A breakthrough for Slum Village. [Jul 2004, p.138]

Forever captures Common maturing graefully into his--and hip hop's--middle age at a time when many peers are either talking retirement or being forced into it. [August 2007, p73]

Finally the loverman is back. [Mar 2008, p.100]

Chrisette Michele has delivered a consummate R&B album: controlled, beautiful, thoughtful, with some oomph. The cameos are sparse, the up-tempo tracks are still soulful and the perils of love are dominant.

The finished product has glorious results. [May 2008, p.69]

The joyful arrangement in The Point of It All enhances Hamilton's storytelling abilities, serving as a lovely mixer to his lyrical depth and sensual, rich voice.

Testimony: Vol. 2, Love & Politics is proof that not only can Arie step out of her comfort zone of relationships and self-appreciation, but she can jog up a few levels as well.

Vampire Weekend have suceeded in putting the hips back in hipster. [Mar 2008, p.98]

In spite of the obstacles--both real and imagined alike--on their second full-length album, Donwill, Ilyas, and Von Pea, collectively Tanya Morgan, have crafted an expansive tour de force.

She's both deeply personal and relevantly dope, thriving where poetry slams and hip hop beats collide. [Sep 2004, p.231]

The Boys make earnest, delicate and occasionally gloomy synth-pop, but they want the pain to be danceable. [Nov 2006, p.161]

Though his singles may not rule radio, as far as full-lengths go, this is how it should be done. [Sep 2004, p.233]

Beyond Badu's self-appointed role as a teacher, what she does best is create really good music.... It should come as no surprise that Mama's Gun's organic feel comes from the team that helped produce D'Angelo's Voodoo. However, the most important sound of all is her unmistakable voice, making all of her songs like ornately crafted gems - even the unintelligible ones.

With a vicarious and melodious debut, it's clear that hip-hop's hopeful hasn't shied from his balancing act.

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

Still a nimble rapper, he's copped his best beats in years. [Oct 2006, p.142]

Unexpected is natural, pleasant and brutally honest, opening the eyes of those who slept on Williams' skills.

It’s Not Me, It’s You cooks up nostalgia for Allen diehards, but the elements have been shuffled and re-imagined with pulsating dance tracks that are surprisingly fitting.

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]

Doom satiates as both a producer and a lyricist. [Jan 2005, p.84]

It’s a solid offering of tightly conceptualized tunes.

The album has its puzzling moments. [Jul 2006, p.139]

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]

Contrary to the disc's title, however, Foxx grinds out by-the-numbers do-me anthems. [Mar 2006, p.188]

11 frenetic, oddball, and extremely original tracks. [Jun 2004, p.154]

Draft is brisk and jaunty, but also finds Dilla at his grimiest. [Apr 2007, p.132]

His self-titiled debut, a collection of mostly butterscotch ballads, is deliciously liquid in rhythm and blues. [Nov 2007, p.96]

Face Off is more fun than forced, full of exuberant dance ditties and training -bra snapping lullabies. [Feb 2008, p.86]