The duo can still cast a mood, and that's what makes this debut all the more frustrating -- all the parts are here, but they don't come together as often as they could and should.

Earnest, melodic, and slow to unfold, there's not a bad song on here, but surprises are few and far between.

Most of Going Back is devoted to the tried and true, though, the hits that remain staples on oldies stations across the globe, and whenever Collins is singing "Heatwave," "Uptight," "Papa Was a Rolling Stone," "Jimmy Mack" or "Going to a Go-Go," the album inches away from being a labor of love and into pure nostalgia trip, but even then the album is pleasant enough that it's hard to complain.

Every song on Charleston has been ironed flat, so there are no unseemly natural inflections, something that Rucker doesn't need but which helps make Charleston, SC 1966 a gleaming example of polished, pressed, modern country-pop.

The only hint of intrigue comes 40-odd minutes into the record, when Youth takes up his mighty bass for "Chicago Dub," which briefly changes the pace for the better.

The Fool has flashes of brilliance, but Warpaint need to play to their strengths consistently.

Healy's yearning, earthy croon is well intact here, and although he doesn't try to upstage his main band's act, longtime Travis fans and anybody in the mood for heartfelt, smartly crafted folk-pop should find much to enjoy on Wreckorder.

With a slow, minimal style similar to producer Bangladesh, the Pac''s Young L handles most of the production on the album, delivering beats that favor impact over density.

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.

Maturity doesn't necessarily suit the band--there's a natural, flat whine to Joel Madden's voice that dooms him to eternal adolescence--but every step Good Charlotte makes toward a comfortable middle age on Cardiology is a step that succeeds, producing music that resonates louder and longer than the flashy twaddle of Good Morning Revival.

Like most covers sets, this is a mixed bag, and it's for the hardcore Diamond fan more than those who admire Home Before Dark, 12 Songs, or his work from the '60s through the mid-'70s.

Once again, N.E.R.D. are at their best when they abandon all regard for the Hot 100.

Call it reliable or call it boring, As U Were slots into the Lyrics Born discography comfortably, as an album any hip-hop fan could enjoy, but hardly love.

Apart from that pair of stiff originals, the whole thing is cheerful and engaging, a worthy sequel to its predecessor.

Amoral or not, this album serves as a reminder that the superficial can still sound pretty super.

Despite [a] couple of dragging moments, Coal Miner's Daughter is for the most part filled with solid, respectful versions of excellent songs and serves as a worthy tribute to an enduring icon.

It's an excellent way for Jenkinson to branch out and try something different--his playing and programming is definitely up to his high standard--but aside from the sweet retro vibes, it's hardly a classic.

Bittersweet songs like "Grey Clouds" and "What I Lose" are more subdued than prior work, but ultimately The Inevitable Past is a solid addition to the discography of an indie rock fixture.

Loud would not sound quite so slapdash if it did not follow Good Girl Gone Bad, one of the best pop albums of its decade, and Rated R, one of the most fascinating pop albums of the same time frame.

Those speedy songs ["You and Me" and "Go Away My Lover"] are the exception on this album, not the rule, but they're still the highlight, balancing Ziman's ruminations on a love gone wrong with something much brighter.

Small Black haven't quite mastered balancing their newfound polish with memorable songs, but New Chain's sound is so appealing that it could be considered one of the first chillwave albums aimed at the mainstream.

Wasted in Jackson is the work of a music industry pro who also has a genuine, unaffected natural talent for vintage soul and blues styles.

Flockaveli has enough hooks and attitude to keep those bottles poppin' all night long, and whether or not you remember any of it the next day, it does serve its purpose.

Winner Stays On will undoubtedly continue their stratospheric rise from the ghetto to the mainstream, but despite flashes of ingenuity, it's a strangely formulaic and over-familiar listen.

Not every DJ dream team is up to the challenge of creating great original tracks, though, and it's hard to criticize Swedish House Mafia when their mix is otherwise such a blast.

Most of these songs are not quite up to Hart's usual caliber. His inherent charms are hard to deny; they just feel slightly threadbare this time out.

From the beginning of her career, Duffy's voice alone was clearly not her most potent weapon. Here, she oddly attempts to build an album out of it, not succeeding with anything close to the power and elegance of Rockferry.

Bedingfield plays it exceptionally safe, to the extent that she even tones down the self-empowerment of her first two records, preferring pristine blue-eyed soul and adult contemporary ballads, all tailored for an aspirational upscale lifestyle.