Even if he doesn't quite have the vocal presence to fully inhabit this stage, his taste and melodic skills are suited for this bigger scale so My Old, Familiar Friend winds up as an effective showcase for his craftsmanship even if it never quite grabs ahold the way "Lapalco" did.

It'll doubtless put some smiles on some faces as it goes, but it neither reaches for more nor tries to be anything less. Perhaps it is enough, but does it have to be?

Oh No I Love You feels softer but it also is more adventurous and satisfying, the sound of a pop obsessive finally letting himself indulge in the weirder areas of his imagination.

The album just offers up a heaping pile of midtempo heaviness that harkens back to Metallica's middle years.

Hard Working Americans picked 11 cover tunes which deal with the hard truths of life among the working class, some recent compositions, and other, older songs that have remained relevant with the passage of time.

The cheekily-named Greatest Hits, Vol.1 is both a refreshing blast from the past and an ardent kick in the teeth.

Collingwood does a good job here of separating Look Park from his work with Adam Schlesinger in a way that will likely bring along a lot of existing fans, and with material strong enough to make it hard to pick standouts.

Detroit Stories is stuck in a confusing limbo somewhere between tribute to Detroit and another album of the kind of campy, theatrical, radio-geared hard rock Cooper has been turning in since Hey Stoopid. Never quite committing to either concept, Detroit Stories ends up feeling like a handful of solid covers of classic Detroit tunes with some Alice Cooper extras thrown in at random.

Conceptual conceits aside, these are some of the most memorable and rousing songs Corgan has delivered since 1993's Siamese Dream.

As good as the by-the-books ballads and rocking country are, the moments when the façade slips a bit make this worth hearing as an album and not a collection of singles.

Tighter than So Good and packed with just as many catchy tunes, Poster Girl is yet another big step forward for the artist, adding a dozen fresh anthems to her catalog and maintaining her position as one of Sweden's finest pop exports.

Music for Animals might seem daunting due to its length and starkness, but it's actually one of Frahm's most listenable albums, rewarding immersion and half-ignored background placement alike.

Slightly more upfront and extroverted than their early recordings, this album is still instantly recognizable, and fans who go back to their last Warp LP, Succour, might be surprised at how little has changed with Seefeel over 15 years.

[The] lack of zest in the production is forgivable because Taking the Long Way is otherwise a strong, confident affair.

There's a lot to admire in Here We Go Magic's dreamy, hazy melodies, and it's easy to get lost in the repetitive, minimalist guitar strumming that centers half of the tracks.

Breton sound more natural when they let their rock side dominate.

As with their other work, In Heaven is intriguing but not completely satisfying, but that intrigue is tantalizing enough to keep listeners guessing.

Here, Ledisi wails and belts with a kind of power previously untapped--in recorded form, at least--all the while maintaining remarkable finesse.

Most of Modern Love is almost meticulously inoffensive, shot through with a middle-of-the-road approach that rarely overswings or underwhelms.

All throughout Ripcord, the electronic elements are at the forefront and foundation, but it's to Urban's credit that this never feels desperate or pandering: it's a smooth, logical progression that makes his music feel sleek and mature.

Ultimately, Sides and in Between is an exercise in nostalgia, but there is a good-natured, homespun vibe at play throughout that helps to smooth out some of the more overtly retro trappings.

Make no mistake, this isn't the second coming of Purple Rain or Sign 'o' the Times or even Parade -- in other words, it's not a masterpiece, more like a more confident and consistent Diamonds and Pearls without the hip-hop fixation -- but it's a strong album, one that impresses on the first listen and gets better with repeated plays.

Though a couple of cuts fall short of the mark, and the set may have a few too many guests, Ske-Dat-De-Dat is a solid tribute to Armstrong. It does take chances and almost always pulls them off thanks to Dr. John's signature blend of musical imagination, wit, and savvy cool.

But for as impeccable as X&Y is -- and, make no mistake, it's a good record, crisp, professional, and assured, a sonically satisfying sequel to A Rush of Blood to the Head -- it does reveal that Martin's solipsism is a dead-end, diminishing the stature of the band.

It's even bleaker, more industrial and decayed, than 2012's R.I.P. There are more moments of forward motion here than on that previous album. They're all captivating on some level.

They prove that rock & roll as urgent, trashy, and fiery as the Stooges' first three albums, Back in Black, and Appetite for Destruction can actually be thoughtful articles of democracy and righteous rebellion.

So many bands confuse being laid-back with being comatose that it's good to hear a band who give their richly layered tunes some heart and soul.

It's a weird blend of power-driven grunge and melancholy: a fever dream that sweats out weary sadcore as it primitively pounds out acid rock drudge.