(LISTEN) Unfortunately, the fifth studio album to surface after Tupac’s death was a major disappointment. Eminem and his longtime production partner Luis Resto handled the music for 13 of the 17 songs, and the chemistry between Tupac’s vocals and the beat selection is poor. The songs sound like Eminem sought to give his style to Tupac’s work. For instance, Eminem scored one of his biggest hits sampling Dido for his song “Stan,” but pairing Dido and Tupac for the pop-rock ballad “Don’t You Trust Me” falls flat. The title track featuring G-Unit sounds like it was made specifically for 50 Cent’s hip-hop crew. “Hennessey” places Tupac’s vocals over a hokey music bed featuring accordion sound effects and a verse from Eminem protégé Obie Trice. It’s too bad that this collaboration didn’t work, because Eminem’s production of the Tupac and Notorious B.I.G. song “Runnin’” was good. It’s not until track 14, the Scott Storch-produced “Po N—a Blues” with Ron Isley, that the music takes a better course.

(LISTEN) After a three-and-a-half year break from releasing posthumous ‘Pac music, Amaru Entertainment dropped this double-CD, featuring production from some of Tupac’s best collaborators: Johnny “J,” QDIII, and L.T. Hutton. The music, recorded from 1995 to 1996, captures Tupac’s post-incarceration rage on songs like “Ballad of a Dead Soulja,” “F— Friendz,” and “U Don’t Have 2 Worry”; the latter addresses the enemies who tried to kill the rapper. Unlike previous releases, Until the End of Time includes more songs produced with pop radio sensibilities: “N—z Nature (Remix)” with Lil Mo, “Let Em Have It” featuring Lisa “Left Eye” Lopes, and the hit title track that boasts a chorus from R.L. from Next and a sample of Mr. Mister’s “Broken Wings.”

(LISTEN) Tupac’s sixth posthumous studio album does the best job of modernizing his sound. Previous posthumous studio albums focused more on preserving his signature sound; considering that Pac’s Life came out more than 10 years after Tupac died, it was wise to find new styles to fit his vocals. Swizz Beatz achieved this on the alarming, rapid-fire track “Untouchable” featuring Krayzie Bone, the perfect complement to the song. L.T. Hutton provided the right breezy R&B vibe for the title track featuring Ashanti, and T.I. Salih Williams delivered another standout, “Whatz Next,” featuring A3 and Jay Rock, a buzzing groove that matched Tupac’s scratchy flow.

(LISTEN) Tupac’s second posthumous album was remarkable in how it revealed the depths of his talent as a songwriter. The project surfaced quality, previously unreleased music created during the recordings of his seminal works, Strictly 4 My N.I.G.G.A.Z., Thug Life: Volume 1, and Me Against the World. The music sparked much nostalgia, as the songs were reminiscent of 2Pac’s earlier work. “Definition of a Thug N—a” was reflective of his gangsta rap anthems, “Hold on Be Strong” offered the sentiments of his previous songs like “Keep Ya Head Up,” and the compassionate “16 on Death Row” shed light on the horrors of imprisoned youth. Additionally, the album scored two strong hit singles: “Do for Love” featuring Eric Williams of Blackstreet and “I Wonder If Heaven Got a Ghetto.”

(LISTEN) 1996 had started off as strong for ‘Pac. After being released from jail the year prior, he made his Death Row Records debut with the double-CD All Eyez on Me and scored five hit singles – including “California Love” with Dr. Dre and Roger Troutman, “Two of America’s Most Wanted” with Snoop Dogg, and “Toss It Up” with K-Ci & JoJo. Tupac’s death occurred at the peak of his music career. Tupac fans were in deep mourning when The Don Killuminati: The 7 Day Theory was released less than two months after his passing, but the album provided comfort by giving those fans more music from their beloved icon. Released under the alias Makaveli, The Don Killuminati: The 7 Day Theory captured both Tupac’s venomous and sympathetic personas. On “To Live and Die in L.A.,” he reflected on the beauties and struggles of surviving in Los Angeles, and on “White Man’z World,” he encouraged African Americans to succeed amid oppression.

(LISTEN) Tupac’s fourth posthumous studio album, released six years after he died, is the best collection of songs. While all of the previous double-CD albums released after his death boasted enough good tracks, Better Dayz is more consistent, with production from Johnny “J,” Jazze Phae, E.D.I. of Outlawz, and Frank Nitty. It has the strongest singles – the acoustic ballad “Thugz Mansion” with Nas and Phoenix, and the party track “Still Ballin’” featuring Trick Daddy. Although Tupac does vent on songs like “When We Ride on Our Enemies” and “F— Em All,” in general, he isn’t as angry throughout. Better Dayz even has songs uplifting women, “Mama’s Just a Little Girl” and “Never Call U Bitch Again” with Tyrese, and there is plenty inspiration on “Better Dayz” with Mr. Biggs, “My Block,” and “Who Do You Believe In.”