Firstly to the singles, 'Suit & Tie' is lackluster; Jay offers nothing. There is a dearth of effort in some of his features and he doesn't 'rap' enough anymore instead just saying some rhymes that anyone with a voice could. Even without Jay though, I don't think that the song has anything going for it and he certainly doesn't ruin it. I've said this before in reviews as well, but despite being a hip hop fan first and foremost, often a quick 16 on an R&B or pop record is unmemorable. 'Mirrors' is better, and the best song here, but it is very much a 'Cry Me a River' clone. Elsewhere, one of the other stronger cuts, 'Tunnel Vision', really sounds like something that could have been on 'FutureSex/LoveSounds' as do a couple songs here. Others like 'That Girl' are more ol' school/throwback neo-soul influenced. On JT, I'm sure he thinks that he creates music better than it actually is. He goes for these epic eight minute songs, but they are too long and they don't change up as much as they do on 'FutureSex/LoveSounds' that worked better. Reviewer Jon Caramanica summed it up well - "seven-minute songs that masquerade as artistry". 'Mirrors' is the perfect example. 5:24 is where it should end and all it needs to be. (I find 'FutureSex/LoveSounds' to have a similar problem where the interludes connected to the end of songs are better than what comes before). 10 songs looks good and concise, but the length of the songs ruin the fluency. 'Strawberry Bubblegum' is the worst offender in this case, and probably the worst song here as well, with 'Let the Groove Get In' suffering the same fate. All in all if you love JT you'll enjoy this. I've never been much of a fan. I don't think that his voice offers much compared to the best in R&B/Pop. While I don't think he is a poor vocalist, there is something about it that I don't rate. He seems to stay within the same range for too long and it sounds a bit more forced/unnatural than it should. Almost like it's all falsetto. Elsewhere, as touched on already, some songs are too long, lacking buildup and get boring or are lyrically corny. Timbaland does a fine job with the production, but he isn't the inventive producer he once was. I don't feel like I haven't heard a lot of this before, and some of his ad-libbing can get tiresome. It would've been much better as a 50-55 minute album as opposed to a 70 minute one. Best Tracks: Don't Hold the Wall, Tunnel Vision, Mirrors

There was a lot of hype around Drake before the release of this album, and with the little I'd heard from him I couldn't understand why. I found him fairly annoying and the whole 'hashtag rap' way of rapping that Drake seems to do more than most, eg "And I just say I wrote it for your girlfriends....... Kelsey Grammer" is likewise. If you don't like pop rap you ain't going to enjoy this album one bit. A lot of it is very soft, not only in the beats but lyrically as well. However, having not much positive to say about Drake vocally, some of the beats and features really work and save this album for me. Take my favourite 'Unforgettable' for example. The Aaliyah sample works great and I'm feeling Jeezy on the track also which add to the track considerable. Definitely not for everyone, but surprisingly I've found enough I like for a reasonable score despite not liking Drake. Best Tracks: Fireworks, Over, Unforgettable, Light Up

The first song is too long with the beat not being interesting enough. From there, it's pretty solid until 'Mo Fire' which is a turn off, but thankfully you don't have to wait long for another good track, with 'Best Rapper Alive' being one of the better songs here, allbeit being titled very inaccurately. 'Lock & Load' is filler, 'Oh No' is a touch better with 'Grown Man' being likewise. 'Hit 'Em Up' drops it back again with the album following a bit a pattern. We get some more stand-outs toward the back end though, and the album finishes well, with 'Shooter' offering a nice change up to what is a bit of a same sounding album. In terms of consistency, I find it fairly similar to his previous album, Tha Carter II, however, this does contain a few more standouts to go back to which gives it a slightly better rating from me. I could understand loving this if you dig Lil Wayne more than I do. 3.5-3/5 Best Tracks: Fly In, Best Rapper Alive, Grown Man, Carter II, Hustler Musik, Shooter, I'm a D-Boy, Feel Me, Fly Out

How this doesn't get cited as the time when Wayne fell off instead of his next album is beyond me. The rumours of Curren$y and others ghostwriting his rhymes before this album seem rational because he went downhill around the same time. The lyrics are more unfocused/random/bad, whatever you want to call them than before, and even the beats and hooks are weak. How in God's name 'Lollipop' did what it did, is again, beyond me. It's an embarrassing song. This sold a lot and the singles did well, but that doesn't make the album a classic in my eyes. Critically it's not good enough. A couple of alright tunes, but all in all it's a poor pop rap album. Best Tracks: 3 Peat

I'm not a big fan of Lil Wayne. How C3 won a Grammy and sold so many copies I'll never know, but this album is fairly solid. It's before he became more arrogant and being more abstract/stoopid with his rhymes/voice.. He flows better than he does these days as well. I'm not saying he has lost ability, but tracks like 'Bring It Back', where he does flow well, for someone who hasn't heard much pre-2008 Lil Wayne, it feels like I haven't heard him do that. The beats mostly by Mannie Fresh are quality, with some having some southern soul to 'em. I don't think there is a five star song here, which stops it getting a higher rating, but it's solid pretty much from beginning to end. Worth a listen. Best Tracks: Walk In, BM J.R., Inside, Bring It Back, Walk Out