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.

While EVOL seems to be more consistent than "Purple Reign," it doesn't quite hold up to his previous releases. EVOL leaves you wanting more but not in a good way.

When push comes to shove, there are only about three songs here that merit that kind of mindshare--and none of those come close to his best singles. By his standards, Mastermind is technically a good album, but neither timely nor memorable.

May be one of 2004's most important rap records.

Even though some might miss Slug's angst-ridden diatribes (Lucy Ford is nowhere to be found on this album), he manages to toe the line between rapper and griot better than he ever has before on this new effort.

So long as you don't expect Shakespeare and don't presume this to be a rap album, you won't be mad. It's pure pop done the way Pharrell does it.

Lyrically, let us not sugar coat the situation and pretend that he's some sort of Pulitzer prize winner in waiting. But in conjunction with the upgraded music, 2 Chainz has definitely put more work into his punchlines and it is most welcome.

"Kingdom Come" is everything you expected.

There’s so much that could be done with a Northern UK emcee to celebrate a part of England that has numerous industrial cities with interesting stories, but Aitch’s message doesn’t register as well as it should thanks to production akin to a box-ticking exercise.

At only 26 minutes “Fuck the World” is (more than) a little on the short side, but it’s still long enough to make a powerful impact with a croon as opposed to a boom from the cannon. The only other complaint I could issue is that at times Brent Faiyaz is self-indulgent to the point of straight up misogynistic attitude lyrically.

His technique has a strong propensity towards predictable stream-of-consciousness rhyming.

The soulful production, harnessing plenty of live instrumentals, mixes well with the lingering hints of MMG production.

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.

On his new self-titled album Future loses sight of qualities that made his last run at the top a memorable one.

Migos don't glorify the trap, they reflect it, and when the hood doesn't need the trap then there won't be "Trap Funk" any more.

Nelly's taste in beats for "Sweat" is almost impeccable, and it's easy to imagine three or four of these songs all being singles.

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

In its best moments, Made in the Manor transcends time--and even place--and attains universal meaning.

The music is solid rather than stunning, but that allows the MC's to shine – and make no mistake, this is a real MC's album.

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.

This is Cube's strongest performance musically and lyrically in many many years, so he's not only forgiven for using such an absurd word, he's actually given me hope that it might eventually show up in the hip-hop dictionary.

It’s difficult to gauge its direction, and it often seems aimless and forgettable, despite some interesting experiments here and there. Overall though, it’s a continuation of their gradual decline since their stellar debut, resembling more a mixtape of half-formed ideas than a cohesive, fully realised project.

He's been afforded a rare amount of artistic freedom on 2014 Forest Hills Drive and there aren't even any singles, so it's great that he's more or less delivered. But whilst this definitely misses out on classic territory, that doesn't mean it isn't a bloody good album for the most part.

Lyrically, Sway is on fire (take that as read for the whole album) and his tongue-twisting raps will dazzle any unfamiliar ears.

Minus the niceness of "Manson Murder" and "Hater Love", this should have been a mixtape as it isn't a patch on any of Styles' previous LPs.

The watery wave of “Payback”, the reverberating bass of “Traffic”, the head nodding flow of “Dead Presidents”, it all works. The lyrics? They sort of work. 03 sings his way through songs like the latter track, and while he’s mostly just flossing, he occasionally takes the time to call out peers who have let him down by not being as G as he.

At times Sovereign exceeds at being entertaining and at other times her simplistic lyrics, heavy accent and electronic beats prove to be too much to grasp.

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.

Welcome to a new classic.

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.

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.

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.

The Mountain Will Fall is DJ Shadow's best album in over a decade, largely because it is his most consistent since "The Private Press."

Overall, aside from some promising lines and one, maybe two standout tracks, “Richer Than I Ever Been” is an album that predictably falls short. It simply features too many weak beats backing up bars that often do more to bore than they do to convey a sense of skill or originality.

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.

Stay Trippy may not be the album you play for doubters to prove the artistic merits of hip-hop, and its subject matter wears thin after a while, but damn if it doesn't sound good loud.

"The Massacre" is still a fine follow-up to his last full length release, and despite a few miscues avoids letting down his fanbase.

While it's not better than 50's national debut or G-Unit's album, it's certainly no worse.

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.

While he's still the 21st century's answer to KRS-One, a rapper who is simultaneously intelligent and engaging, he needs to work with producers who are capable of sharing that vision with the masses in an equally engaging way. At times "The Beautiful Struggle" achieves this perfection combination, and at other times you're left loving the lyrics but lacking in headnodding dopeness.

Like Big Boi and Andre 3000, Lyrics Born is on a mission to expand the boundaries of the genre. He doesn't always succeed, and the result is an album that is a little inconsistent, but it is damn good more often than not.

To be honest, this just doesn't really feel like a Game album--there's a distinct lack of drama, of real hyperbole, of genuine excitement. It tends to come across as a resume.

All in all this project comes up very short. Lil Wayne is simply not what he used to be, and 2 Chainz leaves much to be desired.

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

There are enough songs with worthwhile beats and guests to hold this album together to some degree, and depending on whether or not you like Flocka's lyrical style will be the degree.

She's going for Nicki Minaj meets Eminem meets Rihanna on the Tyra show. It feels like a major missed opportunity.

Napalm is remarkably focused, not forsaking the established Xzibit sound but neither rehashing it.

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.

Even with the occasional humorless rhyme and plodding beat, Joey Badda$$'s latest mixtape is further proof that he is a force to be reckoned with, and that the hype around him is not unwarranted.

There's far more good here than bad, but there's definitely a sense of familiarity to Diamond in the Ruff.

I'm not saying Wale is Jay-Z yet--and it's not certain he ever will be--because a Shawn Carter only comes along once in a generation. What I do see on The Gifted though is that potential.

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.

The end result is an album that is as unsuccessful as it is daring.

Ice Spice provides very little in the way of significant or substantial thematics on this album and that lacking is certainly felt as her technical ability takes a dive and her beat selection goes down with it. With little to look to on this album, it falls flat on the floor.

However he chooses to create his albums, both Logic's talent as an emcee and his insightfulness can't be denied.

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.

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.

Getting a sequel to the first two volumes was an unexpected and pleasant surprise, but outside of his hardcore fan base of Wu-Tang Clan fans there's not much chance of this album succeeding.

POC is a step above his worst material and a far cry from his glory days.

The fact that he duplicates his melodic inflections from previous albums in detail shows just how formulaic his music has become.

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.

The only complaint one could have about this CD is that it actually may be slightly overloaded with guests, meaning the deep and dusty voice that made him the Wu's first breakout solo star occasionally gets overshadowed.

Kid Ink hasn't so much found his own lane, but taken the well-worn stretch of road that's littered with empty beer bottles and discarded condoms; a road frequented by beautiful video-models and catchy hooks. Despite this, My Own Lane is tasteful, smooth and if taken at face value, an enjoyable example of radio-friendly hip hop.

He has definitely still come back with an admirable album - I'm just not sure that it is as MEMORABLE as it could have been.

It's not her best album, as there are clearly concessions on display but it doesn't let her anthology down and she is now free of her label.

It's fair to say he's not a Childish Gambino any more though--he's an Adult Gambino.

If you can get past the ignorance, this is enjoyable for what it is - an album to be played loudly in your car, with the windows down and a middle finger up to anybody who looks at you disapprovingly.

Much of Love Story is tepid, but there are moments where Yela nails the singing/rapping combination.

Rag'n'Bone Man needs to think more thoroughly about what exact story he wants to tell. Until then, Human is a heartwarming, mature pop album. Maybe it's been a wise decision to tone down the artist's hip-hop and rap background for now. But just the same, it could also have played a credible role.

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.

It seems cliche to say it, but Trouble Man: Heavy Is The Head has a little bit for everyone.

The metallic fingerprint of Auto-Tune is all over My Everything, even the vocal trills that start off the album.

He clearly cares about his output, but “Music To Be Murdered By” is, unfortunately, another mixed bag of tricks, propped up by lyrical acrobatics and underwhelming production.

Other tracks, such as "Gave It All I Got" bring a more introspective sentiment to Lil Big Pac, but these are few and far between and still lack quality deliveries and substantial beats to back them.

As far as I’m concerned “We Still Don’t Trust You” is a solid hour of music that came with an unnecessary bonus disc.

You see, the first 5 songs set the album up to be a pure party album - which actually would have worked a lot better, with the last track being a comedown moment. But then, delusions of adequacy spring up and the LP ends up shooting off in different tangents, where musically it is solid (if entirely unchallenging), but lyrically/conceptually it do nothing for you.

For those who like a swell show of technical strength, a spin of this album will occupy your listen to and from the workplace quite well. For those seeking something more meaningful to go along with their skill showcase, however, don't feel bad about taking a pass on this one.

He... sounds more lyrically consistent and motivated than he has in some time.

His verses sound lazy and unfocused... Nevertheless, "Encore" does prove one thing: that even half-trying, Eminem is still better than most of the rappers beside him with plenty of personality to spare.

To say "Things Go Better with RJ and Al" is as great as some of their earlier work would be an overstatement, but to say it's a dissapointment in any way shape or form would be a colossal lie.

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.

It's also among his best work and he raps with the passion and fury of a rapper on his first LP.

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.

These may be simple tales, but Mims' flow is a smooth Manhattan flow clearly influenced by the likes of New York greats like Jay-Z while still vocally unique enough to entice a listener to pay attention.

Somewhere beneath all the hype and production he does shine through.

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.

ye is an average album with some good songs, some bad songs, and some songs that will clearly be spun millions of times. The problem is that "average" has never been good enough for Kanye West nor should it be.

Very little is going on lyrically above but Smoke’s energy is priceless. That same energy is only marginally filtered through these swift-moving tracks. The entire album is more of an elongated intro to the Cactus Jack brand.

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

There are songs on here so thorough and ill they'll send a chill down your spine and raise the hair on your neck.

It's safe to say that with "20/20" they've created another album that will serve their core audience well.

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.

From the dance beats to the cross-pollination of guest artists to the old pop samples, Global Warming is a big dumb album that feels so calculated and market-tested that it is not much fun to listen to.

The album does maintain enough of a hard edge to keep Snoop from going TOO soft.

If you are in the right mindset, Fated is a rewarding listen.

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.

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.

Like the core message of Everything Is Borrowed, this album will, unfortunately, come and go soon enough, little trace left behind.