Aaliyah's "silky vocals are more agile than those of self-proclaimed queen of hip-hop soul Mary J. Blige." In her review for Aaliyah's second studio album One in a Million Vibe magazine, music critic Dream Hampton said that Aaliyah's "deliciously feline" voice has the same "pop appeal" as Janet Jackson's. According to Rolling Stone "the most remarkable thing about Aaliyah’s voice, besides its flexibility and crisp range, was its almost preternatural poise — she always seemed to be holding her power in reserve, to know every side of the scenarios she described". In 2001, Aaliyah called her sound "street but sweet", pairing feminine vocals with a gritty urban rhythm track. In another interview she spoke about her artistry, saying, "I love to fuse other types of music with my own". She explored a wide range of genres such as R&B, pop, hip hop, funk, soul, and dance-pop. Discussing her lyrical content in The New Rolling Stone Album Guide (2004), Keith Harris said "When it came to sexual availability, she was between En Vogue maliciously taunting 'You're never gonna get it' and Tweet blankly cooing 'Oops, there goes my shirt.'" Aaliyah did not usually write her own lyrics. The only time she had a hand in writing is on the song "Death of a Playa" from the "Hot Like Fire" single (1997). She co-wrote that song with her brother Rashad Haughton, and "it reflects Aaliyah's dark perspective on romance". Of her role in crafting her music, Aaliyah said, "I like to have the final say but I was trained as a singer, actress and dancer, the interpreter, bringing other people's words to life. I need the songs to reflect me in one way or another". After her R. Kelly–produced debut album, Aaliyah worked with Timbaland and Missy Elliott, whose productions were more electronic. The duo "mixed choppy, nervous rhythms over loops of computer-generated backing tracks, and incorporating harmonies which – within the genre's limited horizons – seemed daring". Aaliyah's songs have been said to have "crisp production" and "staccato arrangements" that "extend genre boundaries" while containing "old-school" soul music. Kelefah Sanneh of The New York Times called her "a digital diva who wove a spell with ones and zeroes", and writes that her songs comprised "simple vocal riffs, repeated and refracted to echo the manipulated loops that create digital rhythm", as Timbaland's "computer-programmed beats fitted perfectly with her cool, breathy voice to