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.