Ray J, Ray J, Ray J… By all logic, there is no reasonable explanation for why this guy has been able to stay relevant for the better part of 11 years. He is far from a great singer, a D list actor (his last major film was the Shaq star vehicle Steel) and he has only had one album reach the top 10, ever. Yet, every couple of years we find ourselves talking about this guy. Maybe he knows something that we don’t.

After the infamous Kim Kardashian sex tape, Brandy’s brother managed to raise his stock even higher this year with the certified banger “Sexy Can I.” The track is the shining jewel of his new disc of predictably mediocre material. The rest of the album is mostly pseudo-gangsta fronting (”Real Nigga,” “Where You At?”) and raunchy sex talk (”Boyfriend”) over run-of-the-mill beats. There are definitely some high points like the strip club anthem “Gift” and the album’s title track, “All I Need.” But, these bright spots are scarce.

Apparently Ray also figured out how to use T-Pain’s auto pitch module. Unfortunately, he is not able to copy it as well as Lil Wayne. This is most obvious on the catchy, but painfully misguided “It’s Up To You;” it actually sounds like Ray J is singing badly on purpose. What’s most unfortunate about this song (and the album as a whole) is that if Ray J would just stop reaching so hard for the credibility that he will never have, he could probably put out some tolerable music.

In case you have been living under a rock for the last 2 years, Day26 is the latest product of Sean “Diddy” Comb’s reality TV phenom, Making The Band. They are an R&B quintet made up of Michael “Big Mike” McCluney, Robert “Bitchassness” Curry, William “Shirtless Willie” Taylor, Qwanell “Dawn’s Boyfriend” Mosley and Brian “The Guy with the Cornrows” Andrews. They are kind of a big deal.

Day26’s debut is the kind of soulful, cool, swagger-filled R&B group effort that hasn’t been successfully pulled off in years (sorry Pretty Ricky). The album manages to be smooth without being too sensitive, sexual without being overly raunchy and high energy without getting too “pop.” The end result is one of the most enjoyable R&B albums of the year. Think Dru Hill, 112, Blackstreet or Next singing on tracks from Danja and Bryan-Micheal Cox. It’s a good look. The real standout tracks are the gospel-tinged “If It Wasn’t For You,” the soulful “Since You’ve Been Gone” and the ultrasexy closing track “Don’t Fight The Feeling.” The latter of which is a mid 90’s style panty dropper that is bound to pop up on more than a few “Love Making Mix” CDRs.

But, all is not well in the world of Day26… The 5 lead singer format is a nice idea (in theory), but it becomes highly obnoxious on more than one occasion. The group needs direction. Bitchassness Robert would be the most logical choice; he has the strongest, most unique voice and manages to steal the show on almost every track. Also, what happened to the days when producers just produced without talking shit all over the ballads? The number of producer voice overs from Diddy, The Runners and (most awkwardly) Bryan-Michael Cox is absurd.

Traditionally, reality TV-produced “artists” bring absolutely nothing to the table. Day26 is a welcomed, and surprising, exception. Believe it or not, their album is actually good, it’s damn good.

GRADE: A

Lets be honest, to the casual listener, “Neo-Soul” artists like Cody ChesneTT, Van Hunt, Raphael Saadiq and Raheem DeVaughn all sound pretty much the same. They release similar sounding albums and tend to get similar responses from fans. With Love Behind the Melody, Raheem DeVaughn strives to elevate his sound without leaving his fans behind. Thankfully, he succeeds.

Much of the production on Love Behind the Melody is stellar. Music giants like Bryan-Michael Cox, Scott Storch and Chucky Thompson lend their talents to an album that manages to improve upon the template of DeVaughn’s impressive debut, The Love Experience. This more streamlined and mainstream quality works (even in spite of itself). On “Customer,” we look past the song’s eerie resemblance to J. Holiday’s monster hit “Bed,” and just trust that great minds must think alike. Besides, Love Behind the Melody is the kind of album that lives in its own vibe. The smooth and sexy mood that emits from the speakers makes it easy to forgive any of the album’s shortcomings.

Love Behind the Melody may not prove to be Raheem DeVaughn’s break into mainstream consciousness, but it will definitely expand his fan base. Raheem DeVaughn is more talented than the bulk of R&B singers out there, it’s only a matter of time before the world knows it.

GRADE: A–

The Queen of Hip Hop Soul is top form. In a time where new, generic, cookie cutter R&B artists are appearing (then quickly disappearing) every other week, it’s refreshing to see urban music’s favorite underdog finally getting the pop props she deserves.

Both vocally and lyrically, Mary J. impresses on Growing Pains. Though not quite as dynamic as 2005’s The Breakthrough, it is equally as genuine and enjoyable. “Hurt Again” and “Fade Away” are stand outs that may cause few involuntary taps of the replay button. While “Grown Woman” and “Till The Morning” will remind you that she still has the swagger that made you fall in love with her in the 90’s. The album ends in grand style with the impressive and appropriate closing track “Come to Me (Peace).”

Since 1999’s Mary, Mary J. Blige has progressively moved closer and closer to the world of pop. Growing Pains is her biggest step yet. Fortunately, it works. She is right at home in her long overdue fame and she maintains enough credibility and style to satisfy even her most hardcore What’s The 411? fanatics. Not much more can be said about the new and improved Mary, other than, its’ a good look.

GRADE: C+

How would you imagine a collaboration album from the artist formerly known as Lil Bow Wow and the lead singer of B2K would sound? Think hard. No surprise, that’s EXACTLY how Face Off sounds.

Bow Wow has seen an odd decrease in the overall quality of his albums in the last few years. In what are often the golden years of an MC, his late teens and early 20’s have produced his weakest material to date. On the other hand, the last few years have proved the best yet for former B2K front man Omarion. While Bow Wow’s last effort, the confusing Price of Fame, faltered in producing any memorable material, O’s 21 lp was mature, fluid and showed immense growth.

Now, as these two teen-pop icons struggle to gain a foothold in adult hip hop and R&B music, they join forces. The results are lukewarm at best. On the album’s opening title track they channel the spirit of Jay-Z and R. Kelly’s Best of Both Worlds with similar results. This opening does little to excite the listener, rather it reeks of desperation. Fortunately, the album improves from there with catchy, radio-friendly (yet painfully predictable) potential singles like “Girlfriend” and “He Ain’t Gotta Know.”

Make no mistake, die hard fans of Bow Wow and Omarion will eat this album up. The production is nice, the songwriting is slightly above mediocre and neither artist truly drops the ball. However, there is really nothing unexpected here. If you don’t already have a poster of Bow Wow and Omarion in your locker, this album probably won’t do anything for you.

GRADE: A–

Terius “The Dream” Nash has proven himself to be a more than competent songwriter by penning number one hits for Rhianna, Madonna, J. Holiday and Britney Spears. Like fellow songwriter Ne-Yo, Nash has decided to parley his industry status into a singing career with the release of his solo debut LoveHate.

It should come as no surprise that the songwriting and production on LoveHate is excellent. In fact, Dream’s witty and lavish compositions make it easy to overlook his substandard singing ability. Thankfully, most of the album is upbeat, catchy and doesn’t require too much vocally. In the same way that Justin Timberlake did in 2006, Dream channels the musical spirits of 80’s icons like Prince and Michael Jackson (”Fast Car,” “Purple Kisses”). The few ballads on the album do drag a bit, but the project is overall very likable.

The album is not without it’s flaws. The “every song could be a single” format works well for Dream, but some of the tracks are just too ambitious. “Falsetto” is one of the album’s (and possibly the year’s) stand out songs, but it only highlights The Dream’s vocal shortcomings. It’s so good that you almost wish he would have given it to Usher, Ginuwine, Maxwell or Mario.

For years, female vocalists like Ciara, Britney Spears and Ashanti have been able to release huge records with less-than-perfect singing voices. With the release of LoveHate, The Dream aims to trump all of their efforts with one incredible album. In that way, he has hit a home run. After all, didn’t you always want a GOOD album that you could sing along to without feeling like you were hitting all the wrong notes?

Alicia Keys deserves to (one day) be mentioned in the same breath as soul icons like Roberta Flack, Minnie Riperton and Aretha Franklin. Not only for having a stellar and unique voice, but also for creating music with the kind of passion that sends chills through every inch of a listener’s body. As I Am is not, however, the album to solidify her place in the record books.

Alicia Key’s vocal choices and simple lyrics have always proved to be some of her greatest strengths, but on As I Am their novelty feels strangely trite and sometimes goofy. On “Superwoman” she awkwardly croons “When I’m breaking down/And I can’t be found/…’Cause no one knows/Me underneath these clothes/But I can fly/We can fly.”

Make no mistake, the strength of stirring ballads like “No One” and “Like You’ll Never See Me Again” do give the album enough soulful swagger to make the disc ultimately appealing. In fact, her new pop edge works very well on the refreshingly retro “Teenage Love Affair.” Unfortunately, the rest of Keys’ more pop-tainted attempts (like “Sure Looks Good to Me”) manage to two-step their way into predictable and clichéd territory.

Most of As I Am will probably be lost and forgotten in the impressive body of work that Ms. Keys will one day have. However, the album is not to be ignored. It’s experimental nature is refreshing, but ultimately only highlights how flawed the project is.