A typical T.I. album is loaded with singles ready to blow and Paperwork is no exception.

You're Dead loses momentum after "Never Catch Me." Much of the later two-thirds of the album is more atmospheric, reminiscent of 2012's more contemplative "When the Quiet Comes."

The metallic fingerprint of Auto-Tune is all over My Everything, even the vocal trills that start off the album.

He tends to repeat himself and his punchlines lack punch--but Seen It All is an album you can listen to start to finish and not hate yourself for buying it.

Just Be Free is not hipster music, and it's not gay music. It's music for a good time, no matter what gender your partner is or what pronoun you use.

For the moment, we are treated to a promising if frustrating record that remarkably lacks a hit single itself.

The beats and rhymes give life to a truly cinematic experience, as though the Souls had been airlifted from Oakland to a Hollywood soundset. It's a short trip geographically but a long player musically that's worth revisiting many times after your initial purchase.

Until Trey adds another layer to his songs, whether it be humor, empathy or any emotion other than a caveman-like approach to sex; Trigga remains a hollow, if tempting prospect for men that may well woo your woman, but is unlikely to keep your attention after.

It's accessible enough to be listenable, challenging enough to be interesting, and has many layers for the listener to unfold and decipher.

Lizzo is a level-headed rapper who besides rhyme and reason also balances endearing and terrifying qualities. But she wouldn't quite be the standout if it wasn't for her screwball moments, which are frequent.

When Common is feeling himself few can do it better, but one of the best things he does on "Nobody's Smiling" is spread the love around.

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

It's also among his best work and he raps with the passion and fury of a rapper on his first LP.

Open Mike Eagle does one better and shows a path forward for hip-hop.

Despite being billed as his fifth album, it's nowhere near the level of his strong, yet largely overrated debut "Get Rich or Die Tryin'".

The songs feel more like eight variations on the same concept than eight distinct tracks. That's neither surprising nor unforgivable given the experimental bent of the band, but you can't help but notice the sameness when you listen to the album.

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

Death Grips have always been a challenging group to listen to, but Government Plates is more migraine-inducing than head-nodding.

This album makes up for substance with slickness.

It's lines like [in "Flicker" that] keep me coming back to Atmosphere's music, and make Southsiders another solid entry into the Atmosphere catalogue, warts and all.

Remember Me isn't a perfect album, but it has some great songs and a lot of promise.

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.

The Infamous Mobb Deep is an enjoyable journey for long time fans of the group, but for newcomers it's a hefty two hour plus tome that can't be taken in one sitting.

Pharoahe Monch has always been among the most talented rappers in the game, and now with PTSD, he has an album that showcases not only his lyrical prowess, but also his ability to craft a fully focused and theme driven album.

Illmatic by Nas is a 10/10 classic hip hop album. It's essential, and that's undeniable. Illmatic XX when taken as a whole, isn't.

Unfortunately, the rhythm of the album is constantly interrupted by cacophonous dirges which makes it feel unsettled.

My Krazy Life is a successful debut album that achieves most of what it sets out to achieve.

Madlib produced albums tend to only get better with age, and I don't expect Pinata to be an exception.