The Color Before the Sun is not the band's best record, but it is utterly inspired and almost nakedly sincere. It will likely play well to fans, but even more importantly, perhaps attract new ones.

Rimes illustrates her range as a singer along with some true strength as a writer, and they help make Family a canny blend of the commercial and the confessional--an album that feels heartfelt, yet is as accessible and enjoyable as her best records.

Play It as It Lays is, without doubt, the record where Scialfa gives us the full fruit of her exceptional gift as a writer, a singer, as an artist.

Musical breaks like these not only make For We Are Many a fresh listening experience, but they also prove that the band isn't restricted to a formulaic good cop/bad cop style of metalcore songwriting, allowing the band to engage listeners who are looking for more than the same old thing.

Stereo Typical's good-natured swagger marks Rizzle Kicks out as one of the British urban scene's most entertaining new talents.

Everything feels just that much more "on", for lack of a better term, with more focus and individuality.

So cheerful is Golden that it seems a little churlish to complain that the songs here aren't grabbers: they're slow burns, designed to sink into the subconscious through repeated plays on radio, in-store sound systems, waiting rooms, and bumper music.

Adam Lambert demonstrates he's in perfect control of his style and sound and knows how to combine both into a sterling modern pop record.

While a bit uneven in spots, Both Sides of the Sky is well worth it for an avid Hendrix fan.

It's heartfelt and gutsy, performed without flash but with steely spirit, feelings that elevate Blow Your Mind above many of the other records in Johnson's solo discography.

It's the kind of sunny, burly record that gets the business done so efficiently (the album lasts a little over a half-hour) that you want to start it all over again once it's done spinning.

Thankfully, all of Who Cares? sounds exactly like Rex Orange County coming into his own.

Despite Clarkson's rousing performances and optimistic outlook, Chemistry feels cloistered and secluded, lacking pathways into its inner sanctuaries.

Archive 2003-2006 is well worth a listen for Department of Eagles and Grizzly Bear fans, especially those intrigued by how albums get made--or don't get made, as the case may be.

The result is not only satisfying, but adds to the already unclassifiable depth of his artistry.

Like all BSP records, Valhalla Dancehall aims for the nosebleed section while remaining oddly detached.

What is easy to figure out is that they are still operating at top capacity and anyone looking for smart, emotional pop that sounds almost perfect can turn to Stars for all their needs.

Kinsella's tried-and-true delicately delivered cynicism combined with a new approach to instrumentation is refreshing after all these years.

Despite its short 31-minute duration, Four (Acts of Love) is a weighty, thought-provoking, moving experience.

It sometimes walks the line between close listening and a wash of sound, but it's intriguing from whatever angle it is approached.

The band's laconic, devil-may-care charm is evident throughout the 11-track set, but they seemingly lacked the follow-through to ensure that their deal with the cloven-hoofed and bifurcated-tailed swindler included the ability to conjure up some hooks.

Jeezy doesn't say much that deviates from previous ice-veined rhymes, but he attacks just about every track with intense focus and ferocity

Steve Albini recorded the sessions, and he's done a typically fine job of putting this music on tape with accuracy but no needless frills, and Antarctica suggests Flat Worms have a longer and more diverse future ahead of them than one might have first guessed.

Chunky Shrapnel is a testament to the band's powers as a live act and is sure to make their fans happy.

The breadth impresses and it resonates stronger because he's funneled all these sounds and textures into a tight nine-song album that lasts barely over a half-hour. For an artist who has fervently believed more is indeed more, this restraint is thoroughly appealing and helps showcase his craft in surprising--and, yes, sometimes dazzling--ways.

While Beyoncé does sound like she's in a bit of a hurry throughout the album, and there are no songs with the smooth elegance of "Me, Myself and I" or "Be with You," it is lean in a beneficial way, propelled by just as many highlights as the overlong Dangerously in Love.

The riffs are punchy, the drumming relentless, and nary a note is wasted, and it strikes that balance between artistry and economy that has always made Anthrax an elite metal force.

Simply put, For Crying Out Loud works because the band knows exactly what its listeners want.