RapReviews.com's Scores

  • Music
For 690 reviews, this publication has graded:
  • 65% higher than the average critic
  • 4% same as the average critic
  • 31% lower than the average critic
On average, this publication grades 0.9 points higher than other critics. (0-100 point scale)
Average Music review score: 73
Highest review score: 100 The Craft
Lowest review score: 15 Excuse My French
Score distribution:
  1. Negative: 17 out of 690
690 music reviews
    • 57 Metascore
    • 60 Critic Score
    There is no doubt that the first half of the album is where the "money" is – a top-heavy reflection of pop-muscle tracks where Lupe is generally playing second fiddle to the beats/choruses. That would have fine if the Chicago native had been allowed to go all out and express himself on the other six tracks, more akin to "All Black Everything" so you may well find yourself stalling after "The Show Goes On."
    • 59 Metascore
    • 60 Critic Score
    It's not that the album isn't good, it's that it pails in comparison to "Jackpot."
    • 65 Metascore
    • 60 Critic Score
    Kid Ink hasn't so much found his own lane, but taken the well-worn stretch of road that's littered with empty beer bottles and discarded condoms; a road frequented by beautiful video-models and catchy hooks. Despite this, My Own Lane is tasteful, smooth and if taken at face value, an enjoyable example of radio-friendly hip hop.
    • 57 Metascore
    • 60 Critic Score
    He still has a lot of talent, he just needs to reign in his creative impulses (along with a few others) to make a better album next time.
    • 51 Metascore
    • 60 Critic Score
    Rebelution will leave you shaken, but not stirred.
    • 67 Metascore
    • 60 Critic Score
    His technique has a strong propensity towards predictable stream-of-consciousness rhyming.
    • 73 Metascore
    • 60 Critic Score
    Unfortunately the haste to produce and release the album shows when listening; the thing is clearly rushed and even feels a tad opportunistic after the surprise critical resurgence of the Wu after the Raekwon-directed "Only Built 4 Cuban Linx II."
    • 62 Metascore
    • 60 Critic Score
    Radioactive is a mixed bag that has some outstanding tracks, while others fail from a lack of execution particularly in the production and hook department.
    • 72 Metascore
    • 60 Critic Score
    It's cotton candy hip-hop that's enjoyable to consume but has no real substance.
    • 53 Metascore
    • 60 Critic Score
    In the City offers good production, excellent melodies, and - of course - the same song, idea(s), and kinds of guest appearances many times over.
    • 64 Metascore
    • 60 Critic Score
    Much of Love Story is tepid, but there are moments where Yela nails the singing/rapping combination.
    • 74 Metascore
    • 60 Critic Score
    For the moment, we are treated to a promising if frustrating record that remarkably lacks a hit single itself.
    • 74 Metascore
    • 60 Critic Score
    At 10 songs and nearly an hour long the "Back to Reality" album packs a lot of bang for the buck, and if you're in the mood to go retro this is the perfect album to fire up when you put on your Michael Jackson glove, fire up the Coleco, play Donkey Kong 'til your hands get sore then go party at Studio 54.
    • 65 Metascore
    • 60 Critic Score
    The Return of Mr. Zone 6 is the best and worst of Gucci Mane in almost equal measure, though it's enough of the best to pull up to an acceptable level.
    • 78 Metascore
    • 60 Critic Score
    York is an interesting and often times bizarre album.
    • 57 Metascore
    • 60 Critic Score
    No Love Lost is too inconsistent to leave a lasting impression, and falls short of greatness.
    • 60 Metascore
    • 60 Critic Score
    There are some other strong tracks on this album, including Santigold's guest spot on "Car Song," and "Energy," which sounds like a lost Talking Heads song. There are also several that are either forgettable or downright bad.
    • 47 Metascore
    • 60 Critic Score
    Where a lack of rhymes fail them, the hip-rock-electronica music carries them forward into music that's passable even when it's not profound. So long as you get it, LMFAO may not change the world, but it's a fun way to kill time. Just don't drink like they do or you'll kill brain cells too.
    • 68 Metascore
    • 60 Critic Score
    The stakes were so high, the pressure was on and what makes him interesting was ironed out in favour of low risk, high percentage choruses. Couple that with a mixed bag of lyrics from the rapper himself, and you get a curiously crafted mess that contains a few great songs that you'll end up loving, and lot of numbers that just weren't bold enough or executed with confidence.
    • 69 Metascore
    • 60 Critic Score
    The inspiring message that is clearly part of the appeal is still buried under too much empty rap rhetoric.
    • 63 Metascore
    • 60 Critic Score
    The problem Ludacris faces is that both sides of him are great to listen to but it inevitably restricts him from making the cohesive magnum opus his career deserves.
    • 71 Metascore
    • 60 Critic Score
    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.
    • 68 Metascore
    • 60 Critic Score
    The whole of the self-titled Fetty Wap album is remarkably inoffensive and uninspired.
    • 60 Metascore
    • 60 Critic Score
    He sounds positively dated.
    • 48 Metascore
    • 60 Critic Score
    The danger though is that The King & I turns into a new version of the "Duets" album, simply rebranded as a Faith Evans album featuring snippets of her late husband. This is exacerbated on the second half of the album by one rap all-star cameo after another.
    • 48 Metascore
    • 60 Critic Score
    You'll keep looking for songs with more depth than "Ba Bump," only to find that they're basically all at that level.
    • 69 Metascore
    • 60 Critic Score
    Drake's Views is him lying on a therapist's couch whining for large chunks of time and the album drags as a result. Yet, if you took the best dozen tracks, you'd have a perfectly enjoyable, listenable LP.
    • 74 Metascore
    • 60 Critic Score
    It's a decent but underwhelming album, and one that inspires apathy more than adoration or disgust.
    • 46 Metascore
    • 60 Critic Score
    Despite his years away acting, LL hasn't really lost his touch rapping. What he has lost is a sense of focus and direction.
    • 71 Metascore
    • 60 Critic Score
    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.
    • 67 Metascore
    • 60 Critic Score
    The problem for Wiley on 100% Publishing is that things just vary too wildly from song to song.
    • 63 Metascore
    • 60 Critic Score
    While the beats are mostly good, it feels like Macklemore missed out on an opportunity to really set his solo career apart from Macklemore & Ryan Lewis.
    • 63 Metascore
    • 60 Critic Score
    Like the core message of Everything Is Borrowed, this album will, unfortunately, come and go soon enough, little trace left behind.
    • 72 Metascore
    • 60 Critic Score
    Unfortunately, the rhythm of the album is constantly interrupted by cacophonous dirges which makes it feel unsettled.
    • 80 Metascore
    • 60 Critic Score
    DS2
    If you can get into the fantasy and ignore the reality then DS2 might be good escapist music for a little while.
    • 71 Metascore
    • 60 Critic Score
    Neva Left is unfortunately, yet predictably, another mixed bag. The good tracks are effectively updates to proven formulas, which when matched to more imposing beats, show Snoop hasn't lost his touch.
    • 60 Metascore
    • 60 Critic Score
    There is very little humour and some of the production is flat out boring.
    • 76 Metascore
    • 60 Critic Score
    It's no secret the Twins get gully. Fortunately for listeners, it's very contagious. Unfortunately, it comes at the expense of lyrical content.
    • 53 Metascore
    • 60 Critic Score
    As it stands, the album has some decent songs but doesn't hold together as an album.
    • tbd Metascore
    • 60 Critic Score
    If you can focus more on the beats and not so much on the words the overall experience improves, but even then it still tends to be monotonous.
    • 45 Metascore
    • 60 Critic Score
    Unfortunately the drama turns out to be more interesting than the album itself, with Yayo offering little lyrically, Banks seemingly phoning in his performances, and 50 trying to hold the whole thing together on the strength of his star power alone
    • 58 Metascore
    • 60 Critic Score
    Ultimately I have two complaints about Blue Slide Park which in the grand scheme of things may be minor.
    • 67 Metascore
    • 60 Critic Score
    So long as you don't expect Shakespeare and don't presume this to be a rap album, you won't be mad. It's pure pop done the way Pharrell does it.
    • 77 Metascore
    • 55 Critic Score
    The problem here is that not only is no progress made, Weekend at Burnie's might just be an artistic regress.
    • 88 Metascore
    • 55 Critic Score
    You're Dead loses momentum after "Never Catch Me." Much of the later two-thirds of the album is more atmospheric, reminiscent of 2012's more contemplative "When the Quiet Comes."
    • 72 Metascore
    • 55 Critic Score
    If you can get past some of the dumb lines and the often blunt nature of Big Sean's approach to seduction, there's enough solid, modern R&B here to satisfy those craving something a bit more direct than Drake, but it could have been so much more.
    • 57 Metascore
    • 55 Critic Score
    Rather than staying true to political and social roots that got him signed in the first place, David Banner has chosen to mimic what's popular.
    • 58 Metascore
    • 55 Critic Score
    Freedom will be a disappointment, and a predictable one at that.
    • 72 Metascore
    • 55 Critic Score
    It is an LP with one hit single, some solid album cuts and the rest is genuinely quite forgettable.
    • 64 Metascore
    • 55 Critic Score
    You see, the first 5 songs set the album up to be a pure party album - which actually would have worked a lot better, with the last track being a comedown moment. But then, delusions of adequacy spring up and the LP ends up shooting off in different tangents, where musically it is solid (if entirely unchallenging), but lyrically/conceptually it do nothing for you.
    • 70 Metascore
    • 55 Critic Score
    The Pinkprint is let down by some basic conceptual flaws, lackadaisical decision-making and even placing too much faith in bonus tracks to appease the masses
    • 70 Metascore
    • 55 Critic Score
    We got what feels like a very quickly thrown together product that lacks the depth and introspection of his previous projects.
    • 68 Metascore
    • 55 Critic Score
    The biggest fault of Cruel Summer may be that it lacks a unifying voice or vision.
    • 56 Metascore
    • 55 Critic Score
    Weed rap is fine, but if Hill is looking to subvert the dominant paradigm, they should probably find a harder drug.
    • 60 Metascore
    • 55 Critic Score
    A missed opportunity to progress.
    • 51 Metascore
    • 55 Critic Score
    I Am Not a Human Being II flashes moments of brilliance, but it's far from his best work.
    • 55 Metascore
    • 55 Critic Score
    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.
    • 53 Metascore
    • 55 Critic Score
    Despite being billed as his fifth album, it's nowhere near the level of his strong, yet largely overrated debut "Get Rich or Die Tryin'".
    • 66 Metascore
    • 55 Critic Score
    There are enough songs with worthwhile beats and guests to hold this album together to some degree, and depending on whether or not you like Flocka's lyrical style will be the degree.
    • 56 Metascore
    • 55 Critic Score
    While it may churn out a few hits, The Hard Way ultimately is a letdown.
    • 75 Metascore
    • 55 Critic Score
    Simply in musical and vocal terms, it feels too limited, mainly due to him over-thinking things.
    • 53 Metascore
    • 55 Critic Score
    [comon] managed to record a whole ten scenes, I mean tracks, over the course of the year, and at least three of them are listenable.
    • 57 Metascore
    • 55 Critic Score
    It's good to know Ma$e hasn't lost his knack for perverting classics by other artists.
    • 68 Metascore
    • 55 Critic Score
    The beats are solid enough, if not as universally banging as circa Luda '01. The album flows well, has some replay value and tries a few little tricks here and there.
    • 72 Metascore
    • 55 Critic Score
    While the beats are relatively mediocre and not at all unusual for this brand of hip hop, they do a decent job matching the dark picture Gucci paints. Unfortunately, that picture is more of a rough sketch as Gucci steers more toward unrefined flows and bland, mechanically arching vocals rather than a more thought out approach.
    • 72 Metascore
    • 55 Critic Score
    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.
    • 68 Metascore
    • 55 Critic Score
    Even though there's little to nothing of intellectual nourishment for the majority of "Jungle Rules," there are slick songs like the Beat Billionaire produced Young Thug feature "Black Out" that you can literally do just that to.
    • 56 Metascore
    • 55 Critic Score
    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.
    • 65 Metascore
    • 50 Critic Score
    The end result is an album that is as unsuccessful as it is daring.
    • 67 Metascore
    • 50 Critic Score
    On his new self-titled album Future loses sight of qualities that made his last run at the top a memorable one.
    • 81 Metascore
    • 50 Critic Score
    Overall this album has some definite stand out tracks: "Not the Only One," "2 Phones," "La Familia" and "Time For That." The rest of the project is not bad, it's just generally underwhelming.
    • 71 Metascore
    • 50 Critic Score
    I fully respect his artistic and creative choices and his right to be his own man and not be defined by his years as a seminal underground rapper. I respect his choices, but I still pine for a Camu Tao we don't hear on this album and that we won't hear ever again. In the end I feel that his potential still went untapped.
    • 68 Metascore
    • 50 Critic Score
    Until Trey adds another layer to his songs, whether it be humor, empathy or any emotion other than a caveman-like approach to sex; Trigga remains a hollow, if tempting prospect for men that may well woo your woman, but is unlikely to keep your attention after.
    • 67 Metascore
    • 50 Critic Score
    Lyrically, let us not sugar coat the situation and pretend that he's some sort of Pulitzer prize winner in waiting. But in conjunction with the upgraded music, 2 Chainz has definitely put more work into his punchlines and it is most welcome.
    • 51 Metascore
    • 50 Critic Score
    Quite honestly, Ke$ha is just more fun to listen to, even though Jessie J may ultimately have more career longevity. It's a decent enough album for the teenage dance set though.
    • 73 Metascore
    • 50 Critic Score
    The Odd Future fam needs better quality control to stay relevant in 2013 and beyond.
    • 50 Metascore
    • 50 Critic Score
    Hotel California fails to deliver on any of the hype it had leading up to its release.
    • 67 Metascore
    • 50 Critic Score
    +
    Ed Sheeran is an impressive talent, but his juvenile lyrics and lightweight sensibility make him a tough sell to any one old enough to drink.
    • 59 Metascore
    • 50 Critic Score
    Most people will want Wiz to succeed, as he does successfully come across as likeable personality, and even Rick Ross has displayed a genuine hunger to improve, so anything is possible. But this album is, put simply, one that won't make much of an impression, good or bad. And that's the worst kind.
    • 46 Metascore
    • 50 Critic Score
    It's nothing we've not heard before.
    • 60 Metascore
    • 50 Critic Score
    RZA is certainly experimenting on a bunch of tracks, but results are unconvincing.
    • 71 Metascore
    • 50 Critic Score
    At the end of the day Mac Miller is without a doubt capable of bringing more to the table than shallow, boring rap. Unfortunately, he doesn't do much to prove that on GO:OD AM.
    • 70 Metascore
    • 50 Critic Score
    It certainly doesn't reach the catchy levels of Ross' biggest hits on most songs, but sounds good enough to have been decent album tracks.
    • 57 Metascore
    • 50 Critic Score
    The production of South and Lex carry the majority of the hour long album, and I do mean carry, because I doubt I could get through this otherwise. If you can stand a strong absence of talent on the basis of the beats alone then you're probably going to enjoy Ferrari Boyz a hell of a lot.
    • 65 Metascore
    • 50 Critic Score
    Jay-Z is trying to come across as brand new, but he only succeeds in looking like an old brand in need of a revamp.
    • 62 Metascore
    • 50 Critic Score
    Most poeple probably have those two tracks ["Love Sosa" and "I Don't Like"], and there isn't anything else on here that warrants buying this or taking the time to find a torrent of it.
    • 66 Metascore
    • 50 Critic Score
    She's going for Nicki Minaj meets Eminem meets Rihanna on the Tyra show. It feels like a major missed opportunity.
    • 74 Metascore
    • 50 Critic Score
    This is one to spin a couple of times, then never again.
    • 51 Metascore
    • 45 Critic Score
    Not so much a victim of his own success, but an unwillingness to take risks in the name of music.
    • 60 Metascore
    • 45 Critic Score
    There's at least one cringeworthy line in nearly every song.
    • 62 Metascore
    • 45 Critic Score
    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.
    • 64 Metascore
    • 45 Critic Score
    If you can get past the ignorance, this is enjoyable for what it is - an album to be played loudly in your car, with the windows down and a middle finger up to anybody who looks at you disapprovingly.
    • 63 Metascore
    • 45 Critic Score
    From the dance beats to the cross-pollination of guest artists to the old pop samples, Global Warming is a big dumb album that feels so calculated and market-tested that it is not much fun to listen to.
    • 75 Metascore
    • 45 Critic Score
    Death Grips have always been a challenging group to listen to, but Government Plates is more migraine-inducing than head-nodding.
    • 51 Metascore
    • 45 Critic Score
    Amalgamating these with pop choruses makes the listening experience too scattered and ultimately leads A Moving Picture to stutter from frame to frame, and it doesn't help that the experience bows down to every chart formula around.
    • 59 Metascore
    • 45 Critic Score
    Utterly forgettable and insubstantial, No Mercy is a contrived, sputtering guest-filled affair certain to alienate his longtime fans and disappoint those who jumped aboard for "Paper Trail."
    • 42 Metascore
    • 45 Critic Score
    Your best bet is to find a website you can listen to snippets of this album on and if one or two tracks strike your fancy, buy those. A whole album of SB's idiotic raps is still too much for one man or woman to take no matter how much better the beats are.
    • 67 Metascore
    • 45 Critic Score
    Minus the niceness of "Manson Murder" and "Hater Love", this should have been a mixtape as it isn't a patch on any of Styles' previous LPs.
    • 72 Metascore
    • 40 Critic Score
    Instead of acknowledging that they perhaps have something unique to offer and trying to put their own twist on rap, the Keys attempt to strip down their sound to fit within hip-hop genre norms--the result being the taming of many gifted rappers whose time would have been otherwise better spent.
    • 56 Metascore
    • 40 Critic Score
    Decidedly hit and miss, it's the songs that stray beyond the typical tales of money, sex and cars that are worth returning to.
    • 56 Metascore
    • 40 Critic Score
    While the music is consistent and fairly unique in its murkiness, it's not particularly compelling and is a tad stale.
    • 81 Metascore
    • 40 Critic Score
    Alias's production merely compounds the record's dense and oppressive aesthetic. The tracks tend to bleed into each other musically, one grainy backing indistinguishable from the next.
    • 61 Metascore
    • 40 Critic Score
    Shady XV seems like it was made for: diehard fans of Marshall; and fresh kids who don't know no better. Otherwise, you'll probably have forgotten about the album by 2015, and 95% of the label's energy will soon be diverted to the next Eminem solo LP all over again.
    • 42 Metascore
    • 40 Critic Score
    There's Something 'Bout Kreay is the sound of a record company trying to turn 15 minutes of fame into a career, and spending way too much money in the process.
    • 60 Metascore
    • 40 Critic Score
    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.
    • 59 Metascore
    • 40 Critic Score
    As a mixtape, it works, but is nothing more than generic New York street rap set to some largely forgettable instrumentals.
    • 66 Metascore
    • 40 Critic Score
    All in all this project comes up very short. Lil Wayne is simply not what he used to be, and 2 Chainz leaves much to be desired.
    • 64 Metascore
    • 40 Critic Score
    Other tracks, such as "Gave It All I Got" bring a more introspective sentiment to Lil Big Pac, but these are few and far between and still lack quality deliveries and substantial beats to back them.
    • 57 Metascore
    • 40 Critic Score
    In 2010 he sounds derivative, uninspired, and starving for a paycheck.