by Jason Birchmeier "Chocolate City" stands out as a trademark P-Funk moment, with it's languid meandering, rich synth washes, and spoken-word vocals -- a perfect way to jump start the album. From there, the album kicks into high gear, moving from one up-tempo R&B song to the next, every song driven by Bootsy's slippery bass riffs and most showered with harmonious vocal choruses. Every song has its quirks, with "Let Me Be" being the only song that gets too unconventional for its own good, featuring only synth, piano, and vocals. Most of the other songs are fairly equal, none being lackluster and none being too noteworthy, with the exception of "Together"; this song's soulful chorus drifts momentarily away from the funk for a moment, offering one of the album's most beautiful moments. For the most part, though, this isn't a beautiful album -- it's fairly grimy with its funk-infused R&B thumping and worming relentlessly, never taking too much time to worry about catchy hooks. Yet for as understated as this stubborn focus is, never venturing too far into rock, disco, or jamming territory, it's an effective focus, making Chocolate City a slight improvement from Up for the Down Stroke. There's something rewarding about how consistent and focused this album is, probably because of its amazing lineup featuring Bootsy Collins, Bernie Worrel, and Eddie Hazel. As such, Chocolate City won't disappoint those looking for the R&B side of the P-Funk library.