In addition to her general growth as an artist, All of Me mainly works due to Estelle having the confidence to let it work instead of over-thinking it.

While Montana by no means offers up any profound lyrical executions on MC4, he clearly has fun doing what he’s doing and is finally learning to master the role he’s developed for himself.

At 18 songs, Wunna’s tracklist is dense but not padded.

Rich The Kid has done a fine enough job with his second album, and he’s successfully set the stage for a career that could be long, fruitful, and ultimately well-respected.

Port Of Miami is just better than Port Of Miami 2. ... This album is solid, not spectacular. ... This album’s in the middle. It’s something that shouldn’t be regarded as offensive to ears or must listen. It’s satisfactory. It’s great if you need another fix of Ross. It’s completely fine to skip if you don’t.

While each track on Loud is an audio Polaroid of past work, there's little evolution. It's evident Rihanna is working her way to the top, but she's been doing that for three albums now.

NehruvianDOOM isn’t the first attempt to recreate Golden Age Hip Hop in the 21st century, but it’s an exceptionally creative take on the now-classic sound that succeeds in offering an enjoyable--and at times quirky--listen.

Its narrative, the tropes, and the strategies are completely overcome by the albums terrifying integrity. It is immensely relatable because it is not afraid to be corny and cliche.

Though not his greatest body of work, it places his cunning lyrical skills front and center while showcasing his and Scram Jones’ identical ears for quality, bass-heavy production and the fact that gangsters want to have a little fun, too.

Ultimately, 03 Greedo and Kenny Beats’ Netflix & Deal contains some exciting moments, but otherwise, the short-sighted project that relies too heavily on production and features instead of Greedo’s raw and unbridled ability to tell stories.

The apprentice runs laps around the master throughout the 54-minute overstuffed marathon. Though toxic masculinity is his calling card, there’s only so many times Future can say he’s going to steal my girl without hesitation and I’ll wear it like a badge of honor before it becomes disinteresting.

Scorpion solidifies his universal relatability while yet again supplying fans with an overload of tracks to willingly keep or ditch.

There are instances on this album that do prove Khaled’s worth as a Hip Hop orchestrator in terms of matching high profile rappers with quality beats but unfortunately, they come too few and far between.

In a crowd of colorful guests, Scott’s contributions can feel listless. His rapping is more dexterous than ever, but he’s still saying things like “deep in her throat… I’m her favorite beverage.” When Westside Gunn swans into the Alchemist-produced “LOST FOREVER” with “poles in the Rolls/…alligators on the toes,” it makes a decent Travis verse look bland and unfocused.

As his name indicates, Mr. Muthafuckin’ eXquire is profane and unashamed. ... Left to his own devices, and free from the constraints of a major label, his eponymous album announces his arrival, once and for all — and warts and all.

If slightly unexciting, Richer Than I Ever Been is a testament to the lasting talent of the MMG commandant, even if he doesn’t break new ground.

Woods brings a lot of strong vocal performances to this project that get mixed smoothly with the production staff’s downtempo rhythms. Those seeking more upbeat output from Woods will appreciate the few times there are bustling bumps in the baseline but at its core it’s the type of hour-long album that makes for a perfect rainy-day playlist.

Huncho Jack, Jack Huncho conveys exactly what fans might expect from two of the hottest trap rappers out. Soaring, robo-rhythmic tunes? Check. Endless braggadocio? Check. A seamless blend of vocoder-tinged singing and cocky flows? Check, check, Nike Swoosh. But don’t expect a structured, meticulous project. Rather, it feels as if La Flame and the Migos leader went into the studio, indulged in the ganja, and all grooviness broke loose.

Z is strongest when SZA avoids usual Pop tropes. Too many songs are about being left brokenhearted, and don’t add much to what’s already been done.

The ambition of Digital Roses is also its downfall, leaving K.R.I.T. with pieces of a good album but not coming close to completing the puzzle.

Jesus Piece ends up being the least compelling release in Game's storied catalogue, but that doesn't mean it's not worth a listen.

ColleGrove peaks when it stumbles onto potential hits off sheer energy but it never sparks the same fervor that songs about their old stomping grounds could.

While there are some highlights on the album, they don't nearly make up for the glaring flaws throughout, the lack of noteworthy lyrics or the redundancy in topics, flows, hooks and beats.

Plata O Plomo was definitely made with the right intentions and features some solid rapping but the most memorable moment remains “All the Way Up” which has since been inducted into Hip Hop’s overplayed archives.

Pressure will appease fans looking for mindless tunes to cruise or smoke to but Snowman’s reluctance to push the envelope at the risk of alienating his longtime congregation is simply frustrating.

Super Slimey falls tragically short of being considered a strong joint project and it’s inherently clear that they still shine brightest as individuals.

Napalm finds X fluctuating between trying to recapture the sound he perfected when he was cavorting with the Aftermath staff, and exploring elder statesmanship a la "Thank You" from 2006's Full Circle. When he goes too far in pursuit of either extreme, Napalm falters.

For better or worse, at an overwhelming 23 tracks, It’s Only Me is more of a playlist experience than a concise and focused album, an endless stream with occasional stylistic flourishes but a mostly consistent energy.