Prima Donna doesn’t have one single track that carries the project and this is obviously done on purpose. It’s an effort better experienced as a whole rather than its parts.

SremmLife 2 is by no means a sophomore slump but just doesn’t quite fill the same space as the first installment did last year.

With No Hard Feelings, Dreezy attempts to find a happy medium between street rapper and silky songstress. Fans of her harder bars and grittier raps will be championing for the former while those looking for versatility will appreciate what she has to offer here when it comes to her sing-song flow.

Gucci sounds more comfortable, confident and icier than ever before.

Blank Face LP isn’t Schoolboy Q’s first great album, but it’s the first one where he lives up to his utmost potential.

We get a strong dose of the old school Snoop we love and know while getting a little taste of the more distinguished Doggfather who we hope will eventually provide tracks filled with more wisdom and less weed. Don’t count on the latter though.

MFH2 highlights everything we have come to love about Gates and more. Even though he wavers with some vocal performance on a few tracks, he still manages to put together a solid free sample project that should tide us over until his sophomore offering drops next year.

Brevity in music can be good, but some of these songs seem to end as quickly as they start, and could be fleshed out a bit. Desiigner’s lyrics also seem to be limited in subject matter, and the themes of the song can all seem the same after a while.

At such a flourishing stage in his career, Kodak should continue to refine his sound throughout a full body of work but growing the brand via authentic hit records should be somewhere on his radar. With attention spans shortening by the second, Kodak’s follow-up project should aim to have something go far beyond the Internet.

Coloring Book, replete with a spiritual aura and talk with the man above, is a heavy contender for the best project released this year because it goes against the grain while still building upon hip-hop’s foundation.

While the project has a few speed bumps, particularly the tracks with sung hooks that don’t seem to mesh much with the tense, dynamic raps Freeway delivers, Free Will is another solid entry into the consistent catalog of one of Philadelphia’s finest.

The self-proclaimed king has his fair share of high moments on the project but the room for growth lies in his subject matter. Money is the motive for Dolph yet he doesn’t venture too far away from the green to give listeners a distinct variety in subject matter.

The album highlights everything we have come to love about Drake but in too much excess. Clocking in at just under an hour-and-a-half and spread across 20 different songs, Views renders itself too long.

That title is the rapper’s motto for the project and he accomplishes both. Not only does he strive to become a better, more diverse artist, he definitely prospers in more ways than one as he continues to make a name for himself as one of New York’s biggest talents.

Six albums deep on the solo tip, Royce’s introspective side clearly shines through on Layers.

While The Diary has its shining moments, it also has some issues. ... For Dilla fans, The Diary proves to be an essential listening.

Overall, Slime Season 3 stacks up well against Thug’s colorful catalog and is undoubtedly the most listenable mixtape in the series thus far.

There isn’t enough here to make Makonnen’s name start buzzing like it used to. The jury is still out on whether or not he will fade into the one-hit wonder category but one thing is for sure, the EP hinders more than it helps.

3001: A Laced Odyssey is a perfect first step in a career that is still blooming.

Seeking peace of mind and understanding while speaking to the human condition, Kendrick drops poignant gems on the idiosyncrasies of life, as well as his own, over the rich production provided by his trusty platoon of boardsmen on untitled unmastered.

ColleGrove isn’t necessarily a letdown but doesn’t exactly exceed expectations. There are some moments of brilliance from both sides but overall, a collaboration of this magnitude should have stronger replay value across more songs.

The album isn’t necessarily a classic, or better than The Heist, but it does prove Macklemore is here to stay.

The Art of Hustle finds Yo Gotti sticking to his roots. His street-acclaimed catalog is what got him here in the first place and the project doesn’t veer off course.

T.L.O.P. does the perfect job of showcasing what makes Kanye brilliant--excellent production mixed with creative samples and his Quincy Jones-esque ability to get the best work out of some of music’s most talented artists. ’Ye’s rapping is good, filled with creative and honest lyrics, funny barbs, outright disses, his occasional take on pop culture and politics and the traditional Kanye bragging plus a few unnecessary lines that can make some listeners wonder he would even say them. But that’s ’Ye.

Staying in the conversation by releasing a steady stream of new material can be good, but it works best when there’s more cohesion and less filler.

Khalifa likely won’t sway opinion of Wiz Khalifa, whether positive or negative. For better or worse, it’s a portrait of the rapper we’ve seen for years. It does do things a little more consistently and adds a little more detail than what we’re used to seeing.

EVOL is only the latest building block on one of the most impressive runs from any rapper we’ve seen, and Future shows no signs of slowing down for anything.

This is him at his creative peak. Bloated though it may be, these discs are The Game that was promised by a desperate industry in 2005.

Fetty’s attempt at putting together a full, formal project takes away from the overall prestige of his hits that have been so cherished over the past 12 months. This isn’t to say that the next album will won’t be able to more effectively balance hits and album cuts. But this one feels like the first attempt that it is.

The project gives fans an answer to the hypothetical of what a full album between Drake and Future would sound like, right now, in 2015. It’s cutting and honest and self-congratulatory and vindictive. It’s fantastically decadent and brutally real at the same time.

With honesty, fiery cadence and a flow more commonly heard on a shock jock or rock star, Haze holds nothing back. Free from features, the listener can fully follow along with Haze’s journey uninterrupted.

Overall, Rodeo has plenty of bangers and noteworthy collaborations that help bring out a futuristic trap sound that could bleed into the mainstream of hip-hop in no time.

The 12-song album is impressive, boasting a litany of melodic street anthems and how-to pointers for the underdogs of the world.

You Disgust Me is another another project where the beatmakers show their knack for spitting gritty 16s and attemping to outdo each other on their head-nodding production. Once again, it works.

Although it doesn’t pan out on every track, the cohesive work allows the listener to feel that they’ve plunged into the depths of Mick’s mind and come out with a soaked sense of clarity.

In order to show growth, and furthermore her push for long lasting notoriety, Lil Loaf seems to serve up a different persona on each song. But whether it’s addressing the haters or luring her love in for the kill, the young upstart makes sure to maintain her cool in any and every situation.

Regardless of whether or not the album will spawn a generation of imitators like his previous releases, Compton is a proper capstone to Dre’s legendary career.

The album doesn’t come without its criticisms, though. “Only 1,” with its elementary hook and flimsy delivery, seems tired and immature. And “Chain Smoking” with Curren$y and labelmate Stalley disrupts the cinematic flow of the album. However, Gunplay delivers on the overall theme of showing what made him a living legend.

A coherent, consistent album--both thematically and sonically--that captures where hip-hop’s resident astronaut is residing these days.

In stark contrast to less talented producers who enlist MCs for name recognition alone, Statik’s posse cuts are the product of thoughtful placement.

Overall, Music For My Friends is another solid offering from Skyzoo that hip-hop purists will appreciate.

Tyga has served up a solid effort with The Gold Album: 18th Dynasty, exploring new territory and pushing himself in a different direction than he’d gone during his ratchet past work. It’s just not necessarily a better one.

All the way through, Dreams Worth More Than Money feels fresh and, more importantly, refreshing.

It is, simply, one of the best rap debuts of the year.

Major Without A Deal is another step forward for Troy Ave, but it’s also another win for the birthplace of hip-hop.

The realest, most honest rap album in recent memory.

For all its dabbling in the black arts, Surf does have a few missteps, but they are ephemeral at best.

. On At.Long.Last.A$AP., he takes a creative risk and lets the fans reap the rewards.

“I Miss Mikey” speaks not only to Murs’ own deceased homies, but acts as an inspirational call to ignore fears of mortality in the face of death and leave a lasting mark. With Have A Nice Life, an album that will not only impress longtime admirers but newcomers as well, Murs should have no problem with that task.

Overall, Bush is a fun and enjoyable listen from start to finish with the album’s retro imagery brought to life by Snoop Dogg and his slick persona.

Raekwon’s passion and well-crafted rhymes show he’s still capable of creating high quality work as an MC, but F.I.L.A. is too disjointed to stand beside his best work.

He’s fully aware of who exactly he wants to be in hip-hop: a proud, raw, unapologetically Southern MC, something the game’s been missing. He really touches the country audience with the project, a genre hip-hop rarely reaches.

Cherry Bomb is his greatest achievement thus far, solidifying his place in the game, with or without the conspicuously absent Odd Future crew.

While Ludacris’ name may miss several Best Rapper Alive lists, he never fails to deliver on each album. If Ludaversal is a reminder that he hasn’t fallen off lyrically, the game should pay attention.

The Album About Nothing has an infectious, feel-good vibe with an undeniable cohesiveness.

Nothing is forced in his rhymes; his lyricism is so dense and acrobatic that his freestyle vibe is all the more impressive.

Aside from a few problematic miscues, the majority of Mr. Wonderful can be maneuvered without the skip button in tow.

Fashawn’s lyrical assaults are just as potent as his moving commentary and his core fans would like to hear more.

“One Man” in particular, which deals with the loss of his grandmother and his acceptance of her passing, really underlines what the entire work is about: dealing with the ups and downs in life and figuring out the best way to accept them and move forward. With Dark Sky Paradise, Big Sean has finally found that balan

Chris Brown and Tyga have given fans what they wanted, but with an abundance of turn-up tracks, the album fails to tackle more serious topics, as the duo has in the past on “Deuces.” It’s a wonder why they avoided the prior formula this go round.

For all his subtle lyrical techniques, the Drake experience at full throttle is only achieved with the aid of his criminally underrated usual suspects; Noah “40” Shebib, PartyNextDoor and Boi-1da dominate the instrumental duties.

It’s the heated Cash Money conflict that’s carrying the project, no question, but aside from some of his singles and featured verses, this is as focused and engaging as we’ve heard Wayne since Tha Carter III. S4TW2 falls short of being a great standalone project, but it’s not built for that anyway.

Overall, Full Speed is probably Kid Ink’s best project to date. He sounds focused and he executes by pleasing his core fans with quality radio and club-friendly music.

Sonically separated by the four different seasons, Lupe has arguably released his most thematically layered and engaging album to date.

B4.Da.$$ should be seen as a huge step forward and a platform for Joey to progress even further.

PRhyme is the perfect alternative for listeners who are tired of juvenile lyriscim, mud sippers and unintelligible hooks.

J. Cole is righfully satisfied with the end product, as will the fans.

With a slimmed down tracklist and looser vision, A Better Tomorrow would be a fantastic offering. But as it stands, what could be the last Wu-Tang album ever leaves much to be desired.

The LP is fun and a return to what hip-hop started out as in the parks--a way to rock the crowd and have a good time.

The growth is unmistakable, with each song and new project, fans see his raw talent getting more finely tuned and concentrated. Hell Can Wait is the next step in the maturation process of Staples as a MC.

Even without much mainstream appeal, K.R.I.T.’S relatability keeps it accessible, and ultimately, Cadillactica proves to be something the game barely knew it needed. Consider the gauntlet thrown.

Overall, Stalley’s debut album is highly entertaining with a sound that is very refreshing in today’s rap scene.

Theophilus London’s musical ability is evident throughout Vibes, a mesh-mash of genres that come together to form one of the better listenings of 2014.

If their first album acted as the duo’s thesis statement, the two MCs laying out the blueprint to what they wanted to accomplish, then this second is a laser-focused execution of that idea, of never letting up and never sugar-coating their sound to fit into any particular lane. There won’t be another album that comes out this year that sounds anything like this one.

Black Milk’s versatility shines on Hell Below, even if at times some parts felt disjointed. This is a small complaint for an overall album that culminates in the talented musician effectively communicating a consistent concept through the LP.

Under Pressure feels like a roadmap to the influences he states on the album--OutKast, A Tribe Called Quest, The Red Hot Chili Peppers, Quentin Tarantino films.

Despite the album’s loaded guest list, T.I. manages to squeeze in enough room to allow himself to shine and tells us why after nearly 15 years deep; he’s still a top-tier artist in the game.

The genius of Flying Lotus, which has been invariably present throughout his preceding releases, but most especially on You’re Dead!, is that he has an incredible ability to both illustrate and extract exceptional amounts of emotion, without saying much at all.

The times when it succeeds are when Tinashe doesn’t overdo things.

Weighing in at a terse 32 minutes in length, spanning eight tracks plus an introduction, the album is a cohesive and methodical offering yet because of the constrained spin time, neither Bishop Nehru nor MF Doom have the space to flex their creative impulses and push the envelope in their respective spheres.

The highs of PND 2 have replay value, and the lows--though there are certainly more of them--blend with the rest of the album as it plays in the background of a bedroom.

X certainly proves that Chris Brown’s talent will forever shine through over whatever troubles come his way.

Seen It All: The Autobiography is a solid offering, and shows growth of Tha Snowman who is 10 years deep in the rap game.

Featuring Rick Ross, Wiz Khalifa, and TeeFlii caps off an impressive debut album for a producer who plans to be around for a while.

The lyrics on this album are more of the same.

What makes this album so great is Statik’s ability to coagulate the old with the new.

Cellar Door comes off as a bit of an endurance test as result. That’s a knock against it, but a small [one] for what’s a brisk and enjoyable listen.

Directors of Photography shows that three artists that have achieved individual success can come together once again to create something substantial despite years of inactivity.

On By Any Means, he comes off worthy of the acclaim, spitting vivid street stories that range from gut-wrenching to endearing all while demonstrating a serious knack for songwriting.

Ab’s creative leaps are sometimes jarring at the onset, such as “Closure” featuring Jhené Aiko, a track that will be deeply unsettling to the National Association of Backpacker Excellence among others.

Artistically, it’s a new and deeply concentrated side of the veteran MC we haven’t seen and, as a result, it comes off as one of his best albums yet.

Without a doubt, 2 Chainz has the formula to make great music--but now we just need a little more substance, and we’re not talking about freebase cocaine.

Filled with lust, desire and sexual journeys, Trey Songz reaches an expected level of mainstream success with Trigga, and while safe is always encouraged during sexual acts, perhaps Trey could’ve taken a few more risks with this album.

It pans out as--at the very least--a unique and varied production that asks to be received seriously, even if Riff Raff’s choppy, uneasy flow and absurdist imagery runs counter to that.

The album is a welcomed return for 50, who sounds like his hiatus didn’t affect his ability to create his signature street records.

The album does not compare to Below The Heavens as the excess number of tracks and the lack of coherence, despite how long Blu and Bombay collaborated to assemble this LP, result in a middle-of-the-road project, regardless if the road is in the West or East.

RetroHash is a confused jumble of ideas that has its heart in the right place.

The Roots have not only proven once again that they are one of hip-hop’s most consistent acts, but also one of the genre’s most important.