It feels like the audio version of Madonna releasing a coffee table art book of her sexual exploits, and I’m not in any way judging you if you get off on that, but it’s just not my thing.

Dam-Funk's production is solid and quite funky, while Snoop's personality shines through his vocals just as they have for the past twenty years or so.

While not as strong as some of her earlier albums, it does rectify the mistakes found on "This is Not a Test" and show that far from stagnating Missy is growing as an artist both in front of and behind the mixing board.

So ultimately the way I'll sum up Slime Flu is like this--I liked more than I hated and if his name came up on a mixtape in the near future I wouldn't skip over his track.

The “Eminem sound” the first “Curtain Call” could accurately collate and celebrate (given 100% of it was produced by either Dre or Em) has been pushed aside in favor of party trick flows and quick-win hooks from guests. It still seems to be a successful approach, but it’s not as satisfying to revisit.

The album’s sole difference from its predecessor is the length. It’s not lyrically mind-blowing, but its hip-hop for fans in the know and those tired of the vapid mainstream.

Despite it's unevenness, Ridin High is a nice portfolio from an up-and-coming duo.

None Shall Pass is a record you can listen to over and over, simply in trying to decipher exactly what's being said, adding almost infinite replay value.

It's a decent but underwhelming album, and one that inspires apathy more than adoration or disgust.

The irony of the Notorious soundtrack is that it may actually be a better "Greatest Hits" album than his actual "Greatest Hits" album, even though it's not presented as such.

It's not a new sound, and, at points, the tracks feel monotonous as they bleed into each other. Still, there are certainly standouts.

An ambitious album that takes chance that mostly succeed and only occasionally miss the mark.

"Chilltown, New York" proves itself a worthy successor not only to 2002's "React" but to the rest of Sermon's long and storied rap career.

Rob Sonic absorbs elements of earlier electronica, industrial and IDM to create delectably expansive, engrossing parfaits of sound- this is perhaps the greatest space boogie funk record since The Cold Vein dropped.

It's hard at times to be a fan of this genre, because it can be overly formulaic and offer little hope for the future, but despite the dark trappings there's still some musically redeeming fun to be had.

At his best on "Evolve or Be Extinct", though, he reaches a pleasing mixture of understated beats and slice-of-life rhymes that are occasionally profound. At his worst, songs like "Scar" have neither beats nor rhymes I ever want to hear again.

Every time you turn the page to another chapter of "Shaolin vs. Wu-Tang" you get a pleasant surprise.

Sigel is qualified enough as an artist to hold down an album on his own, but one gets the sense he didn't want to take any chances this record wouldn't sell and had to make sure there was one cameo for everyone.

The Game shows lyrical improvement over his major label debut, and even though some accused him of being a "name dropper" back then and still will today, the references seem more in keeping with his "soldier of the West" philosophy and less like a filler for lack of content.

"The Stoned Immaculate" is a perfect 2012 example of what I call hip-hop's Marijuana Mood Music era. Beautiful production through [sic] results in a gentle buzz, a mellow aural high that's relaxing and refreshing.

Rihanna delivers the best LP of her career. It's not chock full of huge singles; it takes risks and may well alienate the more casual element of her fanbase, but really they should have grown up with her over the last decade (otherwise newbies should stick to "Good Girl Gone Bad" and "Loud").

The Solution doesn't differ from the previous instalments at all. If you're a fan of either artist then it is certainly worth picking up.

The focus of Quavo’s “Rocket Power” is on him — as it should be.

The In Crowd is a largely enjoyable record with very few missteps, but it's actually a little bit frustrating that they hint at Little Brother or Lupe Fiasco-esque levels of dopeness yet are content to hold the hand they've been dealt instead of drawing for a straight flush

This album is Prodigy and Alchemist giving long time fans exactly what they want.

Even though "Volcanic Sunlight" sounds explosive and blinding, it turns out to be quite warm and inviting...It's a pleasant if at times uneven experience.

Open Mike Eagle does one better and shows a path forward for hip-hop.

Jidenna is good enough as a singer that if he did it full time I'd respect his hustle, but I like his wordplay, breath control, punchlines and swagger as a rapper enough that he'd be just fine only rapping. That he chooses to do both and do them both well shows he won't be defined by you, me, or anyone else.

Petestrumentals 2 is a worthy follow up to "Petstrumentals," and a must-listen for any fan of Pete Rock or instrumental hip-hop.

It is claustrophobic, depressing, but also beautiful in its own sad way. While the circumstances that led to “Fall to Pieces” are terrible, the album is incredible.

Individual songs can be seductive but his singing can lull you into a peaceful state over such a long stretch. Yeah it’s not much of a complaint at all is it? Don’t buy this album if you don’t want to chill out too much.

Producers have historically had a difficult time with albums, but Jake One shakes that trend and comes through with a hot album.

“Hot Pink” doesn’t show an evolution of Doja Cat artistically or musically. The production from the likes of Tyson Trax, Yeti Beats and even the famed Saleem Remi is as slick as her debut, but also just as saccharine as her debut.

Talib Kweli has made the career-defining work that his fans have been expecting for nearly a decade.

Older heads will appreciate the nods to earlier records but simultaneously be underwhelmed at the new takes on them. New listeners will enjoy the solo tracks that showcase Jada's lyricism and unique, nasal flow, but there just aren't enough of them.

He certainly gets outshined by the original score--but that only serves to make a much better album than many anticipated from the Boss himself.

You have to be a fan of either or both men going in, and IF you are, then the sheer force of their persona and their political viewpoint won't be off-putting to you. Newcomers beware, this album is not the place to start.

It may be hard to take Mac Miller seriously at times, but it's just as hard to dredge up any overwhelmingly negative feelings about Watching Movies save for two [the cover art and the deluxe edition feels like there's some filler material ].

The 40 or so minutes of "All People" are what I imagine taking a shower in a waterfall on a hot summer day would be like--nd if you're too far removed from nature to do that then it's like putting on your swim trunks and running around an open fire hydrant.

Drake breaks no new ground here, and retreads the same tales of love and regret so many times that the songs bleed together. If you just want background music for making love, this is your album. If you want to have your imagination captured by fantastic tales or be taken on an emotional roller coaster, don’t bother. There are no highs or lows here. We’re on medium the whole time.

In the end, 8 Diagrams is a very good album that is best appreciated when taken out of the shadow of the Clan's greatest endeavors.

Unfortunately the haste to produce and release the album shows when listening; the thing is clearly rushed and even feels a tad opportunistic after the surprise critical resurgence of the Wu after the Raekwon-directed "Only Built 4 Cuban Linx II."

'So Far to Go' embodies everything great about Common--his witty delivery, smooth flow, loquacious lyrics and perfect sense of timing --but then the same could be said for virtually any track on Finding Forever.

Durk is more than just authentic though, he’s creative and compelling. He elevates drill from a regional art into a crossover territory that may earn him more haters but will definitely gain him more fans.

There is very little that doesn't work, with both Marley (obviously) and Nas (surprisingly) meshing flawlessly into practically everything.

The Odd Future fam needs better quality control to stay relevant in 2013 and beyond.

Tame and Del are like-minded rappers who have been heading in the same direction for years musically without having crossed paths. Now that they've finally linked their styles together in tandem, it's a blessing to all of their old fans and soon to be new ones.

While the beats are relatively mediocre and not at all unusual for this brand of hip hop, they do a decent job matching the dark picture Gucci paints. Unfortunately, that picture is more of a rough sketch as Gucci steers more toward unrefined flows and bland, mechanically arching vocals rather than a more thought out approach.

If you can get past some of the dumb lines and the often blunt nature of Big Sean's approach to seduction, there's enough solid, modern R&B here to satisfy those craving something a bit more direct than Drake, but it could have been so much more.

Instead of acknowledging that they perhaps have something unique to offer and trying to put their own twist on rap, the Keys attempt to strip down their sound to fit within hip-hop genre norms--the result being the taming of many gifted rappers whose time would have been otherwise better spent.

It hits all the notes that you want from a Wu-Tang Clan affiliate, and is much a more satisfying project than "A Better Tomorrow."

Balance is the key element that Freeway absolutely nails. Amongst these joints that sound like pure commercial hits, Freeway, drops enough dope introspective material to prove that he is well-rounded.

It is, most definitely, not an album: there is a slight lack of cohesion, the artists don't particularly stretch themselves conceptually and the music certainly doesn't compare to the past classics that either MC has dropped before. However, the whole point was to get Eminem and Royce back in the booth, and to spit fire.

As much as I enjoy 13 and think it's probably his best solo work to date, I would like Havoc to floor me with a knockout album, rather than just leaving me feeling reasonably content.

When nostalgic old-timers lament the golden age of hip-hop, for those championing our current era, Under Pressure is the album to point to.

Vibes is a very fun, laidback album.

The monotonous lack of infection in his voice is prevalent throughout the album, to the point where it sounds like he loses interest in his own words.

It's clearly a release intended for hardcore Odd Future fans.

Though this won't go down as De La Soul's best album, it is highly intelligent, artistic and features razor sharp lyrics making it arguably Posdnuos and Dave's most musically ambitious project yet.

Jeezy manages to keep a strong unified album together without ever getting monotonous or tired.

With a few more standout moments, and a bit less filler, the perception could well have matched the reality in a more positive manner.

It is most definitely worth your time, money and investment and whilst the Re-Up section isn't particularly mind-blowing, it is definitely an intelligent addition that rectifies certain initial errors

Sometimes this anger is ugly and interesting. Sometimes it is shallow and shocking. But something tells me that, while I have no trouble dismissing loads of offensive hip-hop, I won't be able to write this one off so easily.

The album succeeds in granting an audio interpretation to something that's showcased more prominently in a cinematic medium.

He's an unusual flavor, but one that should still be considered a delicacy--even if it just might be bad for you.

The biggest missed opportunity lies in Nas’ inability to reach beyond the ambitious presentation found in everything surrounding the lyrics. He’s entertaining in spurts, but much like his “godly” contemporary Jay-Z, one has to wonder if what he says ever really matters on “King’s Disease” any more.

This isn't an immediate album. It's one that will take a few listens, but your patience will be rewarded.

The Solution is an album informed by Sigel's hustles and struggles that still manages to elevate beyond them to offer a broad appeal as the self-described "fat boy on a sucker free diet" puts out the best gangster rap Philadelphia has seen since the heyday of Schoolly D--except that Sig' is on a level now D could never touch.

Your patience will be especially tested during the closing trio of songs that could have been better had they been a couple minutes shorter and/or delivered with more zest musically.

Is “Missionary” the greatest Snoop Dogg album of all time? No. Is it at least as good as “BODR” though, the album that announced his purchase of Death Row? Absolutely.

Home might be a bust as an instrumental hip-hop album, but it is very successful as a piece of well-crafted electronic music.

It is an LP with one hit single, some solid album cuts and the rest is genuinely quite forgettable.

Occasionally it leaves you underwhelmed and yearning for more, but that still counts as a positive, because so many other rappers wind up doing more and leaving you wanting a whole lot less.

Unfortunately, the rhythm of the album is constantly interrupted by cacophonous dirges which makes it feel unsettled.

"Idlewild" seems to prove they're two seperate artists even more than the last double album did.

If "Capo" is any indication of where Jones is headed in 2011 it's the first time in a while I can say that I'm looking forward to his next album.

It has some outstanding musical qualities, an author with a unique voice, a solid enough narrative and hit singles.

This feels fresh yet familiar; a throwback picture in a modern frame. ... The truest of Eminem fans out there ... will absolutely lap it up.

This album feels like “how do you do fellow kids” in rap form. It’s trying so hard to be slutty that it’s transparent in its aims and it robs Latto of the power she once had.

This is just great Hip-Hop. .... It had no right to be good, let alone excellent. It’s the best Mobb Deep album since “Murda Muzik”.

Those who have slept on Wyclef Jean's catalogue may need to give it another look after listening to Carnival Vol. II.

It's too bad they didn't spend more time polishing this so that it could be a great album instead of a pretty good one.

This is a worthy addition to the Czarface catalogue that will find frequent rotation in your car stereo, boombox or headphones for the rest of 2019 AND beyond.

It's cotton candy hip-hop that's enjoyable to consume but has no real substance.

“Light-Years” is a good album, but not the best in Mass Appeal’s 2025 roll-out. Nas is an elite lyricist, no question. And Premo? He’s an elite producer. But for “Light-Years”, he laced several tracks that were simply “just OK.”

At its best--on "We Could Be Free"--"The Autobiography" adds to this reputation. At its worst, the album still sounds very good; aside from a pair of tracks that evince a teenaged boy's understanding of love, sex, and women (both of which--"Homewrecker" and "Gorgeous" -- are musically pleasant enough), there are just two more that rubbed me the wrong way. And that's mostly because they have a sound that is currently on-trend, which me feel old and out-of-touch.

“Ghostface Killahs” gives you glimpses of Ghostface Killah at his best but it’s difficult to say it stands up against his last few albums. As solid as the production is, it’s not quite as good as Caiazzo’s work on “Chamber No. 9” and the highlights are often short blasts of magic that actually stick to the album’s theme.

There’s a timeless quality to the way Keith Elam and Christopher Martin brought out the best in each other, and even posthumously on “One of the Best Yet” you can still hear that love of making hip-hop in every track.

Though Swizz did vary the sound of the production, the album’s overall sound could’ve benefitted from a P.K. or Dame Grease beat. “Exodus” isn’t DMX’s worst album, but for a comeback album, a now-posthumous one at that, it should’ve been better.

“Don’t Be Dumb” certainly doesn’t feel like something that has been multi-drafted, painstakingly thought out or perfected with time. Instead, it plays like a subpar effort from an artist we have all seen deliver notably stronger work in the past.

Even if the music isn't extraordinary, Nas himself is legendary on "Untitled" - and as long as racism is relevant, so is this album.

Sure, there are a few things that could be improved (that golden scrotum line for one – not even Roc Marciano could pull that one off), but I can’t imagine many Nas fans are upset with more of the same, when both Nas and Hit-Boy are on such a hot streak.

The music is kept grounded throughout by the guitar work and some exceptional sung hooks, but the MCs' ability to craft and deliver backpacker quality lyricism is what holds the whole thing together.

They offer a positive, upbeat take on hip-hop with heavy doses of melody. While it didn't totally win me over, there are enough bright points, and it is done with enough skill and passion that I recommend it to anyone nostalgic for the days of b-boys and beatboxes.

Born Sinner is a real grower, one that in many ways completely exceeds expectations and demands your attention.

The fact that she is still a teenager makes it all the more impressive, and I for one hope to hear more from her in the future. For now, VYP is a solid debut that covers a broad range of styles, and it deserves to catch notice beyond the many radio spins it is sure to garner

If you want to know further why this album is a classic you'll have to check it out yourself, but know for a fact it's well worth your fifteen dollars.

“E.L.E. 2” may be bloated and overloaded with A-list star features, but it works. Somehow managing to cater toward two generations of listener; you could have this playing on a CD in your car for weeks, skipping some tracks and then discovering new favourites down the line; yet there’s enough excellent individual moments here to populate a digital playlist too.