Last 2 Walk is recommended for those who can get past their banal lyricism, because between the beats and the guest stars on this album they've got a winning combination anyway.

There's simply not enough substance and individuality for me to call this a good rap album. But at the intersection of rap and pop it doesn't embarrass either side.

She manages to not get completely steamrolled in her duets with YG and Lil Yachty and even interlocks tightly with Asian Doll on "Affiliated." The problem with the Bhad Bhabie project, of course, was never to teach her how to rap, it was negotiating an acceptable approach to appropriating the cultural codes of rap. And in that regard 15 is the expected embarrassment.

While it may churn out a few hits, The Hard Way ultimately is a letdown.

It's counter-productive to analyze Keith's verses too carefully, because at some point they're just well constructed and well delivered jabberwocky.

Weed rap is fine, but if Hill is looking to subvert the dominant paradigm, they should probably find a harder drug.

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 problem is that it's just too light on hip-hop, and too close to the other experimental work they've already done in other side projects.

If this was pop music with terrible lyrics and shitty beats that hurt my ears, you know I'd tell you so (see Soulja Boy) but nothing on Only One Flo (Part 1) would make me want to change the station if I heard it on the radio.

The problem with Full Speed is that Kid Ink is often lost within his own album, as the listener anticipates the next song that's defined by its guest feature.

This is, quite handily, so much of precisely "what is wrong with hip hop today"--tidily sequenced into an hour of mind numbing idiocy.

The problem here is that the near single-mindedness of his subject matter on Look What You Made Me shows EXACTLY what he's been made by one too many music videos with jiggling booty and coochie--a nymphomaniac.

It’s a good album. ... Emo rappers often tend to release short albums with even shorter tracks, and this one is suspiciously long and incredibly overloaded with talent.

In terms of their long career of certified bangers it comes as a slight disappointment.

There's no mistaking or denying what you get on this CD--the same thing you got each time out before.

Littered with ignorance, braggadocio and uninspired production, French Montana's debut release is less about him and more about the guests that his label have brought in to help hide his lack of skills.

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

Buy it, enjoy it, and forget it. It's a fun bit of fluff.

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.

He's a little bit Twista, a little bit Trick Daddy, and a whole lot Nelly. None of those things are negative, but the fact he can't distinguish himself from any of them isn't a positive.

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

But make no mistake, it's an album that displays growth, maturity and improvement in almost every respect - he's certainly becoming a versatile and engaging artist.

It's the beats, the cameos and the sheer momentum of Maybach Music that propels Hood Billionaire forward.

As with every Kanye album, there’s some magnificent production on a majority of “Jesus Is King” courtesy of Pi’erre Bourne, Timbaland and Boogz, among others. ... Kanye just seems like he’s in his own world; disregarding what’s going on around him. Other times, Ye’s writing delves into eyerolling contradictions and ego-driven intentions.

In the City offers good production, excellent melodies, and - of course - the same song, idea(s), and kinds of guest appearances many times over.

Boy tries to stretch his simple repetitive beat production style across an entire album and it fails miserably.

As it stands, the album has some decent songs but doesn't hold together as an album.

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