Missy Elliott'Under Construction'

Elektra

Grade: A-


When Missy "Misdemeanor" Elliott released her 1995 debut album, "Supa Dupa Fly," her uniquely delivered rhymes and producer Timbaland's futuristic beats gave hip-hop a makeover that it still has not outgrown. Since then, Elliott has revolutionized hip-hop, creating such unforgettable hits as "The Rain (Supa Dupa Fly)" and "Get Ur Freak On" in the process.

With her fourth studio album, "Under Construction," the Madonna of rap continues to raise the bar by shattering the negative stereotypes and clichs that have enslaved hip-hop for years. She integrates old-school R&B and hip-hop elements into her signature style while, most importantly, seeking to erase the hate.

With the opening track, "Go To The Floor," Elliott is up front with her intentions. All she wants to do is entertain, dance and make some money in the process. The album's first single, "Work It," is a hybrid booty-shaker that incorporates the electronic influence of Madonna's "Music" into the Indian-dance style of "Get Ur Freak On." "Work It" displays the lyrical gymnastics that earned Elliott credibility back in 1995. While this light-hearted material would seem vapid in the hands of a less charismatic and skilled artist, Elliott proves this vivacity is one of the album's greatest virtues.

"What happened to those good old days / When hip-hop was so much fun?" Elliott laments with Jay-Z on the old-school tune "Back in the Day." Here, she liberates herself and her art form by injecting the exuberance back into hip-hop. The song itself is an invitation that directs Elliott's fellow rappers to abandon the hate and return to the dance floor.

Although most of the material on "Under Construction" is careless dancefloor hip-hop, the old-school R&B ballad "Pussycat" is an outstanding point of difference. Carefully balancing delicacy with bluntness, Elliott croons unapologetically about the necessities of sexual satisfaction. She pushes the limits of her vocal range, achieving a new level of flexibility.

Throughout the album, the listener gets the distinct impression that Elliott has drastically changed. The album cover displays a slimmed-down, humbled version of the iconic singer. The trash talk is gone, the hate has been rejected, and the love has been embraced. No explanation is given for this change until the final track, "Can You Hear Me." With the soulful closing track, Elliott laments with guest vocalists TLC on the recent deaths of their best friends, Aaliyah and Lisa "Left Eye" Lopes. Together, they deliver an emotional performance atypical of a hip-hop record. It is Elliott's most heartrending and sincere performance since she collaborated with Aaliyah on "Best Friend" in 1995. References to the deaths of hip-hop pioneers Notorious B.I.G. and Tupac make the song's message clear: Hip-hop's brightest stars are being extinguished. Stop the gun-slinging before more MCs die.

Missy "Misdemeanor" Elliott's latest effort, "Under Construction," is more than simply a danceable hip-hop album. The album embraces the positive clichs that define hip-hop while leaving negativity behind. This gives "Under Construction" the edge and endurance necessary to outlast its competitors. Always self-assured but never insincere, Elliott asserts that her best work and hip-hop's zenith both lie in the future. Thanks to her, the latter just might be true.