213's obsolete subject matter offsets otherwise satisfying sounds. [Sep 2004, p.236]

Though Nightmare doesn't match their classics, you can definitely call this a comeback. [Aug 2004, p.146]

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

Though his singles may not rule radio, as far as full-lengths go, this is how it should be done. [Sep 2004, p.233]

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

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

Cee-Lo's soulful spirituality is sorely missed. [Jun 2004, p.155]

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

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

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

Sermon's crisp production maintains a chill vibe, but the tight network of guests can't make up for his inadequate skills on the mike. [Aug 2004, p.141]

With Kiss of Death, Jada's well on his way to achieving hip hop immortality. [Jul 2004, p.136]

[He] sounds stuck in a rut. [June 2004, p.152]

11 frenetic, oddball, and extremely original tracks. [Jun 2004, p.154]

Legitimizes the D12ers as much more than simply Eminem's funky bunch. [Jun 2004, p.157]

The album is plagued by too many predictable bass lines and uninspired samples. [May 2004, p.163]

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]

A consistently sold album. [Apr 2004, p.163]

His potent fusion of blues, R&B, funk, rock, gospel and hip hop has morphed his sound into something more Bobby Womack than Biggie. [Mar 2004, p.184]

Delivers both ass-shakers and contemplative cuts.

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

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]

Though age has dirtied up Green's once angelic tenor, all it takes is a swaying guitar-organ, cooing harmonies, surging horns, and rapturous lyrics to conjure up his ol' black magic. [Jan 2004, p.122]

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

It's monumental because it's a culmination of Jigga's natural thoughtfulness delivered with transcendent skill. [Jan 2004, p.120]

Each song here is crammed with all kinds of Kool & the Gang hand claps and Chemical Brothers bass drops. [Dec 2003, p.218]

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

Makes a fair case that few hip hop beat men can match the prolific musical canon of the RZA. [Dec 2003, p.214]

Sparxxx has now crafted a gem, thanks to improved songwriting and nimble production. [Nov 2003, p.157]

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

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

A significant step forward. [Oct 2003, p.179]

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

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

Though she doesn't add any real depth to her artistic sack, she captivates by revealing another stage in her development--as a woman. [Aug 2003, p.148]

While less preposterous than her second album, The Id, this is still a frustrating piece of work. [June 2003, p.154]

It's reminiscent of a time when bumpin' L'Trimm's candy-coated "Cars With the Boom" was the definition of fresh. [Aug 2003, p.154]

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

At times... Dangerously In Love sounds desperate to reach every demographic. [Aug 2003, p.150]

Without the apocalyptic beats and emotional storm clouds that were once his trademarks, Vulnerable makes Tricky all but dispensable. [Aug 2003, p.156]

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

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

Even if it doesn't always work, this is as imaginative an approach to hip hop production as the underground has ever generated. [June 2003, p.157]

This may be the first time Madonna hasn't pushed herself to explore new ground, but at least she's chosen a good place to rest. [June 2003, p.155]

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

There are plenty of dull moments on Level II, but the memorable ones keep the proceedings interesting. [Apr 2003, p.177]

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

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

With its ice-cold beats, smoldering bass lines, and shimmering textures, this is one of the most openly erotic albums British pop has ever given us. [Apr 2003, p.178]

The risks he takes with the production are a big part of the allure of God's Son. [Feb 2003, p.135]

Classic Mariah--for better or worse. [Feb 2003, 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]

The album's most compelling moments recall the Doggfather's early days. [Jan 2003, p.125]

David's pasteurized pop may not be pleasing to all musical palates, but for many, he remains one of the United Kingdom's tastiest exports. [Jan 2003, p.130]

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

Ultimately, the moments of bare beauty on such tracks as "Your Cloud" and "Crazy" set Amos apart as a true original. [Dec 2002]

Endearingly anachronistic. [Jan 2003, p.128]

Recalls the early '90s work of A Tribe Called Quest. [Sep 2002, p.244]

Though T3 and Baatin's verbal syncopations punctuate Trinity's big-bottomed sound, their words are consistently trite. [Sep 2002, p.248]

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

Reanimation's cross-pollination of high-level lyricism, trunk-rattling beats, heavy-metal riffs, and hard-core vocals makes for a rousing listening experience. [Sep 2002, p.244]

The perfect platform for Burke's unerringly tasteful phrasing. [Sep 2002, p.248]

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

Crackles with anger, energy, and defiance. [Aug 2002, p.156]

The commercial techno sludge of Oakenfold's songs on Bunkka suggests that he should have thought twice about veering from his career path as DJ du jour. [Aug 2002, p.160]

An optimistic and heartfelt album. [Aug 2002, p.165]

The Eminem Show is a brilliant piece of theater and a guilty pleasure. [Aug 2002, p.155]

Sounds like a watered-down Pearl Jam spiked with a drum machine and a couple of extra synths. [Feb 2002, p.123]

While P's rhyme schemes haven't changed much, he has improved his musical backdrops significantly. [Feb 2002, p.121]

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

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

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

Beyoncé's always been a capable singer, and she's grown even more so on Survivor. [June 2001, p.151]

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]

You don't even need to be strung out in a dark room full of beautiful strangers to enjoy it. [June 2001, p.158]

Despite its trippy promise, the album sometimes falters because of Quaye's quirky, self-indulgent lyrics. [Apr 2001, p. 170]

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.

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.

With Xzibit coming with nothing but raw and uncensored lyrics, Restless is not for those with tender ears. Formerly one of hip hop's most underrated artists, it's gonna be hard to continue to sleep on him after this album. Xzibit is finally poised to get the credit he deserves.

After being imitated for the last seven years, Wu-Tang Clan returns with another chamber for today's soft and silky rap. But don't get it twisted though. Despite their last album, Wu-Tang Forever, leaving fans uneasy, the Wu's third collective work, The W is crammed with nothing but Wu-bangas.

Beyond Badu's self-appointed role as a teacher, what she does best is create really good music.... It should come as no surprise that Mama's Gun's organic feel comes from the team that helped produce D'Angelo's Voodoo. However, the most important sound of all is her unmistakable voice, making all of her songs like ornately crafted gems - even the unintelligible ones.

Stankonia leaves nothing to be desired as it is energized by Outkast's clever lyrics coupled with their cutting edge production, which is an expansive take on the original Atlanta sound.

Size earns his crown as he breaks through the jungle unscathed on In the Mode. He rises above mainstream neighbors Tricky and Massive Attack to take credit for an eclectic mix of what would have been one painfully long trip if left to any old Limelight DJ.

Although Mystikal's last two albums earned him platinum plaques, Let's Get Ready is poised to be the album that will put him over the top.... However, Let's Get Ready does have a few slip-ups. The Neptunes-produced "Jump" - previously available on the Any Given Sunday soundtrack - displays the production team's sloppy tendency to recycle their beats.

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!

Art Official Intelligence: Mosaic Thump, their most contemporary offering yet, is the trio's successful return as ousted royalty destined to reclaim their kingdom in hip hop.

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.

Eminem has crafted the best album of the year so far with The Marshall Mathers LP and it comes dangerously close to being a classic.