Have you ever encountered an album where half of the songs on it are subpar, yet you find yourself listening to the album on a regular basis? That’s the feeling I have towards A$AP Rocky’s most recent album, AT.LONG.LAST.A$AP.

The album, released early due to a leaking, is the rapper’s second studio album and third overall. However, it is certainly not his best one. The album lacks the rawness of his mixtape LIVE.LOVE.A$AP, which was released in 2011 through free digital download, and the tenacity of the electrifying-presence LONG.LIVE.A$AP brought the world in 2013.

The album begins with the track Holy Ghost, whose tune almost guarantees a good album. The song makes great use of religious imagery; in parts of the song, he rejects the mindset surrounding religion and draws parallels between a life of sacrilege and one of the streets (religion has a significant role in the album: the acronym for the album A.L.L.A is play on the word “Allah”).

Immediately following is Canal St. , a somber, gloomy song about the rap game according to Rocky, the “fakeness” of many rappers in the game, the real-life Canal St. in New York, and imploring his foes not to “knock his hustle.” This track, featuring Bones, is one of his more honestly brutal ones, a very dark one at that, which gives the song resonance to many; possibly his best track on the entire album.

Following these two tracks are a series of archetypal songs you’d expect from Rocky, which isn’t a complaint, and songs that are just sort of awful. Fine Whine and  L$D, somewhat similar in tone, offer almost lazy, boring bars. Excuse Me and Lord Pretty Flacko Jodye 2 takes a break from that however. In both songs his melody is off, but he’s got his flow back, and the beat is improving in comparison to previous tracks. The most famous song on the album and arguably one of the best is Everyday, which features Rod Stewart, Miguel, and Mark Ronson. This track has an upbeat, addictive beat to it, which many people thought was the formula the entire album should have followed in.

Nonetheless, the album as a whole did pretty well, which is good for Rocky. The good songs pulled the weight of the album, and his mission with the album was accomplished. The album, produced by the late A$AP Yams, as Pitchfork eloquently puts it, “presents the world one, last relic of he and his [best] friend’s collaborative vision…it feels like an elegy to the closest thing the millennial generation had to its own Diddy or Dame Dash.”