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

It's too bad they didn't spend more time polishing this so that it could be a great album instead of a pretty good one.

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.

It's cotton candy hip-hop that's enjoyable to consume but has no real substance.

“Light-Years” is a good album, but not the best in Mass Appeal’s 2025 roll-out. Nas is an elite lyricist, no question. And Premo? He’s an elite producer. But for “Light-Years”, he laced several tracks that were simply “just OK.”

At its best--on "We Could Be Free"--"The Autobiography" adds to this reputation. At its worst, the album still sounds very good; aside from a pair of tracks that evince a teenaged boy's understanding of love, sex, and women (both of which--"Homewrecker" and "Gorgeous" -- are musically pleasant enough), there are just two more that rubbed me the wrong way. And that's mostly because they have a sound that is currently on-trend, which me feel old and out-of-touch.

“Ghostface Killahs” gives you glimpses of Ghostface Killah at his best but it’s difficult to say it stands up against his last few albums. As solid as the production is, it’s not quite as good as Caiazzo’s work on “Chamber No. 9” and the highlights are often short blasts of magic that actually stick to the album’s theme.

There’s a timeless quality to the way Keith Elam and Christopher Martin brought out the best in each other, and even posthumously on “One of the Best Yet” you can still hear that love of making hip-hop in every track.

Though Swizz did vary the sound of the production, the album’s overall sound could’ve benefitted from a P.K. or Dame Grease beat. “Exodus” isn’t DMX’s worst album, but for a comeback album, a now-posthumous one at that, it should’ve been better.

“Don’t Be Dumb” certainly doesn’t feel like something that has been multi-drafted, painstakingly thought out or perfected with time. Instead, it plays like a subpar effort from an artist we have all seen deliver notably stronger work in the past.

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

Sure, there are a few things that could be improved (that golden scrotum line for one – not even Roc Marciano could pull that one off), but I can’t imagine many Nas fans are upset with more of the same, when both Nas and Hit-Boy are on such a hot streak.

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.

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.

Born Sinner is a real grower, one that in many ways completely exceeds expectations and demands your attention.

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

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.

“E.L.E. 2” may be bloated and overloaded with A-list star features, but it works. Somehow managing to cater toward two generations of listener; you could have this playing on a CD in your car for weeks, skipping some tracks and then discovering new favourites down the line; yet there’s enough excellent individual moments here to populate a digital playlist too.

Neva Left is unfortunately, yet predictably, another mixed bag. The good tracks are effectively updates to proven formulas, which when matched to more imposing beats, show Snoop hasn't lost his touch.

That's not to say there's no "Boom and Proud" anywhere to be found on Nothing but it's not "Shut 'Em Down" level like those old Bomb Squad albums from the 1980's and early 90's.

"Certified" treads a fine line between keeping it real and selling units, but Banner treads that line very well.

Blade of the Ronin has its own artistic ambitions that aren't duplicative of its predecessor, all resemblances notwithstanding. Vast Aire and Vordul Mega have shown on this record that, as a duo, they stand alone and aren't defined by their producer.

"Venomous Villain" is more of an Insomniac promo CD than a credible sequel to Doom's dastardly "Vaudeville Villain" release two years ago. Even so, Doom stylistically slays every opportunity he's given at the mic.

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).

Tricky isn't trying as hard to be all things like he was at the turn of the millennium, and he's not phoning it in to pay the bills like he's been doing for the past few albums. He's making music for the love of making music, and the results are pretty satisfying.

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.

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.

Even many of his prettiest, most delicate tracks are grounded in thumping bass. As a result, it's a more satisfying listen than Shlohmo's or Nosaj Thing's albums.