For Carly Simon's fans, this will ultimately be a most welcome return to her songwriting form.

Listeners will hear the echoes of the better-known recordings of these songs, even if Souther's own performances of them sound like they may have set the template for Ronstadt or the Eagles to embroider on.

While this may not make instant fans out of their haters, This Means War will certainly give them something to consider.

Generation Freakshow is still an impressive return to form from a band whose members sound revitalized and determined to prove they're not a spent force.

Life in a Beautiful Light, at its essence, is the sound of an artist looking for her own voice amidst the deafening roar of her influences.

As a bridge between that album and whatever comes next, Wish Hotel works perfectly, hinting at only the slightest changes to the formula, but with differences enough to keep things from getting stale.

The Buffet does have more dimensions than Black Panties, including the enjoyable "Step in the Name of Love" rewrite "Backyard Party" and the throwback, Love Letter-styled "All My Fault."

Everything at Once is their liveliest and most lighthearted effort to date, a celebration of both their legacy and their maturity.

Timeless is a mixed bag, but it's not because of Mendes. His own playing and arranging is utterly elegant.

Their most colorful, diverse and consistent record yet.

Impossibly crisp production, impeccable interplay between rhythm and effects, and the most difficult quality for any electronica producer to nail down: a crucial, distinctive sound.

The real problem is that Lupine Howl doesn't really do enough here to distinguish itself from other bands, drawing from such obvious influences as the Rolling Stones and the Doors, and in a lot of ways the album sounds like a tour of '90s retro-influenced bands like the Charlatans, Oasis, or even the Black Crowes.

Satisfying without being transcendent-

Thoughtful production, meatier music, and broader scope makes City worth hearing.

Overall, American Life is better for what it promises than what it delivers, and it's better in theory than practice.

A solid rock effort.

Between 'I'm Wit It,' 'Girls,' and a couple other standouts, Lessons and Love cannot be dismissed, but Lloyd will have to really change it up with his fourth album to evade a real holding pattern.

Ironically, this hip-hop heavy revision has the net effect of straightening out a wild, wooly record.

At best, I Can Spin a Rainbow feels like the work of two talented artists savoring a long weekend of boundless creativity together, but from an outsider's perspective, the results are a bit too impenetrable to contextualize without having been in the room to witness its genesis.

Perhaps the most tightly performed Joan of Arc material, Testimonium Songs feels less like a proper album and more like a sidebar, deeply aligned with the harsh tones of Reznikoff's bleak poems.

Coldplay cheerfully embrace the cheese, ratcheting up both the sparkle and the sentiment so the album feels genuine in its embrace of eternal middle-aged clichés.

The textures are excellent, the songs are OK, but as a whole, it just doesn't pack the emotional punch of earlier outings.

A handful of similar tracks suffer from this same problem of ambition over inspiration, but for every miss, there's a hit.

Love Hate and Then There's You is the Von Bondies' most consistent album yet.

The web of sounds here creates the same relaxing and breathable environments as Eno's most meditative work, just a far more lo-fi rendering of it.

Perhaps if this production were scaled back a notch or two, Fearless Love wouldn’t feel quite so oppressive, but its oversized sound fits Etheridge’s sense of self: she’s boxed herself into a corner where she only makes music that sounds important…whether it actually is important winds up being beside the point.

It's a pretty timeless approach that could have ended up sounding tired and played out, but the group's enthusiasm and Cunningham's ability to craft sticky melodies make it sound oven fresh.

Fans of his louder music might not play this often, but 55 Cadillac is another step toward Andrew W.K. putting his stamp on every art form.

Thanks to the strong songs, Selena's reliably strong vocals, and the variety of sounds, it adds up to be another fine entry in her catalog and just another example of why Selena Gomez is one of the best pop stars making music in 2013.

Low in High School can seem as aurally conflicted as it is politically, and that may be an appropriate look for Morrissey in 2017: He's opted for a mad world of his own creation and doesn't much care whether his fans follow or not.

For anyone who shares Dupieux's warped sense of humor and has been eagerly following his career, this is yet another fascinatingly weird Mr. Oizo album.

A free-flowing, just cohesive enough forty-five minute listen that, in keeping with the booklet contents, has an air of strange melancholy throughout, perhaps most evident on the album's haunting heart, "Cherry."

If they can keep this sound and get back the hooks, they'd have something as good as their first two records, but, as it stands, this is their first stumble.

With a varied group of artists ranging from established names (Moby, the Crystal Method, Paul Oakenfold) to up-and-comers (Com Truise, Pretty Lights), the collection offers eclectic tangents on the retro-futuristic musical world Daft Punk created.

They are moving on from such early influences as Jimmy Eat World to a more sophisticated, if still forceful sound as they get more playing under their belts.

This kind of constant drive away from the more watered-down sound of a lot of their post-grunge contemporaries and toward metal is something that allows Five Finger Death Punch to stand out in a genre that's easy to get lost in.

Turner possesses some mighty charm but it's not enough to turn that one into something listenable and he stumbles into a couple other potholes here too, all created by the desire to turn him into a big cutesy teddy bear.

The Ting Tings aren't quite ready to grow up and stop partying, but the maturation on Super Critical takes them out of the "overbearing pop flash in the pan" category and suggests they may have even more interesting statements ahead of them.

Deeper into Dream is, ironically, far more captivating when it appears to want to send listeners to sleep.

Tides End is so smooth that some of its nuances may be lost at first, but before it slips away, it takes listeners on a deceptively breezy and surprisingly affecting journey through moments that can't last.

Space Invader is the required retro return, one that's well-executed, from its '80s video game title to its mix of thick, singalong rockers and laid-back guitar show pieces.

Peace can feel satisfied that they've grown from their debut, if only marginally, yet it's clear they're still finding their voice amongst the joyous, optimistic melodies that are the basis of so much of their sound.

Over the course of the album, Sia tries to cover all the moods of the season: "Ho Ho Ho" gets into the Christmas spirit with gin, bourbon, and loopy cartoon sound effects; "Puppies Are Forever" could be from a children's holiday album; and "Sunshine" finds Sia helping a sad friend with heroic doses of Christmas cheer. However, some of the album's best moments tone down the merriment.

Yachty's progress mostly shows up in his drive to push his music to new places, but he takes steps backwards by overpadding Lil Boat 3 with too many similar, unnecessary tracks.

Reasonable Woman gets Sia back on track, joining Fear and Acting as one of the most compelling and listenable efforts in her post-breakthrough catalog -- a huge relief for anyone who thought she had lost her touch.

Just like any given Bone album, Khalifa's chilled and confused Rolling Papers is an acquired taste, and while it's misrepresented by its single and the mixtapes that surround it, it is purposeful mood music, perfect for bong loading or just hanging out.

Although instant, maximum commercial impact is no doubt the primary objective, the album does come across as more considered than the average Khaled LP.

Bigger Love sounds cobbled together compared to Love in the Future and Darkness and Light, two of his most recent and inspired albums, with opportunistic and unconvincing stylistic curveballs, no two tracks sharing the same production credits, and few clear standouts.

while the album may be about the band's View from the Bottom (whether that be career woes, the loss of a friend, or the bottom of a shot glass), as the title of the rousing set closer implies, Lit definitely got it "Right This Time."

Mr. Entertainment and his bombast do not disappoint. The Heavy Entertainment Show is his most invigorated album in years, a truer return to the pop realm than 2012's Take the Crown.

The whole point of doing acoustic versions is usually to lay bare the material, deconstructing it down to its roots, but for the most part, Acoustic feels a bit too polished and adjusted.

By the time she closes In Plain Sight's world of illusions and nightmares with the deceptively gentle "Harmless," she pulls off the trick of turning Honeyblood into a more cohesive, more imaginative prospect than ever before.

It's her first genuine step forward... probably the best record she has cut to date.

A pretty good modern rock record that will make Weezer fans happy.

The duets always seem like an intrusion to his musical vision, especially since everybody except Dr. John oversells these songs, singing like a cliché instead of finding their own sound. It's all the more frustrating because Nelson really does find his voice on each song here, a fact that's apparent on the three songs he has to himself...

Despite a bloated track listing and a mostly overblown concept, though, Trinity (Past, Present and Future) is an excellent statement from one of the most mature groups in the rap underground.

Jackpot is superior in every aspect.

The album is scattershot to its last breath, but the thrill of watching this hood star threaten to supernova is a real high.

Repeated listens help to sort things out, though, and the subtle shadings of Grrr... do become more apparent the more you listen--in fact, the album is a perfect example of the old rock crit cliche "The Grower."

Rather than nervy and isolated, this re-formed version of the band feels like they've got things more sorted out, replacing the uncertainty that marked albums like Emergency & I with a more carefree vibe. The change is one that makes sense, though.

Something for the Rest of Us is an album to play on the drive home.

Stay Together is undeniably upbeat and revels in its conviction to make you move.

Milian's weakness remains ballads; the few that are here are more like placeholders that merely apply some forced variety to the album.

Mos Def's second solo album is not disastrous, but it's a sprawling, overambitious mess.

There's a refreshing, devil-may-care cavalier attitude to Education, Education, Education & War that eradicates much of the desperation that was beginning to creep in after 2007's Yours Truly, Angry Mob, but it still doesn't change the fact that you've heard it all before.

What makes it a slightly better album than Rule 3:36, though, is the album's consistency.

The bottom line on Hello Waveforms is that it may seem dated to terminal hipsters, but for everyone else it is small yet exceptionally well crafted.

Those whose favorite form of Wheat is the aforementioned major-label effort, or even the elegant chamber pop of Hope and Adams, might consider this willful album an exercise in self-indulgent noise, but in the context of the duo's career as a whole, it sounds much more like a deliberate stylistic retrenchment.

The material tends to work best when they sound relatively relaxed, as opposed to when it is obvious that they are trying very hard to honor the originals while being over-demonstrative with their obviously gifted voices.

Welcome to the Doll House is a paler, plainer recycling of their debut.

The songs themselves are hit or miss, with the emphasis falling on the latter, due mostly to an over-reliance on three-chord, midtempo filler, but as is the case with nearly every Priest offering, when they're on they're dead on.

Season of Poison is bound to please fans of goth metal and electro-laced rock, and the gorgeous 'Frozen Oceans' appealingly finishes the album with lush balladry. Even so, this seems like a slight stumble after "We Are Pilots'" strong start, although Shiny Toy Guns have yet to lose their momentum.

The influence of that 1972 double LP can be heard in the similarly homespun production of Under the Covers, Vol. 2 but where Rundgren was open-ended, Sweet neatly ties up every loose end with the care of a pop fetishist, making sure all the harmonies and guitar licks are in place, never adding any untasteful elements.

Of course, new bands have lower expectations than established bands, and while virtually every listener will contrast Never Cry Another Tear with New Order's best work, it has the sweep and grandeur of the group's classic moments.

All or Nothing is a strong U.S. debut for this Akon-meets-Chris Brown-styled singer, one that takes advantage of his suave back catalog and the hip new possibilities now possible via Cash Money.

Decas isn't a great place for new fans to pick up with As I Lay Dying, but for those who have been around the block a few times with these guys, it's an album that they won't want to miss out on.

Roses may not immediately grab hold--and it's lacking one strong single to pull listeners in--but it's well-constructed adult pop that's unashamed of being either adult or pop.

Kinski still sound best when they're stretching out into longer, moodier pieces of cloudy rock. There are enough strong sections like that to keep Cosy Moments afloat, but fans might be turned off by the attempts at pop that don't quite hit the mark.

Lead singer Duncan Campbell does a fine job on his second album after the departure of his brother Ali, and with inspired song choices meeting an inspired band, Getting Over the Storm doesn't come off as a gimmick but a gift.

Fans of complex, smart pop will be attracted to Williams' attention to detail, but the songwriting itself is also deeply melodic and more lyrically and emotionally honest than before.

Die-hard fans may appreciate the musical switcheroos on The Worm's Heart, but others may not understand the need for them.

NAV reveals feelings of vulnerability and loneliness on some tracks, while concentrating on jewelry, money, and fame on the more club-ready songs.

The set sees the band channeling their anger about world events into a blistering mix of metal and alternative hard rock.

This kind of well-manicured production, when paired with a series of songs focused on internal journeys, ultimately has a lulling effect. There is a pulse, but it's soft and turned electronic. There is emotion, but it's been intentionally encased in a digital cocoon, one that flattens the group's bold accents (such as an embrace of vocoders) and turns Delta into soft, shimmering background music, ideal for any soothing setting you'd like.

While Dead Son Rising isn't likely to propel him back into the mainstream, it's an impressively bold affair that ensures his cult status will remain intact.

New Eyes remains such a small, subtle, and soft record that by the end, it doesn't feel very daring or different.

The Whigs absorbed every rock trend of the '90s, consciously taking in the cool stuff while the mainstream tunes seeped in, and here they turn In the Dark into something that's a guilty pleasure for anyone raised on grunge.

The bookends are tracks that aim to be masterworks and fall just one step short, but everything in between is delightful, stunning, or both, making the album's title less than one-tenth apt, and Macklemore & Lewis both emo under-promisers and Grammy-worthy over-deliverers.

This already busy album becomes even busier with so many cooks in the kitchen, and shoots off nonstop fireworks as if this was Skrillex's audio variety special, sponsored by the wing of the stereo industry that sells, re-cones, or fixes subwoofers.

With an inspired guest list and excellent production, The Beautiful & Damned is a satisfying artistic accomplishment that cautions as much as it seduces.

Neither redemptive nor triumphant, No Mercy is the MC's least compelling release thus far, but there's a sense that he'll regain focus once his legal matters settle.

As a whole, Out of Ashes is a solid record and a fine opening volley for Bennington's solo work.

Mitchell ropes in the loud blues and soul leanings that made her previous album so much fun, and the singer herself emotes in a much more restrained pop vein.

Gore is almost too polite to these songs, but surely that can be forgiven when his love for them is so apparent.

An occasionally jumbled, yet undeniably pleasant, collection that unsurprisingly feels like a hybrid of a proper Belle & Sebastian album and a more traditional film score.

She winds up with a processed, affected record halfway between Live Through This and Pat Benatar or possibly Billy Squier.

All told, Born Villain is as valiant and exciting an effort as the group has come up with in years.

Reliable late-night jams that will appeal to the choir, but not the whole church.