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]

With Kiss of Death, Jada's well on his way to achieving hip hop immortality. [Jul 2004, p.136]

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

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

Legitimizes the D12ers as much more than simply Eminem's funky bunch. [Jun 2004, p.157]

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

Though Confessions doesn't bring Usher all the way to the artistic maturity one might hope for, tracking this star's progression definitely has its satisfactions. [May 2004, p.160]

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

His potent fusion of blues, R&B, funk, rock, gospel and hip hop has morphed his sound into something more Bobby Womack than Biggie. [Mar 2004, p.184]

Delivers both ass-shakers and contemplative cuts.

Outside the beats, the other surprise of Kamikaze is Twista's more worldly and thoughtful subject matter. [Mar 2004, p.184]

Brimming with updated old-school joints, original balladry, and classic-sounding R&B, Diary finds Keys more relaxed, confident, and committed to the tunes of the '70s than ever before. [Feb 2004, p.127]

Though age has dirtied up Green's once angelic tenor, all it takes is a swaying guitar-organ, cooing harmonies, surging horns, and rapturous lyrics to conjure up his ol' black magic. [Jan 2004, p.122]

A supremely confident dance record that also illustrates Spears's development as a songwriter. [Jan 2004, p.126]

It's monumental because it's a culmination of Jigga's natural thoughtfulness delivered with transcendent skill. [Jan 2004, p.120]

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

Though Comfort Woman does not match the rebellion of past efforts, its overall joy is infectious. [Dec 2003, p.214]

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

Sparxxx has now crafted a gem, thanks to improved songwriting and nimble production. [Nov 2003, p.157]

Some songs are just completely uninspired.... There are definitive highlights on Underground, however, that make this collection essential. [Nov 2003, p.147]

It's the songs of sadness and anger that work best.... But her club-anthem ambitions fall short here. [Oct 2003, p.180]

A significant step forward. [Oct 2003, p.179]

The album is a tapestry of reggae, rock, jazz, gospel, and pop, loosely assembled on the duo’s signature bass-and-rim-shot skeleton.

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

Though she doesn't add any real depth to her artistic sack, she captivates by revealing another stage in her development--as a woman. [Aug 2003, p.148]

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

It's reminiscent of a time when bumpin' L'Trimm's candy-coated "Cars With the Boom" was the definition of fresh. [Aug 2003, p.154]

While The Ownerz does not spark any new rap trends, it brings back the power of the basics. [Jun 2003, p.153]