Missy Elliott: Under Construction : Music Reviews : Rolling Stone

Album Reviews

It's hard to remember what the world was like before Missy "Misdemeanor" Elliott came along, but historical records indicate that it was a lot more boring. In the past five years, Elliott has been more inventive and entertaining than anybody else in pop music (yes, including Beck) -- she's got the good humor of somebody who never minds if the joke's on her. Her fourth album Under Construction, uninhibited and unpredictable, is her best yet.

Elliott has a few messages she wants to get across: Rappers need to stop killing each other (absolutely); more MCs should dance like in the old days (right on); and the point that really excites her is the right of women to be as raunchy as men. "Pussy don't fail me now," she sings. "Boys, boys, all type of boys/Black, white, Puerto Rican, Chinese boys," she raps. When she wants to allude to a guy's dangling trunk, she drops a sample of an elephant roaring, a euphemism worthy of Howlin' Wolf.

Collaborating with her indispensable producer Timbaland, who makes the most unlikely sounds bounce, Missy gets top-notch work from a bevy of guest stars: Beyoncé Knowles, Jay-Z, and on the humming groove of "Bring the Pain," Method Man. The only misstep is the last song, "Can You Hear Me," a mawkish collaboration with TLC that pays tribute to Aaliyah and Left Eye. Their grief is totally understandable, but the track sounds like high-fructose corn syrup. The rest of Under Construction? It sounds like habanero peppers, cinnamon and sweat.