On Shock, Timbaland has pushed himself--he's clearly striving for some of the charisma his best collaborators ooze. [May 2007, p.113]

Her ten tracks are disposable, and redeemed only by Prince’s extraordinary production ear.

Timberlake and Timbaland... write frustratingly awkward songs. [Oct 2006, p.142]

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

The music... is tacky and overproduced.... The songwriting here far outstrips Lopez's previous albums, though. [May 2007, p.116]

Aside from a new number (281-206-4336!), Jones offers few surprises--the guest list is robust and his rhymes are still mediocre.

While his lyricism is as sharp and searching as ever, inventive musical moments are scarce. [Feb 2007, p.125]

It's a mixed bag. [Jan 2007, p.112]

Generally, Chingy is blank, as flat as tap water. [Oct 2006, p.150]

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

While there's something joyful in the cacophony, the songs remain window dressing on the spectacle. [Oct 2007, p.94]

In fact, the flair that is championed on most Common albums is absent, leaving a vapid display of good ideas with unenthused delivery. This nonchalance has placed Universal Mind Control’s release, regardless of its intentions, in poor form, doing little for progressing Common’s ability.

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

Too often these songs either sound recycled or just uninspired.

Something's off... ESG's doe-eyed charm... is missing. [Oct 2006, p.148]

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

Erratic. [Feb 2007, p.126]