Remember Me’s faults definitely hold it back, but it’s still largely likeable and satisfying when it comes to simply being festive West Coast party Hip Hop.

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

There's nothing to startle about the music or the lyrics and there's little that isn't coated with a whiff of having heard it all before.

At the end of the day, Slime Language suffers from being predictable, which is the last thing you’d ever want or expect from a Young Thug-affiliated project. The lesser-known artists don’t make much of a mark, the more notorious features are the clear highlights, and the project, as a whole, offers nothing to compete with the highs of Beautiful Thugger Girls--let alone the hallucinatory string of releases from 2015.

Dillatronic highlights the producer’s grand vision, but in the end, we’re left with pieces of what could’ve been.

Ultimately, fans looking for a solid but not necessarily classic addition to the Infamous Mobb Deep catalogue, should be satisfied with 13.

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

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.

With pitfalls and all, Wiley is still going strong as artists come and go.

Overall, the album lacks the shine and luster of the previous two Maybach Music Group compilations.

With Selling My Soul, Masta Killa seems to have winged his way through songs that are lazy and conceptually not well put together.

The trouble with Illmatic XX isn’t what you hear, but what you don’t hear. In a vacuum, it’s an unexpectedly well-preserved snapshot of Golden Era, New York Hip Hop. Sonically, it strikes the perfect balance between cleaning up the original recordings through the advent of digital remastering without eliminating subtleties such as the crackle of a needle over vinyl.

The Book of David isn't Quik's finest effort; an album reportedly done in quick fashion, doesn't truly live up to Quik standards. However, it still holds its own in the current field.

It’s when Bieber’s honesty feels less-than-honest and the tracks feel less-than-groundbreaking that this album falls short of the heights it should by all means be capable of reaching.

As it stands, EVOL is nothing out of the ordinary from his past endeavors. With no measures in place preventing from Future releasing new full-length projects, this album could easily be surpassed in a month or two.

Most of the songs on Full Speed are catchy in their own right, but on the heels of tracks that sound so much alike just now seeing their expiration on radio, the feeling is mixed at best.

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.

Two Eleven, while a well-crafted and produced album, falls short by comeback standards.

Through a more respectable body of work--is unlikely to win over any naysayers.

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.”

With his debut album he's revealed himself as bare and buffoonish.

Fan of a Fan reads like a mimicking of that, missing a key ingredient in the Pop-Rap alchemy it takes to create something truly ingenius and infectious.

While his long journey has finally paid off, Living Legend lacks it factor to have listeners clamoring for a follow-up anytime soon.

Personality aside, Chris Brown’s ability to succeed artistically at delivering sounds in all three sectors of urban Pop makes this release a great, yet disjointed listen.

A heavy knock on Church in These Streets lies in its length; at 19 tracks, a few of the hustle-hard anthems, i.e. the lackluster “Hustlaz Holiday” would have better been served for the cutting room floor. And while most of Jeezy’s signature trap sound is enjoyable, the alarm sounds of “God,” are a jolting earsore. Fortunately, moments like this are the exception.

If only its last few tracks were just as focused and compelling [as "Wake Me Up"]. Lift Your Spirit only suffers when it winds down, as it panders to Blacc’s booming audience.

Looking to make a convincing splash across the pond, Tempah offers up a hearty sample of talent and charisma with the aptly-titled debut album Disc-Overy.

Longtime fans will enjoy and support the album justly, but it will be understandably missed or ignored by many.