At times, he overreaches. [Jun 2005, p.158]

The album is a tapestry of reggae, rock, jazz, gospel, and pop, loosely assembled on the duo’s signature bass-and-rim-shot skeleton.

While MC Naledge and producer Double-O’s impressive follow-up effort The In Crowd continues in a similarly versatile vein, the vibe this time feels less like a greenhorn B-boy coming-out party than it does a self-assured statement of purpose.

Eardrum lacks cohesiveness. [August 2007, p.75]

Rick Ross is on pace to make his best and most complete album yet. He knows it. And soon hip hop fans will too.

Testimony: Vol. 2, Love & Politics is proof that not only can Arie step out of her comfort zone of relationships and self-appreciation, but she can jog up a few levels as well.

Forever captures Common maturing graefully into his--and hip hop's--middle age at a time when many peers are either talking retirement or being forced into it. [August 2007, p73]

A far cry from the pleasing pubescent fluff of her formative years. [Aug 2004, p.139]

The joyful arrangement in The Point of It All enhances Hamilton's storytelling abilities, serving as a lovely mixer to his lyrical depth and sensual, rich voice.

A thoroughly entertaining listen. [May 2006, p.138]

It's the songs of sadness and anger that work best.... But her club-anthem ambitions fall short here. [Oct 2003, p.180]

­This endearing debut from Imani Coppola’s latest side project deftly explores the ferocious singer’s favorite themes--race, two-timers, herself--over programmer Adam Pallin’s sprightly soul interpolations.

There's no doubt that Evans can still finesse the notes. But instead of continually pushing her sound into the future, she often backtracks, covering much of the same ground as her previous offerings. [Jun 2005, p.156]

Lidell reaches back further than he has before, appoximating Sam Cooke, Ben E. King, and even Jackie Wilson, elegantly nodding to his clarion-voiced heroes while never allowing the album to become mired in mere tribute. [May 2008, p.72]

She sounds reawakened by the calm. [Mar 2008, p.98]

Blessed with a raw authenticity and rousing presence, Buck is one of the more adaptable MCs to date. [Jul 2004, p.135]

Something Else--a sharper, more concise follow-up to 2006’s breakthrough but spotty, "The Evolution of Robin Thicke"--songwriter and producer Thicke is using the tones and rhythms of soul music for a bigger idea: dissatisfaction.

Opting for politically charged rhymes and melodic, accessible beats, [The Roots] overflow with potential singles. [Aug 2004, p.141]

It’s Not Me, It’s You cooks up nostalgia for Allen diehards, but the elements have been shuffled and re-imagined with pulsating dance tracks that are surprisingly fitting.

The brothers are nimble lyricists, delivering raps in catch-me-if-you-can fashion, exercising little patience but encouraging repeated listens.

While she loses herself in Gwen Stefani-like posturing... Furtado masterfully combines Spanish and pop influences in her own unique way. [Jun 2006, p.164]

Comes off likea rave-era update of Van Morrison's blue-eyed soul. [Feb 2003, p.138]

Chrisette Michele has delivered a consummate R&B album: controlled, beautiful, thoughtful, with some oomph. The cameos are sparse, the up-tempo tracks are still soulful and the perils of love are dominant.

When at his best, Banner creates powerful American folk music. [Sep 2005, p.231]

Though Confessions doesn't bring Usher all the way to the artistic maturity one might hope for, tracking this star's progression definitely has its satisfactions. [May 2004, p.160]

Brimming with updated old-school joints, original balladry, and classic-sounding R&B, Diary finds Keys more relaxed, confident, and committed to the tunes of the '70s than ever before. [Feb 2004, p.127]

Something's off... ESG's doe-eyed charm... is missing. [Oct 2006, p.148]

Songs like 'Love, Love, Love,' and 'Can't Live Without You' create the quintessential formula for a classic two-step and Wilson is sure to dazzle longtime fans with the more easygoing numbers. But sleepier tracks like 'One Time,' border on clichéd at times.

Some songs are just completely uninspired.... There are definitive highlights on Underground, however, that make this collection essential. [Nov 2003, p.147]

Endearingly anachronistic. [Jan 2003, p.128]

Delivers a spiritual and political message that's both sensual and relevant. [Oct 2003, p.185]

While The Ownerz does not spark any new rap trends, it brings back the power of the basics. [Jun 2003, p.153]

Daybreaker is no less gripping for its optimism. [Sep 2002, p.250]

Despite its frustratingly uniform theme--coke--and Jeezy's inflexible, one-speed rasp, his sophomore effort, The Inspiration, suggests that last year's victories were no fluke. [Feb 2007, p.121]

An album that, while imperfect, is nonetheless the best G-Unit release since his own platinum-selling 2004 debut. [May 2007, p.118]

Timberlake and Timbaland... write frustratingly awkward songs. [Oct 2006, p.142]

A generally exhilarating marriage of pop songcraft and state-of-the-art rhythms... But the compact and caffeinated B'Day also sounds calculated, as if it were A&R'd by a nervous number cruncher. [Oct 2006, p.137]

Cohesive and musically mesmerizing. [Jun 2005, p.161]

A strong statement from a veteran still pushing his artistic boundaries. [Dec 2006, p.170]

While his lyricism is as sharp and searching as ever, inventive musical moments are scarce. [Feb 2007, p.125]

Subpar sonically... Red Light doesn't push toward something greater. [Feb 2005, p.138]

With no real stand out single, All I Ever Wanted will be a hit with Clarkson die-hards, but is unlikely to influence any Top 40 outsiders.

Though Comfort Woman does not match the rebellion of past efforts, its overall joy is infectious. [Dec 2003, p.214]

Though Exclusive skirts the sophomore slip-up, it leaves its protagonist uncertain: Ease on down the road, or look at the man in the mirror? [Nov 2007, p.91]

Though not as raw as the original versions, due mainly to the sometimes overly polished production of her sons Donto James and Sametto James, Etta's raw voice alone helps to retain the melancholy moods of these tales of lost love, strife, and movin' on.

On their major debut, The Platform, Dilated Peoples try to approach the line between commercial success and underground maintenance.... In the process, the group achieves mixed results.

Though it lacks the element of surprise, The Day After secures Twista's star status this time around. [Nov 2005, p.148]

KRS-One sounds as hungry and passionate as ever.... Unfortunately, a barrage of rigid, same-sounding beats and canned choruses detracts from Attack's effectiveness. [June 2001, p.154]

It's infuriatingly inconsistent.... But this album's bittersweet beauty lies in the fact that Nas cares. [Feb 2002, p.120]

The Boatlift solidifies Pitbull's position as one of the most diverse party MCs aound. And little else. [Feb 2008, p.86]

Suddenly with these [guest MCs] additions, a sound that felt dusty and dilapidated is now exuberant. [Sep 2007, p.137]

Returns to the time-tested dancehall verities. [Sep 2004, p.232]

Funhouse is more haunting than amusing, but the solidarity that comes along with her recent divorce serves as the effort's muse and proves to be her best partner in life.

Not since Aqua has a group of cartoon-fixated, stylistically scatterbrained lunatics sounded so entertaining. [Feb 2002, p.121]

The superstar’s first album in three years is a solid, if not consistently energized tribute album to Lionel Richie.

Fire In The Hole is Brand Nubian at its revolutionary apex. [Sep 2004, p.233]

There is no doubt that Gwen Stefani is currently the most hyped up singer in the world; nevertheless, that doesn't change the fact that she possesses one of the worst singing voices in pop-rock history.

Even when his words don't move you, Jaheim's gorgeous voice is a rare gift that anyone--male, or female, teenaged or middle aged--can appreciate when they hear it. [Mar 2006, p.185]

It reeks of generic blandness. [Feb 2008, p.86]

A breakthrough for Slum Village. [Jul 2004, p.138]

Unfortunately, Sweat is affected by some forced collaborations and shallow subject matter. [Oct 2004, p.184]

Usher's back at ya with a consistent third album that has a good chance of staying afloat in a marketplace overflowing with crooning R&B clones. [Sep 2001, p.235]

His most stoner-friendly album to date. [Apr 2003, p.179]

The result is arguably his best work contextually since "Death Certificate" itself.

Unexpected is natural, pleasant and brutally honest, opening the eyes of those who slept on Williams' skills.

Face Off is more fun than forced, full of exuberant dance ditties and training -bra snapping lullabies. [Feb 2008, p.86]

The album falters when it ventures out of party mode. [Apr 2003, p.177]

The results are moderately exemplary; a project heavy in power production, but skim on memorable showmanship.

A gleeful, idiosyncratic pastiche. [Nov 2006, p.156]

Although everything on The Ecleftic might not be for everybody, make no mistake, this album is ahead of its time. Forget about Britney Spears... Wyclef's done it again!

Sean Paul blasts off confidently into the future with The Trinity. [Nov 2005, p.147]

The only downside is that all the tracks sound similar. [Oct 2004, p.186]

Her fourth, The Element of Freedom, is full of straightforward pleas for affection that are neither outstanding nor run-of-the-mill.

Lovage only works some of the time--the record's sense of humor often trumps its music. [Feb 2002, p.123]

Ray Ray hits more than it misses in its celebration of a time when George was making the mothership connection and Marvin just wanted to get it on. [Nov 2004, p.160]

A taut, albeit less explosive, album. [Apr 2005, p.166]

Outside the beats, the other surprise of Kamikaze is Twista's more worldly and thoughtful subject matter. [Mar 2004, p.184]

While he excels in clever jousting, Banks lacks range and storytelling ability. [Jul 2004, p.136]

Well-crafted... offers a continuation of Quality's attempt to expand rap's topical terrain. [Oct 2004, p.185]

Truth validates the Queen Bee's position as the definitive rap vixen. [Dec 2005, p.210]

The disco ball might be unplugged, but Summer still shines. [July 2008, p.61]

Though he abandons Deliverance's eccentricity, Bubba's lyrics still engage. [Jan 2006, p.138]

Rarely does rock music feel so simultaneously orchestrated and raw. [Mar 2008, p.98]

Killa is mostly outmatched by his more charismatic Wu brethren. [Oct 2006, p.144]

A supremely confident dance record that also illustrates Spears's development as a songwriter. [Jan 2004, p.126]

While Acey's rhymes are consistently top-notch, the soundcraft here goes astray at times. [Aug 2003, p.154]

On Weekend, the group's clearly into its '90s phase, and enjoying it. [Feb 2007, p.124]

A decidedly mixed blessing. [Sep 2002, p.250]

Ultimately, Hilson’s debut is simply okay, not quite the sum of its parts. She has the right juice. Now it’s just a matter of how to keep it flowing.

Her debut, which has dominated the charts overseas, is polite to a fault. If Whitney'esque is what she aims for, Lewis hasn't quite found the the F-U-N in fundamentals. [June 2008, p.66]

The singer's most mature work to date. [Apr 2003, p.173]

Although the majority of The Last Meal's17 tracks are scrumptious, a couple of bland dishes found their way onto the menu. Although this album isn't quite as inventive as Doggystyle, Snoop blesses us with the right blend of West Coast gangsta funk, R&B, and that one of a kind flow we can't get enough of.

His self-titiled debut, a collection of mostly butterscotch ballads, is deliciously liquid in rhythm and blues. [Nov 2007, p.96]

It's a mixed bag. [Jan 2007, p.112]

The bigger problem is Paul's unexpectedly anemic production. [June 2003, p.155]

A resurgent Prince unleashes his strangest yet most alluring rock project since 1988's astonishing "Lovesexy." [Sep 2007, p.137]

Busta again shows the versatility of his flow, but it's the complexity of the words that may surprise you. [Jan 2003, p.127]

Still a nimble rapper, he's copped his best beats in years. [Oct 2006, p.142]