If this was pop music with terrible lyrics and shitty beats that hurt my ears, you know I'd tell you so (see Soulja Boy) but nothing on Only One Flo (Part 1) would make me want to change the station if I heard it on the radio.

The Life of Pablo has a lot going for it, but sometimes, even with all the best intentions, you can mess up a good thing just by virtue of being yourself.

Throwback to the Future is a solid album that is a nice change of pace from what I normally listen to.

Maybe the highest praise one can bestow on Pilot Talk is that it is a real album, not really fit for phone speakers or headphones but best enjoyed on a home or car system, where Ski's warm beats and Spitta's hazy vocals can fill the space.

The album's best moments come courtesy of the newer, younger emcees, highlighting the different hunger levels on display.

If you're not expecting an hour of profound wisdom from start to finish this is an ideal late summer mixtape to ride around to.

Nothing Was the Same is a good album, occasionally great, but sometimes you end up yearning for more of those epic Drake SONGS, of which there aren't nearly enough.

"Subject: Matter" is a strong EP. Homeboy Sandman proves himself to be one of the most nimble, unique MCs out there.

Even though I said Curry raps more than his peers, I didn’t say he NEVER sings. He flips back and forth between both on tracks like the Rugah Rajh produced “Speedboat,” but the nice thing is that he’s not so heavily medicated and AutoTuned that you can’t follow along with his delivery.

It’s evident that his pen game remains sharp, but the aforementioned polarization causes Eminem to also remain as an acquired taste even now: You either like him or you don’t.

If you felt Roc's previous albums were too Roc-heavy, this is the ideal album to ease you in to his brand of excess rap. Yet for somebody that held his previous two albums in such high regard, it's a little bit disjointed, unpolished and dare I say it, scruffy

The cons of “The Inspired Soundtrack” is that some tracks, much like movie scenes, could’ve simply been left on the cutting room floor since they don’t belong. However, their inclusion highlights the more quality songs on the album, the ones that coincide with the movie’s themes, ones which still are fought against in the present day.

Nevertheless, while it’s difficult to get past the wording of Travis Scott’s “Astroworld” follow up, the instrumental completeness and overall energy is difficult to forget.

He's a little bit Twista, a little bit Trick Daddy, and a whole lot Nelly. None of those things are negative, but the fact he can't distinguish himself from any of them isn't a positive.

1 and 2 and lack the incentive and inspiration even great rappers need to make great albums, but it's an impressive compendium of what Shallah Raekwon is capable of.

“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.

While "White People" certainly shows no lack of adventure... one is ultimately left wishing that Dan and Paul toned the wackiness down a few knobs this time around.

None of these songs are terrible, but with the exception of Mr. West none of them are a creative force to be reckoned with on Mr. Graham's level.

Rebirth" has moments of genius, and those moments almost always coincide with coupling fiery emotion with punk's propulsive rhythm.

The album has more laughs than groans, and does make some good points at times with songs like "Green Power" even if it does so with the higher vocal tones of Otis' alter ego's alter ego.

Snoop has been paying dues for two decades and change now, so he's earned the right to be a brand, an icon, a television star and most of all a rap legend. "Doggumentary" won't tarnish the polish on his O.G. status.

As it stands, Definition of Real may not be an instant classic, but it isn't a sophomore slump either, and there are signs that there could be more to Plies beyond his drawl and his love of female reproductive organs.

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.

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.

Musically the adventure is pleasant because no matter how bugged out things get the choice combinations of loops, samples, electronics and drums prove Madlib continues to be a maestro in his chosen field. The raps of his alter ego Quasimoto though can be hard to deal with.

“Sound Ancestors” is a good listen, but if you’re expecting the manic gangster energy of Gibbs or the loquacious lyricism of Dumile, then this isn’t the Madlib project for you. ... I’d definitely call it a Madlib album, but I still don’t know if I’d call it a Four Tet one.

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

Ultimately the first edition of The Block Brochure is almost exactly what one could expect from an E-40 album, and if you already knew his steelo going in that's good news.

The strength and the weakness of the Odd Future crew is that Tyler does stand out from the rest of the Wolf Gang, and in many ways.

At the end of the day, I enjoy Cherry Bomb, both for it's misanthropic noise and for its funkier and jazzier sides.

Offset has developed into a charismatic storyteller who holds your attention when he keep the stories on wax rather than behind bars.

Those who grew up with a diversified rap album portfolio bridging different territories may find “Half God” cool, while those who are Cali native and not Cali transplants like Navy Blue may vehemently reject it as "that New York shit."

There are flashes of this kind of openness, honesty and personality throughout but a whole album of "Tango" type tracks would have been really special. As it is though "Still Striving" isn't a bad release.

Even though The Voice starts off a little slow with 'Swagger Right' and 'Houston Oilers,' once the album hits a groove it keeps it all the way through to the Mike Dean produced 'Grandma II' finale.

She can often sound like the guest rapper on her own songs, which is why she doesn’t really need the collaborations that some emcees rely upon. But there’s no denying the clear star power on display throughout “Scarlet”, an album that is her most direct, and shows that a pissed-off rapper that has something to get off of their chest, often results in their best work.

The production is too inconsistent to get him there, but it's certainly not due to a lack of intrinsic talent on his part. Keep your eyes on Q.

It's the beats, the cameos and the sheer momentum of Maybach Music that propels Hood Billionaire forward.

This is a star studded line-up with Drake ("To the Max"), Future ("I Can't Even Lie"), Nicki Minaj ("Nobody"), and a few of your "grimy" favorites like Fat Joe and Raekwon ("Billy Ocean"). So are you going to enjoy all 80+ minutes of this double album that COULD have been a single disc? Unless you're not a fan of Migos and Travis Scott, yes.

"Movie Scenes" is mystical, it is magical, and it's also prone to confuse some.

Rick Ross is an entertainer and Black Market is for the most part an entertaining album.

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.

Any fans of mainstream hip hop, probably wouldn't touch this with a 20 foot pole. But fans of Def Jux, Anticon, even some Rhymesayers will definitely see the appeal of Geti's lyricism and storytelling.

Just Be Free is not hipster music, and it's not gay music. It's music for a good time, no matter what gender your partner is or what pronoun you use.

Only "Friendly," another lightweight track recorded a few years back, makes Common Sense end with a question mark. ... With only one mixtape and one album J Hus has been able to enter the top ten in a competitive market, and Common Sense shows why, hitting the right notes with its expert composition and overall emotive quality.

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.

While the tracks never reach and identity outside their own samples Greg does breath fresh new life into them and make things you've probably heard a thousand times, exciting again.

While “Everybody Can’t Go” is mostly good, Benny will need to push some boundaries if he’s ever going to top his classic albums.

Slay-Z is a solid EP that is also incredibly frustrating. It's frustrating because it is an example of the talent that Banks is wasting by devoting so much of her time and energy to having pissing contests on social media.

It's about as weird and wonderful as you'd expect from a guy who looks like he's been living on a commune for the past ten years.

In terms of their long career of certified bangers it comes as a slight disappointment.

Overall, Wretch 32 gives us a fresh take on a common story.

While O.N.I.F.C. doesn't break new ground musically for Wiz, certainly not lyrically at least, his flight won't be grounded any time soon.

The songs feel more like eight variations on the same concept than eight distinct tracks. That's neither surprising nor unforgivable given the experimental bent of the band, but you can't help but notice the sameness when you listen to the album.

Tricky isn't trying as hard to be all things like he was at the turn of the millennium, and he's not phoning it in to pay the bills like he's been doing for the past few albums. He's making music for the love of making music, and the results are pretty satisfying.

7 Days is certainly the record to go for if you want that core Krept & Konan experience, and with strong showings from the three big names in UK rap (Stormzy, J Hus and Skepta)--it's definitely worth checking out.

If you're not looking for an album that will change the world, but simply change your mood for an hour or two, there's definitely something to be said for Nothing.

Some areas of this album [are] a little redundant.

Sour Soul isn't the best album in Ghostface's discography, but it is a fine effort.

He still comes across much of the time like a less charismatic Nelly.

But make no mistake, it's an album that displays growth, maturity and improvement in almost every respect - he's certainly becoming a versatile and engaging artist.

Foxy's ability to be honest about her trials and tribulations is refreshing, and the album is mostly successful regardless of her extra-long absence from store shelves.

Doris may not get the party started, but it's still an inspiring album.

On the whole the batting average is much higher than even the best MLB players when it comes to hits on "Day Shift" so E-40 supporters should be kicking themselves if they didn't pick this up.

If you want the T-Pain you know and love rEVOLVEr delivers that in spades--but he doesn't really EVOLVE at all.

Golden Era is hit or miss, but thankfully it's more of the former than the latter.

Buy it, enjoy it, and forget it. It's a fun bit of fluff.

It's a solid debut with some fantastic moments.

I admire how empowered and unencumbered Ray BLK is, taking her time to release this album the way she wanted, choosing her own lane and not being forced to speed up or slow down for anybody else. I think you’ll enjoy it too.

"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.

While Mac Miller’s latest posthumous release does accomplish something interesting and worthy of accolades, and is ultimately a strong album, it should be held to its own limits.

At times their shared mic duties on this CD seem very forced, but the beats and guests smooth out those rough edges and help you to overlook the fact this unit isn't what it used to be.

It hurts me to say different choices in terms of the production would have made it more accessible, because I respect his intent to be inaccessible here. If I have to sum it up and put a bow on it, I think “UGLY” is an album that will probably be appreciated more 25 years from now than it is today.

This is not an album that thumps, drips, bangs, or whips. This is a young man with a lot of heavy thoughts on his mind, and to his good fortune he happens to be able to express them through rap over beats that sustain his flow. It may not be "boom it in your Jeep" music but that doesn't make it bad--just different. Earl Sweatshirt is different, and in a day where all rappers sound like the same AutoTuned singer, we need more different raps to appreciate.

This one won't dissapoint Eminem, Shady or G-Unit fans, but it also won't blow them away.

Graduation is neat, tidy, formal, but lacking in personality.

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

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.

Songs like "Glitter Freeze" push that envelope to its furthest extent, where Albarn's sound becomes a plastic trance dance more at home with pulsing dancefloor strobe lights than a booming club with a DJ spinning the hottest rap hits. That may be a step too far for some. Tracks like "White Flag" and "Cloud of Unknowing" walk the line between those extremes.

It doesn't sound like much upon first listen. But after a few spins "In Search of Stoney Jackson" becomes a charming little record that has quite a lot to offer despite its fragmented, uncoordinated appearance.

It's not his greatest work but it's easily one of his most ambitious, which still makes it an album worth celebrating and listening to, though perhaps in smaller doses than an hour and a half at a time.

Last 2 Walk is recommended for those who can get past their banal lyricism, because between the beats and the guest stars on this album they've got a winning combination anyway.

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.

Cole World does end up as a good debut.

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.

There’s a clarity in thought behind his bars that makes him stand out. He’s not content to drink cough syrup, AutoTune his vocals, and make up a bunch of nonsense that makes no damn sense but sounds catchy as hell. In fact if I was actually to pinpoint a shortcoming about Kream it would be that he makes “songs” instead of “singles” and that makes it hard for someone with a solid reputation from mixtapes to break out mainstream.

There's a noticeably muted tone to his delivery and a bit of his defiant "proud to be country" attitude has faded away.

I Heard it Today makes me a less reluctant Lif fan since I've come to terms with his vocal style, but I still yearn for the collaborative efforts of Perceptionist days gone by which had incredible rhymes and incredible beats all at the same time.

The Music Scene is a good album, but one that is hard to get excited about.

While it's far from the most important record in hip-hop in 2006, let alone in Diddy's career, it's one that does at least keep your interest the whole way through and is worth listening to more than once.

Vadim manages to mix hip-hop, dancehall, dubstep, soul, and electronic dance music into a concoction that works.

Aside from leaning too hard into the baller and misogynistic cliches “2093” is a solid listen.

The problem here is that the near single-mindedness of his subject matter on Look What You Made Me shows EXACTLY what he's been made by one too many music videos with jiggling booty and coochie--a nymphomaniac.

I cautiously recommend "Distortion" to Run-D.M.C. fans as being a lot better than their unceremonious disaster of a final album "Crown Royal" while openly admitting anybody younger than 18 may not relate to it and pass right on by to something else.

This will hold a bizarre position in his catalogue--Recovery is not his best, nor his worst, but either people will listen incessantly or barely at all. There is no middle ground.

Evolution may not be a cutting edge advancement of hip-hop, but it's no embarrassment to Baatin and Dilla's legacy either. It's a solid album you wouldn't be ashamed to pledge a few dollars toward for a copy.

It's certainly an enjoyable listen, with a few great songs – and at least it actually happened – but with the combined power, money and talent that Carter and West continually brag about, you can't help but feel that Watch the Throne could and should have been better.

Jeezy has a competent flow, good breath control, plenty of hot beats and all-star guests, and yet this album really is a sequel to "101" in all but name because it picks up where the last one left off without even trying to differentiate between the two.

While handling all of the production himself is a valiant effort, it’s evident that Royce had a wobbly experience with it in that it isn’t fully consistent. Even so, “The Allegory” is another solid effort from the Detroit rhyme sayer.