As the program continues, it becomes clear that he has reinvented most of the tracks in pretty much the same way, and the limits of his low-key, almost whispery vocals can grow tiring.

In Space is an album that should appeal to anyone who digs Alex Chilton; however, anyone expecting a Big Star album is going to be more than a bit puzzled by most of these tunes.

No matter what instrument he's playing or what he's singing about, his music still feels the same, which is enough to satisfy his fans but not to win him many new ones.

Musically, Houses and Homes is mostly stellar.

Only a handful of the tracks here have a lot of staying power, and the rest, while always colorful and even enjoyable, are fast to fade.

Though most of his career highlights also appear here, a parade of Paul Van Dyk productions is not what most listeners need to stave off boredom; his productions all work from a similar framework, and work best in the context of a broader mix set.

Sarcastic, sweet, subversive, geeky, and awkward are hard vibes to juggle, but Folds, Sledge, and Jessee manage more times than not to keep all of the pins in the air, which after more than a decade apart, is pretty remarkable.

Thoroughly enjoyable and high in replay value, this will be most valuable for younger listeners for whom H&LA functioned as a point of entry into house music.

The Mix Up is not a major statement, but that's the nice thing about the record: it's as personal and idiosyncratic as any old funky soul-jazz LP that you'd find deep in the crates of a second-hand record store.

Like a lot of second albums that aren't exactly a slump, Here We Stand is more accomplished than dynamic, but there are still quite a few enjoyable moments here.

As it is, Doo-Wops & Hooligans is an uneven debut that shows why Mars is likeable and popular, but doesn't tap into his full potential as a writer or producer.

What saves the record are the handful of songs that break out of the constraints of even-keeled melancholy and take (small) chances.

Youth and the group walk the line between grandiose and epic throughout, never falling on the wrong side even once.

This EP dazzles and then disappears before the sun comes up, leaving listeners with the exhilarating feeling of "wow," and the less-pleasing feeling of "what happened?"

The Search for Everything succeeds because he's not donning a new costume: instead, he's settling into a groove he can claim as his own, and it feels like he's at home.

Victorious amounts to little more than a thrown-together mess.

Highlights include an 18-minute version of "Cowgirl in the Sand" and a duet with the Pretenders' Chrissie Hynde on Bob Dylan's "All Along the Watchtower."

Just a shade less stunning than his last full-length, Emotional Technology at least establishes him as one of the better album constructors in the singles-driven world of dance.

That magic might be missed a little on Mirror Eye, but its fever dream-like intensity is more than compelling in its own right, and feels as subtle and natural as a shadow or a reflection.

Latecomers, as well as longtime fans whose favorite Moby material remains the Mimi Goese collaborations on Everything Is Wrong, should have no problem soaking it up.

Often, Break the Spell harks back to the glory days of the late '80s, when rockers played golden gods all for the sake of video cameras, secure in the knowledge that heavy rotation on MTV and AOR radio would shift millions of CDs.

["Skillzone" is] one the few times the album offers a "punch in the gut." Everything else is more "hands in the air" and from every radio-friendly strain of wonky pop, giving the impression that The Ascent is a mixtape of Wiley features and not a proper album.

The likes of 'Never Letchu Go' (a sweet, glistening ballad), 'Luv' (carrying a brisk, feel-good clap-and-bounce), 'Rollercoaster' (suitably jittery and giddy), and 'Can't B Good' are as innocent, universal, and inviting as anything else in Janet's past.

There's less of the wry humor Germano usually allows to shine through once in a while... This is also her least gauzy-sounding album since Slide... Despite these differences, In the Maybe World is still a strong addition to her body of work.

Grand Romantic is a fittingly grandiose, occasionally silly, passionately effusive, and ultimately very catchy album.

While having their most celebrated drummer on hand adds an element of stability to what is a pretty far-out concept even for Primus, the addition of Bass and Dillon allows Primus to really push their sound to its creative limits, making Primus & the Chocolate Factory one of the band's oddest, yet most strangely compelling, releases to date.

The surplus of ambling ballads, especially during a stretch in the latter half that features the soft voices of Justin Vernon, Yebba, and Hynes, blurs the line between pleasantly languid and laborious. Near the end, there's a slight uptick in intensity.

Bangerz's take on R&B is most convincing when it's balanced with Cyrus' country and pop roots.