Trying to cherry-pick highlights from "DAMN." is an exercise in futility: practically every track is superb, more a matter of taste than anything else. It's simpler to isolate the one bum note: "God" sounds like an Akon joint from the mid-Noughties.

Black Messiah is an incredible album, and an essential addition to D'Angelo's discography.

It's a historical artifact on an otherwise up-to-date album, one which is more important now that hip-hop needs a refresher on the essence of skills and the value of balancing the materialistic with the intellectual.

channel ORANGE is filled with brave music.

While Labor Days isn't perfect it is definately the underground Ghostface's most satisfying release to date.

I admire how empowered and unencumbered Ray BLK is, taking her time to release this album the way she wanted, choosing her own lane and not being forced to speed up or slow down for anybody else. I think you’ll enjoy it too.

He may be young and he may like to have fun, but he's also gotten depths of thoughtfulness that you don't have to dig deep for before they shine.

Little Simz is at her best when she is coming out all guns blazing, but a little too often on this album her hyper lyricism is unnecessarily hampered by mellow beats that don’t match her fire. “Grey Area” deserves all of the accolades it has received. Little Simz is a talented rapper with a broad range. She is raps with fierceness, attitude, sensitivity, and intelligence.

The reason ArchAndroid is so good is because, from minute one, it is so apparent that its author loves music. And for those of us that love music, that's a real treat.

This album succeeds in its goals despite the heartbreaking passing of Phife Dawg while it was being recorded, and even though I had accepted "The Love Movement" as their last chapter all those years ago, this is a much more fitting end.

Rapsody succeeds in crafting a love-letter to the oft-overlooked, oft-denigrated minority that is the Black female.

Big Boi has exquisite taste in music, guests, lyrics and choruses--not to mention the knowledge and expertise of how to put a classic album together. And whoever bet against him just lost. Big time.

The only thing you really need to know is that no matter how you cop RTJ2, whether it's as a free digital download, a physical copy from Mass Appeal or the super-expensive "I'm On The Guestlist" supporter package you're getting more than your money's worth.

Because of the themes it addresses, “RTJ4” is indeed a hip-hop album chaotically reflective of the modern times and much needed for the same reason.

Several aspects of the sonic structure on otherwise well-made beats and well-laid vocals sound blurred and mashed together. It is not a pretty listen by any means unless the listener is willing to bear the pain of a weak recording process.

Big Fish Theory sees Staples evolve as a rapper and an artist, and prove himself as a singular talent in hip-hop.

Here's an album of beautiful R&B songs, and she's chosen to intersperse them with messages of black empowerment.

Illmatic by Nas is a 10/10 classic hip hop album. It's essential, and that's undeniable. Illmatic XX when taken as a whole, isn't.

One listen is all that is needed to convince you that the Clipse have dropped one of the best rap albums of the year.

Saigon has had the time to craft an epic hip-hop album that's a fitting testament to his skill and his sheer force of will.

One can't fairly make the claim that "Pt. II" picks up right where the original left off, but this is the best Raekwon we've heard lyrically and musically in a long time, and barring a late entry this should be the best Wu-Tang related album of 2009.

This is an overall above average album that needed a little more of something--a little more 9th Wonder, a little more swagger, a little more about the world of today--and possibly just a little less angst.

She’s not mired in self-pity, but she is also not blindly overconfident and thoughtless. This combination of bravado and humility makes “Sometimes I Might Be Introvert” such a fantastic album. It shows an artists who is not afraid to grow, take chances, and let it all out there. All of that make it one of the better albums I’ve heard this year.

“Call Me If You Get Lost” is undoubtedly a strong showing by Tyler, The Creator, to say the very least. Despite this album’s fantastic structuring and delivery, however, something that is always to be expected with this artist is that what he creates next will undoubtedly be even better.

The irony of releasing three beautiful albums it that even a great album like "RTJ3" can still wind up being ranked third in descending order. As good as it is nothing here can top "Crown," "Angel Duster" or "Early" for me. By no means is this in any way a negative. It's like saying you're going to listen to your third favorite Ice Cube or third favorite Michael Jackson album--you're still going to wind up listening to some brillaint s#$t over and over again no matter what.

Gibbs and Alc show no signs of allowing the credits to roll.

In a year of political and social upheaval in 2016 he reached deep down to make a very personal statement from beginning to end on Black America Again and it shows in every word he wrote.

If one can express disappointment in undun, it's that it sets out to tell a story and tells it well, but delivers a short story or a novella where fans of The Roots would have undoubtedly preferred a full length novel.

Nas sounds like he’s regained his confidence as the king once more. He sounds like the king. He’s in that “Ether” mindset once more – not necessarily as vicious, but simply sounding like he’s willing to name names and it feels like he’s genuinely having fun with his writing.

Overall Bandana is certainly a solid album. It was one of 2019’s most anticipated releases and, while it’s not as good as “Pinata”, it’s still a worthy inclusion in any hip-hop fan’s collection.

Ghost continues his tradition of being the Wu's most consistant soloist.

It's the sound of a composer showing just what can be done with a sampler in the right hands. Hip-hop producers should take notes.

Many worry that the Cadillactica theme might go over the heads of some and alienate fans but rest assured, at the core of it all, there's still the 808 bang, jazzy, soulful music and the same Big K.R.I.T. that so many have come to know, respect and love--on second thought, he's better.

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."

Overall, it's hard to find much fault with The Wonder Years, and it's remarkable how cohesive it feels given that it's a compilation album.

It showcases Rapsody's indisputable excellence as a lyricist and rapper, and it sets up the next stage of a career that will keep everyone in the industry watching closely.

Do NOT approach this as a rap album, or you will be perplexed to no end. This is cerebral, intricate and inventive electronically-based music that is certainly hip-hop in ethic and inspiration, but channelled through a uniquely British conduit, interpreted by one of the more intriguing urban poets of recent times.

Summertime '06 is extremely cohesive, but occasionally tiptoes on being monotonous.

An artistic statement and a brilliant debut, Gas Mask should be Motown's unofficial soundtrack, but its listenership should know no regional boundaries.

On Ctrl, SZA proves that you can be confident yet insecure, sexual yet crave affection and genuine connection, and empowered and still prone to falling for bad boys and all the drama that entails. SZA is the real deal and yet another example of how some of the most interesting, complex, sophisticated art being made today is being made by R&B artists.

They've wisely chosen to not compete with the younger generation of DJs, and shown the upstarts the roots of dance music. They've also proven that they are not one-trick ponies who can only build beats on samples. They do just as well with a completely different sonic pallette.

It is more expansive and daring--resulting in more highs and lows than "Arular."

There's not a single track on Imperius Rex that I didn't dislike or even skip.

The album is soulful, accessible, and devoid of the ignorance and shallowness that are trademarks of mainstream hip-hop.

The Roots aren't just cashing in from their newfound Jimmy Fallon fame, they're doing what they do best that nobody else in or outside the Illadeph-side can do.

Overall, "No Said Date" is the collective combination of stellar performances across the board.

“Magic 3” continues to strengthen the argument for Nas as the GOAT and his legions of fans who appreciate his output in 2023 will clearly agree with this take.

Aside from these few niggles, this is easily Nas’ best record since 2012’s “Life is Good” and let’s be honest, a pleasant surprise.

This album is two veteran MCs going hard and loose, feeding off one another's energy and pushing one another to step their game up. It's definitely the start to a beautiful friendship.

“Sound Ancestors” is a good listen, but if you’re expecting the manic gangster energy of Gibbs or the loquacious lyricism of Dumile, then this isn’t the Madlib project for you. ... I’d definitely call it a Madlib album, but I still don’t know if I’d call it a Four Tet one.

Simply put, it is an essential document of hip hop history, an interesting collection of sound art, and a lot of fun to listen to as well.

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.

This is the sort of 'really good album' that can precede an all-time classic breakthrough album.

This is not an album that thumps, drips, bangs, or whips. This is a young man with a lot of heavy thoughts on his mind, and to his good fortune he happens to be able to express them through rap over beats that sustain his flow. It may not be "boom it in your Jeep" music but that doesn't make it bad--just different. Earl Sweatshirt is different, and in a day where all rappers sound like the same AutoTuned singer, we need more different raps to appreciate.

Easily one of the best records released in 2019, superlatives only go so far. ... “May the Lord Watch” only solidifies Little Brother’s place in the pantheon of great rap duos.

Chance the Rapper builds on the formula that Kendrick Lamar rode to success last year, offering a lower-key, more introspective take on Kendrick's confessional half-sung raps.

We've come to expect nothing less than near-perfection from K.Dot and he comes pretty damn close on his most recent effort.

Even when you don’t understand his choices, you can’t argue with them, because you know they are coming from a place of thoughtful artistic creativity.

Skyzoo has created an album that may not be the dream we all thought it could be, but it is one that will be playing in your mind long after you've nodded off.

Through over 70 minutes of Lamar’s latest, every facet of life for the young Compton rapper is held up to the light. Love, pain, hope, despair, triumph, defeat, it’s all there. ... He’s a rapper who understands rapping is more than just a good beat, a good punchline, or a good vocal tone. He’s blessed to have all of that but he takes the platform he got from it and makes art that will last a lifetime.

Malibu more than lives up to the high expectations facing Anderson .Paak.

Even though I said Curry raps more than his peers, I didn’t say he NEVER sings. He flips back and forth between both on tracks like the Rugah Rajh produced “Speedboat,” but the nice thing is that he’s not so heavily medicated and AutoTuned that you can’t follow along with his delivery.

"Beauty and the Beat" is a rare, valuable record that channels two markedly different types of music into a new one, a collage of sounds that hasn't been heard in a very long time.

The Exxecution is twelve songs of slamming, grimey, take-no-prisoners NY hip hop. Ruste Juxx and Marco Polo show lames how it's done, and leave a trail of dead in their wake.

Hommy albums get better with repeated listens and he’s an artist that suits the album format. The antithesis of a regular coke rap rapper, his music carries a richer quality than Griselda regulars. Whether you can truly appreciate his craft depends on your patience and willingness to hear something a little different.

Atrocity Exhibition is a party rap album, a drug rap album, an emo rap album, and a post-punk album all rolled into one.

King Push's Darkest Before Dawn: The Prelude is a damn good record, but it is not flawless.

While Aesop Rock may not be every hip-hop fan's cup of tea, you must respect the man's grind. All-in-all The Impossible Kidis like (yet unlike) any Aesop Rock release: Ill underground beats and a lyrical prowess that yields rewards with each willing listen.

There's nothing to really get mad at, but there's not much to get excited about either. Scott is just "aight."

Lil Nas X set out to make a crossover pop album with “MONTERO” and succeeded.

Kool Herc: Fertile Crescent succeeds because it manages to balance Homeboy Sandman's unique delivery with fun, free-wheeling production.

Lizzo is a level-headed rapper who besides rhyme and reason also balances endearing and terrifying qualities. But she wouldn't quite be the standout if it wasn't for her screwball moments, which are frequent.

No one will forget after Emeritus, an album that proves Scarface deserves accolades and titles just as much as we deserve for him not to retire.

It's easily one of the best albums of the year so far, and has the sound and feel of a classic.

There’s a clarity in thought behind his bars that makes him stand out. He’s not content to drink cough syrup, AutoTune his vocals, and make up a bunch of nonsense that makes no damn sense but sounds catchy as hell. In fact if I was actually to pinpoint a shortcoming about Kream it would be that he makes “songs” instead of “singles” and that makes it hard for someone with a solid reputation from mixtapes to break out mainstream.

This is a quiet, mellow album that works better as chill out music than work out music. ... Well worth checking out, especially if you thought Tyler was a one-trick pony.

It is prime El-P, deep, heavy, funny, and banging all at the same time.

Years from now these "Donuts" will still be just as fresh as the day they first hit the store.

This is as essential as any other producer/emcee collaboration this year ("Pinata", "Run the Jewels 2") and proves that Premier (with the assistance of Adrian Younge) can still craft great albums with his well-worn formula.

By providing a cinematic narrative throughout, Royce proves that he is more than a one-trick-pony witty lyricist. He's introspective and not afraid of laying down confessional lyrics.

Let Them Eat Chaos is another fantastic album by an incredible talent.

Even if you struggle with the minimal production, “The Book of Traps and Lessons” is still an important album and one worth repeated listens. We are in an age of chaos and outrage, and Tempest offers clarity and compassion. She is one of the great voices of our age, and an essential artist.

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.

After two studio albums and a handful of mixtapes she's reached a level of confidence where she can do a track like "Self Interview" and answer all the questions anybody would want to ask, all while humorously noting that "most people already skipped this song/cause it ain't about sex and killing".

Amusing, yes. Revolutionary? Not quite so much. ... Right now she's doing what sells and it's "Bodak Yellow" all day until her 15 minutes fades away.

Only "Friendly," another lightweight track recorded a few years back, makes Common Sense end with a question mark. ... With only one mixtape and one album J Hus has been able to enter the top ten in a competitive market, and Common Sense shows why, hitting the right notes with its expert composition and overall emotive quality.

Lizzo is kinky and playful too, but the most sexy thing of all is her unlimited confidence in herself. She thinks big, dreams big, and achieves it all on this album.

Those who grew up with a diversified rap album portfolio bridging different territories may find “Half God” cool, while those who are Cali native and not Cali transplants like Navy Blue may vehemently reject it as "that New York shit."

The good news is that he’s very easy to pay attention to. It’s hard to miss a word that he says. Either because of the incredibly short length, or his great attention to detail, or the Kenny Beats production (or all of the above) “Vince Staples” is a must listen. He was wiser than his years at 22, now he’s wiser than his peers too.

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.

Tronic shows marked improvement in Black Milk as the total package; he doesn't excel by sacrificing his rhymes for the sake of the music, or vice versa.

He's a mover and shaker who has every right to look back in pride, in personal pride. Godfather is the reaffirmation of a status.

Dr. No's Ethiopium combines two of the best things on Earth: Egyptian jazz and hip hop. This is a fantastic album, and one that improves upon "Dr. No's Oxperiment."

The album is listenable, exciting and succeeds in reigniting interest in hip hop and rappers that dedicate their life to become great MC's, not just hustlers.

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.

For fans of RA The Rugged Man, this is essential. For fans of early Eminem, this is essential. For everybody else, if you can ignore the swearing and appreciate the intricacies of RA's rhyming, you'll undoubtedly enjoy this because at least 80% of this record is straight up dope hip hop.

The beats and rhymes give life to a truly cinematic experience, as though the Souls had been airlifted from Oakland to a Hollywood soundset. It's a short trip geographically but a long player musically that's worth revisiting many times after your initial purchase.

The rest of the album is rock solid, even if it takes a while to sink in. Whilst it does occasionally have a bit too much of an underground feel, it also chucks in a couple of more commercial numbers ("Confess" and "Out the Trunk") to help bring some ecological balance.