Missy Elliot - Respect M.E

It's always ominous when artists release a greatest hits album – the cynics would say that it can signal the end of their career, or a chance for the record company to rake in some more cash off the back of a well-known name. There's no way Missy's career should be taking a rest right now, so let's just assume that it's a pleasant recap on an extremely successful career. You can find all the favourites here, from the addictive rhythms of Get Ur Freak On and Work It to the more sensual One Minute Man and Beep Me 911. In the space of nine years Missy has spawned six LP's – at a time when seminal bands like Guns and Roses can barely muster one, it's a sign of unstoppable determination.

The five-time Grammy Award winner (and three BET Awards, five Lady of Soul/Soul Train Awards, and an exclusive 'Respect Me' clothing range contract with Adidas) has had her hand in many pies in the industry vis a vis notching up numerous production credits and launching other artists' careers.

Her title as best female hip hop artist is deserving, given the stylish delivery of her lyrics and addictive nature of the music. Supa Dupa Fly, Da Real World, Miss E. So Addictive, Under Construction, This is Not a Test, and last year's release, The Cookbook, are collected together for a powerhouse of an album. The high energy tone is set with Get UR Freak On, and continued with Lose Control, Basement Jaxx's remix of 4 My People, We Run This, Work It and Gossip Folks, allowing an invisible force to seep through the speakers and grab hold of your hips, making them perform suggestive motions and dance moves. She raps 'my style can't be duplicated or recycled' on We Run This, which is incredibly apt – to copy would be producing a derivative and easily recognisable sound. She absorbs samples and techniques from the past three decades and you can't help but be drawn into her grooves. Krunk elements creep through Lose Control feat. Ciara and Fat Man Scoop, before taking a turn into Outkast territory (though she herself was no doubt an influence on the duo).

The exploration of parties/club culture, men troubles, fly cars, occasional tongue in cheek social and sexual inadequacies, friendship, and her own struggles pepper the seventeen songs. Acapellas, breakdowns, teasing stop start rhythms and a careful use of effects are all employed, making accessible music and garnering fans across the spectrum. There's also no fear of reaching into genres that do not normally sit well in conjuction with hip hop - for example, the Jean Michel Jarre-esque melodies that linger in the background of One Minute Man. From the rhythmic hand claps and snaps of Pass That Dutch to the low key alternative rock guitar of Hit Em Wit Da Hee, and the apocalyptic synth stabs of Teary Eyed, there's a lil' sum'hin sum'hin for everyone. [Alex Burden]