Whilst not quite a true Renaissance for hip hop, it certainly is a rebirth for Q-Tip--and fans of A Tribe Called Quest will dine out on this album for the next nine years too.

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.

Tronic shows marked improvement in Black Milk as the total package; he doesn't excel by sacrificing his rhymes for the sake of the music, or vice versa.

This is a fun, modern rap album with strong roots in '90s creativity and '80s innocence that has the potential to reach longtime fans as well as recruit new followers.

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

It's fair to say that if there's one criticism of Devin that can truly stick it's that he takes the "Dude" aspect of his personality very seriously, and in few songs will you see him regard women as more than just objects of his sexual conquest. Nonetheless songs like 'Me, You' show he can still charm a girl or two.

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

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

With very little filler and a strong selection of songs from start to finish, the hype that this is potentially "album of the year" according to Atlantic Records may ACTUALLY be true.

Mr. Dibbs and Oh No might have been preferable to will.i.am and Nottz, even though the beats here are decent enough. It's cool to see Murs get the money he deserves for his project and even to hear him team up with luminaries like Snoop, and it's head and shoulders above the other garbage the major labels are circulating these days.

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.

It's counter-productive to analyze Keith's verses too carefully, because at some point they're just well constructed and well delivered jabberwocky.

Put a little pop in your life and what you'll discover is that underneath the materialistic veneer Nelly's got a good delivery, sharp lyrics and impeccable breath control, which would make him #1 no matter WHERE he was from.

This results in a lot of victories but not a whole lot of personality, and the closest we get to seeing Khaled's soul is the fact he tends to favor putting the Southeast's finest from Pitbull to Rick Ross on his tracks.

Not all of the songs are in easy to digest radio play lengths either, as 'Live Forever (Fly With Me)' proves they aren't afraid to do a song that's over seven minutes long. The more that GHC take chances on this album, the more they succeed.

Even if this isn't a Grammy-winning album, it is actually better than most of the bullshit Def Jam has released this year, and if LL Cool J had a point to prove on Exit 13, he has made it in acerbic style.

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

The album is an excellent listen from start to finish, and a generally successful snapshot of London in 2008.

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.

Pro Tools could be called a return to form, but since GZA never lost the form in the first place, it would be more apt to say that he's kept the peak form he already had and just honed his lyrical tongue to an even sharper and more polished edge.

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.

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.

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.

This EP cannot be recommended for who I consider our core group of readers unless you are familiar with his previous material and know you enjoy it, but the level of talent is undeniable.

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

Rather than staying true to political and social roots that got him signed in the first place, David Banner has chosen to mimic what's popular.

Unfortunately the drama turns out to be more interesting than the album itself, with Yayo offering little lyrically, Banks seemingly phoning in his performances, and 50 trying to hold the whole thing together on the strength of his star power alone

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.

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.

Overall, And I Love H.E.R. is as good of a conceptual album as hip-hop has ever seen.

The album is listenable, exciting and succeeds in reigniting interest in hip hop and rappers that dedicate their life to become great MC's, not just hustlers.

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.

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.

The Bake Sale is a near-perfect EP, insofar as it acts as an imperious album primer: not too long, not too short; it doesn't give away everything, but displays enough to get you excited.

Simply put, it is an essential document of hip hop history, an interesting collection of sound art, and a lot of fun to listen to as well.

With II Trill Bun B's ensured the legacy of U.G.K. will exist for decades to come, but more importantly he's created the album that every hip-hop head from North to South with have rattling out of their trunk all summer long.

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.

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

Stop wasting time and go to the store to get Rising Down right now.

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

Minor complaints aside, 9th and Buck have definitely upped the ante on their debut, so much so that a re-naming might be in order.

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.

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.

The fans that know and love P or Havoc will immediately identify with H.N.I.C. Pt. 2 and will enjoy listening to it, for sure.

While it may be a little on the long side, the quality never lets up and you'd have a hard time deciding which tracks, if any, should have been left on the cutting room floor.

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.

The Odd Couple [is] thirteen songs chock full of honest, unabashed, experimental self-expression that isn't afraid to take chances.

For me personally their sound isn't progressive any more--it's regressive.

There's nothing boring about the tracks on Ego Trippin' though, from the hard hitting Neptunes produced "Sets Up" to the soft-spoken Polow Da Don produced "Why Did You Leave Me."

I suspect as Ross continues to evolve as a lyricist there will be even more of a message in his music, but in the meantime the production and guest stars on "Trilla" make for an effective album that shows Ross has yet to tap into his full potential.

It is certainly a satisfying listen, worthy of a sensible level of recommendation.

In short, it is one of the best albums of the year, and could be one of the best albums of the decade.

His beats are understated but masterful, and so good that they remind you how mediocre most of the stuff you hear is.

The Cool picks up right where "Food & Liquor" left off, once again using his Muslim background and Chi-Town sensibilities to inform his perspective without being rigidly bound by either.

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.

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.

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

Even the weaker of Ghost albums tend to be relatively strong compared to some of his peers, both in and outside of the Wu, and The Big Doe Rehab is no exception.

Made is not Scarface's best album, that honor would go to "The Fix" or any of his earlier solos depending on where you stand. Yet, saying this isn't Face's best is no insult. Scarface on his worst day or even in unofficial form (see "My Balls and My Word") is still better than most other rappers on their best day

He may not be the deepest lyricist on earth, and his attempts at bedroom music may fall flat, but he makes a mean soundtrack for a night out.

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, really and truly, an experience.

Boy tries to stretch his simple repetitive beat production style across an entire album and it fails miserably.

Songs About Girls is an album that theoretically has no end and doesn't need to have one.

Ultimate Victory is everything one could have hoped for as an official sophomore album follow-up to "The Sound of Revenge"--there's no slump here.

It's a solid performance, that is both better and worse than it could have been.

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

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 is more expansive and daring--resulting in more highs and lows than "Arular."

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

This is the most satisfying P.E. album in over fifteen years, both a throwback to their glory years and a hopeful sign of more great years to come.

'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.

Thankfully the Bankhead rapper you know and love ain't change a damn thang and while this album may not blow down the doors to the Rap Hall of Fame as the greatest of all-time it offers a comfortable consistancy that should keep it hot in your Hummer all summer long.

Francis is on a level where even next shit is two steps behind.

Considering how tight "Strength & Loyalty" is, it's not likely anybody is going to forget Bone Thugs-N-Harmony any time soon.

With "The Undisputed Truth," Brother Ali improves as a rapper, while sacrificing none of the unique, personal touch that made "Shadows on the Sun" so impressive.

What may be the most shocking about "Shock Value" is how Timbaland continually manages to stay one step ahead of the competition.

[A] fun, rambunctious, guilty pleasure of an album.

Redman sounds every bit as strong in 2007 as he ever has. Unfortunately, he doesn't expand his range at all here.

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.

"Return of the Mac" is everything that "Blood Money" should have been and wasn't.

Still all things considered and given the obscurity of the original release it's hard to knock "Ruff Drafts" for what it is, especially given the bonus disc.

It will forever tarnish everything you ever liked about him, as you will suddenly view him as an eccentric crackpot who is more interested in making "Paper Bubbles" than good music.

The beautiful mess of Mos Def makes for a bumpy listen.

Nas has made a passionate album to reawaken your love of the art and if your heart isn't thumping in your chest by the end then it's not hip-hop that's dead, it's you.

This is the first time 'Ghostface Killah' and 'inconsistent' could ever exist in the same sentence. It's still a worthy investment and a must-have for fans, but I could've waited for an even fresher catch.

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.

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

One listen is all that is needed to convince you that the Clipse have dropped one of the best rap albums of the year.

"Kingdom Come" is everything you expected.

There's little doubt that "Tha Blue Carpet Treatment" ultimately qualifies as a successful follow-up to "R&G (Rhythm & Gangsta) - The Masterpiece," although there's also little doubt that Snoop is not pushing any new boundaries or exceeding already set expectations.

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.

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.

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.

G-Unit fans and Lloyd Banks fans in particular will be satisfied with "Rotten Apple."

There's nothing ludicrous about Ludacris giving his fans exactly what they want, and it's even less ludicrous that he will probably convert more new fans on the strength of "Release Therapy."

Despite the presence of some must-hear rap tracks, it's hard to justify the purchase if you are paying for only about half an album.

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