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.

He can croon and autotune his way through some songs that are easy to ride to while faking it though--he ATL Jacob laced “Rocket Ship,” the Jacob and Jambo co-produced “Stick to the Models,” and the mellow radio friendly “Tricks On Me” from Nineteen85. Future has plenty of swagger and personality, knows all the right producers to take his style and make it sparkle, and has little problem serving his fan base exactly what they want.

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

For better or worse the album also achieves a certain bland uniformity at times by staying so true to the trap aesthetic and having Metro Boomin produce so much of the music. It's not ill-conceived, it's just that it all winds up becoming a bit monotonous if you don't randomize it and/or mix in some songs by other artists.

We got what feels like a very quickly thrown together product that lacks the depth and introspection of his previous projects.

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.

The debut was unexpectedly good and remains a classic. The official sequel to it was EXPECTED to be good and it is.

If Jay-Z is like a smooth mellow shot of Maker's Mark, then Mad Child is like wolfing Bacardi 151 and Swollen Members follows it with a smooth Prevail chaser. If you like the burn, this machine is beautiful.

Making an album is a team game, and the end product isn't big enough, not quite as daring or bold as we may well have expected.

He's never too sappy, too apologetic, or too mean-spirited.

There's too much material here to sit and listen to straight through in one sitting. Give it time though and Culture II will grow on you.

The drawbacks to Bush are few and far between though, and even these complaints are more like minor annoyances.

At the end of the day, I enjoy Cherry Bomb, both for it's misanthropic noise and for its funkier and jazzier sides.

Drake's Views is him lying on a therapist's couch whining for large chunks of time and the album drags as a result. Yet, if you took the best dozen tracks, you'd have a perfectly enjoyable, listenable LP.

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.

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

There isn't a weak track on "Father Divine," and though some of Ladd's lyrical styling can be uninspired... the album is packed with solid material.

The album has more laughs than groans, and does make some good points at times with songs like "Green Power" even if it does so with the higher vocal tones of Otis' alter ego's alter ego.

It's wholly derivative, self-pitying emo rap that owes everything in its essence to Drake, Weezy, Cudi, and Kanye. That said, Glover is an incredibly compelling and talented rapper.

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.

While none of the songs are straight terrible (except "Bugatti") none leave me feeling like I'd want to leave the CD in my whip on a long trip--it would probably lull me to sleep and I'd crash.

The album's best moments come courtesy of the newer, younger emcees, highlighting the different hunger levels on display.

As a sequel to "The Greatest Story Never Told" some people will feel that it's not as good as the original, but as for this reviewer Saigon is still that dude who has something to say that's worth hearing.

While no album may ever top his debut's brilliance, this one comes close enough to make even his most passionate haters happy to hear the raw essence of hip-hop revealed in all it's true glory.

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.

Most of Let It Go is solid, but there are some skippable tracks.

This is a truly throwaway fast food album. You will enjoy it for a while, and in a year, I guarantee that you will not be listening to it, save for a few songs (such as "Legendary" and "Ambition").

Wu-Block isn't a necessity, not for the Wu, not for the Block, not for hip-hop, not for the fans. And yet while it may be nothing more than a stopgap for all involved, it makes sense, not in theory but de facto.