30 tracks is just indigestible and frankly unacceptable, especially with a stark lack of variety. Perhaps it’s a streaming/algorithm strategy or maybe even a way to fulfill his contract with Atlantic Records in attempts to leave the label early; either way The Last Slimeto can’t be enjoyed as a full “project” but instead a half dozen songs scattered across playlists that have the same album cover.

Everything from the production to the subject matter on this new album is frustratingly similar to the first two projects.

Despite its delay, it's by no means a swan song, contractually and musically. R.E.D. is a lot of many things, only adding to the anticipation already for Game's final offering to Interscope.

Some songs border on perfection. A few more are just solidly average. Yet, it all balances out, and the rhymes on full display make Shady XV a great compilation release.

It doesn’t hit as hard as some previous albums, but it surely proves just how good Rick Ross can be as a songwriter and collaborator. It also proves how sharp he has become as a rapper.

Genre-blending albums (no matter how commonplace they might be these days) are not easy to pull off and for that, Juice WRLD should be given credit. From the seemingly sincere lyrics to the equally candid delivery, Juice truly goes with his gut in whichever way (rap, sing, hum, sob).

The album itself morphs from Dubstep, to R&B, to ballads, EDM, to Pop-Reggae--and that is its biggest achilles heel. It isn't something that other jumping-genre albums couldn't get over if it weren't for the the fact that it suffers from a serious sequence problem.

What it lacks in lyrical depth it makes up for by being a catchy, entertaining and completely in the moment snapshot of the current turned up, hybrid of R&B and Rap for clubs and bedrooms.

Black Cocaine is still raw in the right ways.

There’s no creative expansion, just two acts trying to exist in their own worlds simultaneously instead of finding a new and interesting middle ground. Mixing classic Big Boi verses over old Phantogram songs would’ve probably been just as effective.

Throughout Free Weezy, Wayne is merely drawing in the spaces on a coloring book rather than in unique hues.

Man Bites Dog Records assembled a talented array of under-the-radar producers (sans Ayatollah) that crafted a cohesive sound for Vast Aire's unapologetic lyrical griminess. Nostalgic or otherwise, it works for right now.

At this point listeners are either down with his movement or they aren't, and while We The Best Forever is a solid piece, it's not different enough from his previous work to change any minds about him.

Regardless of whether his hands are tied creatively to coded lyrics, such as “500 Homicides,” the music undoubtedly suffers as a result. But there are ephemeral periods on Remember My Name where Durk is more illuminative of his world, like “Resume.”

This is Me… Now hears Jennifer Lopez constantly tell fans how great her love life is. She rarely bothers to explain why.

Neon Icon seems aimless and not very well thought out.

Although its admittedly a mixed bag, Tory’s latest successfully pays homage to ‘00s R&B while also delivering plenty of bedroom jams, club bangers, and pregame bops to keep his fans vibing.

Troy Ave’s self-confidence skews towards myopic arrogance, as high points like “Young King” are practically ruined by intentionally off-key vocal melodies and “Real Nigga” comes off as Maybach Music Group karaoke.

The first half of the album, Khaled showed precise execution, stacking banger after banger. Had he sliced the album down to 15 or 16 tracks, he could have secured a very special project.

Once again Drizzy has found a way to craft songs that will deeply resonate with some and less with others, continuing to get listeners to press play — quality be damned. Even with its faults, Dark Lane Demo Tapes has already built anticipation for his next album scheduled for this summer.

It’s obvious Justin had quite a bit to say but sometimes, some things are just better left unsaid.

CLB can feel formulaic, as if checking off boxes on an executive producer’s clipboard. Despite the frequent predictability, it’s exciting to see a consummate professional at work.

Though his delivery, wit, and overall presence are exciting and the EP is good for surprises such as Gucci Mane exceeding expectations over El-P's contribution "Telephuck," the continual insistence on raunch risks becoming stale.

What will disappoint Wayne fans on S4TW2 is his predictable beat selection.

Quavo shows consistency on this album through trap-a-long choruses and fresh sounds but there are definitely some misses that will likely never be streamed again.

Pop Star Nicki is still going strong so her fans should have nothing to worry about, but those of us who started collecting with the original line should probably just find a new hobby-Mixtape Nicki has been discontinued.

While not setting the world on fire, it nestles its way warmly into your heart, soul and dancing feet.

New English is a welcomingly satisfying first impression, but hopefully his GOOD Music debut Life of Desiigner brings more original ideas to the table.