[She takes a] new, inappropriately measured approach. [May 2007, p.115]

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

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

Ironically, it's the more tame (and nameless) persona that's the most intriguing, commanding and sexual.

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

There are plenty of surprises on Suit. [Oct 2004, p.184]

Those looking for timeless music on Pray IV Reign may find their prayers unanswered. But if you’re one of Jones’ longtime disciples, Capo’s got you covered.

R.O.O.T.S. is a solidification of identity. And when you’re trying to keep yourself in the game, sometimes that’s all a sophomore album has to be.

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]

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

It’s a solid offering of tightly conceptualized tunes.

Clothesdrop seamlessly blends Shaggy's sharpest pop sensibilities with his (much slept-on) roughneck pedigree. [Nov 2005, p.147]

Brass Knuckles is standard Nelly fare.

When all three work with the group, they invigorate Red Carpet....But when Danja is left to his own devices, problems arise. [Dec 2007, p.108]

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

With his latest long player, The Last Kiss, the Yonkers heat spitter’s exquisite rhymes again get lost in an overabundance of boilerplate attempts at hits.

The Atlanta MC attempts the melodramatic, but to mostly underwhelming results.

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

While The E.N.D may be the farthest The Black Eyed Peas have ventured outside traditional hip hop, the final product proves the group is best at creating their own conventions.

He sings with a quavering, unconvincing tremor, and his lyrics are often awkward and bland. [Apr 2007, p.130]

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]

Ludacris never truly breaks through. [Nov 2006, p.158]

Ciara is most comfortable in the nook of choreography-driven tracks....What Fantasy Ride lacks are the career-defining highs of songs like 'Promise' and 'Like a Boy,' songs that were romantic and indelible and altogether original.

While the content is strictly sex obsessed, the range of musical styles here is as varied and satisfying as the many positions and places the album will take you. [Sep 2005, p.229]

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

With a thin vocal range and punchy delivery, will sings and raps his way through half-baked funk vamps like 'She's A Star,' failing to effectively update the sizzling 'Thriller'-isms to which he's clearly in thrall. [Nov 2007, p.94]

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]

For every legitimate contender like 'Arab Money,' there’s mediocre fare such as 'Shoot for the Moon,' where he prattles over a nondescript synth bleat from Danjahandz.