Exactly three years after release of Mariah Carey’s 2005 smash ‘The Emancipation of Mimi’, the Diva serves up her 11th studio effort in the form of 'E=MC²'. Billed as the emancipation of the 38 year old superstar ‘to the next power’, the age old adage ‘sequels never top originals’ echoes loudly throughout the set. By no means bad, it’s worse – mediocre; which after associating itself with its career-rivalling predecessor, doesn’t bode well for the record overall.

Arguably boasting some of Carey’s best work in recent years, the record’s standouts are exceptional. Album-opener ‘Migrate’, with its Southern, gritty production (courtesy of Danja) and killer bass-line, exemplifies Carey’s most revered quality in today’s uncertain music climate – her ability to ride over just about any beat effortlessly. Man of the moment, T-Pain (vocoder in tow), features on this future Urban smash.

Elsewhere, the brainchildren behind the some of Carey’s biggest hits, Jermaine Dupri and Bryan Michael Cox, reunite with the songstress – serving up more of their winning formula. With ‘Thanx 4 Nothin’’, Carey and Dupri recapture the raw R&B sound that made 1997’s ‘Butterfly’ such a delight. It’s the Cox produced ‘For The Record’, however, that stands as the album’s most prominent highlight. The confessional track, which sees Carey remind a past lover not to “let go of us”, is a worthy successor to the ‘We Belong Together’s’ and ‘Don’t Forget About Us’’ that came before it. On the production front, the song has a darker edge to the aforementioned, yet evokes the same emotion that made them so relatable. By the time Carey belts out that last chorus, enlisting her trademark whistle note in the process, a new layer of authenticity is added to the song’s lyrics. Flawless.

For all its goodness, the Damian Marley assisted ‘Cruise Control’, is worth a listen, if only to hear Carey’s laugh-inducing attempt at Jamaican Patois. Thankfully, for Carey, the very deliberate nature of the ‘tongue- swap’ is conveyed by the laughs and “you crazy” which follow by the song’s producer Jermaine Dupri. The album’s light, playful mood is also evoked on the infectious first single ‘Touch My Body’, which is a lot stronger than oft given credit for.

Despite its highlights, the album, save for a few select tracks, comprises a collection of mediocre songs engineered to be radio-ready. Gone are the showy ballads in the vein of ‘Mine Again’ and ‘Circles’ that drove home its predecessor ‘Mimi’s’ tagline – ‘The Return of The Voice’. In its place an uncharacteristically vocally-restrained Carey, sails though the set list – sounding not far removed from vocalists she’s long been placed well above – only showcasing ‘The Voice’ sporadically on tracks such as the inspirational ‘I Wish You Well’.

Though Mariah’s partnership with JD yields great results on parts of the album, cuts such as ‘Last Kiss’ and the cheesier than cheese ‘Love Story’ do very little to further the legacy of their creative partnership. Arguably, serving as more of a detriment than anything else. The Cox produced 'I Stay In Love' falls flat also.

Dupri’s contribution to the record isn’t the only hit and miss affair on album. Famed Norwegian producers Stargate seem a little lost on their efforts; for Carey’s current single ‘Bye Bye’ relies too heavily on their same formulaic sound heard on just about every song on the radio these days. The anthem-like ballad only hits a home-run following the bridge, whereby Carey belts her heart out – still, sounding, somewhat restrained. On the other hand, with the funky-fresh ‘I’m That Chick’; it’s the slick production that compensates for the downright terrible lyrics. Often priding herself on her ability as a song writer, Carey, who is credited as a writer on the song, serves up lines such as ‘You know this what it be, I'm like the lottery”. Ok then…

As with Stargate, Carey’s enlisting of producers she hadn’t worked with prior, though a bold move, leaves a lot to be desired. Aside from the solid DJ Toomp produced ‘I’ll Be Loving You Long Time’, her collaborations with Swizz Beats on ‘O.O.C (Out Of Control) and Scott Storch - ‘Side Effects’ – disappoint. ‘’Effects’, though lyrically intriguing, due to Carey opening up about her failed marriage to Tommy Mottola, doesn’t instil the desire to listen again.

For an album billing itself as the 2nd instalment of such a stellar piece, it was always going to be a tough task to top it musically – a task it falls short of by quite a margin. Hook-laden and ready to be served to radio, you’ll likely be humming along to many of the tracks by the end of the CD’s running time. How many of those songs you remember come a year from now, however, will be a true testament to the album’s (lack of) longevity.

Your thoughts on our review and the album?

At one point the standard-bearer for R&B/Hip-Hop, Sean ‘Diddy’ Combs’ Bad Boy Empire has undeniably fallen on hard-times in recent in years. Following the departure of several of the label’s key acts, Bad Boy has been MIA on the charts for longer than their supporters and more so Combs would have liked. Enter Day26; a five-piece consisting of Willie, Qwanell, Robert, Mike and Brian. Formed on the popular MTV show, aptly titled ‘Making The Band’, the guys are part of Combs’ plan to stage a Bad Boy revival of sorts. With this their self-titled debut (out March 25th), Day26 show that there may be hope yet for Diddy’s once-sinking ship.

‘I’m The Reason’ launches the album off to a great start; with its Go-Go inspired production and excellent vocal arrangements, the song highlights both the album’s strongest area as well as, what reveals itself to be, its biggest detriment - the slicker than slick, high production value. Whilst on some tracks such as the standout lead single ‘Got Me Going’ (produced by Mario Winans), the guys flow effortlessly over the beat, other instances draw attention to the glossed-over holes in Bad Boy’s newest collective.

Still, when the album ‘gets it right’, it’s hard to deny its proficiency. Producer Bryan Michael Cox is at the helm of some of the LP’s most solid offerings which include standout ballad ‘Are We In This Together?’ - a personal favourite, ‘Don’t Fight The Feeling’ and the over-performed, yet still thoroughly listenable ‘Exclusive’. Other notable cuts include the Motown-esque ‘Silly Love’ (despite its cheesy lyrics/arrangements), the steamy ‘This Is What It Feels Like’ as well as ‘Since You’ve Been Gone’ – which undoubtedly has to be a single candidate. Another highlight is ‘In My Bed’, which sees the group’s soulful vocals compliment the gritty street-tinged production.

Filler abounds, however, in the form of tracks such as The Runners produced ‘Come With Me’. The chorus sees group sing “Come with me, I’ll put you fast asleep”. Indeed, the song, despite its decent production value, bored me half to sleep. Elsewhere, The Runners contribution to the record again doesn’t always hit the mark, as evidenced by ‘Come In’. Here, the ironically vintage B.M-Cox sounding beat essentially swallows the group’s vocals, reducing them to a mere echo of what they should sound like.

Despite its shortcomings, ‘Day26’ is a polished, well-sequenced effort by Bad Boy’s latest additions. With the undeniable vocal prowess of the group both individually and as a unit, in conjunction with the endless potential they posses, Day26 could well be on their way to championing Bad Boy’s comeback.

Within the two years that followed the release of Danity Kane’s self-titled debut, the group – consistent of Dawn, Audrea, Aubrey, Shannon and D. Woods – amassed a legion of loyal fans and experienced Platinum sales. Yet speculation about rifts between the ladies and management, as well as among themselves, threatened to dissolve the group just as quickly as they were formed. Having ironed out their issues, Danity Kane are back with their sophomore effort ‘Welcome To The Dollhouse’ (due March 18th). An eclectic Pop/Urban/Dance fusion, with ‘Dollhouse’ the ladies prove their worth and then some.

The rousing Missy Elliot-assisted ‘Bad Girl’ lifts the album off to a great start. With its up-tempo, whimsical production – courtesy of Danja - and clever play on the album’s title concept (‘When the red light comes on I transform’), the track sets the tone for the rest of the record. Elsewhere, the metaphorically steamy ‘Striptease’, as well the club-destined ‘Pretty Boy’ (both also produced by Danja) are standouts. The great reception of the album’s lead single ‘Damaged’ also speaks for itself.

Markedly more Pop sounding than their 2006 debut, ‘Dollhouse’ possess a distinct appeal to a broader audience. The synthpop sounding ‘Sucka For Love’ – a personal favourite – as well as ‘Lights Out’ are good examples of this; as are edgy standouts ‘Poetry’ and ‘Is Anybody Listening?’

Despite its many highpoints, ‘Dollhouse’ isn’t without a few shortcomings. The gritty ‘Ecstasy’, which is somewhat reminiscent to the group’s first single ‘Show Stopper’, could have done without the Rick Ross feature – totally unneeded. ‘Street credibility’ may have been a reason, yet the end result makes it tempting to hit the skip button. What’s more, the Bryan Michael Cox produced ‘2 of You’ suffers from the text-book case of ‘awesome production, terrible lyrics’ - ‘You got me having breakfast in the afternoon…’ Ok then. ‘Ain’t Going Nowhere’ – a collaboration with fellow ‘Making The Band’ co-stars Day26 and Donnie- seems out of place on the otherwise very well flowing record.

With ‘Welcome To the Dollhouse’, Danity Kane, not only deliver a solid collection of sassy, assertive radio-ready hits, the ladies serve up their most cohesive effort yet – highlighting both their artistic growth and uniformity as a group. Indeed, one of the better releases so far this year, ‘Dollhouse’ sets the group head and shoulders above their competition. The successors to the girl-group thrown vacated by a certain Destiny’s Child, perhaps? A long shot, maybe, but Danity Kane are undoubtedly headed in the right direction.

After the numerous delays and title-changes, critics and fans alike could be forgiven for believing Kelly Rowland’s sophomore effort ‘Ms Kelly’ would never see the light of day. However, Rowland dispels any notion of ‘doubt’ on what is a highly sassy, confident and, yet, emotionally vulnerable record. With ‘Ms Kelly’, the Destiny’s Child singer firmly establishes her prowess as a solo artist. Ready or otherwise, Kelly Rowland – the solo star – has arrived.

‘The girl that they used to know done changed’, Rowland proclaims on the fantastic album opener and lead single ‘Like This (ft. Eve)’. Indeed, the track- produced by Polow Da Don- is a departure from the more subdue sound Kelly featured on her last solo outing, 2002’s ‘Simply Deep’. Here, Rowland exudes a new found confidence that resonates throughout the album. The Scott Storch produced ‘Work (Put It In)’ – one of many highlights - best exemplifies this; with a pulsating beat and deliberately suggestive lyrics, Rowland doesn’t hold back.

‘Ms. Kelly’ particularly excels in its slower paced offerings. The whimsical ‘Flashback’ and confessional ‘Still in Love with My Ex’ see Rowland reflect on the harshness of love and break-ups. Vocally, Rowland’s delivery compliments the emotional pain and vulnerability the lyrics exude. Refreshingly, an alternate approach is taken to the prominent theme of relationships on the standout track ‘Love’. Produced by newcomers Mysto & Pizzi, Rowland sings ‘Love / It’s a cold, cold world out there/ When it rains it pours I swear’ with a distinct rawness in her delivery. ‘The Show’, a steamy duet with R&B crooner Tank also serves as another standout track.

Other notable songs include the laid-back Snoop Dogg collaboration ‘Ghetto’, whereby Rowland enlists the use of her upper-register to detail what she looks for in a man. Elsewhere, Kelly channels her ‘inner Brandy’ harmonically on the well-assembled ‘Better Without You’.

The album’s shortcomings are few and far between. However, it should be noted that the Storch produced ‘Comeback’ is somewhat letdown by questionable lyrics: ‘I got that Comeback / That Hubba Bubba’. Also, the, otherwise infectious, ‘Every Thought Is You’, may have benefited from Rowland vocally exerting herself more.

On this her second outing, Kelly Rowland has managed to establish herself as a credible solo star. ‘Ms. Kelly’ boasts a collection of great songs which convincingly convey Rowland’s own artistic merit; no longer is she stuck in anyone’s shadow. Sexy, sassy and confident, ‘Ms. Kelly’ is definitely worth purchasing.

‘Ms. Kelly' is released in Europe June 25th & in the US July 3rd

Upon listening to Rihanna's third album 'Good Girl Gone Bad' it is immediately apparent that - as the title suggests - the Bajan star has shed her innocent image and replaced it with a more sexed-up/edgier sound. The resulting tracks, however, are an unevenly balanced collection of great songs and tracks that are average-at-best.

The infectious lead single 'Umbrella' opens the album with a bang and serves an indicator of the album's alternate sound. Yet, things from there onwards take on a patchy form. Fantastic songs such as the sexually-charged dance number 'Push It Up' and the whimsical 'Say It' are few and far between. On paper, some of the interesting song titles drew me to them; however I was left underwhelmed by many of them such as the unconvincing 'Breakin' Dishes'. Though, I should note that the pop/rock fusion 'Shut Up & Drive' has grown on me considerably since initially hearing it and I feel it to be one of the album's few standout tracks.

Prior to now, I haven't been feeling much of Amerie's material. However, after hearing her latest album 'Because I Love It', I must say that she really delivered. Many have questioned how good the album would be, seeing as she didn't work with longtime collaborator Rich Harrison ('1 Thing', Why Don't We Fall In Love' etc). Yet, by switching things up, Amerie has managed to carve out a great new sound for herself.

The CD has a distinct 80's throwback vibe to it, whilst also managing to stay current; the funky 'Crazy Wonderful' and 'Some Like It' are good examples of this. Other album highlights include current single 'Take Control', the vintage Brit-Pop sounding 'Crush' and ballad 'All Roads'. Upon listening to the album, it's also evident that Amerie has stepped up her vocals; she isn't hitting Mariah-esque notes but her voice now has alot more range. 'When Loving You Was Easy' is probably the best vocal performance I have heard from the 'Touch' singer before. The album's less entertaining moments are few and far between, with only the Harrison-sounding 'Hate2LoveU' and filler 'Paint Me Over' not needing to be featured.

Amerie has consciously separated herself from the sound of many of the other 'R&B Chicks' and has produced a great album in the process. 'Because I Love It' is definitely worth a buy. The CD hits stores 11th May in Germany, 14th May in the UK, 16th May in Japan and summer in the USA.