The 17 tracks and 63 minutes of Islah flow surprisingly well; even though there’s room to cut the fat, it doesn’t drag on the way many albums with that many songs do.

Some Cold Rock Stuf continues with a gracious mixture of up-tempo and moody cuts, though some are more favorable over others.

Though not his greatest body of work, it places his cunning lyrical skills front and center while showcasing his and Scram Jones’ identical ears for quality, bass-heavy production and the fact that gangsters want to have a little fun, too.

While Vol. 2 provides instrumentation that commands each track. Most of the beats consist of rattling snares and melodic 808 drums that drive a uniform basis without sounding totally identical.

Few producers in the game boast similar originality and creativity, which makes Invite the Light a refreshing new album for 2015 and beyond.

His involvement in the actual song-making process may be limited, but his ear for the finished product shouldn't be understated.

The Love Album is at its best when Diddy creatively assembles unexpected collaborations, chooses inspired beats, and lets his co-stars lead the show.

Here I Am is a solid effort by Destiny's other child.

Southsiders is a solid album. The production is consistent and there are moments of enlightenment from Slug. But due to Atmosphere’s already extensive catalog, it doesn’t easily separate itself from previous works.

Shlohmo creates reverential moments out of human gloom, and does so with a level of execution that invites multiple listens while defying comparisons, too.

Z is strongest when SZA avoids usual Pop tropes. Too many songs are about being left brokenhearted, and don’t add much to what’s already been done.

As a whole, the feel-good album’s set of eclectic beats doesn’t disappoint, but it lacks diversity.

Indicud is an ambitious project that Kid Cudi took a blind shot at, and while by no means does he completely exemplify his immortal identity, he certainly makes a compelling case nonetheless.

At times the style itself feels like a copy of Rae’s hits instead of an organic creation, but The Chef does a good job of balancing the radio-friendly Rap with material his diehard fans crave.

Girl On Fire pushes her superb writing skills forward without losing what makes Alicia Keys the artist she promised to be 11 years ago.

No, his music isn't appropriate for every situation, but when T-Pain is what you're in the mood for, there's still no better T-Pain than T-Pain.

The album is repetitive in nature (a sure complaint for anyone highly critical of his solo work), Prodigy continues his largely consistent reign as a still thriving pioneer of New York’s once thugged-out era.

Despite its missteps, GMB is a commendable project that should hold over diehard fans.

Overall, Fortune further indicates a changing of the guard in urban music, as Chris Brown's feel good songs find his most staunch advocates willing to overlook his lowered standards of musical content.

The Solution once again combines Buckshot and 9th Wonder's accomplished and refined skill sets as pioneers of the '90s and the past decade respectively.

Gift of Gab is a craftsman, and achieves goal to provide uplifting music.

The inclusion of a small handful of featured emcees spices up the pot appropriately and where and when they cook are choiced well.

With a dynamic range that stretches from speedier tracks like “I Wish” to the slow and steady “90’s Class Act (Ek),” PeteStrumentals 2 refuses to settle on a single model, rather incorporating snippets of what Pete Rock has shown has fans over the years.

At its very best, Seen It All is a glimpse into how Jeezy can make his living on the back nine in a crowded subgenre with no use for him anymore: By recalling the most chilling details of his drug dealing past with a flashback-like crispness.

Despite the somewhat lethargic back half, falling or flying ends on a high note thanks to a powerful set of closing tracks in “Backwards” and “What if my heart beats faster.”

Let’s Start Here. is exciting at the first listen because the style is new to Lil Yachty himself. Alas, the shiny sheen of new experiences tends to dull over time and with repetition.

Like an episode of Atlanta, 3.15.20 takes us in various, episodic directions that are snapshots into the thought process of Donald Glover. He ties it all together with the unifying, timeless theme of love. It’s just a shame his vision was marred by musical risk-taking that falls flat almost as much as it soars.

Free Will is a solid project worth the spins but misses the opportunity to deliver a career-defining album by not having the personal touch that’s needed in his discography.