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.

Each song here is crammed with all kinds of Kool & the Gang hand claps and Chemical Brothers bass drops. [Dec 2003, p.218]

Delivers a spiritual and political message that's both sensual and relevant. [Oct 2003, p.185]

Frustratingly uneven. [Dec 2006, p.165]

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]

Lovage only works some of the time--the record's sense of humor often trumps its music. [Feb 2002, p.123]

While less preposterous than her second album, The Id, this is still a frustrating piece of work. [June 2003, p.154]

Largely sounds like a drug-induced, incoherent jam session. [Dec 2004, p.215]

After that promising start [with 'I Love College' and 'Lark on My Go-Kart'], however, Asher loses focus. He floods the Bread Aisle with a series of interesting pop concepts ruined by bland choruses.

Stylistics paralyze Hudson's debut, but it is her impassioned talent that keeps the album on life support.

When [Fergie] nails it--as she does about half the time on her genre-jumbling solo debut--the result is strange pop that successfully blurs the thin line between annoying and alluring. [Nov 2006, p.160]

[He] sounds stuck in a rut. [June 2004, p.152]

Clever turns of phrase, the reason you go to Banks in the first place, are in lesser supply on Apple, replaced with boilerplate declarations of supremacy. [Oct 2006, p.148]

This once-fiery, if rambling, thinker now sounds like a man cooled off. [Sep 2007, p.130]

Sermon's crisp production maintains a chill vibe, but the tight network of guests can't make up for his inadequate skills on the mike. [Aug 2004, p.141]

But even with all the emo-passion, nearly half of this album is lukewarm.

A decidedly mixed blessing. [Sep 2002, p.250]

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

There are plenty of dull moments on Level II, but the memorable ones keep the proceedings interesting. [Apr 2003, p.177]

Unfortunately, Sweat is affected by some forced collaborations and shallow subject matter. [Oct 2004, p.184]

213's obsolete subject matter offsets otherwise satisfying sounds. [Sep 2004, p.236]

On his sophomore effort, iSoujaBoyTellem (Interscope), the YouTube legend attempts to sound all grown up, but for the most part, sticks to his rather unusual brand of hip-hop for the Google generation.

Grown feels more like an extended elevator ride than a true adult movement. [Sep 2005, p.236]

Occasionally, the chemistry is thrilling... Mostly, though, Shadow picks collaborators allergic to subtlety. [Oct 2006, p.143]

The bigger problem is Paul's unexpectedly anemic production. [June 2003, p.155]

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

Ultimately, he sounds confused--he wants to bare his soul and boogie on, but the boogie isn't nearly enough. [Mar 2008, p.97]

It reeks of generic blandness. [Feb 2008, p.86]