Janet Jackson: "Can't B Good" review

Despite Janet Jackson's 10th studio album, "Discipline," debuting at No. 1 on the Billboard 200 in February, pop and R&B radio turned a cold shoulder to singles "Feedback," "Rock With U" and "Luv." Perhaps chart conqueror Ne-Yo—16 years her junior—will breathe new life into the project, where staples Rodney Jerkins and Jermaine Dupri faltered. As producer/co-writer of "Can't B Good," Ne-Yo serves up a smooth, jazzy groove and Jackson's soft, supple vocal, fluffed with multiple background layers that duly merit adult R&B love . . . not that previous offerings were any less deserving. Island has been admirably tenacious, but boy, J needs a hit. If there's no payoff this time, well, that can't b good. This is bound to be the final shot for this CD.

Source: Billboard.com

Mariah Carey [ft. T.I.]: "I'll Be Lovin' U Long Time" video review

In which Mariah Carey rides a dolphin and looks good doing it. The song's laidback beat, syncopated piano, occasional ascending strings, and pleasant T.I. verse make "I'll Be Lovin' U Long Time" a pretty perfect roller rink jam, and that's not even mentioning the fact that Carey hilariously makes a catchy chorus out of a reference to the "me so horny" line from Full Metal Jacket. At the very least, it's a nice breather in between repeat listens of "Love in This Club".

Source: PitchforkMedia.com

Nas: "Hero (Feat. Keri Hilson)" review

As one of rap's greatest lyricists, it's fitting that Nas has the last word about the controversy surrounding his latest project (which was to be called "Nigger," but is now untitled). He proclaims to be a hero because of his ability to connect with the people his music speaks to, while serving as one who overcame obstacles to achieve success. But rather than rehash a rags-to-riches story, Nas takes it in another direction: By bringing into question why he can't tell the truth about today's struggles, he points out the irony of how to some he still is that word that he himself cannot use to title his album: "Still in musical prison, in jail for the flow/Try telling Bob Dylan, Bruce or Billy Joel/They can't sing what's in their soul." Genius.

Source: Billboard.com

Alanis Morissette: "Flavors Of Entanglement" review

No one ever envisioned Alanis Morissette penning the comfort guide to a harsh breakup, yet for electro-influenced "Flavors of Entanglement," her clear-eyed look back, inward and forward is with a poise borne of time's passing. She no longer prowls in search of vengeful hookups. After the finger-pointing "Straightjacket," the singer declares "a respite from the toils of liaison" on transcendent ambient trip "Moratorium." Chill-out track "Giggling Again for No Reason" gurgles with delicate happiness, and there's room for throbbing masterstroke "Versions of Violence," whose vibe compares to Delerium's "Silence." Every wall is torn down for vulnerable piano prayer "Not As We," but plenty of hope is left for the uplifting "Incomplete." Full of gratitude for being "ever unfolding, ever expanding, ever adventurous," Morissette's superb lyrics leave you cheering for her—and assured that she's going to be just fine.

Source: Billboard.com

Lil Wayne: "Tha Carter III" review

He's the self-proclaimed "best rapper alive," has made more than 40 guest appearances since 1999 and has been the most hyped hip-hop artist in recent time. But with help from A-list guest stars (T-Pain, Robin Thicke) and producers (Kanye West, Swizz Beatz), Lil Wayne backs up the boasts on the oft-delayed "Tha Carter III." In case you were on the fence, he reminds how "ill" his skills are on "A Milli" ("I'm a venereal disease/like a menstrual I bleed"), and he drafts fellow Carter Jay-Z to dismiss the haters atop piano and horns on "Mr. Carter." And while tracks like the played-out-themed "Got Money" and the elementary-sounding "La La" fall short of the mark, others like the "E.T."-inspired "Phone Home" and "Dr. Carter," on which Wayne literally attempts to resuscitate hip-hop, further secure his spot in said genre's pantheon.

Source: Billboard.com

N*E*R*D: "Seeing Sounds" review

Listen to the words on the third album by the Neptunes' side-project rock band and you'll wonder if Pharrell Williams does anything but doubt the motives of the various women crowding the margins of his adventures in clubland. For a less depressing experience, ignore the lyrics and direct your full attention to N*E*R*D's full-color beats, which after a dip in quality on 2004's "Fly or Die" repay close examination here. Dig the way "Yeah You" layers a pop-soul saxophone lick over a funky jazz-rap bassline or how "Spaz" answers the long-burning question of what Stereolab would sound like if it were a nü-metal group. Thematically starved, "Seeing Sounds" is nonetheless a sonic feast.

Source: Billboard.com

Usher: "Here I Stand" Billboard review

After a four-year break, Usher's fifth set is bursting with grown man, true-to-life tales like leaving his player ways behind ("Before I Met You"), falling in love ("Something Special," "Lifetime" and the title track), making love ("This Ain't Sex") and having a child ("Prayer for You," featuring a weeping Usher Raymond V, his new baby son). Grown-up relationships drive "His Mistakes," about a woman who is scarred by a past fling, the piano-and-drum-laden "Best Thing" featuring Jay-Z and "What's a Man to Do," which finds Usher belting about loving two women at once. Still, tracks like the naughty "Love in This Club," the sensual "Trading Places" ("You get on top/ tonight I'm on the bottom") and the Danja-produced "Appetite," about his desire for sex, confirm Usher still hasn't lost his young boy charm.

Source: Billboard.com

Foo Fighters: "Let It Die" Billboard review

In the 13 years since Foo Fighters' self-titled debut, frontman Dave Grohl has quietly made the transition from celebrated drummer to arena rock heir apparent, taking part in collaborations with John Paul Jones, Brian May and rock'n'roll cheerleader Jack Black. With sixth album "Echoes, Silence, Patience & Grace," Grohl and his fellow Foos again demonstrate reliability as hitmakers. The disc has already produced two modern rock No. 1s: "The Pretender" and "Long Road to Ruin." Third single "Let It Die" is more visceral and frenzied than either, suggesting a band wary of complacency. The song alternates between muted acoustic guitars and an explosive wall of sound, and culminates in screams worthy of Grohl's punk past. The track, which also features Pat Smear on guitar, is one of few safe bets for programmers in the topsy-turvy world of rock.

Source: Billboard.com