The Tipping Point
HIP-HOP
CRITIC'S CHOICE

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On their last album, 2002's mind-blowing Phrenology, the Roots pushed the boundaries of rap music to genre-bending extremes. On this satisfying follow-up, which takes its title from Malcolm Gladwell's 2000 book about how social phenomena break out, the Philly hip-hop band scales back its approach to its jazz-rap foundation. Born out of jam sessions with guest musicians such as guitarist "Captain" Kirk Douglas and percussionist Frankie "Knuckles" Walker, the new disc has the free-flowing feel of an extended improv at a cool after-hours joint. The CD jumps off with "Star," a cautionary commentary on fame that judiciously samples the 1970 Sly and the Family Stone soul gem "Everybody Is a Star." Elsewhere, the Roots lay down a funky, James Brown-style groove on "I Don't Care," while using horn charts alongside vaguely Middle Eastern flourishes on the chilled-out "Stay Cool." Meanwhile, emcee Black Thought offers up topical political observations on the reggae-tinged "Why? (What's Going On?)" and the R&B-flavored "Guns Are Drawn." A couple of forgettable freestyle raps and a less ambitious scope make The Tipping Point fall short of Phrenology, but the Roots remain true to where they came from.

JoJo
POP

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Thirteen-year-old JoJo (real name: Joanna Levesque) has clearly been studying her pop idols. She's got Ashanti's penchant for hip-hop soul, a dash of Pink's attitude, and Christina Aguilera's knack for oversinging. On her self-titled debut, the Foxboro, Mass., native shows that although she may still be a little too young to play with the big girls, she's no average JoJo. In fact, the hit single "Leave (Get Out)" is destined to be the breakup anthem of the summer. With its lilting guitars, stuttering midtempo groove and sassy girl-power lyrics, it's one of the guiltiest pleasures on TRL right now. There are several other tracks here with the potential to follow "Leave" up the charts, including the partyjam "City Lights," which recalls What's the 411?-era Mary J. Blige, and the uplifting "Use My Shoulder." However, JoJo has yet to really grow into her big voice. Her showy, strained melisma on routine numbers like "Sunshine," one of three tunes she had a hand in writing, sounds as if she's auditioning for American Idol. (She actually competed on the TV show America's Most Talented Kids.) This diva-in-training will need to tone it down before she graduates to the next level.

Good News for People Who Love Bad News
ROCK

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After years of modest success, this Issaquah, Wash., outfit finally made the big time with its latest album, thanks to the hit "Float On," a breezy piece of guitar-pop heaven. The bad news is that those looking for more of the accessible melodic punch of "Float On" won't find much else here. But the good news, for longtime fans of this quirky quartet, is that Modest Mouse hasn't abandoned its indie-rock roots. Displaying an arty edge that suggests a modern-day Talking Heads, the band keeps you guessing by throwing in horns, accordion, banjo, even ukulele. While this offbeat approach is sometimes off-putting, it's never mousey.

Ricky Martin

The Latin pop star, 32, is fighting against child prostitution and forced labor with People for Children, part of the Ricky Martin Foundation.

ON WHY HE CHOSE THIS CAUSE Millions of children in the world are being forced into sexual labor. We're talking about slavery. In some countries it's more obvious than others. But it's something that can be happening in your neighborhood and you don't know.

ON USING HIS FAME TO HELP OTHERS My music is accepted everywhere. I reach masses of people. So let's take advantage of this to make a difference. It's something every entertainer should do.

ON HIS UPCOMING ENGLISH LANGUAGE ALBUM I've been traveling all over the world, learning about different sounds and instruments. I created a really cool sound. I call it tribal rock.

ON "LIVIN' LA VIDA LOCA" BEING FEATURED IN SHREK 2 It was so funny it was great. They imitated my video, actually. It's flattering. I could imagine Antonio Banderas and Eddie Murphy [who sang the song] locked in a studio recording it.

  • Contributors:
  • Chuck Arnold,
  • Natasha Stoynoff.
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