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''This Is Not a Test!'' is the fifth studio album by American rapper Missy Elliott, released by The Goldmind Inc. and Elektra Records on November 25, 2003 in the United States. It was primarily produced by Timbaland, with additional production from Craig Brockman, Nisan Stewart and Elliott herself.
The album received generally favorable reviews from critics and debuted at number thirteen on the ''Billboard'' 200, selling 143,600 copies in the first week of release. It has sold 690,000 copies in the United States and has been certified Platinum by the Recording Industry Association of America (RIAA). - Wikipedia
Missy Elliott's not a girl, not yet a woman. She's a tomboy, a pranksta, a midnight wanksta, and This Is Not a Test is nothing but a test-Ramona the Brave tries on momma's thong, checks herself in the mirror and her look is like... wo. Missy's never hidden her distrust of dainty femininity but she's grown increasingly insistent that ungirly doesn't equal asexual. On Da Real World's swirling "All N My Grill," Missy pleaded for respect; on Miss E... So Addictive's "One Minute Man" she wanted a worthy lover; and on Under Construction's "P***ycat," she sighed, "P**** don't fail me now." This time around, Missy spits, "Love my gut so f*** a tummy tuck," with a throwaway chuckle and later brags about her vibrator collection. The class clown goes down?
Perhaps in reaction to Missy's increasingly brash sexuality, her male guest spots have become downright emasculated. On "Is This Our Last Time," Missy mistakenly employs tapioca-tongued toy-boy Fabolous, whose nonsensical barks ("I ain't usually a chaser/ Cuz I write with my pencil/ But also know how to use my eraser") make Missy's own halfhearted couplets positively gleam. And the usually fun Nelly scrapes barrel-bottom on the otherwise standout "Pump It Up" with the playa-ground boast "Go go gadget d***!"
Sometimes Missy gets away with it: as she says in the opening "Baby Girl," "Like a priest with a backslider/ I sin and I win." When confronted with the dancehall craze, she and longtime production partner Timbaland didn't hear the Caribbean, but instead a parking lot behind Sean Paul's studio where a trio of pigtailed girls play hopscotch. Over the taut handclaps of the leadoff single, "Pass That Dutch," Missy jokes, laughs and carries on while whistles and car alarms erupt around her. Down below, the vibrating bass forebodes, but Missy's caught up in the hoodoo voodoo vibe, slapping fives and backs, running her fingers through her weave.
But aside from "Pass That Dutch," the dub-inflected "Keep It Movin" and dystopian videogame bleeps of "Don't Be Cruel," Missy never sounds fully engaged here. Just one of the album's four slow jams doesn't suck, and that's only because of R. Kelly, who swoops suddenly into "Dat's What I'm Talking About" and declares, "All I wanna do is make your dove cry" in a fruit-on-the-booty yogurt-smooth voice. His lilts bouncing like a conjugal-visit trailer, Kelly schools Missy's shrill vocal grindings handily, highlighting her discomfort in the sex-diva role where she takes breathy nothings to ridiculous extremes.
And how does Missy respond? She breaks it down like back in the school-day: "Mr. Mosely made this B-E-A-T/ Don't copy this here cuz I D-I-D," she lectures in "Spelling Bee." Well, it's only been a year since Missy's last D-I-S-C. Maybe she needed more T-I-M-E.