With her freshman solo album, "Love.Angel.Music.Baby," Gwen Stefani breaks through the music industry and turns in one of the year's best pop albums. She creates an album with stronger beats than an off-Broadway production of "Stomp," more originality than her peers' latest offerings (her peers being the other "divas," Britney, Christina, Jessica and all of those) and more fun than an eight-year-old's Chuck E. Cheese birthday party.
Rejecting the ska-roots that propelled her into the limelight with No Doubt, Gwen plays host to a bevy of hip-hop and pop celebrities and producers. This motley crew of producers becomes one of the album's greatest downfalls, however, because the clash of styles reduces the sense of consistency and flow between tracks.
Overall, however, Stefani does pull off a strong solo debut with many strong points.
"Love.Angel.Music.Baby" has got the beat. Each song showcases a new beat with complexity and depth and above all, it's fun to dance to. Need a new challenge? Listen to the album in its entirety and just try to suppress the urge to follow the rhythm with dancelike moves. It is nearly impossible.
Whether it's the foaming, frothing popping backbone of "Bubble Pop Electric" or the ticktock of "What You Waiting For," the beats are infective and compulsive. Her angry, sound-off "Hollaback Girl" uses a Stomp team rendition that harkens back to the Queen's "We Will Rock You."
Stefani's beats, combined with her fierce energy, will make the album a popular choice for dance clubs and discothèques — a definite rival for the overplayed, Usher dance hit, "Yeah."
The album's energy is in its originality. Each track introduces new possibilities to the realm of dance electronica hip-hop. With its opening strings accompaniment breaking into the electronic bass groove and synthesizers, "Serious," one of the albums best songs, remains original and energetic without being an overbearing, stereotypical techno song.
Stefani's step into the world of hip-hop began with her collaboration with Eve on the Dr. Dre-produced song, "Let Me Blow Ya Mind." Ever since, she's been a nonstop train wrecking diva. If there was any doubt before, this album sets the record straight: her rise to a strong solo career was inevitable.
These dance anthems are a complete reversal from her ska/reggae hits with No Doubt. The electronica nature of "Love.Angel.Music.Baby" seems to have completely closed the door on Stefani's past with No Doubt. Gwen even addresses this complete reversal in her sub-par single "Rich Girls (featuring Eve)," singing "I'd get me four harajuku girls to inspire me and they'd come to my rescue." Gwen Stefani is no longer the ska-kid of "Spiderwebs", but now, as she sings in "Harajuku girls," the Harajuku girls of Japan's "biggest fans." Will she ever be able to return to No Doubt and create solid rock albums like "Tragic Kingdom" and "Return of Saturn"? That remains to be seen.
Ever since No Doubt's rise with "Tragic Kingdom", Gwen Stefani has always been the persona epitomizing the band. She was their poster girl, front man, and sex symbol and it was only time before she released her solo album. Even people who do not listen to No Doubt can name Gwen Stefani.
Stefani brings her energy of individuality to her album and it is evident in songs. Where Gwen Stefani's aura shines can best be felt on highlight tracks such as "Cool," which is the follow up to No Doubt's smash hit "Don't Speak", and "Danger Zone."
One of the greatest downfalls of the album — could also appear to be a strength — is Stefani's handpicked collaboration team, a large collection of well-known artists and celebrities.

Stefani and Andrew 3000 of Outkast team up for the song, "Long Way to Go," and unleash a scathing, criticism of society's perception of interracial marriage, on a track with a very Outkast feel.
Andre 3000 also plays Gwen's boyfriend in the half-skit, half song "Bubble Pop Electric," one of the best songs on the album. Another hip-hop heavyweight, Eve, guest stars on "Rich Girl" and drops some lyrics to complement Stefani's vocals.
But it is this extensive array of different producers, collaborators and music stars that turns the entire album into a CD with twelve different tracks. Few common threads exist through the album; it's more like a mix tape than a single album. Gwen places her original, almost in-your-face "What You Waiting For" next to her pop-induced single "Rich Girl" next to her angry, rock-anthem "Hollaback Girl" next to the crazy "Bubble Pop Electric." The majority of the songs are great songs, but the album lacks a contiguous body and motif.
All of these elements, however, contribute to the overall enjoyment of the album. Don't buy this expecting the next "White Album."
But if you are looking for some new music to spice up your collection with the promise of just plain, old-fashioned fun, this is your album.