The rest of the album is rock solid, even if it takes a while to sink in. Whilst it does occasionally have a bit too much of an underground feel, it also chucks in a couple of more commercial numbers ("Confess" and "Out the Trunk") to help bring some ecological balance.

It's nothing we've not heard before.

SremmLife definitely lives up to the hype--yes, it's more focused towards the youth market, but it shouldn't preclude anyone reading this who enjoys the youthful energy of debut artists going nuts once they get a big chance.

Sour Soul isn't the best album in Ghostface's discography, but it is a fine effort.

It is an LP with one hit single, some solid album cuts and the rest is genuinely quite forgettable.

The problem with Full Speed is that Kid Ink is often lost within his own album, as the listener anticipates the next song that's defined by its guest feature.

If You're Reading This It's Too Late isn't that good.... There are definitely some songs that have commercial potential that I don't hate, and though I'd rather hear Drake rapping than singing, "Jungle" seems like the kind of track that with a few choice edits could get radio play.

The production throughout Aquarius is on point, whether it's the infectious, yet odd sound of "Wildfire", or the crashing bongos backing a pseudo-rap switch in to some long notes on "Far Side of the Moon."

Vibes is a very fun, laidback album.

B4.DA.$$ is a step in the right direction in New York hip-hop getting the attention and validation its long been denied.

Lupe Fiasco doesn't present tracks that are just a hot beat and some memorable bars--he's aiming for cinematic moments and drawing you into the atmosphere he seeks to create.

Black Messiah is an incredible album, and an essential addition to D'Angelo's discography.

There are no phony builds, no bass dropping, no obvious patterns. Faith in Strangers keeps listeners on their toes, and keeps their head nodding the whole time.

The fact that this record features Ab-Soul, Kendrick Lamar, Childish Gambino and Vince Staples means it is worth checking out for hip hop fans anyway; that it's actually a brilliant listen makes it all the better.

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.

This is as essential as any other producer/emcee collaboration this year ("Pinata", "Run the Jewels 2") and proves that Premier (with the assistance of Adrian Younge) can still craft great albums with his well-worn formula.

It hits all the notes that you want from a Wu-Tang Clan affiliate, and is much a more satisfying project than "A Better Tomorrow."

The Pinkprint is let down by some basic conceptual flaws, lackadaisical decision-making and even placing too much faith in bonus tracks to appease the masses

We get predictable rock-rap joints like "I Need Church" and "Dead Man's Shoes"; embarrassing skits involving Robbie Williams; abysmal jokes at other celebrity targets; saccharin singles like "Lullaby" (which retreads most of "Read All About It") and "Little Secrets"; getting outshone on your own song by the Rizzle Kicks ("Name In Lights"); ripping off The Streets' old shit ("Fast Life"); a surprisingly soulful joint that clearly ended up on the wrong album ("Not Your Man"); the sound of a rapper all but giving up ("Shadow of the Sun") and subsequently ruining dope instrumentals like the title track.

The stakes were so high, the pressure was on and what makes him interesting was ironed out in favour of low risk, high percentage choruses. Couple that with a mixed bag of lyrics from the rapper himself, and you get a curiously crafted mess that contains a few great songs that you'll end up loving, and lot of numbers that just weren't bold enough or executed with confidence.

Shady XV seems like it was made for: diehard fans of Marshall; and fresh kids who don't know no better. Otherwise, you'll probably have forgotten about the album by 2015, and 95% of the label's energy will soon be diverted to the next Eminem solo LP all over again.

RZA is certainly experimenting on a bunch of tracks, but results are unconvincing.

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.

It's the beats, the cameos and the sheer momentum of Maybach Music that propels Hood Billionaire forward.

The resulting album is an intense, visceral experience. It manages to combine the aggression of both punk and hip-hop.

Many worry that the Cadillactica theme might go over the heads of some and alienate fans but rest assured, at the core of it all, there's still the 808 bang, jazzy, soulful music and the same Big K.R.I.T. that so many have come to know, respect and love--on second thought, he's better.

Everybody Down may try to tackle too much in its 48-minute run time, but even if the story isn't always coherent, the emotions of the characters shine through.

Even with Black Milk's limits as a rapper, If There's a Hell Below is a solid album. Black Milk nails the line between being retro and forward-thinking, between street and backpack, between nostalgia and honesty.