There are a few missteps (some songs that didn't quite click, a few beats that aren't quite up to par) and this album might not make too many year-end lists. But it's an album made with passion, spirit and a hunger to impress--something that's been missing in much of this corporate rap era.

Godfather Buried Alive is a worthy listen, showcasing Shyne's unfiltered honesty in its uncompromising form.

The Solution doesn't differ from the previous instalments at all. If you're a fan of either artist then it is certainly worth picking up.

My Krazy Life is a successful debut album that achieves most of what it sets out to achieve.

It's not at Radiohead's level, simply because it's not as conceptually coherent; the lyrics may shock but they don't bite; the production (save for "On Sight" and a couple of others) is interesting but barely truly revolutionary within his own career arc, let alone when we count other contemporaries such as M.I.A. But while it might feel like an opportunity missed, at least Yeezus feels real.

Getting a sequel to the first two volumes was an unexpected and pleasant surprise, but outside of his hardcore fan base of Wu-Tang Clan fans there's not much chance of this album succeeding.

Hurricane Chris built on the strengths of "51/50 Ratchet" and did not repeat his previous mistakes, thus improving musically and lyrically as an artist.

For the most part the charisma of Lil Wayne and Drake carries We Are Young Money even when the actual content does not.

Despite the presence of some must-hear rap tracks, it's hard to justify the purchase if you are paying for only about half an album.

The beautiful mess of Mos Def makes for a bumpy listen.

Remember Me isn't a perfect album, but it has some great songs and a lot of promise.

Rick Ross' Rather You Than Me is fun to listen to.

It’s too slick and polished for a posthumous album.

“E3 AF” certainly has its moments. The filthy Grime collaborations are brilliant and overshadow everything else, for better and worse.

Thanks in large part to the beats and the guest appearances, and in small part to Jeezy's frank delivery and raspy voice, it leans more toward the former [enjoyable] than the latter [obnoxious], leading me to give this album a cautious thumbs up.

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.

Crime Pays is Cam'ron's triumphant return to form....You also have an overabundance of skits on the album that generally are just there and not entertaining.

If you absolutely can not stand rappers who should be called singers then you need to take a hard pass on Vert, but if you occasionally (or more often than that) enjoy the crooning, Vert is at least someone who can put it together in a way that is surprisingly decent and occasionally quite good.

While there are some good songs on Some Say it is often a frustrating listen, which is all the more disappointing given Ghostpoet's potential as an artist.

While none of the songs are straight terrible (except "Bugatti") none leave me feeling like I'd want to leave the CD in my whip on a long trip--it would probably lull me to sleep and I'd crash.

It's hard at times to be a fan of this genre, because it can be overly formulaic and offer little hope for the future, but despite the dark trappings there's still some musically redeeming fun to be had.

As for meaningful depth to his bars, humorous “press rewind” punchlines or emotionally resonant stories, I regretfully must honestly say he didn’t grab me in any of these categories. As a lyricist he was “just there” — not terrible, not brilliant, just okay. Does he show future potential on “Meet the Woo Vol. 2“? Yes. Absolutely.

Hip hop is an artform based on messages, yet all too frequently he comes across as a messenger with little to report.

Though Swizz did vary the sound of the production, the album’s overall sound could’ve benefitted from a P.K. or Dame Grease beat. “Exodus” isn’t DMX’s worst album, but for a comeback album, a now-posthumous one at that, it should’ve been better.

The biggest problem with Wale's debut LP is that sure, the music is good, some of the concepts are interesting...But it is all very middle of the road, and Wale himself is an MC desperately in need of charisma.

For those who like a swell show of technical strength, a spin of this album will occupy your listen to and from the workplace quite well. For those seeking something more meaningful to go along with their skill showcase, however, don't feel bad about taking a pass on this one.

There are many quirks with this album, but realise that it doesn't feel like a debut from a fully-formed artist, rather someone that intermittently flickers with potential and then dials it down to play it safe for the radio.

A strange and unique album that is more rock and pop than anything most rap fans are used to.