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

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

Here the production of Chicago post-rock maven John McEntire distends their horns... and fractures their beats. [Apr 2007, p.132]

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

Classic Mariah--for better or worse. [Feb 2003, p.137]

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

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

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

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

When Relapse ditches Eminem the craaaazzzyyy white rapper, in favor of a maniacal narrator obsessed with graphic rape and violence (subjects much more in line with hip hop’s forgotten horror-core subgenre than anything to do with being a superstar rapper in 2009), Em works wonders with words, expanding the boundaries of the art of rap itself.

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.

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

L.L. still has a few tricks up his sleeve. [May 2006, p.135]

Brass Knuckles is standard Nelly fare.

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

Though a few recycled cliches stall the disc... Murs's payback is a big payoff. [Jun 2006, p.164]

While DK's quest for pop domination falls short, the club-friendly Dollhouse cements their posh appeal. [May 2008, p.70]

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

Sure, the DFA treat their sources irreverently, but their updates are better. [Nov 2006, p.165]

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

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

There are crackles of life in his leaden thug poetry. [Apr 2007, p.128]

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

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

His cynical and intimate coming-of-age tales are a welcome twist on British rap. [May 2007, p.116]

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]

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.

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