ColleGrove isn’t necessarily a letdown but doesn’t exactly exceed expectations. There are some moments of brilliance from both sides but overall, a collaboration of this magnitude should have stronger replay value across more songs.

Dirty Gold‘s shortcomings overshadow the shining moments on the album as Haze struggles to find her identity, somewhere between underground rebel and mainstream player.

Napalm is a well-rounded LP full of illustrative and cohesive tracks, while surviving a few average hooks, such as on "Gangsta Gangsta."

MellowHigh has its thrills with some credit going to Earl’s playful verse on “Cold World,” but too often the album feels stagnant.

There isn’t enough here to make Makonnen’s name start buzzing like it used to. The jury is still out on whether or not he will fade into the one-hit wonder category but one thing is for sure, the EP hinders more than it helps.

When he does step out of his zone, his temperament--hood and Memphis to the core--feels out of place. But luckily for Gotti fans, these moments of mediocrity are brief. On the majority of I Am, he stays rooted in the ideas and melodies that he’s been refining since he first dropped From Da Dope Game 2 Da Rap Game over 10 year ago.

The Saga Continues falls hazily to the side. While the project's title indicates the "saga continues"--featuring solid rhymes from each member and sample-heavy beats from Mathematics--it's not the opus that will surpass the classics in Wu's already established legacy.

At such a flourishing stage in his career, Kodak should continue to refine his sound throughout a full body of work but growing the brand via authentic hit records should be somewhere on his radar. With attention spans shortening by the second, Kodak’s follow-up project should aim to have something go far beyond the Internet.

Ye feels lyrically scatterbrained, as if its creator was unable to focus on anything for long enough to deliver a cohesive message.

For the majority of the 20 tracks, each has a different producer and no two songs sound alike. This both helps and hinders the listening experience. On one hand, the scattered sounds align perfectly with the overarching idea of wildly varying teenage emotions, but on the other, it’s hard to attentively listen to all the way through--especially with a whopping 21 songs.

Self Made Vol. 3 won’t silence the haters of Rick Ross’ MMG movement, and it certainly does not break the mold of previous iterations in the series. However, the album’s hits should have a lasting impact, serving as jump off points for several of the artists on the label.

RetroHash is a confused jumble of ideas that has its heart in the right place.

Raekwon’s passion and well-crafted rhymes show he’s still capable of creating high quality work as an MC, but F.I.L.A. is too disjointed to stand beside his best work.

With so many personalities vying for attention, the artists struggle to display their own individuality, instead constantly relishing in their new spoils.

With his gruff tone and no-nonsense flow, Rob holds down 14 tracks with only one guest appearance without any problems.

On Finally Rich he continues to execute a his niche sound, and at a high level.

If you’re willing adjust to a less joyful Guwop, there are actually some great things happening on Trap House III.

Even without being a completely authentic offering from the Killa Beez, Legendary Weapons is a solid listen that can hold fans over and shows the Wu's weapons remain razor sharp, leaving hope for an official LP.

It pans out as--at the very least--a unique and varied production that asks to be received seriously, even if Riff Raff’s choppy, uneasy flow and absurdist imagery runs counter to that.

What you'll find in Power & Passion isn't anything outside of his unorthodox style and New York bubble. Rather, it's a fine appetizer before he gears up for an album debut.

It’s the heated Cash Money conflict that’s carrying the project, no question, but aside from some of his singles and featured verses, this is as focused and engaging as we’ve heard Wayne since Tha Carter III. S4TW2 falls short of being a great standalone project, but it’s not built for that anyway.

A scattershot collection of fresh-yet-familiar thumpers that will nicely keep the Migos brand bubbling through the forthcoming solo sets from kinfolk Offset and Takeoff. This is step one in building anticipation for the inevitable reunion record of three voices that, until proven otherwise, are best experienced playing off one another.

More than it's lack of rap, Pink Friday: Roman Reloaded suffers most from not fully being any one thing, as it's unable to balance multiple approaches into one package.

Brevity in music can be good, but some of these songs seem to end as quickly as they start, and could be fleshed out a bit. Desiigner’s lyrics also seem to be limited in subject matter, and the themes of the song can all seem the same after a while.

With a slimmed down tracklist and looser vision, A Better Tomorrow would be a fantastic offering. But as it stands, what could be the last Wu-Tang album ever leaves much to be desired.

Although D4 will not be celebrated as much some of his other work, he does reminds all why Hova considered sending "D.O.A. (Death of Auto-Tune)" to "the Mixtape Weezy."

Overall, the album has a good balance of solo tracks and features.

With Violence Begets Violence, JMT are as vicious and energetic as ever, reminding why they've been able to enjoy such longevity.