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]