POP/ROCK • COUNTRY • RAP/R&B • CLASSICAL

Capsule music reviews by USA TODAY critic Steve Jones

De La Soul, Art Official Intelligence: Mosaic Thump ( out of four ) Even when the groundbreaking Posdnuos, Maseo and Dave (formerly known as Trugoy the Dove) are just having a good time, they're more thoughtful and insightful than most of their contemporaries. Their fifth album — the first part of a triple CD to be released in installments over several months — is more lighthearted than 1996's Stakes Is High, but that hardly means it's lightweight. Making great use of cameos by Redman (the funk-drenched Oooh), Busta Rhymes (the club-shaking I C Y'all) and Chaka Khan (the retro All Good?), they give you food for thought and grooves for the feet. Pairings with Tha Alkaholiks and Xzibit and the Beastie Boys' Ad Rock and Mike D. are equally combustible. DJ Maseo grabs the mike on the powerful U Don't Want to B.D.S., on which he takes rappers and their gun fetishes to task. If this is just a taste of things to come, there is quite a feast in the offing.

Black Indian, Get 'Em Psyched () Washington may be the nation's capital, but when it comes to hip-hop, it's still a go-go (D.C.'s homegrown funk) town. Black Indian isn't the first rapper to come out of the District, but no one has succeeded enough to keep the city on the map. If Black Indian is going to change that, he'll need more inventive beats and clever rhymes. The themes of getting high, getting rowdy and getting paid recur frequently in the genre, but rappers who win offer something to hook you. St. Louis' Nelly, like the New Orleans MCs before him, at least injected local slang into mainstream parlance. The D.C. streets certainly breed colorful language, but it's underused here. Songs such as the cool title track and the Biz Markie-produced Making Cash Money offer promise, but Black Indian needs more of the same to keep 'em psyched.

Will Downing, All the Man You Need () If you already have the wine poured and the candles lighted, Downing is probably right on point with the album's title. His dreamy, romantic ballads (not including his remake of Bill Withers' Grandma's Hands) fit the desired mood nicely. Downing uses his warm baritone to good advantage on such songs as the lush Share My World, the breezy Summer Day and the smooth When You Need Me, a duet with the sultry Chante Moore. He's your man when it's time to cuddle.

Big L, The Big Picture () Lamont Coleman had been a New York underground legend for years when he was gunned down last year. The release this year of his crew Diggin' in the Crates' album gave a taste of his inventive wordplay, street insight and occasional wry humor. It's all on display here, especially on the slang-twisting Ebonics, the chilling tales Casualties of a Dice Game and The Heist, and The Enemy, which details his annoyance at being hassled by cops. Fat Joe, Sadat X, Guru, Big Daddy Kane and the late 2Pac guest on the album, which includes some classic tunes, new material Big L had been recording and unreleased songs. It's unfortunate that Big L's is another voice stilled too soon.

Bahamadia, BB Queen () Four years have passed since the Philadelphia rapper's critically acclaimed Kollage, and on her latest, she comes straight to the point with what she has to say. The self-proclaimed "beautiful black queen" packs more wallop into this jazzy 25-minute, seven-song set than most MCs manage on far more bloated albums. She goes against the current commercial grain of women living out their designer-wear, jewel-encrusted fantasies. She gives big props to women doing their best to stretch dollars like rubber bands on Commonwealth (Cheap Chicks) and decries society's fascination with the negative on Beautiful Things. Meanwhile, the sparse One-4-Teen (Funky for You) shows how a skilled rhymer can get to moving with her verses without being a slave to production. Though the album's brevity is a virtue, it also is its major drawback: Just as you're getting into it, it's over.

Brenda Russell, Paris Rain () Russell's songcraft has long made her compositions -- including songs popularized by Oleta Adams (Get Here) and Luther Vandross (If Only for One Night) — more recognizable than her voice to the general public. On her first album in seven years, she puts together several easy-on-the-ears ballads that talk about love, incorporating a wide range of musical influences. She's gently romantic on Love and Paris Rain and more deeply passionate on You Can't Hide Your Heart From Me. The smoky jazz of Baby Eyes (featuring a solo by saxophonist Kirk Whalum) contrasts nicely with the festive Latin flavor of Please Felipe. Russell has never been one to blow you away with her voice; instead, she aims to win you over with subtlety and intelligence.

Canibus, 2000 B.C. (Before Can-I-bus). () Canibus established himself as a battle rapper two years ago when he traded lyrical head shots with LL Cool J in hip-hop's most celebrated word warfare in years. Now he's back, without former mentor and producer Wyclef Jean, bristling with verbal armaments and zeroing in on just about everybody (including Jean) who strays into his sights. His one-note combativeness eventually grows tiresome, but not before some entertaining bouts (Watch Who U Beef Wit, The C-Quel) in which he beats down weak MCs and other targets of his venom. Along the way, he shows he can hang with the best of them, trading verse for verse with microphone god Rakim on I'll Buss 'Em U Punish 'Em

Somethin' for the People, Issues. () The SFP trio (Cat Daddy, Sauce and Fuzzy) still has a knack for coming up with quirky funk jams, despite a three-year recording hiatus while producing hits for Eric Benet and Will Smith. On their latest album, the members run the gamut of male feelings, from dogging gold diggers (Now U Wanna) to making amends for acting like dogs (I Apologize) to woofing it up (Take It Off) They also come through with several sensuous ballads and the pointed Bitch With No Man, in which a woman is urged to stop taking relationship advice from a girlfriend in no position to give it. The song may rub some the wrong way, but others will find that it hits the right nerve.

Toshi Kubota, Nothing but Your Love. () When you listen to Kubota's latest, it's hard to believe this is only the second English-language release by this Japanese star, who has nine previous albums. Kubota sings soul as if he were born to it, grooving with Raphael Saddiq, The Roots, Pras and Angie Stone. The title track is reminiscent of the breezy '70s funk of Roy Ayers or George Duke, with Kubota's smooth vocals drifting over it. The finger-popping Body Bounce, which samples Roger Troutman's More Bounce to the Ounce, and the pulsing Never Turn Back with Pras also stand out. Kubota made his first foray into this market with 1995's Sunshine Moonlight. This latest effort could make him a fixture here.

Jill Scott, Who Is Jill Scott? Words and Sounds Vol. 1 () For the record, Scott is a Philadelphia-born singer/songwriter probably best known to this point for her vocals on the live version of The Roots' You Got Me, which she wrote. But as she proves on her moving debut album, which blends R&B, funk, jazz, blues and spoken word, she is a deeply talented artist who marches to her own drummer. She tackles a variety of subjects, including love (Exclusively), politics (Watching Me) and inspiration (Try), with an earthiness, fervor and view of reality that vividly set her apart from her contemporaries. Answering the album title's question may not be simple, but what's sure is that Jill Scott is a singer worth repeated listenings.

Nelly, Country Grammar () This 21-year-old St. Louis native parlays local slang and a bluesy, laid-back flow into what might become hip-hop's newest hot flavor. Along with his crew, the St. Lunatics, the husky-voiced rapper succeeds (as did New Orleans native Master P before him) in turning heads with his regional vernacular and bold bass lines. Energetic songs such as Thicky Thick Girl, E.I. and smash single Country Grammar (Hot. . .) are the kind of funky jams that can keep clubs jumping all summer long. Still, after a while, you want lyrics that match the freshness of the sound; tunes such as Greed, Hate, Envy come across like so many you've heard before.

Mo Thugs, Layzie Bone Presents Mo Thugs III: The Mothership () This latest showcase under the Bone Thugs-N-Harmony umbrella finds Layzie Bone presiding over an uneven collection of tracks, mostly by up-and-comers, that fire this Mothership's engines but never achieve liftoff. Freaky G and the Emmortal Thugs make an impression with their rapid-fire Last Laugh, as does the wraithlike Seldom Seen on a song of the same name. But the best tracks are those by the vets, including Flesh-N-Bone's lament If I Can Go Back and Layzie with young son Jeremy on the incendiary The Backyard. Felecia, who first appeared on Ghetto Cowboy, the hit from 1998's Mo Thugs Family Scriptures Chapter II: Family Reunion, makes a welcome return on the introspective This Ain't Living with Layzie.

Nutty Professor II: The Klumps () The opening double punch of Janet Jackson's Doesn't Really Matter and Jay-Z's Hey Papi sets the tone for an album that remains consistent throughout. Strong offerings from Case, R. Kelly and Dru Hill's Jazz (prepping to follow in Sisqo's solo footsteps) balance nicely against edgy numbers from DMX and Method Man. Sisqo's uncensored Thong Song, with Foxy Brown, also can be found here, but the real highlight comes from two of hip-hop's most lyrically wicked lunatics — Eminem and Redman — who give up the aptly titled Off the Wall.

Ruff Ryders, Ryde or Die, Vol. 2 () Right from the start, the Ryders serve notice that they're not about "the industry" but "in the streets." They also show they have bench strength well beyond rappers DMX and Eve, who contribute just one song apiece. The heavy lifting is left — individually and collectively — to The Lox (Jadakiss, Styles and Sheek), newcomer Yung Wun and a roster of guest stars. Ace producer Swizz Beatz masterminds only five of the 14 tracks, but each one stands out. Among them are the anthemic WW III, featuring Yung Wun, Snoop Dogg, Scarface and Jadakiss; the pounding 2 Tears in a Bucket with Sheek, Redman and Method Man; and the ominous Fright Night, with Swizz joining Busta Rhymes on the mike. Elsewhere, Teflon displays his beat-making potential on Got It All — which finds Jadakiss skeptical about Eve's avowed independence — as does P. Killer on Jadakiss' banging My Name Is Kiss. From the looks of things, the Ryders still have plenty of gas in the tank.

Lil' Kim, The Notorious K.I.M. () There were two questions surrounding the release of Lil' Kim's much-anticipated second album. Could she pull it off without the help of late friend/mentor the Notorious B.I.G.? And could she find another level beyond the raw explicitness of her debut, Hardcore? The answer to both is yes, as she puts enough polish on the raunch to get more radio play, and she does it with a panache that says she is more than capable of standing on her own. Not that she has turned down the heat or anything, as songs such as Betcha She Don't Love attest. But she has a cleverness that sets her apart from her contemporaries. The dramatic Lil' Drummer Boy and surprising Revolution (with Grace Jones and Lil' Cease) show off her versatility, as does Hold On, a tribute to B.I.G. that also speaks to women who have suffered trials and loss. But most of all, she shows a willingness to go over the top (or bottom), as she and R&B star Sisqo take his salacious Thong Song two or three sweaty steps further with How Many Licks.

Kelly Price, Mirror Mirror () With her first album, Price dealt with the Soul of a Woman. This time, she deals with her heart, looking at the sometimes painful realities of love from a number of perspectives. Rather than simply take a pickax to the male psyche, though, she frankly addresses such issues as the need for better communication (You Should've Told Me) and awareness (She Wants You) in a relationship. The scenario painted in National Anthem with R. Kelly - an argument just before the kickoff of a pro football game - has a startlingly familiar ring to it, as do several other songs. Price can just flat sing, though, and that brings them all home. She tears up As We Lay, a song Shirley Murdock made her own years ago, and has the pipes and confidence to stand toe-to-toe with K-Ci Hailey and Gerald Levert on All I Want Is You.

Busta Rhymes, Anarchy () Busta spent his first three albums warning us that all hell was going to break loose as soon as the clock struck 2000. And while he concedes that we survived the dawning of the millennium, he hasn't been shaken from his apocalyptic view of the times in which we live. But even with all the doom in his forecast, he still has the best sense of humor in rap, and his mind-bending lyrics will have you shaking your head and your behind at the same time. The CD clocks in at around 73 minutes, but there are few wasted moments. Anarchy may reign as a theme, but on the mike Rhymes is in total control.

Next, Welcome to Nextasy () Minneapolis trio R.L., T-Low and Tweety are back to pleasure the eardrums with another collection of soulful, streetwise ballads and bumping party grooves. Their ability to contrast moods and ideas helps separate them from most of their competition. First single Wifey details what they want in a true love, while on Cybersex they lay the program for a lust object. Then there's The Jerk, for those moments when neither is available. Their fine sense of harmony comes through on the sensuous When We Kiss, and throughout the album they show they have the voices to back up their sexy swagger.

Shaft () Nearly 30 years ago, Isaac Hayes composed one of the most evocative movie themes ever for the film Shaft, starring Richard Roundtree. In the remake, out Friday, Samuel L. Jackson gets to stride around New York to an updated version of the same song. Like the original, this collection captures both the grit (on raps by Goodie Mob's Big Gipp, Outkast, T.I.P with Beanie Sigel, and Too Short) and the soul (songs by Donnell Jones, Carl Thomas, Angie Stone ) of living hard and fast on the streets. R. Kelly's gripping Bad Man serves as a nice bookend to Hayes' classic, detailing the kind of bad mutha the new Shaft is.

DJ Quik, Balance & Options () The Compton rapper/producer's fifth album pulsates with the kind of woofer-rattling funk you've come to expect from the West Coast. And as always, Quik has plenty of tracks about getting down and getting it on to keep the dance floors jam-packed. He doesn't offer much in the way of surprises or innovation, but songs such as Sexuality and Do Whutcha Want with Digital Underground sizzle. Tributes to Eazy-E and Roger Troutman are inspired, as is the infectious Divorce Song, sung by James DeBarge. But on balance, the primary option here is get with the groove and party.

Big Momma's House () Jermaine Dupri's first movie soundtrack gives you what you'd expect from the Atlanta producer/artist - plenty of thick Southern funk and jamming party anthems. He lends his raps to the first track, joins Missy Elliott to back up Da Brat on the thumping That's What I'm Looking For, and teams with Nas and Monica on the brassy I've Got to Have It. Elsewhere, Latocha Scott and Chante Moore engage in some interesting girl talk on Treated Like Her, and Jagged Edge and Blaque stage a battle of the sexes on You Can Always Go. If all that's too serious, you can go straight to the two tracks by Lil' Jon & the Eastside Boyz, which are designed for you to get on your feet and act buck-wild.

Eminem, The Marshall Mathers LP () No matter how hard most rappers choose to sound, there are certain lines of propriety they'd just as soon not cross. But maniacal Eminem not only crosses them, he scuffs them out with his feet. His family, fans, competitors, celebrities, fellow rappers, pop acts, record execs and others are targets of his vicious and patently personal lyrical assaults. It would almost grow tedious if he weren't as inventive as he is tasteless. But with producer Dr. Dre's macabre beats setting the mood, listening is a lot like wandering through a carnival's house of horrors. There is a gnawing spookiness to it that may make you uncomfortable, even though you know it is there for your amusement.

En Vogue, Masterpiece Theater () The members of En Vogue became the funkiest divas of the early '90s by setting trends, turning heads and blowing folks away with their intricate harmonies. But it has been six years since their peak, and in the interim, other groups have come along to strut their stuff. When En Vogue put out its last album, EV3, in 1997, Cindy Herron, Terry Ellis and Maxine Jones struggled to retool themselves into a trio after Dawn Robinson left to go solo. This time, though, rather than try to catch up with other girl groups, they've smartly gone in a different direction. Having realigned with original producers Denzil Foster and Thomas McElroy, they deliver a distinctly soulful set that has a street edge but also taps Beethoven and Carmen for inspiration. Sure, they talk about relationships, but without all the whining you often hear, and they keep their sense of humor. They have always known how to give you drama without overdoing the dramatics.

Lucy Pearl () Considering the pedigrees of this newly formed trio - Raphael Saadiq (Tony Toni Tone), Dawn Robinson (En Vogue) and Ali Shaheed Muhammad (A Tribe Called Quest) - the potential is certainly here for something remarkable. The results aren't always amazing, but they are consistently satisfying. With the trio's broad range of talents, it's hard to pigeonhole them as they swing confidently from greasy funk to breezy ballads to mellow grooves. They do a little flossing on pulsating first single Dance Tonight, and they have plenty of other songs that perk up your ears - such as Can't Stand Your Mother, on which Saadiq and Robinson give voice to those nasty thoughts regarding in-laws that couples often leave unsaid.

The Temptations, Ear-Resistible () After 40 years of music, you wouldn't think the Temptin' Tempts had any more tricks up their sleeves. But when Motown sent first single I'm Here (produced by Joe) to radio stations and identified the band only as a mystery artist, a lot of programmers thought they had some hot new group on their hands. What they had was a hit from a quintet that has shown a penchant for keeping a few steps ahead of the nostalgia police to remain a vibrant, hit-making entity. Original member Otis Williams, longtime member Ron Tyson and relative newcomers Harry McGilberry Jr., Terry Weeks and Barrington Henderson are clearly not ready to surrender their status as the Emperors of Soul. They've always set the standard, and with this collection of warm, sensuous ballads produced by Williams, Narada Michael Walden, Gerald Levert and others, newer bands have another course outline to get their lessons from.

Big Tymers, I Got That Work  () On most Cash Money records, the Big Tymers (co-CEO Bryan "Baby" Washington and producer Manny Fresh) provide comic relief with their trash talking. They do a little more than that on this album, particularly on anthemic first single Get Your Roll On, but they still rely on one or more, and sometimes all, of the Hot Boys to do most of the rapping. But with Fresh's ever-sizzling beats providing the bounce, you don't mind much if it's Juvenile and Lil' Wayne who carry the boastful #1 Stunna or the edgy Hard Life. No matter who is delivering the rhymes, Cash Money always seems to have a way with a catch phrase and a knack for grooves that keep heads bobbing.

Cypress Hill, Skull and Bones () Cypress Hill has always been the closest thing in hip-hop to a hard-rock band. Its seventh album features one disc of each type of music, and both are as raw and rugged as previous efforts. Still, the adrenaline-charged rhymes of B-Real and Sen Dog maintain their potency better over the throbbing bass lines of the rap CD than they do awash in thrashing rock guitars. But their dark humor and simmering rage are evident throughout, especially on cuts such as What U Want From Me and Cuban Necktie. And no Cypress Hill album would be complete without the members hyping the hemp, which they do big-time on Can I Get a Hit.

Killah Priest, View From Masada () The Wu-Tang Clan affiliate's second album tones down the biblical references of 1998's Heavy Metal, making it more accessible while remaining spiritual. He pours his densely constructed lyrics over mesmerizing beats while taking on such topics as the relationship between poverty and crime and living life in the fast lane. He takes a break from the seriousness by firing up the club with I'm With That. But he saves his choicest words for derivative and pandering gangster rappers on an acerbic duet with Ras Kass, Whut Part of the Game?

Avant, My Thoughts () The Cleveland singer/songwriter's "thoughts" are mostly about relationships. First single Separated tells the story of a painful breakup. Avant is best on grittier, reality-based tracks, including Let's Make a Deal and This Time. A soulful duet with Ketara Wyatt covering Rene and Angela's My First Love also stands out. Other ballads don't hang in your ear long after the songs end. Still, it's a promising debut for a singer who is at least thinking in the right direction.

Da 504 Boyz, Goodfellas () Master P is forever reconfiguring his No Limit stars to create entities (this one is named after New Orleans' area code). In the past, he and brothers Silkk the Shocker and C-Murder joined forces to form Tru. This time, P is joined by Silkk and the hyper-aggressive Mystikal for this latest roundup of life in the thug lane. With hit first single Wobble Wobble, they join the growing list singing in adulation of booty undulation, and there is plenty more raunch where that came from. The R&B-inflected album also has the requisite street tales about loyalty, revenge and protecting one's turf. Some of it is familiar, but songs such as Beefing (about the growing distance between old friends) and Moving Things (about a hustler whose woman has peeped his lie about working 9 to 5) at least scratch beneath the surface.

Dwayne Wiggins, Eyes Never Lie () If there were any concerns over the demise of Tony Toni Tone - one of the few '90s bands unafraid to funk - it's nice to know its principals haven't taken the edge off their organically grown grooves. Guitarist Wiggins - whose brother Rafael Saddiq makes his debut with trio Lucy Pearl this month - melds influences from Memphis soul to Sly Stone with his own greasy playing style to concoct a debut full of quirks and surprises. He sets the tone in the intro, musing about the sound of "Frank Sinatra with a flip," and segues into R&B Singer, which pays homage to Earth, Wind & Fire. Then Wiggins skillfully ventures off into several directions. On What's Really Going On (Strange Fruit), he deals with his experience with racial profiling by the LAPD, referencing the famed Billie Holiday protest song. Move With Me, which he wrote with Carlos Santana, and the hypnotic title track are tailor-made to bump in clubs, while gentle ballads address love and family values.

Tony Touch, The Piece Maker () The Brooklyn-born DJ long has been respected in the underground hip-hop community for his slamming mix tapes featuring freestyles from the hottest rappers. Here he gives mainstream an earful from his broad sonic palette with the help of more than 50 rhymers, including the Wu-Tang Clan, Gang Starr, Mobb Deep, Eminem and the late Big Pun. With that many styles and sounds available, Touch never has to give you the same thing more than once. The smooth DJ Premier-produced title track juts up against the intense Set It on Fire with the Flipmode Squad and is followed by the rhythmic U Know the Rules, on which Touch joins Cypress Hill on the mike. He raps on several other tunes as well, including the horn-driven The Return of the Diaz Brothers with longtime associate DJ Doo Wop. Other highlights abound, including the Big Daddy Kane/Kool G Rap/ KRS-One collaboration, Class of '87. The forward-looking Touch has put together a pretty impressive Class of 2000.

Deborah Coleman, Soft Place to Fall () If the fiery guitarist is in fact looking for a soft place to fall, it's only after she takes whatever hard knocks love has to dish out and shoots back with stinging jabs of her own. Her vocal statements are as pointed as the ones she makes on her guitar. Whether lamenting that she allowed herself to be dangled on a string (Another Hoping Fool) or boasting that she can make the devil crawl in the sand (I'm a Woman), she makes the spine tingle with her unbridled raw energy. For the past six years, Coleman has built a reputation in blues circles as one of the music's most exciting young talents. Her fourth album could mean she'll be less of a secret to everybody else.

Joe, My Name is Joe () On his third album, Joe brings the same quiet intensity that made 1997 breakout All That I Am such a hit. First single I Wanna Know is typical of the warm, passionate ballads he creates over mostly uncluttered arrangements. His supple vocals afford him flexibility when singing with other artists, as on the smooth I Believe in You with 'N Sync and the grooving Thank God I Found You with Mariah Carey, 98 Degrees and Nas.

Carl Thomas, Emotional () This Chicago native digs beneath the surface on his soulful debut. Though he has a powerful voice, he never succumbs to histrionics, opting instead for a conversational tone as he deals with fidelity, regret and joy. Thomas doesn't so much sing a song as deliver a story on grooving first single I Wish, about being in love with an unhappily married woman. And with such titles as Special Lady and My Valentine, he's not above a little gentle wooing.

Dalvin DeGrate,  Met.A.Mor.Phic () He brings rawer sensuality to the table with his solo debut. After vehemently denying rumors that he didn't do all his own vocals, DeGrate acquits himself well on such get-your-freak-on tracks as She Wanted, Long Day and Scandalous. He does a few passable ballads, but he's best when he has a greasy groove or gritty lyrics to work with.

Da Brat, Unrestricted () It has been three years since Da Brat threw Anuthatantrum, but she's still dealing tart tongue-lashings to both sexes. While producer Jermaine Dupri keeps the funk bumping, Brat unleashes a series of rapid-fire boasts about how she can keep any man of hers in check or take any man she wants with a look. Some of it will make you laugh; most of it will make you dance, though after a while a lot will sound the same. She makes good use of her heavy roster of guest stars, particularly Tyrese (What'Chu Like) and Kelly Price (Runnin' out of Time). A hilarious intro with Millie Jackson promises "buckwild outrageous" goings-on, and that's what you get at times, as Da Brat pushes but never really busts out of the envelope.

Pink, Can't Take Me Home () Wild hair and confident posturing will get you attention, but once you have it, it takes more to keep people interested. Pink (Alecia Moore) - L.A. Reid and Babyface's latest protégée - has enough vocal talent and edgy humor to prevent her from being blown off as another pop wannabe. Though she covers familiar love-themed territory here, she injects her songs (she co-wrote seven of the 13 tracks) with an attitude: She has a mind of her own and takes what she wants. As you'd expect with Reid and Babyface, the album is loaded with radio-friendly grooves and lyrical cleverness. But when you hear Pink caress the words on ballads such as Let Me Let You Know, you think they may have only begun to scratch the surface here.

Robert Bradley's Blackwater Surprise, Time to Discover () When this self-contained five-man Detroit band put out its self-titled debut gem four years ago, the story of gravel-voiced leader Bradley - a blind street busker from Alabama discovered when his bandmates heard him singing through the window of their studio - seemed almost too good to be true. For fans of gritty, old-school R&B, the same could be said for the group's follow-up album, a genre-mixing set of blues-inflected rockers and soulful ballads. Bradley's gruff, scratchy vocals are still the focus, but the band gives him plenty of fiery rhythms and simmering grooves with which to work. The organ-driven Ride, the moving Take Love and Receive It and the jamming Tramp keep this surprise a pleasant one.

Big Pun, Yeeeah Baby () When 28-year-old Christopher Rios collapsed and died of natural causes Feb. 7, hip-hop lost one of its brightest stars and most innovative stylists. This follow-up to 1998's Capital Punishment (the first platinum album by a Latino solo rapper) showcases his remarkable rapid-fire ability to spit out seemingly whole pages of rhymes without coming up for air. His hard-core but often humorous and hyperbole-laced rhymes put foot to all manner of wack rappers and rival posses. He's also versatile enough to take the edge off with the grooving It's So Hard, which features R&B crooner Donnell Jones. Much was made of this rapper's great girth (often by him), but it was his skill that made him pound for pound one of the best on the mike.

Rah Digga, Dirty Harriet () At first glance, you might be tempted to lump Rah Digga with the raft of glam female MCs who have come into prominence of late. But her raw, raspy deliveries easily set the first lady of the Busta Rhymes-led Flipmode Squad apart from the pack - as does a frame of reference far broader than her latest sexploits. Rather than rely on infectious beats or catchy hooks, the former electrical-engineering student constructs complex rhymes that force you to pay attention to what she's saying ("hos might oppose, but most chicks happy I can rock without taking off my clothes"). Guest stars such as Rhymes and Eve help spice up the mix, but the serious-minded Digga is fully capable of getting down and dirty on her own.

Common, Like Water for Chocolate () There is nothing ordinary about Common or his approach to making music. He eschews the usual drum-machine beats and guns/glitter themes for organically produced music and free-flowing poetics aimed at getting you to think instead of bounce - or at least think as you bounce. The jazz-flavored album, executive-produced by Roots drummer Ahmir "?uestlove" Thompson, features such guests as Roy Hargrove, Femi Kuti, Mos Def and D'Angelo, who seem to have been chosen more for their artistic contributions than commercial appeal. Common's densely structured rhymes are delivered with an intensity that requires you to listen to what he's saying . There are songs you can dance to here . But the powerful A Song for Assata, his take on the life of former Black Panther Assata Shakur (a fugitive living in Cuba, wanted for slaying a New Jersey policeman), sets the tone.

Romeo Must Die () Maybe it only seems as if Aaliyah has recorded an album's worth of soundtrack songs over the past few years, but movies have certainly kept her busy since she last put out one of her own - 1996's One in a Million. She put tracks on such diverse projects as Anastasia, Dr. Dolittle and Next Friday. This time she's clearly the star - both on screen in the Jet Li film and with four cuts here, led by the lilting Try Again and I Don't Wanna. She also contrasts nicely with a growling DMX on Come Back in One Piece. Elsewhere is the usual soundtrack mix of all-star and up-and-coming talent. Chante Moore, Joe and David Hollister are among the standouts.

Tamar ( ) The first question that springs to mind is "Can Toni Braxton's baby sister sing?" The answer is yes, although her voice is less husky and distinctive than her more famous sibling. Still, she more than holds her own when her material measures up. She goes toe-to-toe with Jermaine Dupri on the edgy, album-opening Get None (which also features rapper Amil) and takes a strong stand on the quirky Respect Me. But the "he's no good" theme gets monotonous after a while. She also straddles the fence when it comes to money, saying on one song that it can't buy love, but conceding on another that it sure pays the bills. Still, she has a penchant for turning a catchy tune, and that at least enhances chances of her making a name for herself.

Ice Cube, War & Peace Vol. 2 (The Peace Disc) () Ice Cube has come a long way from his days as a scowling gangster rapper who called himself "Amerikkka's Most Wanted." These days, he's just as likely to be seen on screen as heard on record. On the second part of his War & Peace opus (the more ominous War disc was released two years ago), Cube is in a relatively festive mood, with bumping party grooves, sexually explicit romps and reflections on his dozen years in the business. He does reserve some tongue-lashings for materialistic rappers and greedy record executives. Guest appearances include Mack 10 and Ms. Toi on the raunchy You Can Do It - also on the Next Friday soundtrack - and former N.W.A. partners Dr. Dre and MC Ren joining Cube to look at where they came from and where they're headed on Hello. He also teams with Krayzie Bone for the upbeat first single, Until We Rich. For a man who has often taken pokes at society, this is probably as easygoing as it gets.

Drag-On, Opposite of H20 () The 20-year-old Bronx rapper is the latest Ruff Ryder to step to the front, after apprenticing with appearances on the label's Ryde or Die Vol. 1 compilation (Down Bottom, also included here) and on albums by fellow Ryders DMX, Eve and The Lox. He comes out breathing fire on Spit These Bars, but loses his creative intensity with songs that have a too-familiar ring to them. High points include pairings with his aforementioned labelmates, plus the pulsating Snipe Out and autobiographical Life Still Goes On, in which he talks about the relationship he never had with his father.

Sammie, From the Bottom to the Top () The last things a 12-year-old trying to make it as a singer needs are comparisons to Stevie Wonder and Michael Jackson. Usually, they guarantee some early attention but install a critical standard that finds the artist wanting once the hype and packaging are stripped away. But this precocious Floridian, produced by Dallas Austin, does seem to have the talent to build a career on and the ability to infuse his puppy-love musings with a sense of sincerity. The charm here is that while his voice is mature beyond his years, his sensibilities are not. It's a novel concept these days - having a child act his age, worrying about his future, trying to catch the eye of that special girl and singing the praises of his parents. That he can do it without sounding corny or contrived says a lot about the potential represented here.

Beanie Sigel, The Truth (): On the swaggering Raw & Uncut, Sigel trades verses with Jay-Z and characterizes himself as Scottie Pippen to Jay-Z’s Michael Jordan. The analogy fits, since Sigel, like his mentor, is a star in his own right, more than capable of taking over a game. Sigel built anticipation for this solo debut with several notable guest appearances, and his cleverly constructed rhymes pulsate over driving, muscular beats. In addition to Jay-Z (whose otherwise commercially unavailable single Anything is tagged on this album as a bonus track), Sigel gets support from Roc-a-fella Records mate Memphis Bleek (on the hard-hitting Who Want What) and fellow Philadelphian Eve (looking back on their pre-gravy period on Remember Them Days), among others. But with tracks like the gritty Stop, Chill, the ominous What Your Life Like and the inventive Mac Man, he doesn’t need a posse to tell his truth.

Gerald Levert, G (): This is Gerald Levert’s 12th album as a solo artist or with a group since he made his debut as a member of the trio Levert in 1986. His constant presence over 14 years has made him one of R&B’s most distinctive and powerful voices, but it also has made it one you’d almost take for granted. That would be a mistake, since he has matured into an assured songwriter (he co-wrote all 14 tracks here), adept at tapping into the common man’s struggle with life and love. Unlike on 1998’s star-studded Love & Consequences, guest appearances are kept to a minimum - a wrenching breakup duet with Kelly Price is a notable exception - leaving the focus squarely on Levert. He has learned to harness that gruff, soulful voice - inherited from his famous father, Eddie Levert of The O’Jays - which can blow away almost all of his contemporaries, to express varying degrees of joy and pain. First single Mr. Too Damn Good is a typical example. There’s nothing fancy or particularly innovative about it. It’s just a solidly crafted song performed by someone who can flat-out sing.

Hear samples of: Battlezone

Bone Thugs-N-Harmony, BTNF Resurrection () The latest from the family Bone - Krayzie, Layzie, Bizzy, Wish and Flesh - is not nearly as ominous as 1997's apocalyptic double disc, The Art of War. But they still view life as a daily struggle, fought on several levels, to survive, thrive or just maintain. The stories are told with their trademark rapid-fire raps and haunting choruses, with some focus on getting paid (Servin' tha Fiends, Paper) or getting high (Ecstasy, Weed Song). But they're best when the theme is staying strong (Can't Give It Up, Don't Worry). There seems to be less talk of death and graveyards here than on previous albums, but the music still has an edge to it. Whatever the subject, the Bone Thugs haven't forgotten how to prick your ears.

Trick Daddy, Book of Thugs: Chapter AK, Verse 47 () Miami rapper Trick Daddy occasionally gets you to crack a smile as he careens through a catalog of criminality. But more often than not, he feeds you a hefty dose of the same stuff you've heard before about running the streets. That's OK on songs such as the brassy Shut Up and the jamming SNS (Get on Up), and the insightful Amerika provides a rare dose of thoughtfulness. Otherwise, this course in thugology is just a bit too elementary to hold your attention for long.

Amel Larrieux, Infinite Possibilities () Larrieux's ethereal voice was first heard in 1995 on Groove Theory's hit Tell Me and that same year on the self-titled album by Sweetback (Sade's bandmates). Those same airy tones can be heard on her solo debut, which offers a wide range of funk and pop grooves. At her best - on the bluesy Sweet Misery and the softly yearning Makes Me Whole - her subtle stylings shimmer with emotion. At other times, though, the upbeat, jazzy vibes seem to blend together. There are still possibilities out there for Larrieux to explore; adding a little more edge to the songs would have made them more distinctive.

D.I.T.C. () New York's eight-man Diggin' in the Crates collective proves to be a versatile and talented crew. And this album serves as both a showcase and a poignant tribute to member Big L, the respected underground rapper who was slain last February. While each of the others - Fat Joe, Show, A.G., Diamond, O.C., Buckwild and Lord Finesse - gets a chance to shine, Big L absorbs much of the spotlight with such cuts as the funky Get Yours, prideful Stand Strong and slang-sling Ebonics. D.J. Premier provides a driving groove for the pulsating posse anthem Thick, and the crew pounds all takers on Da Enemy. One benefit to such a large group is that vast numbers of guest stars become superfluous, but the ones here - for instance, KRS-One and the late Big Pun joining A.G. on the lyrically dense Drop It Heavy - are used to great effect. D.I.T.C. avoids the unevenness that besets many efforts like this. It not only hits hard; it does it consistently.

Screwball, Y2K () New York's Queensbridge has produced legends almost since the beginning of hip-hop, and Screwball (the quartet of KL, Hostyle, Solo and Poet) seems well equipped to carry on the legacy of MC Shan, Nas, Marley Marl, Mobb Deep and more. In a debut that both pays homage and looks ahead, Screwball hits hard with gritty though often familiar tales over a relentless series of driving beats. Collaborations with the likes of Shan, Havoc, Prodigy, Cormega and Capone provide some of the album's best moments, but Screwball also stands on its own on such cuts as the DJ Premier-produced Seen It All and the sure-to-be-controversial Who Shot Rudy, on which the group fantasizes about the demise of New York's Mayor Giuliani.

Jeffrey Osborne, That's for Sure () With the exception of a few duets and a 1997 Christmas album, Osborne hasn't recorded for nearly a decade. But one of R&B's most distinctive and consistent voices of the '70s and '80s clearly still knows how to work a song. Here he offers a full range of silky ballads and bouncy uptempo grooves with a mature appeal, showing he understands that subtlety and nuance are just as important as sheer vocal power. On the tender title track, he skillfully lets the emotion build as he makes his promise of a lifetime commitment, and he does the same when trying to let go of a lover on Can't Find an Easy Way. He even injects a bit of humor into the grooving All My Money, gleefully singing about how his woman's "got him pumping iron twice a day" to keep up with her. And for his old fans, he delivers an exuberant live update of Love Ballad, his 1976 hit with the band LTD.

Ghostface Killah, Supreme Clientele () The Wu-Tang Clan's Ghostface follows 1996 platinum debut Ironman with a brooding mix of lyrically dense and sonically diverse tracks. Unlike most Wu projects, this one isn't produced by RZA, though the clan leader makes a brief guest appearance on the mike, as do fellow members GZA, Method Man, Raekwon and Masta Killah. The beats come from a variety of producers, but Ghostface is up to the challenge of rhyming to sounds varying from the piano-laced The One to the edgy Apollo Kids to the old-school-grooving Nutmeg. Thematically, he's both serious (Malcolm) and silly (Child's Play), preceded by lurid musings about several female stars, but he never fails to be clever and engaging.

Snoop Dogg Presents Tha Eastsidaz () On the first album for his Dogg House Records label, Snoop Dogg gives fellow Long Beach, Calif., rappers Tray Dee and Goldie Loc a chance to shine. They take full advantage on several cuts on this Dr. Dre-influenced G-funk compilation, notably The G in Dee, Tha Eastsidaz and G'd Up. They have to get it while they can, though, because Snoop's better-known flow often dominates, and it seems that almost every West Coast rapper (Dre, Nate Dogg, Warren G., Xzibit, Jayo Felony, Silk E. Fine, Rapp'N 4 Tay and a host of others) stops in to drop a verse or two. That doesn't detract from the consistently bubbling funk and fluid grooves that flow through the album. Next time out, though, it'd be nice to let Tha Eastsidaz carry more of the load themselves.

The Lox, We Are the Streets () The Yonkers, N.Y., trio's defection from Puff Daddy's Bad Boy camp for Ruff Ryders was anything but a sweet parting, and the members come out spewing venom at their former employer. At times, they carry off this "personal beef" to good effect, though after a while it seems they're spending more time than necessary dwelling on it. On this follow-up to 1998's gold Money, Power & Respect, Sheek, Jadakiss and Styles shed their "shiny suits" and return to the "hard as concrete" style on which they built an underground reputation before they hit the mainstream. With Swizz Beatz providing most of the production for the rugged rhymes, The Lox crackles on songs such as the pounding Wild Out and the anthemic If You Know (with fellow Ryders Beatz, Drag-On and Eve). When the group isn't pile-driving Puffy, the subject matter centers on the usual staples of crime, drugs and sex and, while colorful, adds nothing to the vocabulary.

Trin-I-tee 5:7, Spiritual Love (): This trio certainly is well suited for bringing gospel to urban radio. With a style more akin to R&B divas than to gospel stars, and with such collaborators as Kirk Franklin, R. Kelly and producer Fred Jerkins, the three have a mainstream sound. The difference, though, is that the kind of love they sing about isn't the usual bump-and-grind variety, and their relationships are with God rather than some "good-for-nothing type of brother." They steadfastly maintain their celibacy on one song and sing about commitment to their faith (as opposed to a lover) on several others. To their credit, they are able to do so and still get into a groove.

Jagged Edge, JE Heartbreak (): As the name might imply, there's more to this Atlanta quartet than just smoothed-out harmonies. Though this sophomore album is laden with silky ballads, the group also mixes it up by jamming to street-tempered beats. The best of these is the infectious Girl Is Mine, which features the strident rhymes of Ja Rule, and the bouncy Keys to the Range, with Jermaine Dupri, who also produces several of the album's tracks. But the group's forte is romance - in scenarios ranging from trying to lure a woman out of a bad relationship (first single He Can't Love U) to professing a lifetime commitment to a lover (Let's Get Married). However, they really don't break any new ground in touching all the get-your-groove-on bases in between.

The Madd Rapper, Tell 'Em Why U Madd (): Deric "D-Dot" Angelettie, who has made his name as a hit-making producer at Sean "Puffy" Combs' Bad Boy label and introduced his ranting, scratchy-voiced alter ego on the Notorious B.I.G.'s Life After Death, makes his debut after years of helping the likes of Mase, Puff Daddy, The Lox, Jay-Z, LL Cool J and Foxy Brown climb the charts. Ironically, up until now, the Rapper hasn't actually done much rapping, appearing instead as a comic-skit character on other artists' albums. But with first single Dot vs. TMR, Angelettie shows he does know how to work out on the mike. The album launches his Crazy Cat Catalogue label, and features a bubbling blend of superstars and new artists. Stir Crazy spotlights Eminem, one of the few rhymers certifiably wackier than the Rapper himself, while Puff Daddy laces the instructive How We Do. There also are notable contributions from Mase, Jermaine Dupri, The Beatnuts and Raekwon, and newcomers Picasso Black and Desert Roze whet the appetite for more. Angelettie might be Madd, but at least listeners won't be mad at him.

The Hurricane ( out of four); Any Given Sunday (): Far too often these days, movie soundtracks are often little more than disparate - though star-studded - collections of tracks that have little to do with the movie itself. That failing is avoided by two vibrant albums for films that recently hit theaters. The story of wrongfully imprisoned boxer Rubin "Hurricane" Carter stirs deep-seated emotions, and the music for the Denzel Washington film deftly taps into that maelstrom. Hurricane, a moving recounting of the boxer's life by Black Thought, Common, Mos Def, Dice Raw, Flo Brown, The Jazzyfatnastees and The Roots, serves as a poignant modern-day counterpoint to Bob Dylan's 1975 song of the same name (also included here), a stirring call for justice when the boxer was first fighting for his freedom.

The album is a blend of old and new songs that share a common thread in their celebration of the power of the human spirit in the face of despair and injustice. From Gil Scott-Heron's The Revolution Will Not Be Televised and Ray Charles' Hard Times No One Knows to Melky Sedeck 's Still I Rise and Me'shell Ndegeocello's Isolation, the music packs the same dynamite that Carter had in his legendary fists.

The music for director Oliver Stone's tale of life in professional football is as brash and hard-hitting as its subject matter. Some of hip-hop's finest - Mobb Deep, LL Cool J, Goodie Mob and Missy "Misdemeanor" Elliott - weigh in with edgy, percussive tracks, while rockers Hole and Godsmack pound their points home with driving guitar anthems. The overall impact is the same controlled chaos you'd expect to find on the field on any given Sunday. Probably the album's biggest surprise is the movie's star, Jamie Foxx. He turns in a more-than-credible job singing the title track, which also features rappers Guru and Common.

Hear samples of: Do It Again (Put Ya Hands Up) Things That U Do

Jay-Z: Vol. 3 . . . The Life and Times of S. Carter (): Considering Jay-Z's phenomenal success the past year, he would have been well within his rights to capitalize on his burgeoning pop appeal by softening his rhymes to broaden his audience. Instead, he chose to go the opposite route, "bringing the suburbs to the 'hood." If anything, getting bigger has made him harder, more defiant and more apt to take on all challenges. Whether he's describing a night of debauchery with Roc-a-Fella cohorts Beanie Sigel and Amil on first single Do It Again (Put Ya Hands Up), creating an anthem for his native Marcy Projects in Brooklyn on NYMP or openly daring enemies to step to him on Come and Get Me, his lyrics and sense of timing are as razor-sharp as ever. Jay-Z gets production help from several notable track masters, including Timbaland, who does four tracks; Swizz Beats, on Things That U Do (featuring Mariah Carey); and Dr. Dre, on a creeping ode to living for the moment, Watch Me. He probably has as good an understanding of his popularity as anyone, as he shows on the evocative Dope Man, in which he's put on trial for becoming like "audio crack," addicting listeners. The evidence: three previous albums that have marked the rapid evolution of an artist who may be only beginning to approach his peak. Later this month, the court will have to decide on the real felony assault charges he faces, stemming from a December stabbing. But, when it comes to his music, he makes his own case.

Hear samples of: One More Road to Cross Angel

DMX, . . . And Then There Was X (): The extravagant life of a baller is a prevalent hip-hop theme, but DMX is having none of it. He leaves the glitter of jewels, cars and fast women to others, reveling instead in the grimy underbelly of the streets. He offers a chilling trip through the mind of an assassin, ponders the wisdom of giving a traitor a break, and broods over trusting a woman's intentions. Even a song like Party Up, with its industrial pounding and unbridled belligerence, isn't exactly a funky good time. And when he's not in your face, he's in his own head, confronting his demons and seeking answers. After two multiplatinum al- bums a year ago, you might have wondered if he'd lose any of his bite, but, if anything, he's as ferocious as ever.

Hear samples of: World Party Chain Swang

Goodie Mob, World Party (): Once Khujo, Big Gipp, Cee-Lo and T-Mo get this party started with the festive title track, you don't want it to stop. The riveting first single, Chain Swang, is one of the year's best, and others -the creepy I.C.U. and lively Cutty Buddy -uphold the group's high standards of intelligence, artfulness and humor (a woman is offered a "candlelight breakfast at the Waffle House"). The Mob squares off with LaFace labelmates TLC on What It Ain't (Ghetto Enuff), each spitting verses, with all kinds of scrubs and pigeons winged in the cross-fire. The group's first two albums -Soul Food and Still Standing -brought critical acclaim, and it won't be caught standing still. Instead, it's pushing forward and throwing down all the way.

2Pac & the Outlawz, Still I Rise ( ): When you hear yet another posthumous Tupac Shakur album is on the way (this is the fourth since he was gunned down in Las Vegas in September 1996), your first impulse is to wonder how much longer this can go on. But then you hear that haunting, pensive voice and realize that the prolific rapper's catalog of unreleased material hasn't quite run dry. Though some of the gangster-oriented rhymes seem a bit dated, others -talking about the limited options some kids face growing up in the ghetto, parents standing up to their responsibilities, the day-to-day stress of survival or the games politicians play -are timeless. The spare, moody beats create an appropriately ominous vibe, but there is some irony listening to him at this point on such songs as U Can Be Touched and The Good Die Young. The latter provides the eeriest moment, as a voice intones a dedication to the students who were murdered at Columbine High School this year (2½ years after Shakur's own death).

Click here: 'G-Code'

Juvenile, Tha G-Code, Live by It - Die by It (): Money, women and loyalty to one's clique are recurrent themes on the Cash Money label's records, but Juvey's assured deliveries and Manny Fresh's percussive beats always keep things bubbling along. Like his most recent hits, Ha and Back That Thang Up, lead single U Understand hooks you with its insistent chorus and driving rhythms. But what keeps things interesting throughout is Juvenile's ability to thematically swing from the rough to the ribald and always keep it funky. He even has a word for have-nots waiting on a handout - there are A Million and One Things they could be doing to improve their situations. To his way of thinking, having nothing is no excuse for not getting something.

Hear samples of: NWA's 'Chin Check' Frost, Kurupt, Soopafly & Don Ciaco's 'Mamacita'

Next Friday (): Ice Cube reprises his role as a man dealing with a neighborhood bully in the sequel to the 1995 cult film Friday. But his reprised role as the lead voice in the seminal gangsta-rap group N.W.A. is what's likely to create the most excitement on this soundtrack. His reteaming for the first time in 10 years with MC Ren, Dr. Dre and Snoop Dogg (filling in for the late Eazy-E) is supposed to be a harbinger of a full-scale reunion sometime late next year. Until then, there's the hard-bouncing Chin Check to whet appetites. In keeping with the film's theme, the rest of the album is loaded with hard grooves and street-inspired humor, from Wyclef Jean's jam about taking a little slick leave to get his groove on (Low Income) to Eminem's zany tale of a bumbling robber (Murder Murder). Pharoahe Monch, Bizzy Bone, the Big Tymers, Krayzie Bone and Ja Rule also make notable contributions. It looks as if Next Friday is going to be a nice day.

Kurupt, Tha Streetz Iz a Mutha (): Kurupt's second solo album, with production help from former Dogg Pound partner Daz Dillinger and guest shots from a host of other West Coast stars, is full of rhymes for the streets. He rips into treacherous homies and lecherous women with unbridled ferocity. While several of the tracks strike familiar grooves, he strays from the beaten path with the classical-strings-backed Trylogy and the freestyling Live on the Mic, featuring KRS-One. The song sure to stir controversy, though, is Calling Out Names (placed at the end of the album and unnoted on the packaging), a personal diatribe against former fiancée Foxy Brown and rapper DMX, who Kurupt says tried to take her from him. Neither of them has commented on the record, but it's clearly something Kurupt wanted to get off his chest.

Jazzyfatnastees, The Once and Future () Mercedes Martinez and Tracey Moore have lent their honeyed harmonies to recordings by acts as diverse as Eric Benet, Me'Shell Ndegeocello, De la Soul, the Brand New Heavies, The Roots and Stevie Wonder. But on their Once and Future debut, these singer/songwriters show they have too much going on to stay in the background. Their blend of talents allows them to paint outside the musical lines while making them impossible to pigeonhole. Backed by real musicians, the earthy Moore and the ethereal Martinez trade leads and create a sound that is sensual, soulful and totally their own. If there is a formula at work here, it's not one that anybody else has picked up on.