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.

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

You can never really get a sense of what Q is or what he wants to be.

It's the sound of a composer showing just what can be done with a sampler in the right hands. Hip-hop producers should take notes.

Shabazz Palaces created an album that is deep, dense, cryptic, hypnotic, and beautiful in its own freaky way.

Personal, heartfelt lyrics and soulful production have been key factors in K.R.I.T. building the following that he has amassed up to this point in his career, and this time around he's coming with much of the same.

This is a clear and definitive evolutionary improvement from his solo debut on "No Introduction," which is all a listener or review could have really asked for.

This isn't an album of 1990's styles brought to 2012 - these are contemporary beats and rhymes that can hang with anything else coming out on the scene

It certainly doesn't reach the catchy levels of Ross' biggest hits on most songs, but sounds good enough to have been decent album tracks.

The production and hooks propel the quality of these tunes as the lyrics could have been sharper at times.

The album is soulful, accessible, and devoid of the ignorance and shallowness that are trademarks of mainstream hip-hop.

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.

Live Love A$AP is compelling but wildly uneven in execution.

Thanks in large part to the beats and the guest appearances, and in small part to Jeezy's frank delivery and raspy voice, it leans more toward the former [enjoyable] than the latter [obnoxious], leading me to give this album a cautious thumbs up.

Ultimately I have two complaints about Blue Slide Park which in the grand scheme of things may be minor.

Radioactive is a mixed bag that has some outstanding tracks, while others fail from a lack of execution particularly in the production and hook department.

If one can express disappointment in undun, it's that it sets out to tell a story and tells it well, but delivers a short story or a novella where fans of The Roots would have undoubtedly preferred a full length novel.

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

There are some other strong tracks on this album, including Santigold's guest spot on "Car Song," and "Energy," which sounds like a lost Talking Heads song. There are also several that are either forgettable or downright bad.

Overall, it's hard to find much fault with The Wonder Years, and it's remarkable how cohesive it feels given that it's a compilation album.

Well Done is a shining example of what collaborative albums should be.

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.

It's wholly derivative, self-pitying emo rap that owes everything in its essence to Drake, Weezy, Cudi, and Kanye. That said, Glover is an incredibly compelling and talented rapper.

"Occasion" is an abomination by all standards, but that it comes from such a respected entity as Kidz in the Hall makes it even more inexcusable.

This is a truly throwaway fast food album. You will enjoy it for a while, and in a year, I guarantee that you will not be listening to it, save for a few songs (such as "Legendary" and "Ambition").

He's never too sappy, too apologetic, or too mean-spirited.

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.

The fans who ride for Ev won't be disappointed by Cats & Dogs. He continues to show that love for hip-hop on tracks.

He's clearly fought his corner admirably, because he's achieved it--it's an album that creates a particular mood, and vehemently sticks to it, even bending the will of the traditional rap joints in the process.

XXX is another excellent release from the man who is one of the best rappers out there, proving that you can be lyrical and street at the same time, and that hip-hop doesn't have to be one dimensional.

He's versatile enough in writing ability to cover any topic from somber to silly, he's clever enough to make what he has to say worth rewinding to catch, and he's not that bad behind the boards as a producer either

This is an overall above average album that needed a little more of something--a little more 9th Wonder, a little more swagger, a little more about the world of today--and possibly just a little less angst.

It's a solid debut with some fantastic moments.

He has created a haunting, unique, and well-realized artistic statement that is the perfect soundtrack for the early hours of the morning.

Cole World does end up as a good debut.

Ed Sheeran is an impressive talent, but his juvenile lyrics and lightweight sensibility make him a tough sell to any one old enough to drink.

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

All in all, the flow is the same, the beats are a little different, and the person is a little more scarred and a little more wise than we last saw him.

I like what I see and hear on Tha Carter IV and no one is going to convince me he isn't a full-fledged artist worthy of being the household name he now is.

If there had been some big singles, fewer guests and more of Jayceon being himself, this could well have been a real classic.

The production of South and Lex carry the majority of the hour long album, and I do mean carry, because I doubt I could get through this otherwise. If you can stand a strong absence of talent on the basis of the beats alone then you're probably going to enjoy Ferrari Boyz a hell of a lot.

Royce Da 5'9" is a well rounded beast throughout; and it's similar to the Bad Meets Evil EP in tone, but more expansive in ambition.

The Cool Kids don't want people debating over the underlying message of every song, picking apart and arguing over every little lyric. Rather, the duo wants listeners to simply sit back and enjoy the ride, and those who do so will almost certainly not be disappointed with the often quirky rhymes and unique production from Chuck and Mikey.

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.

The album is still a must-have any true hip-hop head, and it is certainly a promising release from the young emcee, but just don't go in expecting an easy, feel-good listen.

If this is the Wu-Tang of the 2010's, we need more albums like it.

The problem here is that not only is no progress made, Weekend at Burnie's might just be an artistic regress.

If you like the Cannibal Ox sound, and want to hear 90s NYC grime done 2011 style, then OX 2010 is worth the investment.

The problem for Wiley on 100% Publishing is that things just vary too wildly from song to song.

Pitbull's rapping machismo enhances his songs, but for better or worse there are times on Planet Pit where he seems caught up in the limelight instead of shining in it. This is likely to be his most successful album to date regardless.

The beat/choruses are impressive enough, and whilst it's doubtful you'll be bumping Finally Famous a year from now, it's an album with merits that avoids the curse of the opening tweet, and sets Big Sean up pretty nicely for the next phase.

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.

Where a lack of rhymes fail them, the hip-rock-electronica music carries them forward into music that's passable even when it's not profound. So long as you get it, LMFAO may not change the world, but it's a fun way to kill time. Just don't drink like they do or you'll kill brain cells too.

Tech has done everything in his power to reach out to the broadest fan base on All 6's and 7's by keeping it real and giving you something you can feel at the same time.

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.

I'm curious to see and hear how an album that addresses nothing but social issues would turn out, but I'm more than satisfied with this release in the meanwhile as Mike continues to pledge his allegiance to getting rich independently, or simply put, the grind.

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.

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

Don't go looking for the hidden meaning behind Hot Sauce Committee Part Two -- the Beastie Boys are just here to fight for their right to party.

This is one of the better instrumental hip-hop records I've heard in a while, and one that I'll keep on heavy rotation for some time.

With strong lyricism, impeccable production, and a consistent tracklist-only "Hydromatic" and "Poppin'" lack the rest of the LP's highlights-DJ Quik has turned in another gem sure to keep lowrider stereos and headphones alike busy throughout the summer and beyond.

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

Quite honestly, Ke$ha is just more fun to listen to, even though Jessie J may ultimately have more career longevity. It's a decent enough album for the teenage dance set though.

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.

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.

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.

Most people will want Wiz to succeed, as he does successfully come across as likeable personality, and even Rick Ross has displayed a genuine hunger to improve, so anything is possible. But this album is, put simply, one that won't make much of an impression, good or bad. And that's the worst kind.

The Return of Mr. Zone 6 is the best and worst of Gucci Mane in almost equal measure, though it's enough of the best to pull up to an acceptable level.

There are a few missteps (some songs that didn't quite click, a few beats that aren't quite up to par) and this album might not make too many year-end lists. But it's an album made with passion, spirit and a hunger to impress--something that's been missing in much of this corporate rap era.

His bitterness about that fate may be the only black mark against this album--there's a tinge of resignation here and little effort to make himself more palatable to the masses.

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

There is no doubt that the first half of the album is where the "money" is – a top-heavy reflection of pop-muscle tracks where Lupe is generally playing second fiddle to the beats/choruses. That would have fine if the Chicago native had been allowed to go all out and express himself on the other six tracks, more akin to "All Black Everything" so you may well find yourself stalling after "The Show Goes On."

There's immense lyrical potential, manifesting itself in lines like "Emotional luggage, nothin' of it, I don't check bags / I just carry on, leave that bullshit in the past," or "Master the flow, Alaska-cold / silent foot, assassin approach / high when I stroll / not even leavin' footprints in the snow," but it never quite carries over to the entire song. From that point of view this sequel is more of an afterthought to "Pilot Talk" than an afterburner.

At 10 songs and nearly an hour long the "Back to Reality" album packs a lot of bang for the buck, and if you're in the mood to go retro this is the perfect album to fire up when you put on your Michael Jackson glove, fire up the Coleco, play Donkey Kong 'til your hands get sore then go party at Studio 54.

An artistic statement and a brilliant debut, Gas Mask should be Motown's unofficial soundtrack, but its listenership should know no regional boundaries.

Saigon has had the time to craft an epic hip-hop album that's a fitting testament to his skill and his sheer force of will.

Talib Kweli keeps the level of discourse high throughout Gutter Rainbows, and it should come as a surprise that some references he makes will go right over your head (props if you knew who knew Yohji Yamamoto was or what the Bhagavad Gita is).

The beats are banging, and Waka proves that owning a thesaurus and being clever aren't the only way to be a rapper. Waka is a blunt instrument that beats you into submission.

Utterly forgettable and insubstantial, No Mercy is a contrived, sputtering guest-filled affair certain to alienate his longtime fans and disappoint those who jumped aboard for "Paper Trail."

While it won't be the best or most important album in the entire catalogue, "Redman Presents... Reggie" fits perfectly into his body of work as a whole and will be worthy of multiple replays after the purchase date.

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.

His delivery is just as smooth and his lyrics are as slyly clever as before. Shad continues to grow as an artist and has adjusted well to his newfound success. While the old prince no longer has to live at home, he shows true leadership skills in the ability to connect with listeners.

If you're willing to put up with the headaches of finding and acquiring the right version though, 5.0 is a worthy follow-up to "Brass Knuckles" that should keep his millions of fans well satisfied.

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.

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.

On the tracks of I Am the West that work the best, he's still got the vintage gruff demeanor, lyrical ferocity and hard hitting beats to claim some significant ownership of the Pacific shoreline. At other times he desperately desires to have a contemporary sound, and that's where things fall apart, but those mistakes can be overlooked or easily skipped compared to the quality of the overall presentation.

This is The Roots band, jamming their way through the wealth of protest soul that rocks and rolls, and obviously a crooner like the Grammy award winning John Legend is far more important to capture that soul and make it his own.

Through soaking in various travails, and pouring them through the microphone, he has truly grabbed us. His beats have almost taken a backseat on this journey but it is worth it just to prove that his story, his journey and his life are much more interesting that a mere drum pattern and a sample.

This isn't the album to introduce the uninitiated to his unique and often oddball style and flow, but long time fans will appreciate this slice of history as proof that Dumile really does rap his own concerts and doesn't send out impostors under his famed Metal Face.

If you can focus more on the beats and not so much on the words the overall experience improves, but even then it still tends to be monotonous.

I fully respect his artistic and creative choices and his right to be his own man and not be defined by his years as a seminal underground rapper. I respect his choices, but I still pine for a Camu Tao we don't hear on this album and that we won't hear ever again. In the end I feel that his potential still went untapped.

It would be more fitting to say Hell3 is an album that challenges conventional understanding of WHAT beginnings and endings are, leaving it up to the listener to draw their own conclusions, and that's what makes Hell3 both interesting and frustrating--but far moreso of the former than the latter.

It's awfully hard to name a bad track on Trill O.G. anywhere.

If not here, then on the EP as a whole, Freddie Gibbs is clearly in command, fully aware of his own potential and self-assured that if we don't get it now...we'll catch up eventually.

While the pull of the charts is hard to resist, the tracks with Primo and Just Blaze show he knows where his heart truly is, while the rest of the album tries and either fails or succeeds at pulling him away from the grime, grease and grit of the street corner.

While it's good to see hip-hop stick up for Ross and his charismatic storytelling, their support sometimes gets in the way of hearing what Ross actually has to say, and at the end of 50 minutes you're left wanting more of Ross than you actually got.

Favoring melody over raucous beats is a risky strategy, but she just about pulls it off.

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.