Overall, And I Love H.E.R. is as good of a conceptual album as hip-hop has ever seen.

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.

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.

As it stands, Definition of Real may not be an instant classic, but it isn't a sophomore slump either, and there are signs that there could be more to Plies beyond his drawl and his love of female reproductive organs.

The Bake Sale is a near-perfect EP, insofar as it acts as an imperious album primer: not too long, not too short; it doesn't give away everything, but displays enough to get you excited.

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.

With II Trill Bun B's ensured the legacy of U.G.K. will exist for decades to come, but more importantly he's created the album that every hip-hop head from North to South with have rattling out of their trunk all summer long.

Foxy's ability to be honest about her trials and tribulations is refreshing, and the album is mostly successful regardless of her extra-long absence from store shelves.

The In Crowd is a largely enjoyable record with very few missteps, but it's actually a little bit frustrating that they hint at Little Brother or Lupe Fiasco-esque levels of dopeness yet are content to hold the hand they've been dealt instead of drawing for a straight flush

Stop wasting time and go to the store to get Rising Down right now.

The fact that she is still a teenager makes it all the more impressive, and I for one hope to hear more from her in the future. For now, VYP is a solid debut that covers a broad range of styles, and it deserves to catch notice beyond the many radio spins it is sure to garner

Minor complaints aside, 9th and Buck have definitely upped the ante on their debut, so much so that a re-naming might be in order.

Like Big Boi and Andre 3000, Lyrics Born is on a mission to expand the boundaries of the genre. He doesn't always succeed, and the result is an album that is a little inconsistent, but it is damn good more often than not.

Even though some might miss Slug's angst-ridden diatribes (Lucy Ford is nowhere to be found on this album), he manages to toe the line between rapper and griot better than he ever has before on this new effort.

The fans that know and love P or Havoc will immediately identify with H.N.I.C. Pt. 2 and will enjoy listening to it, for sure.

While it may be a little on the long side, the quality never lets up and you'd have a hard time deciding which tracks, if any, should have been left on the cutting room floor.

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.

The Odd Couple [is] thirteen songs chock full of honest, unabashed, experimental self-expression that isn't afraid to take chances.

For me personally their sound isn't progressive any more--it's regressive.

There's nothing boring about the tracks on Ego Trippin' though, from the hard hitting Neptunes produced "Sets Up" to the soft-spoken Polow Da Don produced "Why Did You Leave Me."

I suspect as Ross continues to evolve as a lyricist there will be even more of a message in his music, but in the meantime the production and guest stars on "Trilla" make for an effective album that shows Ross has yet to tap into his full potential.

It is certainly a satisfying listen, worthy of a sensible level of recommendation.

In short, it is one of the best albums of the year, and could be one of the best albums of the decade.

His beats are understated but masterful, and so good that they remind you how mediocre most of the stuff you hear is.

The Cool picks up right where "Food & Liquor" left off, once again using his Muslim background and Chi-Town sensibilities to inform his perspective without being rigidly bound by either.

In the end, 8 Diagrams is a very good album that is best appreciated when taken out of the shadow of the Clan's greatest endeavors.

The Solution is an album informed by Sigel's hustles and struggles that still manages to elevate beyond them to offer a broad appeal as the self-described "fat boy on a sucker free diet" puts out the best gangster rap Philadelphia has seen since the heyday of Schoolly D--except that Sig' is on a level now D could never touch.

Those who have slept on Wyclef Jean's catalogue may need to give it another look after listening to Carnival Vol. II.

Even the weaker of Ghost albums tend to be relatively strong compared to some of his peers, both in and outside of the Wu, and The Big Doe Rehab is no exception.

Made is not Scarface's best album, that honor would go to "The Fix" or any of his earlier solos depending on where you stand. Yet, saying this isn't Face's best is no insult. Scarface on his worst day or even in unofficial form (see "My Balls and My Word") is still better than most other rappers on their best day

He may not be the deepest lyricist on earth, and his attempts at bedroom music may fall flat, but he makes a mean soundtrack for a night out.

Balance is the key element that Freeway absolutely nails. Amongst these joints that sound like pure commercial hits, Freeway, drops enough dope introspective material to prove that he is well-rounded.

It is, really and truly, an experience.

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

Songs About Girls is an album that theoretically has no end and doesn't need to have one.

Ultimate Victory is everything one could have hoped for as an official sophomore album follow-up to "The Sound of Revenge"--there's no slump here.

It's a solid performance, that is both better and worse than it could have been.

Graduation is neat, tidy, formal, but lacking in personality.

None Shall Pass is a record you can listen to over and over, simply in trying to decipher exactly what's being said, adding almost infinite replay value.

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

Talib Kweli has made the career-defining work that his fans have been expecting for nearly a decade.

This is the most satisfying P.E. album in over fifteen years, both a throwback to their glory years and a hopeful sign of more great years to come.

'So Far to Go' embodies everything great about Common--his witty delivery, smooth flow, loquacious lyrics and perfect sense of timing --but then the same could be said for virtually any track on Finding Forever.

Thankfully the Bankhead rapper you know and love ain't change a damn thang and while this album may not blow down the doors to the Rap Hall of Fame as the greatest of all-time it offers a comfortable consistancy that should keep it hot in your Hummer all summer long.

Francis is on a level where even next shit is two steps behind.

Considering how tight "Strength & Loyalty" is, it's not likely anybody is going to forget Bone Thugs-N-Harmony any time soon.

With "The Undisputed Truth," Brother Ali improves as a rapper, while sacrificing none of the unique, personal touch that made "Shadows on the Sun" so impressive.

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

[A] fun, rambunctious, guilty pleasure of an album.

Redman sounds every bit as strong in 2007 as he ever has. Unfortunately, he doesn't expand his range at all here.

These may be simple tales, but Mims' flow is a smooth Manhattan flow clearly influenced by the likes of New York greats like Jay-Z while still vocally unique enough to entice a listener to pay attention.

"Return of the Mac" is everything that "Blood Money" should have been and wasn't.

Still all things considered and given the obscurity of the original release it's hard to knock "Ruff Drafts" for what it is, especially given the bonus disc.

It will forever tarnish everything you ever liked about him, as you will suddenly view him as an eccentric crackpot who is more interested in making "Paper Bubbles" than good music.

The beautiful mess of Mos Def makes for a bumpy listen.

Nas has made a passionate album to reawaken your love of the art and if your heart isn't thumping in your chest by the end then it's not hip-hop that's dead, it's you.

This is the first time 'Ghostface Killah' and 'inconsistent' could ever exist in the same sentence. It's still a worthy investment and a must-have for fans, but I could've waited for an even fresher catch.

Jeezy has a competent flow, good breath control, plenty of hot beats and all-star guests, and yet this album really is a sequel to "101" in all but name because it picks up where the last one left off without even trying to differentiate between the two.

This one won't dissapoint Eminem, Shady or G-Unit fans, but it also won't blow them away.

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

"Kingdom Come" is everything you expected.

There's little doubt that "Tha Blue Carpet Treatment" ultimately qualifies as a successful follow-up to "R&G (Rhythm & Gangsta) - The Masterpiece," although there's also little doubt that Snoop is not pushing any new boundaries or exceeding already set expectations.

The Game shows lyrical improvement over his major label debut, and even though some accused him of being a "name dropper" back then and still will today, the references seem more in keeping with his "soldier of the West" philosophy and less like a filler for lack of content.

At times Sovereign exceeds at being entertaining and at other times her simplistic lyrics, heavy accent and electronic beats prove to be too much to grasp.

While it's far from the most important record in hip-hop in 2006, let alone in Diddy's career, it's one that does at least keep your interest the whole way through and is worth listening to more than once.

G-Unit fans and Lloyd Banks fans in particular will be satisfied with "Rotten Apple."

There's nothing ludicrous about Ludacris giving his fans exactly what they want, and it's even less ludicrous that he will probably convert more new fans on the strength of "Release Therapy."

Despite the presence of some must-hear rap tracks, it's hard to justify the purchase if you are paying for only about half an album.

He still comes across much of the time like a less charismatic Nelly.

Being bold and different for Lupe pays off right from the jump.

There are plenty of unexpected surprises to be found.

The only complaint one could have about this CD is that it actually may be slightly overloaded with guests, meaning the deep and dusty voice that made him the Wu's first breakout solo star occasionally gets overshadowed.

"Idlewild" seems to prove they're two seperate artists even more than the last double album did.

It's easily among the best of his work in his entire career.

She does so many things right it's hard to point out any one in particular.

He sounds positively dated.

The only downside to "Feedback" is that by the time you reach the swinging latino rhythms of the instrumental finale "Canto de Ossanha" 52 minutes of hip-hop soul just won't seem like enough.

He'll never win any of those freestyle battles but he can damn sure make a record that you'll enjoy listening to multiple times.

It might be too early to call Cut Chemist's "The Audience's Listening" a masterpiece in 2006, let alone in the pantheon of all-time great turntablist albums like "Wave Twisters," but Cut Chemist defintely proves here that branching out from Jurassic 5 to pursue a solo career was anything but a mistake.

Taking into account the fact that there is probably 15-20 minutes worth of actual Kool Keith verses on this release it is completely unacceptable that this is being passed off as a full album.

He... sounds more lyrically consistent and motivated than he has in some time.

By bringing his beats up to date he may not only win back some old fans but convert a few new ones in the process by showing them he's more than just a Hollywood actor.

A strange and unique album that is more rock and pop than anything most rap fans are used to.

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

Boots is more than just a fiery orator, he's a powerful composer who adds the funk to the mix to make his words stick. While at times his style has been hit or miss, "Pick a Bigger Weapon" finds him at his most musically consistant and enjoyable.

Make no mistake about it, this is a formulaic album.

To say "Things Go Better with RJ and Al" is as great as some of their earlier work would be an overstatement, but to say it's a dissapointment in any way shape or form would be a colossal lie.

There's a noticeably muted tone to his delivery and a bit of his defiant "proud to be country" attitude has faded away.

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

From the thumping energy of the Just Blaze beats and fiery rap rhetorhic of "I'm Talkin' to You" to the smoothed soulful Khao Cates beats on the "miss you girl" narrative of "Hello," Atlanta's self-proclaimed king wears many different crowns and they all seem to fit him well.

"Murray's Revenge" clocks in at a meager thirty-three minutes, which is simply too short for a full-length album.... Regardless, he is back, and better than ever.

"Movie Scenes" is mystical, it is magical, and it's also prone to confuse some.

It's safe to say that with "20/20" they've created another album that will serve their core audience well.

This is not RJD2's best work, but this record contains several stunning creations and very few disappointments. Aceyalone settles for too little, allowing his natural skill to carry him in the absence of true purpose, but his voice still weaves deftly throughout most of the album.

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

A quality contemporary UK rap album with equal shares of bleepy, futuristic and poppy, everyday music and plenty of singing to support a rapper that clearly isn't just rapping because everyone else is. Still, there's room for improvement.

There isn't a weak track on "Father Divine," and though some of Ladd's lyrical styling can be uninspired... the album is packed with solid material.

I cautiously recommend "Distortion" to Run-D.M.C. fans as being a lot better than their unceremonious disaster of a final album "Crown Royal" while openly admitting anybody younger than 18 may not relate to it and pass right on by to something else.