Remember Me’s faults definitely hold it back, but it’s still largely likeable and satisfying when it comes to simply being festive West Coast party Hip Hop.

With the exception of “Me & My Bitch” (a tale of two way infidelity) wedged in between a festive midsection, the Pushaz Ink crew has pieced together a well sequenced and cohesive package with My Krazy Life, but this aspect and his street credibility aren’t enough to win over naysayers expecting an overall greater performance.

As Gangster Rap, Piñata is free of conceptual pretense; it’s a slice more than a thesis. It’s also a new benchmark for Gibbs and may end up as a career calling card. If nothing else, it quickly sounds like one of the year’s best.

He should listen to Rise of an Empire more closely, though: He may be part of an empire now, but it’s looking more and more like Rome in decline.

If only its last few tracks were just as focused and compelling [as "Wake Me Up"]. Lift Your Spirit only suffers when it winds down, as it panders to Blacc’s booming audience.

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

Mastermind simply lacks flair.

Scott Mescudi made an EP’s worth of material feel like an album, and he did it without surrendering his artistic integrity in the process.

When an act features the level of execution that Major Lazer showcases on Apocalypse Soon, it makes the likely forthcoming full synergy of dance, Rap and pop not so much regrettable, but palatable and completely welcomed.

Given TDE’s ever-increasing appeal, Oxymoron isn’t quite an elite offering, but it meets the difficult task of attracting casual fans without straying too far from the formula that attracted ScHoolboy Q’s core audience.

Every story and every hook connects on a human level, which in a Rap game moreso than ever defined by absurdity and ephemeral aspirations makes this a worthwhile listen.

The seven-track offering spills alpha male-isms from a “money-over-bitches” point-of-view, yet remains sultry enough to appeal to the fairer sex. It’s a tenuous balance Ty walks like a seasoned tight rope artist.

It all adds up to a quality album that manages not to take itself too seriously without resorting to being dumb.

What My Own Lane ultimately lacks is a true sense of creative risk from Kid Ink.

At the end of the day, I Am’s overall passable production and flashes of potency and strength keep it afloat for a time.

In the end, Marci Beaucoup is a nice victory lap that falls just short of Reloaded.

It’s hard to blame B.o.B. for wanting to acclimate himself to a different scene. But the startling lack of creativity he exercises in doing so makes Underground Luxury easy to write off, and the duality that once powered crossover appeal is now hard to detect.

If there’s one thing you can take from Beyonce, it’s that you never have to feel “bored” as she describes in “Ghost.” There’s always room to innovate.

In addition to being Dam Funk’s best production work to date, 7 Days Of Funk is Snoop's most enjoyable album in years.

The triumph of Rap Album One is that Wayne manages to experiment sonically while his rhymes maintain an undeniable true school appeal.

Childish Gambino still manages to mostly hold our attention, though, because he concerns himself instead with his own terms.

What it lacks in lyrical depth it makes up for by being a catchy, entertaining and completely in the moment snapshot of the current turned up, hybrid of R&B and Rap for clubs and bedrooms.

Die-hard Funk Volume supporters get everything they want and more with Knock Madness.... But casual fans and savvier listeners may ultimately find Hop’s latest frustrating.

As a byproduct of a team that has actualized potential for groundbreaking contributions, MellowHigh misses the mark by a wide margin.

While Sail Out meets expectations of what Jhene fans have come to expect, it’s unlikely to convert doubters.

Although the production and detrimental hyper-lyricism place Eminem’s worst habits on display throughout the album, there is plenty of good here. Extremely compelling is the theme of Eminem’s growth.

While Suffering From Success has all of the coherency one would assume comes from locking down the A-Room of one of Cash Money Records’ studios, DJ Khaled offers none of the earmarks which have previously separated his collections from everyone else’s.

No Poison No Paradise is Black Milk’s best album, and one of the year’s best in Hip Hop so far.