VANESSA E. JONES

OutKast, "Speakerboxxx/The Love Below" (Arista)
Hate them for being critical darlings, but love them for putting out consistently good and challenging music. On this effort, Big Boi steps out of Andre 3000’s shadow with an assured collection of funkalicious beats while Andre delivers work that’s often more experimental than compelling.

Erykah Badu, "Worldwide Underground" (Motown)
Rumor had it that Badu was suffering from writer’s block. Instead of laying a stinker, Badu delivered a quirky, satisfying EP. Sure, it initially sounds like a string of unfinished demos, but the rock-soul-hip-hop vibe actually works after repeated listenings.

Jay-Z, "The Black Album" (Roc-A-Fella Records)
Listen closely and you’ll hear a number of Beyonc· references, but trolling for clues to Hova’s relationship with his alleged honey isn’t the only reason to enjoy what’s being billed as his last CD. The strongest cuts are introspective and delve into the blues/hip-hop combo introduced in the rapper’s classic "The Blueprint."

Anthony Hamilton "Comin’ From Where I’m From" (Arista)
He doesn’t sound like Teddy Pendergrass, Luther Vandross, or any other legend. He sounds like himself and that’s a great place for a new singer to be. Hamilton’s voice contains the pain of the blues and his songs have a soul missing in contemporary R&B and hip-hop.

R. Kelly, "Chocolate Factory" (Jive)
Who knew that this kind of controversy could be a good career move? Amid his legal troubles, Kelly released the unthinkable – a CD with the strongest set of songs in his long and fruitful career.

Ms. Dynamite, "A Little Deeper" (Interscope)
The UK garage style that informs this London-based singer/rapper’s debut is steeped in R&B, hip-hop, and reggae. Ms. Dynamite often studies too hard at the knee of politically minded singer Lauryn Hill, but the strength of the good songs makes up for all the problems.

Kindred the Family Soul, "Surrender to Love" (Sony)
Songs about committed relationships between adults – what a concept! Add delectably soulful singing and beats that hark back to ’70s R&B and you get Kindred’s strong debut. The couple don’t achieve artistic heights on every cut, but when they do it’s heavenly.

50 Cent, "Get Rich or Die Tryin'" (Interscope)
50 may be the most overexposed rapper of the year, but it’s for a reason. "Get Rich" contained so many hits, the CD sounded like a mix tape. Credit producer Dr. Dre, who provides delicious beats. Points off for 50’s uninspiring raps about being a "P.I.M.P." and overall thug.

Radiohead, "Hail to the Thief" (Capitol)
The seductive cut "There There" pulls you into this CD and a handful of quirkily crafted songs make you stick with it. Thom Yorke’s mannered whine occasionally annoys, but the electronic beats help "Hail" deliver without making listeners rely too heavily on the fast-forward button.

Beyoncé, "Dangerously in Love" (Columbia)
On her first solo outing, Beyoncé starts strongly with a diverse group of songs that smartly used unusual samples, showcased the singer’s emotional range, and gave the pop charts the best singles of the year ("Crazy in Love" and "Baby Boy"). Unfortunately, the CD peters out in an embarrassing sputter of sludge. Not bad, but her fans expected better.