There’s a very real, dare I say relatable feel to Cole’s music that “The Off Season” continues to highlight. Unfortunately, it’s a few songs short of being a great album as Cole experiments with some different styles of production that aren’t always successful. Cole’s nearly-man mentality produces a nearly-great album.

Enough things are right that you can't go wrong with The Last Kiss, but the key is that the album makes you want Jadakiss to stay in the game instead of hanging up his sneakers and walking off the court.

Over the course of just under an hour, the Clipse still do a good enough job of selling us their particular brand of music, and whilst this may not be a sure-fire classic, it is still an interesting enough listen to make it one of the more worthwhile purchases of the year.

It's a solid performance, that is both better and worse than it could have been.

The drawbacks to Bush are few and far between though, and even these complaints are more like minor annoyances.

The 40 or so minutes of "All People" are what I imagine taking a shower in a waterfall on a hot summer day would be like--nd if you're too far removed from nature to do that then it's like putting on your swim trunks and running around an open fire hydrant.

It’s a complete package (pun intended). I’ll take the Jay-Z style “Song Cry” feel of “When to Say When” as an album song any day. The MexikoDro and Shebib “From Florida With Love” is the example of why I can handle Drake being Tuned up more than most of his contemporaries. He uses it without abusing it to ridiculous absurdity.

Fabolous is borderline to being cornball with his jokes, but he's got the one hundred to pull it off when you add all the elements together. Add in the fact he pulls some of the hottest guest stars in hip-hop for albums like Loso's Way and you've got it made.

Lyrically, Jay-Z still has his gift for wordplay and flow. For what he does not display in terms of technical emceeing ability on this album, he makes up for it by dropping clever gems filled with knowledge.

This results in a lot of victories but not a whole lot of personality, and the closest we get to seeing Khaled's soul is the fact he tends to favor putting the Southeast's finest from Pitbull to Rick Ross on his tracks.

With beats provided largely by newcomer Oren Yoel that are more hit than miss, Asleep in the Bread Aisle is that new kind of 2009 hip-hop you either have to learn to live with or jump off the bandwagon altogether.

The EP serves its purpose quite well as it gives fans just enough to keep you craving a Brother Ali full length, but holds back enough so they will appreciate the full length once it arrives.

You have to be a fan of either or both men going in, and IF you are, then the sheer force of their persona and their political viewpoint won't be off-putting to you. Newcomers beware, this album is not the place to start.

"Venomous Villain" is more of an Insomniac promo CD than a credible sequel to Doom's dastardly "Vaudeville Villain" release two years ago. Even so, Doom stylistically slays every opportunity he's given at the mic.

The third album from T-Pain, Thr33 Ringz, finds him once again attempting to master the triple threats--rapping, singing and producing. That it turns out to be incredibly formulaic and slavishly apes his sophomore effort ("Epiphany") proves only to be a minor deterrent, since almost everything here is upscaled.

Lizzo is a level-headed rapper who besides rhyme and reason also balances endearing and terrifying qualities. But she wouldn't quite be the standout if it wasn't for her screwball moments, which are frequent.

Even with Black Milk's limits as a rapper, If There's a Hell Below is a solid album. Black Milk nails the line between being retro and forward-thinking, between street and backpack, between nostalgia and honesty.

Snoop gets the credit he is due and deserves for coming back strong on Malice N Wonderland and managing not to lose his edge despite all his success. It won't go down as the most important album of his career, but it's not one that you should pass on either.

The production and hooks propel the quality of these tunes as the lyrics could have been sharper at times.

“Lil Boat 3” finds Yachty syncopating and stretching beyond his naturally baritone voice. He sounds more self-aware than ever, channeling his beloved infectious energy as the main driver for the album, rather than his erratic lyrical ability.

Napalm is remarkably focused, not forsaking the established Xzibit sound but neither rehashing it.

The final installment is arguably the best of the three.

It is, most definitely, not an album: there is a slight lack of cohesion, the artists don't particularly stretch themselves conceptually and the music certainly doesn't compare to the past classics that either MC has dropped before. However, the whole point was to get Eminem and Royce back in the booth, and to spit fire.

Even his non-album singles are bangers, which is what makes it more insulting that we had to wait all these years for them to be compiled together into one “package” for our perusal. Better late than never though.

There's nothing wrong with the 15 songs chosen for this per se, especially given that to some degree the material chosen is from more obscure Wu releases or remixes that haven't gotten wide exposure. That said a dedicated hardcore Wu fan could easily compile 90% of this album out of their own collection.

Themselves do have a niche. They are not for rap purists; they are not for hip-hop newcomers. But they are for faithful listeners, sick of what they've been hearing, but not ready to give up entirely.

The production is ultimately enough of a spoonful of sugar to make it easy to swallow.

This Generation is a solid album.