Missy Elliott Cookbook CD

Personnel: Missy Elliott; Fantasia, Fatman Scoop, Grand Puba, Mary J. Blige, Mike Jones , Slick Rick, Ciara, Vybez Cartel, M.I.A. .
Critics and fans were praising Missy Elliott and Timbaland so much during 2002-2003 that the hottest production combo in hip-hop may have started believing that a great production is synonomous with a great song. This Is Not a Test!, her first major mistake, featured cutting-edge tracks in abundance, but virtually nothing in the way of heavyweight material. Its follow-up, The Cookbook, brings the focus back to Missy the rapper and songwriter, wisely (in most cases) leaving the productions to a more varied cast than any of her previous records. Ironically though, Elliott herself produced the lead single, "Lose Control," giving it a tight electro feel (courtesy of some vintage '80s samples from Cybotron and Hot Streak). It's only the first nod to the type of old-school party jam that Elliott does better than ever here; "We Run This" resurrects the "Apache" break and a classic Sugarhill Gang track for one of the best club tunes of the year, Rich Harrison gives a bright, brassy production to another party song, "Can't Stop," and "Irresistible Delicious" featuring Slick Rick sounds at least 15 years removed from contemporary rap (yes, that's a good thing). In a few spots The Cookbook isn't too far removed from This Is Not a Test! -- Elliott forces a few rhymes, plays to type with her themes, and uses those outside producers to follow trends in hip-hop (she could have easily accompanied a 12-track record of her usual solid material with a watered-down "New Sounds in Hip-Hop & R&B EP" that would kick off with the syrupy Houston retread "Click Clack," the Neptunes' tired "On & On," and the bland pop-idol duet "My Man" featuring Fantasia). What's different here is how relaxed Elliott is, how willing she seems to simply go with what comes naturally and sounds best. "My Struggles" isn't the myopic confessional suggested by the title, but an East Coast all-stars jam that features one of her best raps ever and deftly switches in midstream to allow Mary J. Blige to reprise her "What's the 411?" classic (to say nothing of Grand Puba's verse). And the final track, "Bad Man," sees one of the most welcome collaborations seen in rap for some time, as Elliott joins dancehall heroes M.I.A. and Vybz Kartel (plus a drumline from Atlanta A&T). ~ John Bush
It's tempting to call 2005's THE COOKBOOK a return to form for Missy Elliott, but the truth is that she's never stepped from the forefront of commercial hip-hop as a conceptualist, songwriter, and producer (with the help of her peerless collaborator Timbaland). The rise of new sounds and trends in hip-hop might lead fans to expect Elliott to drop off any day. Instead, she draws those new sounds and trends into her orbit here, putting together an album that is cutting-edge, classic, sexual, glamorous, and natural all at once. In addition to highlighting the flavors of the day (traces of electro, Miami bass, dancehall, and grime are identifiable), Elliott goes old-school with the help of Slick Rick (on the superb "Irresistible Delicious") and lays out drippingly sensual R&B balladry on "Meltdown." Timbaland adds his production wizardry to a couple of tracks here, but this outing is distinguished by its host of guest producers, especially Rhemario Webber on the pulse-quickening "We Run This" and Missy herself on "Lose Control," the album's ferociously bumping first single. THE COOKBOOK satisfies on every level, proof positive that the genre's reigning queen is far from losing her touch.Spin (p.97) - "With Tim part-timing, Missy's left to fill in some beats on her own, adding a few producers who drop both true-school throwbacks and googly autoharps that conjure Bjork." - Grade: B-
Uncut (p.87) - 3 stars out of 5 - "R&B wins out, Missy flexing her voice and tuning the beats to an old-skool frequency....Her taste is faultless..."
Vibe (p.230) - 3 discs out of 5 - "On the album's most striking moment, 'Teary Eyed,' she injects gospel into a song that draws equally on R&B and New Orleans marching music."