In This Skin

1	Sweetest Sin 3:14
2	With You 3:12
3	My Way Home 3:13
4	I Have Loved You 4:45
5	Forbidden Fruit 3:31
6	Everyday See You 4:18
7	Underneath 4:02
8	You Don't Have to Let Go 3:43
9	Loving You 3:31
10	In This Skin 4:18
11	Be 4:11

Barnes & Noble

Unlike her blonde pop peers Britney and Christina, who've stripped closer to bare with each album, Jessica Simpson has maintained the sexy-yet-virginal image she debuted in 1999 with the saccharine Sweet Kisses. On her third disc, In This Skin, however, Simpson's lyrics have matured, thanks to her recent marriage to longtime beau Nick Lachey of 98 Degrees. Aided by Celine Dion producer Ric Wake, the Dallas native co-wrote most of the disc's 11 songs, and the resulting album is packed with sweet beats, sensual vocals, and an organic vibe not normally found in most contemporary pop recordings. Simpson's newfound confidence reverberates throughout, notably on the self-affirming, Mariah-reminiscent title cut, with its mix of acoustic guitars and airy harmonies, and the Diane Warren–penned "Sweetest Sin," on which Simpson's breathy vocals recall Janet Jackson. While "With You," with its staccato rap beats and subtle strings, and the hip-hop soul-flavored "Loving You" are all about bliss, Simpson maintains her balance with more bittersweet fare. The piano-driven ballad "You Don't Have to Let Go" is a poignant nod to a father letting go of his little girl when she marries, and the equally pained "Underneath" addresses the trials and triumphs of a committed relationship. With In This Skin, Simpson has successfully made the transition from sassy teen phenom to sophisticated pop star. Dave Gil de Rubio

All Music Guide

Out of all the teen pop thrushes of the late '90s/early 2000s, Jessica Simpson was perhaps the oddest. Not because she was genuinely strange -- especially compared to Christina or Pink -- but because she never seemed that comfortable with the genre. On her debut, Sweet Kisses, that awkwardness could be written off as first-time jitters, particularly because the album boasted the dynamite single "I Think I'm in Love," which is about as perfect as pop gets. On her second album, Irresistible, her awkwardness could be attributed to either the fabled sophomore slump or the fact that she was being tarted up too much, presented as a sexy tease when she's really just the sweet, curvy girl next door. Now, for her third album, In This Skin, she tones down the trashy club beats and image, staying within the contemporary dance-pop realm while inching toward the middle-of-the-road diva that she's always yearned to be. And that's the key to Simpson and her records -- apart from that brief, brilliant moment on "I Think I'm in Love," she's never seemed like she's wanted to sing pop music. She's somebody who would have been much more comfortable in an era where she could have been produced by Mitch Miller, not somebody who half-heartedly sings moderately stylish, overly calculated dance-pop. Simpson is not a bad singer, and only when she's given a show-stopping ballad in the vein of Celine Dion can she really strut her skills. The heart of In This Skin is in the mature middle of the road, while its sound is still pitched young. Simpson is still a sweet, photogenic girl with a good voice, and in her favor, as she gets further removed from her teens, she will be allowed to do more mature material -- and this CD is a tentative step in that direction. Stephen Thomas Erlewine