This is Cube's strongest performance musically and lyrically in many many years, so he's not only forgiven for using such an absurd word, he's actually given me hope that it might eventually show up in the hip-hop dictionary.

The problem here is that the near single-mindedness of his subject matter on Look What You Made Me shows EXACTLY what he's been made by one too many music videos with jiggling booty and coochie--a nymphomaniac.

The music is solid rather than stunning, but that allows the MC's to shine – and make no mistake, this is a real MC's album.

This EP cannot be recommended for who I consider our core group of readers unless you are familiar with his previous material and know you enjoy it, but the level of talent is undeniable.

Even if the music isn't extraordinary, Nas himself is legendary on "Untitled" - and as long as racism is relevant, so is this album.

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.

Unfortunately the drama turns out to be more interesting than the album itself, with Yayo offering little lyrically, Banks seemingly phoning in his performances, and 50 trying to hold the whole thing together on the strength of his star power alone

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.

Getting a sequel to the first two volumes was an unexpected and pleasant surprise, but outside of his hardcore fan base of Wu-Tang Clan fans there's not much chance of this album succeeding.

Overall, And I Love H.E.R. is as good of a conceptual album as hip-hop has ever seen.

The album is listenable, exciting and succeeds in reigniting interest in hip hop and rappers that dedicate their life to become great MC's, not just hustlers.

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.

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.

The Bake Sale is a near-perfect EP, insofar as it acts as an imperious album primer: not too long, not too short; it doesn't give away everything, but displays enough to get you excited.

Simply put, it is an essential document of hip hop history, an interesting collection of sound art, and a lot of fun to listen to as well.

With II Trill Bun B's ensured the legacy of U.G.K. will exist for decades to come, but more importantly he's created the album that every hip-hop head from North to South with have rattling out of their trunk all summer long.

Foxy's ability to be honest about her trials and tribulations is refreshing, and the album is mostly successful regardless of her extra-long absence from store shelves.

The In Crowd is a largely enjoyable record with very few missteps, but it's actually a little bit frustrating that they hint at Little Brother or Lupe Fiasco-esque levels of dopeness yet are content to hold the hand they've been dealt instead of drawing for a straight flush

Stop wasting time and go to the store to get Rising Down right now.

The fact that she is still a teenager makes it all the more impressive, and I for one hope to hear more from her in the future. For now, VYP is a solid debut that covers a broad range of styles, and it deserves to catch notice beyond the many radio spins it is sure to garner

Minor complaints aside, 9th and Buck have definitely upped the ante on their debut, so much so that a re-naming might be in order.

Like Big Boi and Andre 3000, Lyrics Born is on a mission to expand the boundaries of the genre. He doesn't always succeed, and the result is an album that is a little inconsistent, but it is damn good more often than not.

Even though some might miss Slug's angst-ridden diatribes (Lucy Ford is nowhere to be found on this album), he manages to toe the line between rapper and griot better than he ever has before on this new effort.

The fans that know and love P or Havoc will immediately identify with H.N.I.C. Pt. 2 and will enjoy listening to it, for sure.

While it may be a little on the long side, the quality never lets up and you'd have a hard time deciding which tracks, if any, should have been left on the cutting room floor.

He's a little bit Twista, a little bit Trick Daddy, and a whole lot Nelly. None of those things are negative, but the fact he can't distinguish himself from any of them isn't a positive.

The Odd Couple [is] thirteen songs chock full of honest, unabashed, experimental self-expression that isn't afraid to take chances.

For me personally their sound isn't progressive any more--it's regressive.