Like prior Roots albums, Game Theory boasts top-notch craftsmanship... but it's continuity that makes this album unique. [Sep 2006, p.211]

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.

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

Loverly proves once again that she needs no artifice to soar musically. [July 2008, p.60]

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.

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

Chester French have deftly balanced the thrills of newness with the reliability of the old--not bad a for a couple of graduates.

Brimming with energy and depth. [Nov 2004, p.160]

Ne-Yo is a stronger, more confident man than the one many remember licking his wounds on 'So Sick' from his debut album "In My Own Words" and 'Do You' from 2007’s "Because of You."

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

Although there remains a sheen throughout, the body of the set showcases the Mobb in darker, more familiar territory. [Apr 2006, p.150]

Sophisticated compositions and insightful lyrics. [Nov 2004, p.162]

His struggles did make for a strong album.

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.

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.

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

The Take Over--a post-modern sonic mash-up for Generation O--is Zion I’s best attempt at turning their underground crusade into an overground movement.

Blaqkout is an audible feast, filled with Quik’s rich production and Kurupt’s tenacious lyricism.

Maybe The Mix-Up woks simply because it does nothing terribily wrong.

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]

Stacked solid with songs that chronicle her ongoing struggles through love's many stages. [Apr 2005, p.165]

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]

Cole's ability to belt to her heart's content saves the album from its inconsistent production. [Jul 2005, p.137]

It's been a long wait, but like reborn armies in the night, Third has the blare of revolution. [June 2008, p.70]

While the new direction is sturdy and refreshing, there is something comfortably familiar about it. The vintage shoes fit Saadiq, and he wears them well.

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

Ali fuses formindable mic skills and unvarnished honesty as effectively as Eminem. [Apr 2007, p.130]

His is an intrepid sound, taut and gorgeous. [Oct 2007, p.92]