Pink Friday was one of the most highly-anticipated albums of 2010, largely due to curiosity. The reality is that it could have never lived up to the hype it prematurely received. Still, there's room for growth, and Nicki Minaj has both the skills and the following to keep moving up.

Those who are less dedicated to the soul-trap genre might find the hour-long, 24-track album a test of their aural endurance. Beautiful Mind shows every element that contributed to Wave’s rapid ascent to the top of his genre: the interplay between his vocals and verse; the bitter honesty with which he describes his early life experiences; and his skill for turning any sample – no matter how well-known – into his own anthemic trap-soul style.

MMM is by no means is it Diddy’s best work but, it does deliver some quality music with a little something for everyone. Whether you are looking for tight rhymes, big production, exciting collaborations or even just some of that signature Diddy ad-libing, MMM is definitely worth a play or two.

Rich The Kid has done a fine enough job with his second album, and he’s successfully set the stage for a career that could be long, fruitful, and ultimately well-respected.

Though his delivery, wit, and overall presence are exciting and the EP is good for surprises such as Gucci Mane exceeding expectations over El-P's contribution "Telephuck," the continual insistence on raunch risks becoming stale.

Jesus Piece ends up being the least compelling release in Game's storied catalogue, but that doesn't mean it's not worth a listen.

The self-proclaimed "White trash heartthrob" kicks off his show with a display of lyricism and content that aligns very closely with Yelawolf has always been about - sincerity, family, community and of course Chevrolet Caprice Classics.

"Stocking Cap" Sai may be no more, but Saigon proves that he still hasn't lost his touch on the mic.

With tracks like "15 Minutes" to slow things down for those romantic moments, and an upbeat song such as "All Said And Done" to keep things moving along at a decent pace, Jamie Foxx's LP is a pleasant addition to the current R&B landscape.

It doesn’t introduce a new sound, nor does it feature many moments we haven’t heard before. Yet what makes this album important are all the reasons Hip Hop needs Freddie Gibbs. On any one album, he can give you pieces of Tupac, UGK, Three 6 Mafia, and blend them into a harmony that would make Bone Thugs-n-Harmony proud.

Evermore: The Art Of Duality is an album that might overstay its welcome once it’s finished, but it is a project that takes an old concept album idea and breathes new life into it while, concurrently making the talent and the rep of this against-the-grain Beast Coast duo grow bigger with each new release.

Overall R.E.D. is concise and beautifully simple, making it one of this year's smoothest R&B albums.

There's still a bit more growing to do, but Master of My Make-Believe shows that's she's headed in the right direction.

Despite the house and dance beats and Marc Anthony features, Pitbull is still a rapper, and a decent one at that. He has definite personality on the mic, a trained and well-executed flow and delivery, and an ear for a good club banger.

While each track on Loud is an audio Polaroid of past work, there's little evolution. It's evident Rihanna is working her way to the top, but she's been doing that for three albums now.

It maintains a musical energy intense enough to fuel a good party, yet throws in just enough of a dash of introspect to remind listeners that behind Jim Jones' exotic cars, empty bottles left behind at VIP tables, penchant for the drug business, and platoon of fly females, the man still has a heart.

Cruel Summer is heavy and brash, and in that sense, it succeeds. G.O.O.D. Music's first outing successfully showcases the collective's talents, but it's ultimately an underachieving and uneven effort.

I Never Liked You continues his stagnation from High Off Life, settling for comfort rather than experimentation. The songs are rehashes he’s done more effectively in the past. His signature consistency is still there.

While Take Care could be much better in some theoretical ways, it isn't bad in any objective way either.

The Incredible True Story is both the overt and organic progression of an accomplished emcee maneuvering in his comfort zone past potential pitfalls.

Hail Mary Mallon gives us one of the better independent albums released of the year. The artists' ability to have fun, while weaving a complex and serious narrative is the thing that only seasoned lyricists could pull off.

Overall, A$AP Ferg’s Trap Lord, is a solid, if an sometimes-uninspired effort.

While G I R L is too surface-level at times, it hits the target it’s aimed for.

Equipped with drowsy articulation tinged with a melodic pinch of raspiness, Xan is far from an astute lyricist but isn’t actually a slouch on the mic in terms of flow and rhyme schemes.

J. Cole's debut album has flaws just as others' rookie seasons did, but Cole World: Sideline Story definitely proves that he deserves a prominent spot on the team.

A vulnerable, sexy, and fun record, Age/Sex/Location is a fitting eye-roll at the R&B is dead debate.

Aside from “Run Away,” none of the tracks on Bush are utter drag-and-recycle-bin drop material, the album is a surprising letdown from two legendary artists who have (literally) a platinum track record.

Notwithstanding a couple musical blemishes, IV Play diligently continues The-Dream’s tenure as one of the premier acts in R&B.