Zachary Cole Smith has overcome a multitude of problems to make this intensely powerful album
Da Real World
[a]Missy Elliott[/a] roolz, muthafucka....
In her videos, she made hip-hop funny again. And she had, and retains, the best female voice hip-hop has known. Bee-itch. For the last 18 months, the ubiquitous magpies of black American hip-hop-pop loved her so much they nicked, entirely, her and producer Timbaland's boilingly-revered 'beat' and in 1999 the pair are hopping mad.
); 'All In My Grill', a delicious R&B smoother which guffaws at loser blokes with no "dough".
Much of the rest, however, is the sound of Timbaland trying desperately not to sound like Timbaland, his beat-replacement based on the sound of wrathful violas, again and again, like a man with his once-limitless talents tied into a severe knot in the middle of his eyebrows. This is a tragedy. As is its length; by the 66th minute you'll yearn for 'Supa Dupa...''s soul-melting whistlability. Still, the pair's huge creative giftage towers above the tired saps of black US pop and hollers, "Come up witcha own creativity". Just like they have, once again.
The film adaptation of R.L. Stine's classic horror novels is shockingly enjoyable
A defiantly bangerless take-me-seriously-as-an-artist album that reveals new charms every time you spin it
The utterly gripping story of how The Boston Globe exposed child abuse within the Catholic church
Hitmaker-for-hire makes a silk purse out of songs rejected by Rihanna, Adele and others