stars are brought in at just the right moments. Mariah speaks to the commercial possibilities Bone always had, while the Game speaks to how they seemed to never leave the streets. Every song is at least solid and the album flows very well, making it one of the better-built efforts from the house of Bone in nearly a decade. Problem is, this album could have twice the star power and it wouldn't make up for how important Bizzy's strange voice was for the overall chemistry. Strength & Loyalty doesn't overcome its challenges; it just sidesteps them and works hard to reward fans for a decade of patience. It's as good as it can be, and better than expected." Simon Vozick-Levinson of Entertainment Weekly of gave the album a "B+", stating "These Midwestern-rap pioneers sound more focused than they have in a decade. Much of the credit for the revitalized sound on their seventh LP, Strength & Harmony belongs to producers like Swizz Beatz, will.i.am, and Akon, who deftly flip samples from sources as disparate as Bobby Womack and Fleetwood Mac. Bone Thugs-N-Harmony’s lyrics, too, are impressively crafted, tempering rough bluster with humble spirituality and calling to mind their classic mid-’90s hits — a pleasant surprise after years of diminishing returns." Decades-long Bone heads need not worry about total change, though. On the Neo Da Matrix–tracked gem “C-Town,” fellow spitfire Twista tag teams with the crew atop an airy bed of whistles and sonic hypnosis. The strongest moment of seamless old meets new comes on the head-spinning “Flowmotion,” a remake of a cut from their 1993 indie project Faces of Death. Backed by newcomers the Individuals’ intense strings, all three members’ flows reach new levels of velocity, especially Krayzie's: “I’m coming at you with a sound like thunder, strike like lightning/Hit them and they wonder where these thuggish ruggish niggas came from.” Matt Baron of XXL (magazine) gave the a "L" (Large) rating, stating "Don’t call it a complete comeback, however. While Krayzie and Layzie show and prove, Wish’s inferior skills frequently emerge as well. Take his infantile wordplay on the Jermaine Dupri–produced radio shot “Little Love” (“Not trying to say that you’re about that paper/But me and you, yes, we’re about that paper”), which makes guest Bow Wow sound superlyrical. Further downgrading the album are scattered, drowsy soundtrack lapses (DJ Toomp's bland bass guitars on “Sounds the Same,” for example)