Mozzy’s strengths are YG’s weaknesses and vice-versa, which is the making of an ideal collaboration. There is an iron-clad authenticity to every note and word on the album: It’s rap that makes you start doing pushups, rap that you’ll most likely hear in the next Fast and Furious movie, and most importantly, rap that you’ll remember for longer than a few weeks.

The album at times teeters on the point of greatness.

While some may be upset that Murs isn’t the unruly rapper he once was, he’s managed to craft a project that remains true while growing up enough to talk about life in a radiant, maturity tinged glow.

There's still a bit more growing to do, but Master of My Make-Believe shows that's she's headed in the right direction.

In an era where artists hype up projects that turn out to be nothing but half-baked playlists, 6LACK’s thoughtful embrace of the album format is refreshing. East Atlanta Love Letter is a moody masterpiece that may very well take the artist’s career to new heights.

Every song on The Dreamer/The Believer succeeds off the strength of Common and No I.D.'s seasoned chemistry.

The triumph of Rap Album One is that Wayne manages to experiment sonically while his rhymes maintain an undeniable true school appeal.

The end result is an album that is as much a wild party as it is brutally honest.

Dreams Worth More Than Money is a slight misfire for Meek Mill, but enough is there the we think he can eventually achieve in his music the high he’s achieved in his personal life.

Tweet’s songwriting on Charlene is profound enough for us to feel something but doesn’t go over the top with wild emotions.

For those willing to experiment, Age Against The Machine serves as both a piece of art and a rewarding risk in an age where established artists are fearfully playing it safe.

Despite the occasional uncertainty, Always Strive and Prosper answers more questions than it poses. Ferg has clearly stepped up his game by delivering his most well-rounded project thus far.

It’s a true spiritual successor to the original, and is everything fans could have asked for: a worthy follow-up, well-thought-out standalone project, and a very necessary commentary on society, government, and machinations by which the two interact.

The good far outweighs the bad on 2000. It doesn’t reach the highs the hype promised and, no matter how much he believes it, the album doesn’t make the case for his self-proclaimed G.O.A.T. status. It is, however, a highly listenable, uncomplicated rap album, not burdened by any weighty conceit; a showcase for an MC with a great ear for production and innate rapping ability.

Taking steps to advance his career without compromise, Michael Christmas uses Fudge’s Lady Parts to make what’s arguably the greatest showing off his talent to date.

In addition to being Dam Funk’s best production work to date, 7 Days Of Funk is Snoop's most enjoyable album in years.

In reaching out and grabbing every pop sound that’s been successful in the past half-century of mainstream pop, rolling it tightly in a blunt and setting them ablaze with Abel Tesfaye’s sonorous vocals, this release gets much higher than most anything else released in 2015.

Where his debut was concerned with building on his formative years, this incubated follow-up hatches a newly minted worldview from the embattled singer.

Aside from its individual weaknesses, as a whole, The Art of Hustle doesn’t feel very intentional; it’s a collection of songs more than a body of work.

For nearly 49 minutes, her voice oscillates between the foreground and background like she’s constantly trying to decide whether she wants to unleash the full capabilities of her warbling croons. This inconsistency is distracting at times but is often masked by an eclectic mix of production styles that feel invigorating at every turn.

While it would be easy to get lost in the eclecticism of the album, that’s frankly what makes N.E.R.D the group they are.

As a follow up to the massive success of her self titled – and only her second full length feature, Heart on My Sleeve does what needs to be done to secure Mai a path to longevity.

An exemplary balance of serious and cheerful cuts alike, very seldom does The Heist reach beyond its means.

Despite the somewhat lethargic back half, falling or flying ends on a high note thanks to a powerful set of closing tracks in “Backwards” and “What if my heart beats faster.”

Despite its missteps, GMB is a commendable project that should hold over diehard fans.

The project suffers a bit from hit-chasing evidenced from the bubbly Kevin Gates-assisted “POP” and catchy but baseless Nicki Minaj pairing dialed up on “iPHONE.” Unlike Baby on Baby, which sported “Suge,” it’s the hardcore “XXL” that serves as the album’s most complete record.

A crossover single aside, LILDURK2X, at its core, really lacks any unique personality. From song to song we just get served disappointingly mediocre aggressive rap music that is hard to hate but also challenging to love.

Pain is practically synonymous with art, so it’s not surprising Blige has delivered another round of raw, gritty and emotionally transparent songwriting.

Ultimately, amid very high highs, it heavy-handedly embraces a sound that his most devout fans often turn to Griselda to avoid. Whether the initial shell shock wears off for those listeners remains to be seen.

While Shaolin vs. Wu-Tang at face value might not be the most agreeable title for Raekwon's album, a closer look would prove it's actually perfect.

Let’s Start Here. is exciting at the first listen because the style is new to Lil Yachty himself. Alas, the shiny sheen of new experiences tends to dull over time and with repetition.

Curren$y's big league debut The Stoned Immaculate remains faithful to the spirit of his beloved witty arrogance, while bolstered by star power intended to propel his career at this pivotal stage.

In many ways, ANTI is a step in the right direction for Rihanna, creatively.

The Solution once again combines Buckshot and 9th Wonder's accomplished and refined skill sets as pioneers of the '90s and the past decade respectively.

It, like so many mainstream rap records, could be five songs shorter, and would be more successful if some of this fat was trimmed. Even though some of the material sounds like it was left over for solo work pre-tragedy, or supposed to be on the second Unc & Phew tape, it holds back an album that could have been in the best of the year conversation.

J. Cole has a gift in turning tears into teaching tools and KOD is a concise, leather-bound audiobook of invaluable life direction goals.

The album is repetitive in nature (a sure complaint for anyone highly critical of his solo work), Prodigy continues his largely consistent reign as a still thriving pioneer of New York’s once thugged-out era.

Breaking fresh ground with the latest addition to an already prolific catalog, Gravitas finds Talib Kweli simultaneously wearing the hats of businessman and creator.

In a time where her late age peers getting major release priorities get more experimental, introspective or attempt to follow trends, Iconology works as a reminder of Missy’s DNA not only in the recent explosion of female rappers but pop music in general.

Even with its melancholy closing, Dark Comedy is an incredibly fulfilling listen.

For now, Follow Me Home is a lowrider journey to California, with many ups and some downs included.

Murs and Fashawn forge an exceptional chemistry on This Generation that more importantly doesn't compromise their stylistic individuality.

Good To Be Home is the better, more streamlined version of Blu’s nonchalance.

While The Chief sets him up for a more focused sophomore effort, Jidenna’s genre-hopping album is merely a sliver of his versatility as an entertainer.

Ronson and company created an album that’s accessible by all, a little bit of everything that everyone wants to hear.

It doesn’t introduce a new sound, nor does it feature many moments we haven’t heard before. Yet what makes this album important are all the reasons Hip Hop needs Freddie Gibbs. On any one album, he can give you pieces of Tupac, UGK, Three 6 Mafia, and blend them into a harmony that would make Bone Thugs-n-Harmony proud.

With a dynamic range that stretches from speedier tracks like “I Wish” to the slow and steady “90’s Class Act (Ek),” PeteStrumentals 2 refuses to settle on a single model, rather incorporating snippets of what Pete Rock has shown has fans over the years.

Those who are less dedicated to the soul-trap genre might find the hour-long, 24-track album a test of their aural endurance. Beautiful Mind shows every element that contributed to Wave’s rapid ascent to the top of his genre: the interplay between his vocals and verse; the bitter honesty with which he describes his early life experiences; and his skill for turning any sample – no matter how well-known – into his own anthemic trap-soul style.

It may not be as beautifully consistent as Malibu, but during those glorious pinnacles when Oxnard is firing on all cylinders, it’s undeniably some of the best music of 2018.

Evermore: The Art Of Duality is an album that might overstay its welcome once it’s finished, but it is a project that takes an old concept album idea and breathes new life into it while, concurrently making the talent and the rep of this against-the-grain Beast Coast duo grow bigger with each new release.

After the first initial play through, this album definitely translates as Jadakiss’ most celebratory to date. The beats are more grandiose, less gutter horror story and more hustler’s celebration. The whole theme plays out like his very own victory lap.

Even with a lengthy tracklist, WASTELAND is economical and patient with its time. Songs are given a chance to breathe and arrive at their full potential rather than being sequenced and chopped to appease streaming requirements.

The Family Sign is a heavy, moody album. There's not nearly as much humor here as with Atmosphere's previous two releases, but that doesn't make it any less of a quality addition to the group's catalogue.

Whatever adolescent deficiencies Mac Miller dealt with throughout his prodigious rise as Rostrum’s second brain child, Watching Movies With The Sound Off genuinely keeps him grounded for a calculated performance that will earn him the respect he’s craved since his Easy Mac days.

Listeners who like Drake’s pop songs will have plenty to enjoy here, while huge fans of his old stuff can play “Jimmy Cooks” on repeat until Scary Hours 3 drops. ... It’s simply an album of Drake songs people will actually listen to in public, not just while driving, or at the pregame, or through headphones in the early AM uber home.

The tension that fuels this album is exciting, dynamic, and worth examining. It’s when 21 sits back and coasts or tries to land a radio hit that this record comes up short.

Some faults of Dreezy’s album is that it sounds like a combination of the current trends in Hip Hop.

He’s established a solid, consistent repertoire, one he should be proud of on its own merits if nothing else.

It’s clear that DROGAS Wave has enough value to be memorable but is less than the sum of its parts.

4 doesn't necessarily stand so well by itself, but as part of the Beyoncé experience, there are enough vehicles here to keep her moving.

Fighting Demons embodies Juice WRLD in that way: a flawed project with moments of brilliance that feels uncomfortable to listen to but isn’t ashamed of its naked humanity. And in that aspect, it becomes a balancing act of the man and the artist, melding the two to create a project that’s earnest and authentic — just like Juice WRLD.

Numbers can be applauded as the mature nature and notably impressive songwriting displays progression from MellowHype's older riotous material.

The subtle wave of acoustics, sparse pianism and occasional bass bump work as an apt complement to Ella’s oration. The production also displays the underappreciated diversity of Mustard’s bottomless bag of beats.

Their chemistry is unquestionable and the music derived from that unique harmony is constantly improving.

Mike WiLL Made-It and Zaytoven construct a cinematic backdrop, but Gucci’s execution is a bit wanting. Regardless, it’s a clear step in the right direction, a completely different beast than the b-side littered mixtapes he’s sanctioned from behind bars over the past three years, and begs for repeat listens.

36 Seasons may not be Ghostface’s greatest project, but it is another notable addition to his extensive body of work. Rapping alongside Kool G Rap and AZ for the bulk of the album is certainly a treat, and the two have their own moments of glory. Production, on the other hand, simply does not hold on to the lyrical dynamism present between Ghost, Pharoahe Monch, AZ and G.

Eminem and Royce Da 5'9" are perfectly capable of standing on their own, but it's clear that even after all these years, they inspire something special in each other.

L&R's shots of riskiness and emphasis on contextual relevance propel this project past it's humdrum offerings like "International" and "West Side Love," keeping replay value intact.

It's not an understatement to call Carnivale Electricos one of the most fun, vibrant, and culturally-diverse albums in recent years.

There are a great many moments that make Under Pressure feel like a feature film about Logic’s life, and when at its best, it is creating that sort of imagery.

Vibes succeeds in getting its listener to flourish in a world of champagne toasts, faceless women and impulsive dancing.

Admiringly, it’s taken him his entire career to get to this point and a project like this finds him breaking out of the box he’s occupied since arriving on the scene.

This album won’t go down as a modern day classic, nor will it slingshot NLE to the top of the charts, but it will give listeners a battery in their back for their next big gym session or block party.

Ultimately, Blackenedwhite is conflicted, but quality music.

The album is replete with humor, drama, and a satisfying sense of duality and resolution.

My Life II… The Journey Continues (Part 1) is one of Mary's most memorable albums.

As a whole, the feel-good album’s set of eclectic beats doesn’t disappoint, but it lacks diversity.

The 27-year-old Offset digs deep into his Atlanta Hip Hop lineage, crafting an album that’s equal parts rare in this climate (seeing it follows an unfolding narrative) and refreshing, given its telling content.

Please Excuse Me For Being Antisocial is the type of debut every breakout artist strives for. The album flaunts commercial appeal with hints of immense potential when it becomes more thoughtful, gritty and shows off Roddy’s knack for songwriting.

Tyler, the Creator still achieves an engrossing dystopian vision of Hip Hop that refuses to compromise to what fans and industry critics demand of him.

While Ghost can tell a story and his skills are sharp (despite Action Bronson’s recent claims to the contrary), he’s sounded far more at home on this past winter’s Sour Soul LP with Hip Hop jazz band BadBadNotGood.

His sophomore solo set, God of the Serengeti, sticks to the script, and that's not a bad thing.

The creative process seems more organized and thought out, allowing Nas to do all the things he’s good at, without embellishing any of them.

General Patton walks a fine line between putting his troop of featured artists in their place, while still showcasing his own five star pedigree.

Overall, A$AP Ferg’s Trap Lord, is a solid, if an sometimes-uninspired effort.

Life of a DON shows Toliver has a clear understanding of the strengths that have made him into a star already. It’s not a wack album, more so it’s just there, destined to be nothing more than late night background music.

With Dark Sky Paradise, Big Sean is prepared to leave his mark.

It maintains a musical energy intense enough to fuel a good party, yet throws in just enough of a dash of introspect to remind listeners that behind Jim Jones' exotic cars, empty bottles left behind at VIP tables, penchant for the drug business, and platoon of fly females, the man still has a heart.

Although the production and detrimental hyper-lyricism place Eminem’s worst habits on display throughout the album, there is plenty of good here. Extremely compelling is the theme of Eminem’s growth.

His penchant for memorable music makes up for a lack of dexterity and gives DropTopWop a strong sense of unique artistry.

Czarface Meets Ghostface is far from a “bad” rap album despite having a seemingly uninspired rap trio. From a bar-for-bar standpoint, the rhymes on here are better than a lot of today’s modern offerings but it’s missing the menacing attitude which is often times half the battle.

Subversion is what distinguishes Never Enough from his previous efforts. Instead of sprinkling female voices across the album as he did on Freudian, this record exclusively focuses on the male perspective — save for a handful of background harmonies from women and a Summer Walker remix on the deluxe.

On it’s own merit; Barter 6 is the definitive mainstream strip club album of the modern era.

While not DS2 nor What A Time To Be Alive, Purple Reign is an important Future release because it shows an artist continuing the work of discovering his best talents while also staying well within his own, now well-defined zone.

Fishing Blues may not be your bag due to its pacing and down-trodden tempo but in between the suburban man bars should lay some appreciation for storytelling.

Ghostface Killahs won’t shake up the current Hip Hop ecosystem but does offer a gritty detour down those commercial highways. But longtime fans could argue the project is his strongest since 2006’s Fishscale.

One Of The Best Yet makes a strong case that its chain and star logo is Hip Hop traditionalism’s version of the Union Jack flag to salute where credit is due to one of rap’s greatest MCs and duos yet.

While the boastful rapitty raps are par for the course for an artist of DMX’s tenure, he shines even brighter on the more broodingly beautiful “Walking In The Rain,” which features another appearance from Nas.