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
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.
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
Beyonce Knowles
,
"Nothing Out There for Me,"
a track that finds her trying to lure
Knowles
out to a party (using her best
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."
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
crooning, "What happened to those good old days, when
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
.
obviously understands how important
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