RapReviews.com's Scores

  • Music
For 865 reviews, this publication has graded:
  • 62% higher than the average critic
  • 5% same as the average critic
  • 33% lower than the average critic
On average, this publication grades 0 points lower than other critics. (0-100 point scale)
Average Music review score: 73
Highest review score: 100 The Iceberg
Lowest review score: 15 Excuse My French
Score distribution:
  1. Negative: 20 out of 865
865 music reviews
    • 49 Metascore
    • 70 Critic Score
    It’s evident that his pen game remains sharp, but the aforementioned polarization causes Eminem to also remain as an acquired taste even now: You either like him or you don’t.
    • 82 Metascore
    • 90 Critic Score
    Wasting no time and not adding any filler, the psychedelic soul of “Dreamin’” kicks off the album with Common sounding as though he hasn’t aged vocally. .... The album title has “Vol. 1” as a suffix, indicating there’s more to come. I hope so because “The Auditorium, Vol. 1” is the kind of listen that makes one wonder what’s next from the two.
    • 67 Metascore
    • 50 Critic Score
    It’s difficult to gauge its direction, and it often seems aimless and forgettable, despite some interesting experiments here and there. Overall though, it’s a continuation of their gradual decline since their stellar debut, resembling more a mixtape of half-formed ideas than a cohesive, fully realised project.
    • 77 Metascore
    • 85 Critic Score
    Knxwledge really knows how to bring the best out of Brandon. “HereIAm” swells with organs that make you feel like you’re at church for Sunday service. .... “Why Lawd?” proves it’s possible to remain true to your vision and bring the haters to you instead of the other way around.
    • 64 Metascore
    • 65 Critic Score
    As far as I’m concerned “We Still Don’t Trust You” is a solid hour of music that came with an unnecessary bonus disc.
    • 55 Metascore
    • 50 Critic Score
    All of these guests can be distracting, but Ghostface’s performances are as you’d expect. It’s not quite as precise with the abstract vocabulary, a bit diet-Ghost if you will, but his flow remains sharp and his energy levels are high for a 54-year-old. .... The frustrating thing about “Set the Tone” is I have no idea who it is even aimed at.
    • 62 Metascore
    • 70 Critic Score
    Aside from leaning too hard into the baller and misogynistic cliches “2093” is a solid listen.
    • 82 Metascore
    • 70 Critic Score
    While “Everybody Can’t Go” is mostly good, Benny will need to push some boundaries if he’s ever going to top his classic albums.
    • 79 Metascore
    • 75 Critic Score
    I can say I recommend the entire thing as high quality.
    • 86 Metascore
    • 90 Critic Score
    “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.
    • 53 Metascore
    • 45 Critic Score
    Of the nineteen tracks on offer here, there are just too many skippables for a Busta Rhymes album. It may not be a proper Busta album, and it may be Busta’s way of sharing the flame, rather than passing the torch (as he so eloquently describes it), but in the context of Busta’s catalog, and the rest of 2023’s hip-hop releases, it frequently disappoints.
    • 70 Metascore
    • 70 Critic Score
    She can often sound like the guest rapper on her own songs, which is why she doesn’t really need the collaborations that some emcees rely upon. But there’s no denying the clear star power on display throughout “Scarlet”, an album that is her most direct, and shows that a pissed-off rapper that has something to get off of their chest, often results in their best work.
    • 84 Metascore
    • 80 Critic Score
    “Solid Gold” is Aesop at his most complex, but then tones it down on “Vititus”, a dedication to his late grandmother. With “Black Snow” closing out the album, it ends with “ITS is not a cult” to coincide with the concept.
    • 53 Metascore
    • 45 Critic Score
    In nearly every way, it is downright unremarkable. The Toronto superstar has once again delivered a tiresome and inflated LP composed of 23 tracks, the bulk of which are only successful thanks to the guest features that aid them.
    • 83 Metascore
    • 70 Critic Score
    Overall, “Voir Dire” isn’t bad. But to speak the truth, in the spirit of the album, both men have had more superior output. Plus, The Alchemist’s beats are usually better suited for rappers with gangsta motifs, because it sounds more like shared vision then.
    • 71 Metascore
    • 80 Critic Score
    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.
    • 67 Metascore
    • 70 Critic Score
    Nevertheless, while it’s difficult to get past the wording of Travis Scott’s “Astroworld” follow up, the instrumental completeness and overall energy is difficult to forget.
    • 73 Metascore
    • 75 Critic Score
    The focus of Quavo’s “Rocket Power” is on him — as it should be.
    • 75 Metascore
    • 80 Critic Score
    I found “To What End” is an album that grows on the listener. It does have a few tracks that sound like they could have been from older albums and the shorter track lengths I can’t ignore, but there are great tracks here to appease any self-respecting hip-hop fan seeking something more genuine and soulful in their 2023 playlists.
    • 80 Metascore
    • 70 Critic Score
    It hurts me to say different choices in terms of the production would have made it more accessible, because I respect his intent to be inaccessible here. If I have to sum it up and put a bow on it, I think “UGLY” is an album that will probably be appreciated more 25 years from now than it is today.
    • 68 Metascore
    • 50 Critic Score
    His album is incredibly well polished, but the gleam of his ice is an illusion, as these diamonds are nothing more than cubic zirconias.
    • 58 Metascore
    • 60 Critic Score
    I can listen to “Mansion Musik” for 76 minutes and it’s fine as background music, but if I start paying attention to tracks like “WITCHCRAFT” the bars are so relentlessly negative it accidentally becomes a turnoff.
    • 69 Metascore
    • 35 Critic Score
    Much like the Starbucks menu name she goes by, Ice Spice has a product that’s easily digestible, but ultimately throwaway.
    • 67 Metascore
    • 55 Critic Score
    There’s so much that could be done with a Northern UK emcee to celebrate a part of England that has numerous industrial cities with interesting stories, but Aitch’s message doesn’t register as well as it should thanks to production akin to a box-ticking exercise.
    • 80 Metascore
    • 65 Critic Score
    The only potential pitfall is that the tableau that is a Curren$y record leans too much towards self-care and opulence like some showy Instagram account. ... While “Covert Coup” was more varied musically, the familiarity of the arrangements and orchestration on “Continuance” ensure a certain timelessness.
    • 88 Metascore
    • 95 Critic Score
    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.
    • 62 Metascore
    • 65 Critic Score
    Well it’s a better Drake album than “Honestly, Nevermind” so that’s a plus. It’s not a better 21 album than “I Am > I Was” or “Issa” though so that’s a minus. If you split the difference you wind up with an average album. There are a few joints I’d care to play more than once.
    • 79 Metascore
    • 90 Critic Score
    Sampa the Great may be defined by where she hails from, but she also defines herself by making heartfelt songs with a universal appeal. Although this new album is my first chance to listen to her, I somehow feel like I’ve been listening to her my whole life.
    • 82 Metascore
    • 90 Critic Score
    The chemistry is undeniable and “The Elephant Man’s Bones” is the culmination of this partnership. This is an album that gets better with each listen and yet, despite capturing everything great about previous Roc Marciano albums, sounds remarkably fresh and current.
    • 74 Metascore
    • 80 Critic Score
    “2000” is very much worth celebrating. Much of the production is handled by Statik Selektah, now a veteran with a strong reputation who regularly works with Joey and it’s his sample-flipping in particular that makes this album stand out.