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.

Royce Da 5'9" is a well rounded beast throughout; and it's similar to the Bad Meets Evil EP in tone, but more expansive in ambition.

The Cool Kids don't want people debating over the underlying message of every song, picking apart and arguing over every little lyric. Rather, the duo wants listeners to simply sit back and enjoy the ride, and those who do so will almost certainly not be disappointed with the often quirky rhymes and unique production from Chuck and Mikey.

It's certainly an enjoyable listen, with a few great songs – and at least it actually happened – but with the combined power, money and talent that Carter and West continually brag about, you can't help but feel that Watch the Throne could and should have been better.

The album is still a must-have any true hip-hop head, and it is certainly a promising release from the young emcee, but just don't go in expecting an easy, feel-good listen.

If this is the Wu-Tang of the 2010's, we need more albums like it.

The problem here is that not only is no progress made, Weekend at Burnie's might just be an artistic regress.

If you like the Cannibal Ox sound, and want to hear 90s NYC grime done 2011 style, then OX 2010 is worth the investment.

The problem for Wiley on 100% Publishing is that things just vary too wildly from song to song.

Pitbull's rapping machismo enhances his songs, but for better or worse there are times on Planet Pit where he seems caught up in the limelight instead of shining in it. This is likely to be his most successful album to date regardless.

The beat/choruses are impressive enough, and whilst it's doubtful you'll be bumping Finally Famous a year from now, it's an album with merits that avoids the curse of the opening tweet, and sets Big Sean up pretty nicely for the next phase.

They offer a positive, upbeat take on hip-hop with heavy doses of melody. While it didn't totally win me over, there are enough bright points, and it is done with enough skill and passion that I recommend it to anyone nostalgic for the days of b-boys and beatboxes.

Where a lack of rhymes fail them, the hip-rock-electronica music carries them forward into music that's passable even when it's not profound. So long as you get it, LMFAO may not change the world, but it's a fun way to kill time. Just don't drink like they do or you'll kill brain cells too.

Tech has done everything in his power to reach out to the broadest fan base on All 6's and 7's by keeping it real and giving you something you can feel at the same time.

It is, most definitely, not an album: there is a slight lack of cohesion, the artists don't particularly stretch themselves conceptually and the music certainly doesn't compare to the past classics that either MC has dropped before. However, the whole point was to get Eminem and Royce back in the booth, and to spit fire.

I'm curious to see and hear how an album that addresses nothing but social issues would turn out, but I'm more than satisfied with this release in the meanwhile as Mike continues to pledge his allegiance to getting rich independently, or simply put, the grind.

Sometimes this anger is ugly and interesting. Sometimes it is shallow and shocking. But something tells me that, while I have no trouble dismissing loads of offensive hip-hop, I won't be able to write this one off so easily.

It has some outstanding musical qualities, an author with a unique voice, a solid enough narrative and hit singles.

Don't go looking for the hidden meaning behind Hot Sauce Committee Part Two -- the Beastie Boys are just here to fight for their right to party.

This is one of the better instrumental hip-hop records I've heard in a while, and one that I'll keep on heavy rotation for some time.

With strong lyricism, impeccable production, and a consistent tracklist-only "Hydromatic" and "Poppin'" lack the rest of the LP's highlights-DJ Quik has turned in another gem sure to keep lowrider stereos and headphones alike busy throughout the summer and beyond.

Golden Era is hit or miss, but thankfully it's more of the former than the latter.

Quite honestly, Ke$ha is just more fun to listen to, even though Jessie J may ultimately have more career longevity. It's a decent enough album for the teenage dance set though.

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.

You have to be a fan of either or both men going in, and IF you are, then the sheer force of their persona and their political viewpoint won't be off-putting to you. Newcomers beware, this album is not the place to start.

If "Capo" is any indication of where Jones is headed in 2011 it's the first time in a while I can say that I'm looking forward to his next album.

Most people will want Wiz to succeed, as he does successfully come across as likeable personality, and even Rick Ross has displayed a genuine hunger to improve, so anything is possible. But this album is, put simply, one that won't make much of an impression, good or bad. And that's the worst kind.

The Return of Mr. Zone 6 is the best and worst of Gucci Mane in almost equal measure, though it's enough of the best to pull up to an acceptable level.