Hit-Boy adamantly vies for a spot within the house that 'Ye built on "HITstory;" the declaration is promising at best.
"StereoType" finds both Statik and Strong Arm Steady breaking new ground that is free of expectations and limitations.
"No Idols" is a short but sweet roller coaster ride celebrating Domo Genesis and his ongoing pursuit of stardom.
"The Bright Side" is Aer's carefree fun debut album dedicated to the highlights of younger adulthood.
If nothing else, Necro knows what his fans yearn for, and he delivers.
"While You Were Sleeping" is arguably the most complete project Jon Connor has released since "Vinnie Chase: Season One."
Ultimately, if Lloyd Banks wants to return to Hip Hop's shortlist of in-demand emcees, "V6" won(TM)t be the project that launches him there.
Bold and indulgent, "God Forgives, I Don't" embodies why Rick Ross has become a fixture that listeners can depend on.
The thinking behind Cyhi's "Ivy League Club" mixtape seems to be hooked on the Georgia-born rapper's relationship to his peers.
It may not be for everyone but with "REBELution," Numonics and REKS prove that they have a message to deliver worth hearing.
His latest offering, "Ma DOOM: Son of Yvonne," is yet another example of how Ace can take a premise and create an album that carries a unified theme.
With "Russian Roulette," Alchemist joins Dr. Dre and Kanye West by having an ensemble project that properly shows the producer's vision and dynamic evolution.
Nas wears the multiple hats of ladies man, urban griot and voice of the people, fine tuning these roles to near perfection on "Life Is Good."
"Skelethon's" sounds are varied, but all play to Aesop's netherworld mausoleum space-opera style.
"Masters Of The Dark Arts" is a sinister, happily violent detour from the pop-centric.
Some of the most interesting moments of "H.N.I.C. 3" are when Prodigy sets aside his New York identity.
"Channel Orange," according to Frank, succinctly defines him as an artist. Good news is he followed through.
"Fortune" is Chris Brown's fifth studio release, as 2012 has found his professional career and personal life continuous sources of fodder for the media.
Given that "5" clocks in at just over 30 minutes, it should be an extremely tight, cohesive project. It's not.
There's a tangibly meaner and more menacing streak to the album, with B's content veering towards a nastier and, well, bitchier zone.