Williams isn’t here for you to simply digest his art and move on. He wants it to stick to you, to stay in your heart, mind and soul, the same way it does with him as the artist. And MartyrLoserKing accomplishes just that without question.

Something About April II is the rare record that allows you be spirited away without feeling dirty or voyeuristic. As though you sought to change some flaw in the past that shouldn’t have been changed at all.

While not DS2 nor What A Time To Be Alive, Purple Reign is an important Future release because it shows an artist continuing the work of discovering his best talents while also staying well within his own, now well-defined zone.

For as good as the melodies and ripe drums and bass beats are on the album, more impressive is the songwriting.

Overall, The Buffet is a satisfying dish.

Pusha delves into risky artistic terrain and imparts flashes of lyrical genius only a few have the pedigree to pull off. The Prelude has once again positioned Pusha as an emcee with the ability to put forth a legendary piece of work.

Late Nights shoots at the moving target that is modern rhythm and blues and scores, because sometimes sheer talent just can’t be denied.

There’s no number of stars that can save this album from aiming high, falling short, and still somehow being quite entertaining at moments along the way.

When his conscious aligns with his songwriting We Didn’t Talk excels. He needs only seek himself and lead by example rather than trip over cliches.

While showing progression here, Chris Brown still is quite far from being the best man and artist that he can be. On Royalty, Chris Brown shows what happens when Peter Pan tries to grow up, but loves turning up in the club even more.

On a sonic level, much of this album is strong but the identity and continuity are lackluster.

After the first initial play through, this album definitely translates as Jadakiss’ most celebratory to date. The beats are more grandiose, less gutter horror story and more hustler’s celebration. The whole theme plays out like his very own victory lap.

It doesn’t hit as hard as some previous albums, but it surely proves just how good Rick Ross can be as a songwriter and collaborator. It also proves how sharp he has become as a rapper.

It’s when Bieber’s honesty feels less-than-honest and the tracks feel less-than-groundbreaking that this album falls short of the heights it should by all means be capable of reaching.

At 15 tracks, Heart Blanche is not much longer than 2010’s The Lady Killer and noticeably shorter than his first two albums, which both had no less than 18 tracks. However, sequencing is the heart of any album and Heart Blanche palpitates from its redundancy.

When he ends the album with “Cold Ass Nigga,” the most demonstrably aggressive verse on the album, you realize Shadow of a Doubt isn’t Gibbs flipping to go pop, but a man secure enough in the foundation he has laid to take a leap of faith.

So, all in all, Ty delivers a light, layered debut, with more depth than we thought could be drawn out of the trap&B sound he helped usher into the mainstream.

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

A heavy knock on Church in These Streets lies in its length; at 19 tracks, a few of the hustle-hard anthems, i.e. the lackluster “Hustlaz Holiday” would have better been served for the cutting room floor. And while most of Jeezy’s signature trap sound is enjoyable, the alarm sounds of “God,” are a jolting earsore. Fortunately, moments like this are the exception.

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.

Dillatronic highlights the producer’s grand vision, but in the end, we’re left with pieces of what could’ve been.

If you consider the particular goals each artist sets out to accomplish--Madlib with sonic compositions that will have everyone scratching their heads on their origins, Blu with the West Coast lean in his muffled step, and MED with his boom bap flow--they did an impressive job without stepping on anyone's toes, having lines and beats worth remembering, and bringing a few friends and family along for the ride.

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 Unbreakable, while it feels like Terry, Jimmy and Janet may have over saturated the album with essentially too many tracks (if there can be too much Ms. Jackson if you're nasty) making the album more than 60 minutes of run time, it works.

With so many artists trying and failing to capitalize on reprisals of their finest work and have the breadth of work necessary for a strong double album, this particular release and its quality deserves attention.

This isn’t an album, it’s the spiritual essence of the joy beyond the pain.

Game’s first installment The Documentary 2 is a fine achievement in making the familiar sound fresh. It will be exciting to see what he has in store for the second go-round.

There’s no creative expansion, just two acts trying to exist in their own worlds simultaneously instead of finding a new and interesting middle ground. Mixing classic Big Boi verses over old Phantogram songs would’ve probably been just as effective.