Sometimes this anger is ugly and interesting. Sometimes it is shallow and shocking. But something tells me that, while I have no trouble dismissing loads of offensive hip-hop, I won't be able to write this one off so easily.

The album succeeds in granting an audio interpretation to something that's showcased more prominently in a cinematic medium.

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

The biggest missed opportunity lies in Nas’ inability to reach beyond the ambitious presentation found in everything surrounding the lyrics. He’s entertaining in spurts, but much like his “godly” contemporary Jay-Z, one has to wonder if what he says ever really matters on “King’s Disease” any more.

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

The Solution is an album informed by Sigel's hustles and struggles that still manages to elevate beyond them to offer a broad appeal as the self-described "fat boy on a sucker free diet" puts out the best gangster rap Philadelphia has seen since the heyday of Schoolly D--except that Sig' is on a level now D could never touch.

Your patience will be especially tested during the closing trio of songs that could have been better had they been a couple minutes shorter and/or delivered with more zest musically.

Home might be a bust as an instrumental hip-hop album, but it is very successful as a piece of well-crafted electronic music.

It is an LP with one hit single, some solid album cuts and the rest is genuinely quite forgettable.

Occasionally it leaves you underwhelmed and yearning for more, but that still counts as a positive, because so many other rappers wind up doing more and leaving you wanting a whole lot less.

Unfortunately, the rhythm of the album is constantly interrupted by cacophonous dirges which makes it feel unsettled.

"Idlewild" seems to prove they're two seperate artists even more than the last double album did.

If "Capo" is any indication of where Jones is headed in 2011 it's the first time in a while I can say that I'm looking forward to his next album.

It has some outstanding musical qualities, an author with a unique voice, a solid enough narrative and hit singles.

This feels fresh yet familiar; a throwback picture in a modern frame. ... The truest of Eminem fans out there ... will absolutely lap it up.

Those who have slept on Wyclef Jean's catalogue may need to give it another look after listening to Carnival Vol. II.

It's too bad they didn't spend more time polishing this so that it could be a great album instead of a pretty good one.

This is a worthy addition to the Czarface catalogue that will find frequent rotation in your car stereo, boombox or headphones for the rest of 2019 AND beyond.

It's cotton candy hip-hop that's enjoyable to consume but has no real substance.

At its best--on "We Could Be Free"--"The Autobiography" adds to this reputation. At its worst, the album still sounds very good; aside from a pair of tracks that evince a teenaged boy's understanding of love, sex, and women (both of which--"Homewrecker" and "Gorgeous" -- are musically pleasant enough), there are just two more that rubbed me the wrong way. And that's mostly because they have a sound that is currently on-trend, which me feel old and out-of-touch.

“Ghostface Killahs” gives you glimpses of Ghostface Killah at his best but it’s difficult to say it stands up against his last few albums. As solid as the production is, it’s not quite as good as Caiazzo’s work on “Chamber No. 9” and the highlights are often short blasts of magic that actually stick to the album’s theme.

There’s a timeless quality to the way Keith Elam and Christopher Martin brought out the best in each other, and even posthumously on “One of the Best Yet” you can still hear that love of making hip-hop in every track.

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.

Even if the music isn't extraordinary, Nas himself is legendary on "Untitled" - and as long as racism is relevant, so is this album.

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.

The music is kept grounded throughout by the guitar work and some exceptional sung hooks, but the MCs' ability to craft and deliver backpacker quality lyricism is what holds the whole thing together.

They offer a positive, upbeat take on hip-hop with heavy doses of melody. While it didn't totally win me over, there are enough bright points, and it is done with enough skill and passion that I recommend it to anyone nostalgic for the days of b-boys and beatboxes.

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