The fact that Missy Elliott still considers her work to be "under construction" should, justifiably, send everyone else in the rap world scurrying back to the drawing board. No other commercial rapper sounded more in command of her production and flow than Elliott during 2002, and it's no surprise that Under Construction ranks as one of the best rap LPs of the year (granted, it came against relatively weak competition). While Timbaland's stark digital soul girds these tracks, Missy herself continues her artistic progression ...
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The fact that Missy Elliott still considers her work to be "under construction" should, justifiably, send everyone else in the rap world scurrying back to the drawing board. No other commercial rapper sounded more in command of her production and flow than Elliott during 2002, and it's no surprise that Under Construction ranks as one of the best rap LPs of the year (granted, it came against relatively weak competition). While Timbaland's stark digital soul girds these tracks, Missy herself continues her artistic progression, trying to push hip-hop forward with an almost pleading intro and neatly emphasizing her differences from other rappers by writing tracks for nearly every facet of the female side of relationships. The hit single "Work It" turns the tables on male rappers, taking charge of the sex game, matching their lewdest, rudest rhymes, and also featuring the most notorious backmasked vocal of the year. Elliott more than keeps up with a dirty-minded Method Man as well on "Bring the Pain," strikes back at haters on the self-explanatory "Gossip Folks," and produced her own duet with Beyoncé Knowles, "Nothing Out There for Me," a track that finds her trying to lure Knowles out to a party (using her best Timbaland impression) over the wishes of the diva's home-bound man. She also recognizes the constantly changing aspects of sexuality, admitting how dependent she is on a man during "Play That Beat" but ruminating on the curious power of the female persuasion on "P***ycat." Elliott goes on a refreshing old-school tear with "Back in the Day," featuring Jay-Z having more fun than he's had in a while and Missy crooning, "What happened to those good old days, when hip-hop was so much fun/those parties in the summer y'all, and no one came through with a gun." The disc closes with the TLC duet "Can You Hear Me," a tribute to Aaliyah and Lisa "Left Eye" Lopes. Missy Elliott obviously understands how important hip-hop can be when rappers concentrate on the music instead of the violent lifestyle; fortunately, her talents are just as strong as her vision. ~ John Bush, Rovi
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