Is “Missionary” the greatest Snoop Dogg album of all time? No. Is it at least as good as “BODR” though, the album that announced his purchase of Death Row? Absolutely.

The final installment is arguably the best of the three.

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.

Even his non-album singles are bangers, which is what makes it more insulting that we had to wait all these years for them to be compiled together into one “package” for our perusal. Better late than never though.

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.

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.

The production is ultimately enough of a spoonful of sugar to make it easy to swallow.

This Generation is a solid album.

Sigel is qualified enough as an artist to hold down an album on his own, but one gets the sense he didn't want to take any chances this record wouldn't sell and had to make sure there was one cameo for everyone.

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

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

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

This is the sort of 'really good album' that can precede an all-time classic breakthrough album.

A typical T.I. album is loaded with singles ready to blow and Paperwork is no exception.

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

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.

Despite the superficial trappings of Strange Clouds his talent still breaks through the atmospheric turbulence and shines down on the listener.

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

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.

This is a worthy addition to the Czarface catalogue that will find frequent rotation in your car stereo, boombox or headphones for the rest of 2019 AND beyond.

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.

BWET is a fascinating starting point, as she can spit complex rhyme patterns with ease. The hope is that this can progress into something deeper, but as things stand she's still a pleasure to listen to.

As much poetry as rap, as much philosophy as sci-fi odyssey, “Bobby Digital and the Pit of Snakes” is not for the first time but the LONG time RZA listener.

Make no mistake about it, this is a formulaic album.

They've wisely chosen to not compete with the younger generation of DJs, and shown the upstarts the roots of dance music. They've also proven that they are not one-trick ponies who can only build beats on samples. They do just as well with a completely different sonic pallette.

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.

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

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.