The first volume in Madlib’s newest series of releases is something of a preview of the O.J. Simpson (Madlib + Guilty Simpson) album coming out later this year. Unfortunately, this mix quickly falls into my least favorite combination in hip hop = good producer with lackluster emcee.

Guilty Simpson is something of a trite gangsta rapper, but doesn’t even have much in the way of delivery to make it interesting. His delivery is slow and clumsy, and he often says things that makes me cringe.

It’s been a while since we’ve heard from Gil Scott-Heron, as he’s spent the past few years sorting out personal and legal issues. When you’re dealing with a unique talent like Scott-Heron, though, it’s always worth the wait. The musician’s forays into jazz, blues, r&b, funk, and spoken-word poetry made him one of the most influential pre-hip hop artists. He’s come back with a moving and personal album.

I’ve always felt good that I got into Galactic at the ground floor, because they’ve had such a rich and rewarding musical career so far. The New Orleans-based funk group have built up a fan base throughout the years and have grown musically the longer they’ve been together, bringing in elements of jazz, R&B, funk, hip hop, blues, New Orleans brass bands, and basically anything else they might get their hands on.

First things first, this album has some of the sweetest packaging I’ve ever seen. It comes in a freakin’ billfold, people! Seriously, it’s tight. Now, onto the music.

Strong Arm Steady have been around the L.A. scene for a while, and are mostly known for their association with X-Zibit. Frankly, after listening to this album, all I can help think is that they are very lucky they have successful and talented friends.

Over the years, k-os has won me over with his unique blend of hip-hop, reggae, rock, and R&B. While I haven’t loved everything he’s done, I’ve always appreciated his unique voice. I never listen to k-os and think he’s anyone else but himself. And when he does find a perfect blend in his music, it can really be something.

I was first made aware of Dessa last year when P.O.S. dropped Never Better on us, and Dessa killed a verse on the song, “Low Light Low Life.” I knew of Doomtree, but like most people I hadn’t listened to any of the other artists outside of P.O.S.

Well, I was certainly curious about Dessa now, and thankfully, she happened to be putting out her first full-length album this year. Even better, the album is amazing.

There’s something very exciting about the first time you put on album by an artist you haven’t heard before. Sure, it could suck and you just throw it in the discard pile. But every once in a while, you’ll come across an album that totally moves you and finds a way into your permanent rotation. That’s definitely the case with Wide Eyes. I knew nothing about what to expect going into the album, but I’m a fan now.

DJ Shadow has been around and produced so many albums and tracks, it can be easy to forget how great of an actual deejay he is. While I felt that his official live album Live! In Tune and on Time felt really flat and uninteresting, this album is quite the opposite.

Maybe it’s because this wasn’t planned for wide release, so no one felt the need to package the album in any way, and as a result, Shadow just gets to do his thing. His transitions are seamless, and his scratching is effective but not too flashy. Classic and obscure songs all get blended into one continuous mix.

RJD2 has had an interesting career so far. His first album, Deadringer, had him being hailed as heir to the throne of DJ Shadow, an instant instrumental hip hop classic that helped lay the foundation for Definitive Jux. On Since We Last Spoke, he went in a different direction, incorporating noisy rock to counterbalance the hip hop, creating a unique and rewarding listening experience. On The Third Hand, he parted ways with Jux, signed with XL, and dropped an album that was more in line with the electro-pop stylings of acts like Hot Chip, and prominently featured his own vocals.