He's got the beat rate up and lots of faux funk happening.

Meshell's best when making the political personal--as she does on the blistering, explicit ballad "Trust"--instead of the other way around.

Anyone hoping that this reunion with his old band would mean Springsteen's found his focus and was ready to rededicate himself to the freewheelin' spunk of his "classic" period will surely be disappointed with The Rising.

Accomplished and occasionally great as this album is, Endtroducing still casts the biggest shadow on it of all.

Though its methods reek of gimmickry, and are not as interesting as similar but more musical travelers like Plaid, Autechre, or Mouse On Mars, Matmos does construct a daring two-cans-and-a-string party album.

Built To Spill have made a concise, pop-smart record.

If there's a downside, it's that 13 may sound more like a sampler of ideas than a single-minded effort.

Few other contemporary electronic acts are quite so savvy in their subtle manipulation of traditional song elements within a cybernetic context.

He manages a harder edge without completely sacrificing credibility.

The album may not improve on 2001's Sophtware Slump, but its pleasures lie in accepting reasonable underachievement, and knowing that speed kills.

The mournful, blues-and-gospel-based "Fallin'"--a great song that was certainly no obvious choice as the first single--is the most notable declaration of independence, but Songs In A Minor is full of them.

"Implosion" is a bit of an overstatement. These guys go soft and introspective in the face of crisis and it never reaches the point of any actual combustion.

At times the reliance on heavy-breathing, laid-back grooves is a little annoying--Aaliyah doesn't quite have the pipes to carry off melodramatic fare like "Never No More," and a few more club bangers on the order of the springy, sassy "U Got Nerve" certainly wouldn't have hurt.

Kiss Of Death is certainly an improvement on its predecessor... However, what continues to bar Jada from the inner MC circle populated by Jay-Z, Eminem and even Kanye West is his lack of a broader vision.

Track after track of colorless bounce sabotages the memorable verses.

Failed experiments ("Techno Pimp") and a glut of odd skits and snippets not only seem forced, but make a mainstream move such as the friendly disco of "Missing You" sound equally bizarre.

This reviewer wishes he could tell you that Skull Ring is as good as his best past highlights--but it just ain't.

Even in a blindfold test, you'd probably guess it was his creation. That's both how distinctive and predictable he's become.

The album, produced by her longtime collaborators Jimmy Jam & Terry Lewis, doesn't drift from their if-ain't-broke-don't-fix-it formula that supplies Janet with dreamy, radio friendly R&B/pop to balance the record's angst and lust.

What gives Afrodisiac its allure are the confident club jams that mask B-Rocka’s vocal limitations without overpowering her.

As a vocalist, she remains somewhat faceless.

Time to pull out Dig Your Own Hole while the Bros. claw through this current slump, er, evolutional period.

Straight Outta Cashville is simply the same, moderately catchy collection as Beg For Mercy or The Hunger For More, made inferior by the addition of a few tuneless crunk trunk-rattlers.

Disappeared hints at the cathartic spillage of drum 'n' bass, while also dropping beats from Motown, rock, and beyond. But unfortunately the melodies that were once so incisive and pliant soon grow monotonous and alien.

In listening to Sugar Ray, it's easy to forget this band began as heavy guitar funketeers--its sound today is tame by comparison.

While, lyrically, Keith's material aims for the lowest common denominator, even songs like the shameless arena-rock ballad "American Soldier," are a pleasant change from Nashville's typical assembly line product.

Like P. Diddy in his prime or even Jay-Z, Nelly simply knows what the people want, and delivers--which is never as easy as the haters suggest.

While there is much to recommend this disc, Moth would be wise to develop a more distinctive voice.