Jackson's progressiveness and laser-aimed focus on perfection was always the foundation of everything he ever did and resonated through every song he ever made....Given the patch-work necessary to piece Michael together posthumously, it's impossible to imagine that this is a collection of songs Michael intended to deliver.

NAV’s biggest problem is that he doesn’t provide anything new with his music other than another generic serving of NAV.

While the misses hold Blacc Hollywood back from being great, Wiz still reminds listeners that regardless of what they’re looking for, he’s capable of providing.

The album skips along predictably and offers nothing much outside of Rozay’s usual narrative.

This album should have and could have been as epic as it seems Kanye’s dive into his faith has been. All in all, the project is a decent affair that falls short of its potential.

His immersion in Rastafarianism has produced a middling album, at best.

There are times where Kanye recaptures the magic of his golden years. ... But there just isn’t enough good here to look past the flaws. The final result is a collection of songs with little binding energy other than a vague Gospel through line, which runs across the tracklist — chaotic like The Life Of Pablo but devoid of the magic.

Scattershot as the features may be, Drake still opts to tackle the majority of the album on his own, which have some highlights. “Away From Home” is Drake at his best, offering the only real glimpse into maturity.

Though The DeAndre's Way only has 10 tracks, it feels as if it has four or five too many.

When listening to this record, there isn’t much to enjoy or appreciate. It’s a struggle to sit through, partly because it reads like the ramblings of an ex-genius turned affectless braggart, but mostly because it’s monotonous and unimaginative.

Aside from a few moments where his trademark live-wire energy shines through, Blockbusta tries too hard to capture the charts and new fans alike, relegating its headliner’s usually dominant personality to second fiddle.

It’s the perfect type of album to have playing in the background at your local Foot Locker and as long as it’s getting streamed somewhere, somehow by someone, NAV will likely be happy.

By Quality Control’s standards, Nuthin’ 2 Prove is a brisk listen-through as it clocks in at just over 45 minutes, but it certainly feels as bloated as recent projects from Migos and Quavo’s solo album.

Much like Brass Knuckles before it, 5.0 might just be another forgettable release from the St. Lunatic.

All in all, Vultures 1 doesn’t move the needle for Kanye West — or Ty Dolla $ign, for that matter. Listeners, fans, haters and hopefuls will be in the same place they were before the album dropped: confused, disappointed, but holding onto the idea that the Kanye we all fell in love with can still deliver undeniably good music that is worth defending.

It’s hard to blame B.o.B. for wanting to acclimate himself to a different scene. But the startling lack of creativity he exercises in doing so makes Underground Luxury easy to write off, and the duality that once powered crossover appeal is now hard to detect.

Ironically, though, the high points on the album are the songs that sound like old JT. This isn’t to say the new creative path he’s on won’t sprout new favorites for new fans and new generations, but for longtime fans, it’s hard to see how this will have any replay value.

DS4EVER is proof he presumably won’t allow stardom to make him complacent, balancing improvements in song topics and technical skill, even if the drip talk has gone stale.

For the casual Weezy fan (one that hears the music but doesn't listen), I Am Not a Human Being II is perfect mindless fun. However, for those who expected more from this repeatedly delayed effort, Wayne may have to hop in his spaceship and try again.

Jack Harlow’s sophomore effort was meant as a testament to his passion for the game but instead, it translates into a monotonous record that often plays out like a direct contradiction to what he’s claimed — and that contradiction is ultimately damning.

Lil Boat 2 is a simply a weird musical vacation that sets sail into the strange mind of the impactful red-haired youngster.

While Em’s bullheaded decision to experiment with the flow should be heartily respected, it doesn’t shroud the fact that he’s not charting any new territory, at least topically. But it’s largely the retreads of past glory where he hits stride the hardest.

WZRD's strengths are rooted in Kid Cudi's vocal tone, one that is gripping and melodic despite his quite limited singing ability.

His sexual callousness wears off quickly, and what listeners are left with is a release better fit for a Ramada Inn than a Four Seasons.

Equipped with drowsy articulation tinged with a melodic pinch of raspiness, Xan is far from an astute lyricist but isn’t actually a slouch on the mic in terms of flow and rhyme schemes.

Altogether a worthwhile concept that once deserved to see the light of day, excessive filler and intermissions dull the shine of a release should have been actualized while the public demand for Frank White vocals was greater.

The rawness of Kanye West’s current existence manifests in music that actually means something, which is the first time we’ve been able to say that about a Kanye album in some time.

Simply put, this album suffers from Beyonce syndrome--it does nothing to further the group's catalogue. Last time around, the Black Eyed Peas were exploring new territory, and the results were contagious. Now, it seems as though the group, particularly will.i.am, is stuck on auto-pilot.