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.

This is not a bad album – on the contrary, I like it. Drake is a clever guy, sure – but he will look back on this with disappointment at the imbalance of it, the intermittent connection, the lack of boldness.

There's no mistaking or denying what you get on this CD--the same thing you got each time out before.

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

There's something magical about pairing Talib with Hi-Tek on production that transcends his already almost unlimited lyrical potential and creates an extraordinary experience.

The reason ArchAndroid is so good is because, from minute one, it is so apparent that its author loves music. And for those of us that love music, that's a real treat.

Most of his fans will chose to follow, while first time listeners may find it hard to relate. I promise you there's no bitter aftertaste if you give it a chance - in the end you may find it surprisingly sweet.

There are many quirks with this album, but realise that it doesn't feel like a debut from a fully-formed artist, rather someone that intermittently flickers with potential and then dials it down to play it safe for the radio.

Weed rap is fine, but if Hill is looking to subvert the dominant paradigm, they should probably find a harder drug.

In 2010 he sounds derivative, uninspired, and starving for a paycheck.

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."

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.

The material found on "Manifesto" is, for the most part, superb, with only a handful of tracks that fail to live up to the quality found on the rest of the album.

The Exxecution is twelve songs of slamming, grimey, take-no-prisoners NY hip hop. Ruste Juxx and Marco Polo show lames how it's done, and leave a trail of dead in their wake.

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.

The beats are solid enough, if not as universally banging as circa Luda '01. The album flows well, has some replay value and tries a few little tricks here and there.

The strength of "A Sufi and a Killer," though, is the remarkable consistency with which this eclectic and experimental record holds itself together. This is an album in which beats and rhymes truly serve as the yin to each other's yang.

It's an excellent original product from young inspired artists. If you are looking for underground musicians who are about to explode, look no further than these two.

Alias's production merely compounds the record's dense and oppressive aesthetic. The tracks tend to bleed into each other musically, one grainy backing indistinguishable from the next.

Jake knows Freeway's strengths and plays to them with so much grace it's almost unfair to rappers who've got to piece records together with a hodgepodge of producers who craft their tracks with no one in particular in mind.

There's nothing wrong with the 15 songs chosen for this per se, especially given that to some degree the material chosen is from more obscure Wu releases or remixes that haven't gotten wide exposure. That said a dedicated hardcore Wu fan could easily compile 90% of this album out of their own collection.

I'm New Here is an album that is best appreciated as a whole, under optimum conditions, when you can really absorb what he is saying. It's worth your time and your money, and stands proudly among the better works in Gil Scott-Heron's large and impressive discography.

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

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.

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

Hurricane Chris built on the strengths of "51/50 Ratchet" and did not repeat his previous mistakes, thus improving musically and lyrically as an artist.

For the most part the charisma of Lil Wayne and Drake carries We Are Young Money even when the actual content does not.

Over the course of just under an hour, the Clipse still do a good enough job of selling us their particular brand of music, and whilst this may not be a sure-fire classic, it is still an interesting enough listen to make it one of the more worthwhile purchases of the year.

Snoop gets the credit he is due and deserves for coming back strong on Malice N Wonderland and managing not to lose his edge despite all his success. It won't go down as the most important album of his career, but it's not one that you should pass on either.

The sound's still high quality on "Shock Value II," it's just not 100% his own any more - maybe 50%, maybe 75%, all depending on what the co-credits really mean.

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.

Dr. No's Ethiopium combines two of the best things on Earth: Egyptian jazz and hip hop. This is a fantastic album, and one that improves upon "Dr. No's Oxperiment."

It is very dense and maybe needed more melodies to help digest it all. Adding to that, the production at times lets her down, ranging from excellent to average, with a couple of songs that could well have worked better as skits.

He's still solid with the flow and constructs rhymes that are both interesting and intense, making The Seventh Seal a worthy purchase and return for a man who was in the beginning, is now and ever shall be, God without end--Rakim. Amen

Felt 3 is a work of art that unlike so many sequels in life exceeds what the originals had to offer, and indeed offers something everyone can appreciate.

On the lyrical side of things, 50 seems to have his edge back. Whether he's orchestrating a robbery or bucking (pun intended) shots at his foes, it seems apparent that the criticisms got to him. For the hard core fans, the softer songs are skippable, but I can't hold that against him too much.

The biggest problem with Wale's debut LP is that sure, the music is good, some of the concepts are interesting...But it is all very middle of the road, and Wale himself is an MC desperately in need of charisma.

Eleven tracks featuring Gift of Gab's superb rhyme writing, breath control and musical flow just don't seem like enough, but the amount of content he packs into that small space creates an energy density comparable to NOX, fueling this rocketship all the way to Mars and beyond to distant stars.

The members were certainly armed, and they seem to hit more than they miss.

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

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.

Us is uplifting, thought-provoking, funny, heartbreaking, and bootyshaking.

All in all, Dizzee hasn't gone all out to make an artistic masterpiece, but it doesn't make the slightest bit of difference.

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.

Welcome to a new classic.

The songs that were already previously available on "So Far Gone" are a winner and the new songs don't bring Drake down off the high cloud he's already on.

Jay-Z is trying to come across as brand new, but he only succeeds in looking like an old brand in need of a revamp.

One can't fairly make the claim that "Pt. II" picks up right where the original left off, but this is the best Raekwon we've heard lyrically and musically in a long time, and barring a late entry this should be the best Wu-Tang related album of 2009.

Rebelution will leave you shaken, but not stirred.

Her debut is musically brilliant--if a bit samey.

Every single cliche held dear with the English language appears to have been right-click-Synonymed here.

Whether you want to doubt it or not, there's just too much right about the self-titled Slaughterhouse for this album to be wrong.

Fabolous is borderline to being cornball with his jokes, but he's got the one hundred to pull it off when you add all the elements together. Add in the fact he pulls some of the hottest guest stars in hip-hop for albums like Loso's Way and you've got it made.

It's an emotional and creative masterpiece in the genre of hip hop.

The lion's share of Cage's fans will see this newly found exposure as Chris Palko taking steps towards getting his story out to a wider audience with this personal and quite exceptional release.

It may be that the only constant on Chemical Warfare IS Alchemist's beats, but that's enough to make it work--and like the futuristic battle it implies the album is filled with hits you'll never see coming.

Fish Outta Water is a bright, colorful album that does an excellent job of incorporating different styles into a cohesive whole.

In fact whether or not you consider this an actual Wu-Tang Clan album there's not much to hate about "Chamber Music" other than the fact it's a small dose of the dopeness instead of the full out Wu-Tang hit that fans undoubtedly wanted.

On the whole it works more often than not though, as Morello and Riley have a genuine and unforced chemistry.

It is just so much plain fun to bump loud, sing-a-long to and back it up on various people. Wicked.

This feels indulgent without MD being committed to any of his whims, and that exposes Mos Def as an artist that no longer seems to know what he wants to do.

Whatever made this a substantive and interesting group a decade ago has been completely lost in the process, but if all you care about is dancing and partying then take their word for it.

Neither artist disappoints on the LP and Quik continues to progress and go beyond the boundaries of traditional west coast hip-hop. Although I'm not sure if fans will ride down Crenshaw bumping a few of the songs on the album, I salute Quik and Kurupt for trying something new.

Years of being disregarded, underrated and criticized may have hurt Dilla's feelings but those who would regret that will feel no shame now knowing every barb thrown his way only made Dilla that much doper as a producer--to the point his posthumous albums are now better than what most living cats make today.

His original army of fans, however, will surely enjoy most of the elements of Relapse and it certainly sets up the sequel nicely--though it might be wise to include a few more crossover hits on the second installment, you know, for everyone else.

Whilst this album is by no means a classic, and musically the latter parts perhaps not faring as well with repeat listens, it is lifted up by superb lyrics and effortless charisma from the rappers.

Busta Rhymes has finally made an album that works from beginning to end--it is just a shame that the lack of crossover hit singles will doubtless leave BOMBS a slightly unappreciated gem.

It is an extremely well produced album with good emceeing. It is a unique experience as it should be.

Crime Pays is Cam'ron's triumphant return to form....You also have an overabundance of skits on the album that generally are just there and not entertaining.

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.

Themselves do have a niche. They are not for rap purists; they are not for hip-hop newcomers. But they are for faithful listeners, sick of what they've been hearing, but not ready to give up entirely.

With beats provided largely by newcomer Oren Yoel that are more hit than miss, Asleep in the Bread Aisle is that new kind of 2009 hip-hop you either have to learn to live with or jump off the bandwagon altogether.

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.

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.

Enough things are right that you can't go wrong with The Last Kiss, but the key is that the album makes you want Jadakiss to stay in the game instead of hanging up his sneakers and walking off the court.

Despite having all of the right elements, this album seems far more forgettable than the aforementioned "The Last Kiss."

As fun as R.O.O.T.S. may be for a short while, artistically, this album is almost without merit, with pointless lyrics and over-sampling.

From the 'Intro' to the 'Outro' there's very little to not like about UGK 4 Life other than the fact it can never be done again, and any music videos released off this album won't feature Pimp doin' his thang.

Long-time MF Doom fans and relative newcomers to his innovative beats and flows will both be satisfied by this release.

So there you have it, a finely produced, polished, and performed album from one of the game's most hated emcees.

The EP serves its purpose quite well as it gives fans just enough to keep you craving a Brother Ali full length, but holds back enough so they will appreciate the full length once it arrives.

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

Flash and his collaborators provide good beats and rhymes so if this is what a "studio album" is for Flash in 2009 let's just hope there are plenty more on the way.

Musically, it has only a few elements, but are arranged well, a simplicity the lesser often veer into undeveloped blandness.

Therefore, whoever had the final say-so on the beat selection is the main culprit for the failings on the album - if it was Joe Budden himself, then more shame him, because he also turns in a superb lyrical performance that rap fans will appreciate as one of the most interesting efforts in recent hip hop history.

A third of the songs are about hooking up with ladies, a third are heartfelt ballads to lovers, and a third are break-up songs. It's the lifecycle of a relationship, over and over. I'm not convinced by it, but it's working for him.

So Far Gone is unquestionably one of the most cohesive, atmospheric hip hop records in recent memory--which is almost the antithesis of what one expects from a mixtape.

P.O.S. has created something that sounds vibrant and alive, and stretches the narrow limits of the genre.

Zion I--on four songs, at least--maintain their sterling reputation as one of the most underrated acts around.

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.

Despite the prolific amount of material having the possibility of thinning out the quality of his beats and rhymes, Plies just keeps getting better with every CD.

Your best bet is to find a website you can listen to snippets of this album on and if one or two tracks strike your fancy, buy those. A whole album of SB's idiotic raps is still too much for one man or woman to take no matter how much better the beats are.

[comon] managed to record a whole ten scenes, I mean tracks, over the course of the year, and at least three of them are listenable.

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.

Freedom will be a disappointment, and a predictable one at that.

No one will forget after Emeritus, an album that proves Scarface deserves accolades and titles just as much as we deserve for him not to retire.

Simply in musical and vocal terms, it feels too limited, mainly due to him over-thinking things.

While Ludacris may be professing loudly to do it for hip-hop on his latest album, it's refreshing to know he can do it for hip-hop and still do it for the mainstream who may not realize just how artful he really is.