Snoop has been paying dues for two decades and change now, so he's earned the right to be a brand, an icon, a television star and most of all a rap legend. "Doggumentary" won't tarnish the polish on his O.G. status.

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

Freedom will be a disappointment, and a predictable one at that.

There are more nuanced (and enjoyable) approaches to records focused on depression. Elzhi’s “Lead Poison” is still the one I’d recommend first but NF impresses on “The Search”. ... By stripping that away, his barrage of words – married with the booming, cinematic production (credited as NF and Tommee Profitt) – is surprisingly digestible.

The production of South and Lex carry the majority of the hour long album, and I do mean carry, because I doubt I could get through this otherwise. If you can stand a strong absence of talent on the basis of the beats alone then you're probably going to enjoy Ferrari Boyz a hell of a lot.

These are two-minute tracks that largely veer all over the place – cohesion, concept, and artistry go out the window here.

The only downside to "Feedback" is that by the time you reach the swinging latino rhythms of the instrumental finale "Canto de Ossanha" 52 minutes of hip-hop soul just won't seem like enough.

While it won't be the best or most important album in the entire catalogue, "Redman Presents... Reggie" fits perfectly into his body of work as a whole and will be worthy of multiple replays after the purchase date.

It's good to know Ma$e hasn't lost his knack for perverting classics by other artists.

No Love Lost is too inconsistent to leave a lasting impression, and falls short of greatness.

It's awfully hard to name a bad track on Trill O.G. anywhere.

He still has a lot of talent, he just needs to reign in his creative impulses (along with a few others) to make a better album next time.

The only thing really dissapointing about "Weapons of Mass Destruction" is that Xzibit seems to have once again forsaken his Alkaholiks homies.

There is no doubt that the first half of the album is where the "money" is – a top-heavy reflection of pop-muscle tracks where Lupe is generally playing second fiddle to the beats/choruses. That would have fine if the Chicago native had been allowed to go all out and express himself on the other six tracks, more akin to "All Black Everything" so you may well find yourself stalling after "The Show Goes On."

In 2010 he sounds derivative, uninspired, and starving for a paycheck.

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.

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.

While the music is consistent and fairly unique in its murkiness, it's not particularly compelling and is a tad stale.

If you want the T-Pain you know and love rEVOLVEr delivers that in spades--but he doesn't really EVOLVE at all.

Decidedly hit and miss, it's the songs that stray beyond the typical tales of money, sex and cars that are worth returning to.

On the whole it works more often than not though, as Morello and Riley have a genuine and unforced chemistry.

While O.N.I.F.C. doesn't break new ground musically for Wiz, certainly not lyrically at least, his flight won't be grounded any time soon.

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.

There's simply not enough substance and individuality for me to call this a good rap album. But at the intersection of rap and pop it doesn't embarrass either side.

She manages to not get completely steamrolled in her duets with YG and Lil Yachty and even interlocks tightly with Asian Doll on "Affiliated." The problem with the Bhad Bhabie project, of course, was never to teach her how to rap, it was negotiating an acceptable approach to appropriating the cultural codes of rap. And in that regard 15 is the expected embarrassment.

While it may churn out a few hits, The Hard Way ultimately is a letdown.

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

Weed rap is fine, but if Hill is looking to subvert the dominant paradigm, they should probably find a harder drug.