Songs like 'Love, Love, Love,' and 'Can't Live Without You' create the quintessential formula for a classic two-step and Wilson is sure to dazzle longtime fans with the more easygoing numbers. But sleepier tracks like 'One Time,' border on clichéd at times.

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.

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.

The results are moderately exemplary; a project heavy in power production, but skim on memorable showmanship.

Unlike other albums maniacally programmed to target every pop niche (hello Jennifer Hudson!), Doolittle delivers one of the rarer qualities you’ll find in a contemporary album: a clear sense of who she is.

The Take Over--a post-modern sonic mash-up for Generation O--is Zion I’s best attempt at turning their underground crusade into an overground movement.

What is missing from Intuition is a balance between the party records and the slow jams. The division displays a lack of cohesiveness that separates the effort from being a great album into just a collection of potential singles.

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.

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.

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.

If there’s something the gifted singer-songwriter might want to learn, though, it’s the art of writing more memorable song lyrics.

Tipping a decade long residency within the music industry, Spears’ “comeback” is more so a restoration than a reinvention.

In 2008 Kanye struggled through tragedy so great that it forced him to go left. And ironically, at his darkest hour, Kanye has created his greatest album to date.

Ironically, it's the more tame (and nameless) persona that's the most intriguing, commanding and sexual.

Funhouse is more haunting than amusing, but the solidarity that comes along with her recent divorce serves as the effort's muse and proves to be her best partner in life.

The brothers are nimble lyricists, delivering raps in catch-me-if-you-can fashion, exercising little patience but encouraging repeated listens.

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

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

Something Else--a sharper, more concise follow-up to 2006’s breakthrough but spotty, "The Evolution of Robin Thicke"--songwriter and producer Thicke is using the tones and rhythms of soul music for a bigger idea: dissatisfaction.

His struggles did make for a strong album.

Ne-Yo is a stronger, more confident man than the one many remember licking his wounds on 'So Sick' from his debut album "In My Own Words" and 'Do You' from 2007’s "Because of You."

While the new direction is sturdy and refreshing, there is something comfortably familiar about it. The vintage shoes fit Saadiq, and he wears them well.

Brass Knuckles is standard Nelly fare.

The result is arguably his best work contextually since "Death Certificate" itself.

Impressive without being pretentious, Two Men possesses an urbane strut that’s perfect for jazzheads--and their country cousins.

­This endearing debut from Imani Coppola’s latest side project deftly explores the ferocious singer’s favorite themes--race, two-timers, herself--over programmer Adam Pallin’s sprightly soul interpolations.

All pounding drums and rolling keyboards, this is the Three 6 sound at its most dumbed down. The same could be said for the majority of Walk, which avoids the experimental sounds the group dabbled in on 2005’s "Most Known Unknown" and treads more familiar ground.

Of all the newish dance acts digging on vintage disco and chicago House, NYC-based Hercules & Love Affair boast the smartest cuts and most range. [June 2008, p.66]