While “Everybody Can’t Go” is mostly good, Benny will need to push some boundaries if he’s ever going to top his classic albums.

I can say I recommend the entire thing as high quality.

“Magic 3” continues to strengthen the argument for Nas as the GOAT and his legions of fans who appreciate his output in 2023 will clearly agree with this take.

Of the nineteen tracks on offer here, there are just too many skippables for a Busta Rhymes album. It may not be a proper Busta album, and it may be Busta’s way of sharing the flame, rather than passing the torch (as he so eloquently describes it), but in the context of Busta’s catalog, and the rest of 2023’s hip-hop releases, it frequently disappoints.

She can often sound like the guest rapper on her own songs, which is why she doesn’t really need the collaborations that some emcees rely upon. But there’s no denying the clear star power on display throughout “Scarlet”, an album that is her most direct, and shows that a pissed-off rapper that has something to get off of their chest, often results in their best work.

“Solid Gold” is Aesop at his most complex, but then tones it down on “Vititus”, a dedication to his late grandmother. With “Black Snow” closing out the album, it ends with “ITS is not a cult” to coincide with the concept.

In nearly every way, it is downright unremarkable. The Toronto superstar has once again delivered a tiresome and inflated LP composed of 23 tracks, the bulk of which are only successful thanks to the guest features that aid them.

Overall, “Voir Dire” isn’t bad. But to speak the truth, in the spirit of the album, both men have had more superior output. Plus, The Alchemist’s beats are usually better suited for rappers with gangsta motifs, because it sounds more like shared vision then.

Sure, there are a few things that could be improved (that golden scrotum line for one – not even Roc Marciano could pull that one off), but I can’t imagine many Nas fans are upset with more of the same, when both Nas and Hit-Boy are on such a hot streak.

Nevertheless, while it’s difficult to get past the wording of Travis Scott’s “Astroworld” follow up, the instrumental completeness and overall energy is difficult to forget.

The focus of Quavo’s “Rocket Power” is on him — as it should be.

I found “To What End” is an album that grows on the listener. It does have a few tracks that sound like they could have been from older albums and the shorter track lengths I can’t ignore, but there are great tracks here to appease any self-respecting hip-hop fan seeking something more genuine and soulful in their 2023 playlists.

It hurts me to say different choices in terms of the production would have made it more accessible, because I respect his intent to be inaccessible here. If I have to sum it up and put a bow on it, I think “UGLY” is an album that will probably be appreciated more 25 years from now than it is today.

His album is incredibly well polished, but the gleam of his ice is an illusion, as these diamonds are nothing more than cubic zirconias.

I can listen to “Mansion Musik” for 76 minutes and it’s fine as background music, but if I start paying attention to tracks like “WITCHCRAFT” the bars are so relentlessly negative it accidentally becomes a turnoff.

Much like the Starbucks menu name she goes by, Ice Spice has a product that’s easily digestible, but ultimately throwaway.

There’s so much that could be done with a Northern UK emcee to celebrate a part of England that has numerous industrial cities with interesting stories, but Aitch’s message doesn’t register as well as it should thanks to production akin to a box-ticking exercise.

The only potential pitfall is that the tableau that is a Curren$y record leans too much towards self-care and opulence like some showy Instagram account. ... While “Covert Coup” was more varied musically, the familiarity of the arrangements and orchestration on “Continuance” ensure a certain timelessness.

Nas sounds like he’s regained his confidence as the king once more. He sounds like the king. He’s in that “Ether” mindset once more – not necessarily as vicious, but simply sounding like he’s willing to name names and it feels like he’s genuinely having fun with his writing.

Well it’s a better Drake album than “Honestly, Nevermind” so that’s a plus. It’s not a better 21 album than “I Am > I Was” or “Issa” though so that’s a minus. If you split the difference you wind up with an average album. There are a few joints I’d care to play more than once.

Sampa the Great may be defined by where she hails from, but she also defines herself by making heartfelt songs with a universal appeal. Although this new album is my first chance to listen to her, I somehow feel like I’ve been listening to her my whole life.

The chemistry is undeniable and “The Elephant Man’s Bones” is the culmination of this partnership. This is an album that gets better with each listen and yet, despite capturing everything great about previous Roc Marciano albums, sounds remarkably fresh and current.

“2000” is very much worth celebrating. Much of the production is handled by Statik Selektah, now a veteran with a strong reputation who regularly works with Joey and it’s his sample-flipping in particular that makes this album stand out.

Individual songs can be seductive but his singing can lull you into a peaceful state over such a long stretch. Yeah it’s not much of a complaint at all is it? Don’t buy this album if you don’t want to chill out too much.

The “Eminem sound” the first “Curtain Call” could accurately collate and celebrate (given 100% of it was produced by either Dre or Em) has been pushed aside in favor of party trick flows and quick-win hooks from guests. It still seems to be a successful approach, but it’s not as satisfying to revisit.

This two-hour epic may not be his best work, but it’s his most Game album yet.

There are those who employ cheat codes just for the hell of it. Lyrically and musically, Black Thought and Danger Mouse used theirs here to get one up on their peers in their respective mediums.

“Sound Ancestors” is a good listen, but if you’re expecting the manic gangster energy of Gibbs or the loquacious lyricism of Dumile, then this isn’t the Madlib project for you. ... I’d definitely call it a Madlib album, but I still don’t know if I’d call it a Four Tet one.