After a pointless intro that sounds fine but oddly has Diddy introducing the group on their third album, this is another more than solid 112 release. If you like contemporary R&B from this era, I don’t understand dismissing it as “only having the singles.” There are plenty of worthwhile songs here. The singles are all packed within three songs after the introduction, which perhaps makes for odd sequencing. The producer list is close to A-tier, with Anthony Dent, Daron Jones (of 112), Tim & Bob (who, as usual, deliver two of the best with ‘Smile’ and ‘Caught Up’), Mario Winans, and even a track by R. Kelly filling the credits. The one poor moment is ‘Player’. There’s something to like in everything else. The upbeat club singles, ‘Dance With Me’ and ‘Peaches & Cream’, are in my opinion bettered by the contagious, head-bopping ‘Caught Up’. The one song with a rap feature, ‘Don’t Hate Me’, works nicely too, with Twista’s rapid verse fitting well. The longest track, the ballad ‘Sweet Love’, builds up beautifully. Just like their previous album, ‘Room 112’, I feel the best songs are found toward the tail end. ‘Smile’ has a really pleasant vibe and production, anchored by a great hook. The R. Kelly produced and written ‘Do What You Gotta Do’ isn’t his best, but it’s another worthy entry in his vast songwriting catalogue, this time about a relationship going sour, leading to the protagonist cheating. The highlight here, though, is ‘I Think’. After a short intro, the chorus kicks in and you’ll be singing it all day. So damn catchy. “I think (I think) that you’re a beautiful woman / And I think (I think) that you deserve a good man.” The finale, ‘Still in Love’, hits the mark too. Best Tracks: Missing You, Smile, Caught Up, I Think

This one starts off with some solid, consistently good R&B, but it really kicks into gear in the second half which is where most of the standout tracks sit. The harmonies on 'Your Letter' are rich, and the back end lets the vocals shine. It’s a familiar R&B pattern - The more radio-friendly tracks upfront, followed by the deeper, more authentic cuts that show what the artists can really do. Best Tracks: Funny Feelings, Never Mind, Someone to Hold, Your Letter

The energy throughout this project is undeniable from the hard-hitting beats to the raw intensity of the rapping. However, many of the songs end up sounding quite similar. The rappers deliver with passion, but the harsh, almost yelling style can be grating at times - particularly, but not only, from Babe-B-Face Kaos. I hear some Onyx in the delivery and some Naughty by Nature in the songs. Some songs are let down by not having stronger hooks too. Lyrically, the album touches on several familiar themes for these types of albums: critiques of the then modern rap scene, celebrations of “real hip-hop,” confident brag rap, and flashes of conscious commentary. The highlight is 'Hit ’Em Up', thanks to its dynamic changes and infectious energy paired with its engaging bassline and anthemic chorus. There’s a subtle reggae influence across tracks like 'Original' and 'Ruff N’ Rugged', a sound often heard on early-to-mid ’90s east coast hip-hop. Meanwhile, 'We Run Things' features horn samples that recall the Pete Rock & C.L. Smooth’s 'T.R.O.Y.' All in all, there are things to appreciate here, and based on what I’ve read about their second album, I’m curious to see how the group evolves. Still, for a short project, there are some sluggish moments and not many tracks worth revisiting. Beats: ★★★ Rapping/Bars: ★★★ Hooks: ★★☆ Best Tracks: Pon De Attack, Hit 'Em Up, Swing It (Jazziness)

What do fans see in Cardi? Her voice is among the most grating of any female rapper, and her lyrics are atrocious. When she tries to act hard with her voice it's nothing but unconvincing. Most of her songs blur together. Aside from a few where she tries to be more personal about relationships, the different titles are often the only thing setting them apart. Track after track is just brag rap, taking aim at unnamed “haters” and recycling the same tired insults. It’s ironic that she’s had issues with Nicki Minaj when so much of her brag rap and disses feel ripped from Nicki’s rhyme book. Maybe she should stick to making threats like she did to the men she drugged and robbed before fame which is something she got a pass for because she’s female. The few lyrics that stand out usually do so for the wrong reasons. They’re laughably bad. One line about loving a man’s anatomy so much she’d hold it while he pees says it all. No wonder most of the songs are short. There’s barely enough substance for one verse, let alone three. Even the production can’t always save her. Some beats sound dated, though the second half of the album offers some mild improvement. The solid southern-influenced attempt at bangers like 'Hello' and 'Outside' are probably the highlights. Beats: ★★☆ Rapping/Bars: ★ Hooks: ★☆ Best Tracks: Hello, Outside

The drug talk keeps rolling from artists who haven’t touched that life in decades, and honestly, it’s getting stale. Jeezy isn’t as excessive with it as someone like Pusha T, but at this point, isn’t it time to move on? As I said with 'SNOFALL', DJ Drama is still a corny MF whose constant shouting drags the music down rather than lifting it up. There’s a lot more soul here than longtime Jeezy fans, myself included, might expect. 'Inside My Soul' leans so heavily on Tom Browne’s 'Funkin’ for Jamaica (N.Y.)' that it’s basically just Jeezy rapping over the track. That trend continues throughout: 'Another Sad Song' flips Toni Braxton’s 1993 hit 'Another Sad Love Song,' while 'Head to the Sky (You Can Win)' samples Sounds of Blackness’ 'Optimistic,' just to name a few. It's a fine listen, (even if it's missing the trademark Jeezy trap bangers), which is helped heavily by using so many classic soul songs as the foundation, but will I be coming back to anything? Probably not. Best Tracks: Treason, Inside My Soul, Head to the Sky (You Can Win), Thug Life Again