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]

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

There's nothing new here... but if your ears are inured to the dense, overly polished production of contemprary R&B, Stone's simplicity and rawness will come as a revelation. [Nov 2004, p.166]

Tipping a decade long residency within the music industry, Spears’ “comeback” is more so a restoration than a reinvention.

Mariah gets back to her winning formula with Mimi. [May 2005, p.139]

A tepid debut. [May 2007, p.121]

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

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

Despite a few failed revolutionary anthems, DP still has enough verbal ammunition to ignite the mind. [Feb 2006, p.130]

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]

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