For years, Hip Hop fans have maintained a cautious admiration for Fabolous. He has proven himself time and time again as a more than competent mixtape maestro and a reliable “featured” artist. However, much like fellow mixtape heroes Cassidy, Joe Budden and Canibus, Fab has never quite been able to answer the age old question: “Who is this guy as an artist?” Well, ladies and gentleman, after 5 full length albums, Loso’s Way finally delivers the answer..for better AND for worse.

The album really hits its stride when Fabolous is throwing out cleaver punchlines and playing up the lavish pretty thug lifestyle made famous by artists like Fab himself and Mase in the late 90’s.  His flow on “Fabolous Life,” “My Time” and “Throw It In The Bag” are top notch. The bar is raised even higher when he takes on real subjects and manages to maintain his clever wit. This is exemplified on the album’s stand out tracks “Stay” and the friend-turned-enemy opus “Pachanga,” where he delivers: “When you lose a friend, it’s hard to handle the loss… End up watching friends like Joey, Chandler and Ross.”

Unfortunately, this genuine sense of reality is shattered when Fab’s street dreams get too ambitious. Aspirations of finally taking his place among NY giants Jay-Z, Biggie and Nas lead to some embarrassingly awful moments (like the track “I Miss My Love”). “…Love” attempts to have the suspenseful storytelling of Biggie’s “Somebody Gotta Die,” but instead sounds forced, phony and even a bit corny.

It should be noted that Loso’s Way is overall a nice listen. Once it’s gimmicky intro ends and we look past the (very) loose “Carlito’s Way” concept that birthed the album, we are treated to a diverse and well rounded body of work. Despite some major misses, the album recovers nicely and does it’s job of solidifying that Fabolous is a true talent.

Tracks to check for: “Pachanga,” “My Time,” & “Stay” 

Nas’  9th album has been shrouded in controversy from day one. The album’s controversial title and lyrics started causing problems almost a year before a single copy hit stores. Everyone from Rev. Jesse Jackson to LA Reid to Bill O’Reilly to Newsweek Magazine and even members of the US Congress made their opinions (for better or worse) known. Now, with the actual album completed (minus its original title), the finished product deserves just as much praise as it has controversy.

Untitled is loosely a concept album. It has a very cohesive and organized feel that few modern Hip Hop albums embrace. The album’s lyrics read like an expose’ on the oppression of modern American blacks (complete with an entire song devoted to the practices of Fox News and references to Noble Dru Ali and Ivan Van Sertima). Over some of the slickest production of his career, Nas seamlessly meanders between the pretty thug swagger that made him famous and the revolutionary political leanings that made him an icon.

In many ways, Untitled has done what few Nas albums have been able to do: be strong in both content and quality.  It is one of the few rap albums in recent years that appeases the appetites of Hip Hop connoisseurs while still being accessible to those curious, out of the loop listeners who just want to know what all the fuss is about.

Tracks to check for: “Fried Chicken,” “Ya’ll My Niggas,” & “Black President”

Pharrell Williams, Chad Hugo and Shay Haley first joined forces for one of the most impressive alternative albums of 2001, the uber-inventive In Search Of... Since then, the trio has come full circle. After 2004’s more traditional Fly Or Die proved to be little more than solid (both critically and commercially), the band is now back to breaking down musical barriers with their most satisfying album to date.

Seeing Sounds starts off in traditional Neptunian fashion with “Time For Some Action,” a fast-paced, heavily hip hop track that sounds almost identical to their work on Busta Rhymes’ “Light Your Ass On Fire.” From there, the album chugs along with good, but ultimately forgettable tunes like “Windows.” But then, midway through the album, something happens. Starting around track 6,you feel the Virginia trio really hitting their stride. This second wind is accented by the Grammy-worthy “Sooner or Later,” which is as stunning as it is catchy.

Seeing Sounds may not have the impact of In Search Of… or the heavyweight cameos that sprinkled Fly or Die, but it is certainly their most complete, definitive and mature work to date. It is, in many ways, the album that N.E.R.D. fans have been waiting for.

Tracks to check out: “Sooner or Later,” “Happy” & “Spaz’”

As the “pop” world reaches out its arms to Cee Lo Green and Danger Mouse, they instinctively pull back. If St. Elsewhere was their Frankenstein’s monster, then The Odd Couple is it’s terrifying killing spree.

St. Elsewhere was an album of twisted paranoia and doom disguised in the Trojan horse of an experimental party album. The Odd Couple, on the other hand, is dark, gloomy and intentionally against the grain. Green sums it up best when he professes “It’s probably plain to see/ I got a whole lot of pain in me” on the the somber closing track “A Little Better.”

As always, Danger’s production is layered, dense, outside the box and downright brilliant. Meanwhile, Green’s infectious falsetto is stellar (and just a little bit scary). “Would Be Killer” and “Neighbors” are perfect examples of the eerie soundscapes that have made these guys the most talked about genre busters since Run DMC.

Unfortunately, Gnarls Barkley’s greatest attribute is also their biggest detriment. That anti-pop, this-ain’t-for-everyone, free flying style is a double edged sword. Sometimes triumphant and sometimes confusing, The Odd Couple will likely go down in history as a classic for die hard fans and as a memorable experiment to everyone else.

GRADE: A–

The phrase “concept album” has always left an uneasy feeling in the stomachs of Hip Hoppers. Since the late 80’s, rappers have tried (and almost always failed) to create truly interesting albums that follow closely on one theme. Then, in late 2007, Lupe Fiasco’s mentor Jay-Z did the unthinkable. Jigga released one of his best albums ever, the concept project “American Gangster.”

The comparison between Lupe Fiasco’s The Cool and Jay-Z’s Gangster is not as much of a stretch as it may seem. Sonically, both albums find a similar place in your eardrums. The grand orchestration, heavy use of pianos and dense drums that stir up feelings of a lost era in east coast hip hop are equally present in both. As well are the intricate rhyme patterns and complex verbiage that the two emcees have become known for. With so much in common, it’s ironic that Lupe’s concept is almost an exact opposition to Jay-Z’s.

There is nothing Gangster about The Cool. If anything, the album’s confusing and almost nonsensical concept was developed to persuade listeners away from the trappings of the “trap house.” The concept itself has something to do with the character Lupe developed in his debut album on the song titled “The Cool.” Then there is also something about a rotting hand and Alexander the Great and some other stuff that will probably never make sense to anyone but Lupe Fiasco. That being said, Lupe is an exceptionally clever artist. On “Gotta Eat” he manages to develop a thought provoking metaphor from a cheeseburger and somehow not sound totally ridiculous.

The concept for this album may be all over the place, but unlike many albums of this nature, his execution is flawless. The album will not resonate with all listeners, but it doesn’t need to. It doesn’t strive to fit in or appeal to the masses. Lupe Fiasco’s The Cool is art in it’s purest form… and isn’t that what music needs right now?

GRADE: B+

Ghostface Killah resurfaces in familiar form with The Big Doe Rehab. The album finds the Wu-Tang Clan’s golden child back in his comfort zone.

Be warned, if you were never a Ghostface Killah fan, The Big Doe Rehab will not change your mind. Ghost is a creature of habit and every track on this album would fit comfortably on any of his previous 6 efforts. Predictable collaborations with Wu members (Method Man and Raekwon) are solid as always, as are his off-the-wall and borderline abstract lyrics. But sometimes, when something is not broke, its best to leave it alone.

The album opens with a Latin flavored skit, in the style of an old Scarface outtake, which does its job of setting the stage for a violent, chaotic and tumultuous ride. From there, we are thrown directly into the belly of the beast with the exceptional “Toney Sigel” feat Beanie Sigel. From there, its back to the classic Ghostface tracks that we have grown to love. Explicit storytelling laced with obscure and downright odd metaphors (”shots blow through your meatloaf and lace ya back, turn you over like a pancake and take your gat”) dominate the album. He closes with one of his strongest closing tracks yet, the foreboding yet mildly comical “Slow Down.”

Ghost’s style, which was truly developed on Ironman and Built Only For Cuban Linx, finally saw itself perfected on his 2006 masterpiece, Fishscale. Now, armed with a winning formula, he is able to give his fans exactly what they want and expect: absurd, witty and almost deranged lyrics over 70’s samples that only Ghostface Killah can deliver.

GRADE: A

After a string of ambitious (but ultimately underwhelming) albums, Wyclef Jean impresses with the sequel to his solo debut, 1997’s The Carnival: Featuring the Refugee All-Stars.Carnival II, like the classic LP which it borrows its name from, is inventive, fresh, experimental and pretty damn genious.

Since Clef’s debut, he has crafted gems for everyone from Mary J Blige to Shakira to Mick Jagger to T.I. With such an impressive track record, it’s no surprise that the former Fugee was able to call in guest appearances from artists like Paul Simon, Mary J. Blige, Lil Wayne, Norah Jones and Shakira. Of course, great features don’t always equal a classic album (cough cough, 50 Cent).

The album’s first single, “Sweetest Girl,” is exceptional. The pairing of Wyclef and Akon is predictably solid and Lil Wayne fits in far better than expected. Unfortunately, every time I hear the song all I can think is: THIS is the kind of record that Fugees should have come back with. “Fast Car” feat. Paul Simon and “Any Other Day” feat. Norah Jones are also stand outs that will remind you of Wyclef circa ‘97 while still showing that he has grown as an artist.

The album is, however, not without flaws. The unnecessarily long and painfully Black Eyed Peas-ish “Touch Your Button” is so musically ambitious that it hurts to not like it. The song (which clocks in at about 13 minutes…), is not awful, but it is reminiscent of the random and schizophrenic nature of Clef’s less impressive records. “King & Queen” featuring Shakira also has its moments, but ultimately falls short.

Wyclef Jean’s Carnival II: Memoirs of an Immigrant is a damn good album. It manages to be experimental, innovate and exciting without losing its mainstream pop appeal. The problem is, when an album has so many great qualities, its shortcomings stand out like a soar thumb.

GRADE: C+

How would you imagine a collaboration album from the artist formerly known as Lil Bow Wow and the lead singer of B2K would sound? Think hard. No surprise, that’s EXACTLY how Face Off sounds.

Bow Wow has seen an odd decrease in the overall quality of his albums in the last few years. In what are often the golden years of an MC, his late teens and early 20’s have produced his weakest material to date. On the other hand, the last few years have proved the best yet for former B2K front man Omarion. While Bow Wow’s last effort, the confusing Price of Fame, faltered in producing any memorable material, O’s 21 lp was mature, fluid and showed immense growth.

Now, as these two teen-pop icons struggle to gain a foothold in adult hip hop and R&B music, they join forces. The results are lukewarm at best. On the album’s opening title track they channel the spirit of Jay-Z and R. Kelly’s Best of Both Worlds with similar results. This opening does little to excite the listener, rather it reeks of desperation. Fortunately, the album improves from there with catchy, radio-friendly (yet painfully predictable) potential singles like “Girlfriend” and “He Ain’t Gotta Know.”

Make no mistake, die hard fans of Bow Wow and Omarion will eat this album up. The production is nice, the songwriting is slightly above mediocre and neither artist truly drops the ball. However, there is really nothing unexpected here. If you don’t already have a poster of Bow Wow and Omarion in your locker, this album probably won’t do anything for you.