And Then There Was X completed an extraordinary opening trilogy. It was also his biggest commercial success, eventually earning five-times-platinum certification. The scale of that success is understandable: the album takes the intensity of his first two records and gives it a more accessible, hook-driven framework without sacrificing the qualities that made DMX such a compelling MC. Some of the rough edges have been smoothed out, but the hunger is still there.

The singles provide three very different examples of his appeal. “What’s My Name?” is a straightforward declaration of identity, powered by DMX’s commanding delivery and a beat from Irv Gotti and Self Service. “Party Up (Up in Here)” became his biggest hit, and its explosive hook remains one of the most instantly recognizable anthems of his career. “What These Bitches Want,” featuring Sisqó, takes a more playful approach, with DMX delivering a series of observations about women over Nokio’s slick production. These tracks are only part of the story, however. “One More Road to Cross” opens the album with a tense reflection on mortality and the consequences of street life, while “Fame” addresses the complications of success. “D-X-L (Hard White),” featuring The LOX and Drag-On, brings the Ruff Ryders camp together for a hard-edged posse cut, and “Here We Go Again” delivers another dose of the aggressive energy that defined DMX’s best work.

There are lighter moments and a few tracks that don’t quite reach the same level, but the album’s consistency is impressive given its length. DMX moves comfortably between confrontation, humor, introspection, and outright celebration, while the production gives him enough variety to keep the record moving. …And Then There Was X may sit slightly below its two predecessors, but it is still peak DMX: an accomplished, energetic album from an artist at the height of his powers. | | 8/10

2. Flesh of My Flesh Blood Of My Blood (1998)

Following the extraordinary success of It’s Dark and Hell Is Hot, DMX returned only seven months later with Flesh of My Flesh, Blood of My Blood. Few artists could have maintained that kind of momentum, but DMX had plenty left to say. His sophomore album is even darker and more unsettling than its predecessor, with Swizz Beatz supplying much of the production. The record has a more immediate, sometimes rougher feel, and its atmosphere is steeped in violence, paranoia, spiritual conflict, and personal turmoil. Some tracks reportedly originated during the sessions for the debut, but the album has a distinct identity of its own. It doesn’t quite match the concentrated impact of It’s Dark and Hell Is Hot, though the gap is remarkably small.

The opening “Bring Your Whole Crew” sets an intimidating tone, with DMX delivering one of his most vicious performances over a pounding beat. “We Don’t Give a Fuck,” featuring Jadakiss and Styles P, is another highlight, bringing together three of New York’s most forceful voices. “Keep Your Shit the Hardest” and “No Love 4 Me,” featuring Drag-On and Swizz Beatz, keep the pressure on, while “Blackout” pairs DMX with The LOX and Jay-Z for an impressive showcase of Ruff Ryders and Roc-A-Fella firepower. “The Omen (Damien II),” featuring Marilyn Manson, pushes the album into genuinely disturbing territory, extending the sinister narrative of the original “Damien.”

The defining moment, however, is “Slippin’.” Built around a soulful Grover Washington Jr. sample, it finds DMX looking back on a childhood marked by hardship, abuse, and instability. His delivery is unusually restrained, allowing the pain and vulnerability in his words to carry the song. “Prayer II/Ready to Meet Him” closes the album with another extended confrontation between faith, guilt, and the possibility of redemption.

Flesh of My Flesh, Blood of My Blood went triple platinum and gave DMX his second number-one album of 1998. Its strongest tracks are every bit as compelling as the material on his debut, and “Slippin'” ranks among the most revealing recordings of his career. An outstanding second album from an artist operating at full intensity. | 8/10

1. It’s Dark and Hell Is Hot (1998)

DMX’s debut dropped at a moment when mainstream Hip Hop was increasingly associated with the polished, celebratory sound coming out of Bad Boy Records. It’s Dark and Hell Is Hot offered a striking alternative. Built around the gritty production of Dame Grease and PK, the album had a grim, unsettled atmosphere that matched the intensity of its central voice. DMX sounded like an artist with plenty to get off his chest, moving between explosive aggression, street-level storytelling, dark humor, and moments of genuine vulnerability. His charisma made the material compelling, while the Ruff Ryders organization gave him the platform and promotion to reach an audience far beyond New York. The album eventually went quadruple platinum, an extraordinary achievement for music this uncompromising.

The singles made an immediate impact. “Get at Me Dog” introduced DMX’s confrontational style, “Stop Being Greedy” captured his volatile delivery, and “Ruff Ryders’ Anthem” became an enduring street anthem. Swizz Beatz’s spare, repetitive production gave the latter an instantly recognizable identity, even though DMX initially had reservations about the beat. Elsewhere, the album’s range is impressive. “How’s It Goin’ Down” reveals a more personal side through its account of a complicated relationship, while “Let Me Fly” and “I Can Feel It” bring spiritual concerns and mortality into the picture. “Damien” is among the album’s most memorable tracks, using a chilling narrative to explore temptation and the darker impulses within DMX. “X-Is Coming” takes a similarly disturbing approach, while “ATF” delivers another concentrated burst of street intensity.

What makes the album so compelling is the way DMX puts his conflicting emotions at the center of the music. The aggression never feels detached from the personal struggles behind it, and his willingness to expose fear, anger, and spiritual uncertainty gives the record a depth that its harsh exterior might initially obscure. Flesh of My Flesh, Blood of My Blood came close to matching this achievement, but DMX never quite reached these heights again. It’s Dark and Hell Is Hot announced a major new force in Hip Hop and gave the Ruff Ryders era its defining starting point. A remarkable debut, and the strongest album in DMX’s catalog. | 8.5/10