I Don't Like S#%! sees Earl continuing to mature and grow as an artist.

Hommy albums get better with repeated listens and he’s an artist that suits the album format. The antithesis of a regular coke rap rapper, his music carries a richer quality than Griselda regulars. Whether you can truly appreciate his craft depends on your patience and willingness to hear something a little different.

Redman sounds every bit as strong in 2007 as he ever has. Unfortunately, he doesn't expand his range at all here.

He’s successfully bridged the gap from local to international with this album and when everyone can go on tour again I think he’ll have a ready made audience well outside of the United Kingdom.

It's an excellent original product from young inspired artists. If you are looking for underground musicians who are about to explode, look no further than these two.

By Janelle Monae's lofty standards, this is still very good, but not quite as great as her previous offering.

There's enough variation in energy and production to keep the listener engaged throughout, and several times there are sudden drops into another beat entirely in the middle of a song.

Even at its most mundane (like on the painfully repetitive title track), “uknowhatimsayin¿” represents an artist at his most polished and enthusiastic.

The album is soulful, accessible, and devoid of the ignorance and shallowness that are trademarks of mainstream hip-hop.

It’s another solid album from an artist who like his late friend can crossover into a lot of areas (and arenas) given the chance.

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.

Still all things considered and given the obscurity of the original release it's hard to knock "Ruff Drafts" for what it is, especially given the bonus disc.

There are more nuanced (and enjoyable) approaches to records focused on depression. Elzhi’s “Lead Poison” is still the one I’d recommend first but NF impresses on “The Search”. ... By stripping that away, his barrage of words – married with the booming, cinematic production (credited as NF and Tommee Profitt) – is surprisingly digestible.

What may be the most shocking about "Shock Value" is how Timbaland continually manages to stay one step ahead of the competition.

He's an unusual flavor, but one that should still be considered a delicacy--even if it just might be bad for you.

Lil Nas X set out to make a crossover pop album with “MONTERO” and succeeded.

She sells her message with having mad skills and swagger to spare.

Fish Outta Water is a bright, colorful album that does an excellent job of incorporating different styles into a cohesive whole.

Open Mike Eagle does one better and shows a path forward for hip-hop.

Made is not Scarface's best album, that honor would go to "The Fix" or any of his earlier solos depending on where you stand. Yet, saying this isn't Face's best is no insult. Scarface on his worst day or even in unofficial form (see "My Balls and My Word") is still better than most other rappers on their best day

A mature performance over sleek, fresh production makes Life's Quest a pleasure.

At times the production teeters back and forth between cohesive and monotonous, but after repeated listens, the tracks stand out apart from each other more as you unravel the heavily layered production.

While it's not better than 50's national debut or G-Unit's album, it's certainly no worse.

The production throughout Aquarius is on point, whether it's the infectious, yet odd sound of "Wildfire", or the crashing bongos backing a pseudo-rap switch in to some long notes on "Far Side of the Moon."

Antibalas' latest preserves the musical history of Fela Kuti, and is a hell of a good time.

The Exxecution is twelve songs of slamming, grimey, take-no-prisoners NY hip hop. Ruste Juxx and Marco Polo show lames how it's done, and leave a trail of dead in their wake.

Lyrically, Sway is on fire (take that as read for the whole album) and his tongue-twisting raps will dazzle any unfamiliar ears.

Mozzy’s greatest strength as a writer is clear intimacy. Every time he spits a verse, I feel like he’s talking to me one-on-one with a cigar in hand and his posse surrounding him. There’s wisdom attached to his words because he’s been through it all. ... Mozzy still carries demons, but there are indeed shimmers of happiness percolating throughout some of these passages.

Konnichiwa is proof of not only Skepta's skill on the mic, but also of his ability to put together a strong, solid album. As Grime continues to rise, its leaders are well worth watching.

There are also some genuine standout tracks, and all in all, A$AP Rocky and his team deserved the critical and commercial acclaim that will inevitably flood their way.

Vibes is a very fun, laidback album.

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.

Tech has done everything in his power to reach out to the broadest fan base on All 6's and 7's by keeping it real and giving you something you can feel at the same time.

Rather than trying to please the club, the ladies, the hardcore 30+ crowd, the younger fans, and everyone in between, Jadakiss has released a cohesive, satisfying album that is easily one of his best efforts. More of this, please.

“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.

The music is solid rather than stunning, but that allows the MC's to shine – and make no mistake, this is a real MC's album.

If one can express disappointment in undun, it's that it sets out to tell a story and tells it well, but delivers a short story or a novella where fans of The Roots would have undoubtedly preferred a full length novel.

With Chill, dummy, P.O.S. manages a difficult balancing act between alternative music and hip-hop, the personal and the political, and being impassioned without being self-righteous. It's a strong album that is a welcome return from the Minnesota rapper.

channel ORANGE is filled with brave music.

Minor complaints aside, 9th and Buck have definitely upped the ante on their debut, so much so that a re-naming might be in order.

This is one of the better instrumental hip-hop records I've heard in a while, and one that I'll keep on heavy rotation for some time.

May be one of 2004's most important rap records.

When Common is feeling himself few can do it better, but one of the best things he does on "Nobody's Smiling" is spread the love around.

Blade of the Ronin has its own artistic ambitions that aren't duplicative of its predecessor, all resemblances notwithstanding. Vast Aire and Vordul Mega have shown on this record that, as a duo, they stand alone and aren't defined by their producer.

His verses sound lazy and unfocused... Nevertheless, "Encore" does prove one thing: that even half-trying, Eminem is still better than most of the rappers beside him with plenty of personality to spare.

Until The Quiet Comes is another excellent album by one of the most interesting producers out there.

The album is still a must-have any true hip-hop head, and it is certainly a promising release from the young emcee, but just don't go in expecting an easy, feel-good listen.

It hits all the notes that you want from a Wu-Tang Clan affiliate, and is much a more satisfying project than "A Better Tomorrow."

“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.

Summertime '06 is extremely cohesive, but occasionally tiptoes on being monotonous.

No Love Deep Web continues Death Grips' death trip, and is another solid 47 minutes of artistic aggro.

The resulting album is an intense, visceral experience. It manages to combine the aggression of both punk and hip-hop.

The album does maintain enough of a hard edge to keep Snoop from going TOO soft.

Oddisee makes good music that deals with real life issues with wisdom and humility. Oddisee is not only fighting "The Good Fight," he's winning.

On paper it sounds all over the place, but it somehow works. There is method to this madness and Gang Signs & Prayer owes much to how serious Stormzy considers the album format in 2017. Grime LPs are few and far between.

His beats are understated but masterful, and so good that they remind you how mediocre most of the stuff you hear is.

He's still solid with the flow and constructs rhymes that are both interesting and intense, making The Seventh Seal a worthy purchase and return for a man who was in the beginning, is now and ever shall be, God without end--Rakim. Amen

There is a fair amount of glitchy electronica, but there are also more straightforward loops. They compliment Open Mike's melodic delivery and the wistful yet angry mood of the album. Sammus and Has-lo also offer verses.

Like Big Boi and Andre 3000, Lyrics Born is on a mission to expand the boundaries of the genre. He doesn't always succeed, and the result is an album that is a little inconsistent, but it is damn good more often than not.

Even many of his prettiest, most delicate tracks are grounded in thumping bass. As a result, it's a more satisfying listen than Shlohmo's or Nosaj Thing's albums.

Producers have historically had a difficult time with albums, but Jake One shakes that trend and comes through with a hot album.

The Infamous Mobb Deep is an enjoyable journey for long time fans of the group, but for newcomers it's a hefty two hour plus tome that can't be taken in one sitting.

The only thing really dissapointing about "Weapons of Mass Destruction" is that Xzibit seems to have once again forsaken his Alkaholiks homies.

It is just so much plain fun to bump loud, sing-a-long to and back it up on various people. Wicked.

Born Sinner is a real grower, one that in many ways completely exceeds expectations and demands your attention.

He'll never win any of those freestyle battles but he can damn sure make a record that you'll enjoy listening to multiple times.

“Unlocked” is a blast. It is a highly-enjoyable snapshot of an otherworldly dimension traversed by the superbly-skilled rapper Denzel Curry and the fantastic Kenny Beats. This EP delivers loads of strong bars and beats alike and is most definitely worth the listen.

Even when you don’t understand his choices, you can’t argue with them, because you know they are coming from a place of thoughtful artistic creativity.

This isn't an immediate album. It's one that will take a few listens, but your patience will be rewarded.

I like what I see and hear on Tha Carter IV and no one is going to convince me he isn't a full-fledged artist worthy of being the household name he now is.

It's not your mother's, father's, sister's or brother's cup of tea, but for fans of D12 and/or Hunter S. Thompson, "Hannicap Circus" is one crazy trip through the mind of a lunatic.

G-Unit fans and Lloyd Banks fans in particular will be satisfied with "Rotten Apple."

"The Massacre" is still a fine follow-up to his last full length release, and despite a few miscues avoids letting down his fanbase.

SremmLife definitely lives up to the hype--yes, it's more focused towards the youth market, but it shouldn't preclude anyone reading this who enjoys the youthful energy of debut artists going nuts once they get a big chance.

There are no phony builds, no bass dropping, no obvious patterns. Faith in Strangers keeps listeners on their toes, and keeps their head nodding the whole time.

Overall, it's hard to find much fault with The Wonder Years, and it's remarkable how cohesive it feels given that it's a compilation album.

Long-time MF Doom fans and relative newcomers to his innovative beats and flows will both be satisfied by this release.

The rest of the album is rock solid, even if it takes a while to sink in. Whilst it does occasionally have a bit too much of an underground feel, it also chucks in a couple of more commercial numbers ("Confess" and "Out the Trunk") to help bring some ecological balance.

The beats and rhymes give life to a truly cinematic experience, as though the Souls had been airlifted from Oakland to a Hollywood soundset. It's a short trip geographically but a long player musically that's worth revisiting many times after your initial purchase.

I suspect as Ross continues to evolve as a lyricist there will be even more of a message in his music, but in the meantime the production and guest stars on "Trilla" make for an effective album that shows Ross has yet to tap into his full potential.

If not here, then on the EP as a whole, Freddie Gibbs is clearly in command, fully aware of his own potential and self-assured that if we don't get it now...we'll catch up eventually.

"Chilltown, New York" proves itself a worthy successor not only to 2002's "React" but to the rest of Sermon's long and storied rap career.

Royce Da 5'9" is a well rounded beast throughout; and it's similar to the Bad Meets Evil EP in tone, but more expansive in ambition.

None Shall Pass is a record you can listen to over and over, simply in trying to decipher exactly what's being said, adding almost infinite replay value.

It's accessible enough to be listenable, challenging enough to be interesting, and has many layers for the listener to unfold and decipher.

He's clearly fought his corner admirably, because he's achieved it--it's an album that creates a particular mood, and vehemently sticks to it, even bending the will of the traditional rap joints in the process.

While Labor Days isn't perfect it is definately the underground Ghostface's most satisfying release to date.

This is certainly a fine album, pretty much throughout.

The fans who ride for Ev won't be disappointed by Cats & Dogs. He continues to show that love for hip-hop on tracks.

The music alone would be enjoyable, the words read on a page with no music would still be profound, but it is in their combination that The Last Poets still continue to create magic into their 70's and beyond. Maybe a little of that magic can rub off and help some melanin-deprived people "Understand What Black Is" but if not at least it's still a pleasure to listen to.

XXX is another excellent release from the man who is one of the best rappers out there, proving that you can be lyrical and street at the same time, and that hip-hop doesn't have to be one dimensional.

The fact that this record features Ab-Soul, Kendrick Lamar, Childish Gambino and Vince Staples means it is worth checking out for hip hop fans anyway; that it's actually a brilliant listen makes it all the better.

His original army of fans, however, will surely enjoy most of the elements of Relapse and it certainly sets up the sequel nicely--though it might be wise to include a few more crossover hits on the second installment, you know, for everyone else.

If there had been some big singles, fewer guests and more of Jayceon being himself, this could well have been a real classic.

Even the weaker of Ghost albums tend to be relatively strong compared to some of his peers, both in and outside of the Wu, and The Big Doe Rehab is no exception.

An artistic statement and a brilliant debut, Gas Mask should be Motown's unofficial soundtrack, but its listenership should know no regional boundaries.

Common's naturally smooth flowing voice is a pleasure to listen to, making even the times when he is overreaching his grasp that much more tolerable in comparison to lesser peers.