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

This feels indulgent without MD being committed to any of his whims, and that exposes Mos Def as an artist that no longer seems to know what he wants to do.

Whatever made this a substantive and interesting group a decade ago has been completely lost in the process, but if all you care about is dancing and partying then take their word for it.

Neither artist disappoints on the LP and Quik continues to progress and go beyond the boundaries of traditional west coast hip-hop. Although I'm not sure if fans will ride down Crenshaw bumping a few of the songs on the album, I salute Quik and Kurupt for trying something new.

Years of being disregarded, underrated and criticized may have hurt Dilla's feelings but those who would regret that will feel no shame now knowing every barb thrown his way only made Dilla that much doper as a producer--to the point his posthumous albums are now better than what most living cats make today.

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.

Whilst this album is by no means a classic, and musically the latter parts perhaps not faring as well with repeat listens, it is lifted up by superb lyrics and effortless charisma from the rappers.

Busta Rhymes has finally made an album that works from beginning to end--it is just a shame that the lack of crossover hit singles will doubtless leave BOMBS a slightly unappreciated gem.

It is an extremely well produced album with good emceeing. It is a unique experience as it should be.

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.

Even though The Voice starts off a little slow with 'Swagger Right' and 'Houston Oilers,' once the album hits a groove it keeps it all the way through to the Mike Dean produced 'Grandma II' finale.

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.

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.

I Heard it Today makes me a less reluctant Lif fan since I've come to terms with his vocal style, but I still yearn for the collaborative efforts of Perceptionist days gone by which had incredible rhymes and incredible beats all at the same time.

He certainly gets outshined by the original score--but that only serves to make a much better album than many anticipated from the Boss himself.

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.

Despite having all of the right elements, this album seems far more forgettable than the aforementioned "The Last Kiss."

As fun as R.O.O.T.S. may be for a short while, artistically, this album is almost without merit, with pointless lyrics and over-sampling.

From the 'Intro' to the 'Outro' there's very little to not like about UGK 4 Life other than the fact it can never be done again, and any music videos released off this album won't feature Pimp doin' his thang.

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

So there you have it, a finely produced, polished, and performed album from one of the game's most hated emcees.

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.

Despite it's unevenness, Ridin High is a nice portfolio from an up-and-coming duo.

Flash and his collaborators provide good beats and rhymes so if this is what a "studio album" is for Flash in 2009 let's just hope there are plenty more on the way.

Musically, it has only a few elements, but are arranged well, a simplicity the lesser often veer into undeveloped blandness.

Therefore, whoever had the final say-so on the beat selection is the main culprit for the failings on the album - if it was Joe Budden himself, then more shame him, because he also turns in a superb lyrical performance that rap fans will appreciate as one of the most interesting efforts in recent hip hop history.

A third of the songs are about hooking up with ladies, a third are heartfelt ballads to lovers, and a third are break-up songs. It's the lifecycle of a relationship, over and over. I'm not convinced by it, but it's working for him.

So Far Gone is unquestionably one of the most cohesive, atmospheric hip hop records in recent memory--which is almost the antithesis of what one expects from a mixtape.