Under Construction Part II is anything but under construction; Timbaland's thick, magnetic beats lay down a hit rhythmic canvas for some involving, genuine and clever rhymes from Tim, Magoo, and others.

Timbaland is a major force as one of hip-hop's best producers.

Tim makes the odd incidental vocal appearance on tracks he produces for others.  On Under Construction Part II, his vocal appearances are, of course, more substantial.  In the hooks, he's heavily layered and not entirely melodic.  He shows good mic skillz when he gets down to actually rappin'.

Magoo has somewhat of a high-pitched voice, and a distinctive style in which he heavily modulates his pitch to achieve a rhythmic effect.  While I'm undecided on his timbre, I'll give it to him that he's got good rhyming skillz.

Under Construction Part II makes an energetic, percussive entrance with “Straight Outta Virginia”  It's a wee bit on the noisy side.

Missy Elliott introduces Mr. Mosley on “Cop That Sh**.”  Tim's catchy combo of rhythmic patterns and thick bassline make this a tight track from the get-go.  Timbaland & Magoo are joined by Missy's sassy style.  Oh, and Missy and/or Magoo found about the strangest way of pronouncing (if we can call it that) the ‘n’ word that I've ever heard.

Tim isn't just full of shenanigans - he's full of beats, too.  The charged beat of “Shenanigans” is permeated by a modulated hum on a single note, periodically visited by a cosmic accent.  It never ceases to amaze, how this guy can time and time again concoct beats that never fail to excite.  Bubba Sparxxx lays down some rhymes unusually skilled for southern rap (Ludacris, OutKast and maybe a few others excepted).

“Leavin',” a proposition for a one-night stand, has a more laid back feel to it.  Tim shows as much skill at weaving a smooth groove as he does at pumpin' the jumpin' joints.  I'm not partial to heavily layered, shouty hooks, though.  Attitude brings some south coast to the track.

“That Sh** Ain't Gonna Work” is Tim's answer to the copy-cats.  He's got a horror story theme goin' on for anyone tryin' to be him.  He's got a point - his style is somewhere between unmistakable and unforgettable.

The beat to “Don't Make Me Take It There” has a bit of an accoustic rock feel to it, demonstrating Tim's versatility.  The subject matter is similar to the last track, but with a more melancholy, exasperated feel, in contrast to the conceited air of “That Sh** Ain't Gonna Work.”  The track ends with Tim's characteristic vocalized record wind-down type thing.

“Indian Flute” is about as descriptive a name as a song can get.  This adventuresome song combines urban North America with the traditional, heavily modulated Hindi vocal style.  Fortunately, the potion is proven.

“Can We Do It Again” picks the beat back up with Timbaland's usual insanely catchy syncopated style.  Tim's raps are very cleverly timed and stressed so as to lay right into the beat pefectly.

“Naughty Eye” revisits the Hindi vocal theme, but as more of a background effect this time.

“N 2 Da Music” is a lighthearted celebration of music, to a relaxed but catchy beat.  Brandy makes the track complete with very pretty singing.  Her vocals are, as is recently typical, at points very layered; in this particular context, the effect works well, though.

“Hold On” laments the loss of Aaliyah, the fake friends that fame brings, and the woes of the world.  Wyclef Jean's hook implores, “Hold on \ got to stay strong \ 'cause the pain almost over.”  Wyclef also adds rhymes.  His style is well-suited to the track.

“Insane” is a smooth slow jam on which Tim and Magoo get some deep thoughts together.  Candice “Gg” Nelson adds to the moody atmosphere with laid back, airy vocals.  She's more than a little reminiscent of Aaliyah.

“Throwback” throws back some naughty rhymes over a quizzical beat.

“Hold Cutz” has got the bass, kick, snare, ride cymbal, and everything goin' on just right to make the beat swing like, dang.

“I Got Luv 4 Ya” expresses having no hard feelings over a failed relationship.  The beat is laid back, yet intricate but at once unobtrusive.

Timbaland's trademark rhythmic style is merged with reggae in “Naughty Eye II (‘Hips,’)” making a unique beat over which Tim, Magoo, and Beenie Man give a straight up bootie song.

Timbaland's beats make you wanna either get up and dance, or hit the MIDI sequencer; of course, coming up with bangin' beats isn't as simple as Tim makes it look.

While everything on this album is down right, Timbaland's insatiable beats have got to be (apart from Brandy) the piece de la resistance of Under Construction Part II.  It's no wonder Brandy chose Tim to produce Afrodisiac!