[He] attacks these songs with passion, intelligence, and a refreshing lack of blues-rock pretense.

Mellencamp's rawest album to date.

As usual, the band never takes itself too seriously, crafting melodies around a lively, vigorous cast of characters that practically come to life.

The amazing thing is not that there are still so many unreleased tunes in the solo Pollard/ GBV vaults, but how engaging this stuff is despite fidelity that at times is atrocious.

While Dar Williams's artistic trademarks--lyrical introspection, melodic warmth, an occasional tendency toward breathy vocal preciousness--remain much in evidence on this collection, the expanded musical support adds more rhythmic propulsion and layers of harmonies to the mix.

Songs of Mass Destruction is a sterling, rock-solid, expert example.

Now this is more like it.

These bawdy Peter Pans of rock are more appealing when they summon their innate raunchy power, instead of coming off like a 2003 version of the Beach Boys with the sand washed off.

The album sags in spots, and McGraw and his coproducers misstep in adding faux R&B vocal washes here and there. But this is a good, solid effort to make music and not just the radio charts.

Lyrically autobiographical, songs deal with Gahan's trouble with relationships and intoxicants and, though they lack Gore's sense of drama and perversity, they do have a maudlin charm.

In a world gone mad, it's nice to know that some things--like Ministry's ability to tear up the floorboards with crushing efficiency--never change.

Noise Floor presents a mixed bag that will enthrall hardcore Conorites but leave others frequently reaching for the skip button.

A few songs are experiments that should have stayed in the studio; "Left-Handed Dub" is dreadful and the remixes by Flowchart and Two Lone Swordsmen are a bit dated--too ‘90s-sounding. But that's still only one tenth of the album, the rest of which is a pleasure.

For every catchy electro-dance, there's a tune that leaves you scratching your head.

The 11 songs on their second album have their own separate identity, with a diversity of colors and influences putting the Earlies in the company of such contemporaries as Mercury Rev, the Polyphonic Spree, and even, occasionally, Beck.

Keith occasionally appears to be stretching himself... but often seems to be coasting.

It has been said that Nelson can sing just about anything--which doesn't necessarily mean that he should.

Campbell's second extraordinary release of 2006.

Westerberg's not making sensitive statements or trying to write a pop song as good as "Alex Chilton" here. As such, it's the best music he's made in years.

Dust is an atmospheric tour de force that doesn't just come from left field, it breaks through the outfield wall.

Hollywood producers and directors could learn a lot from this deceptively modest score.

Her strongest [album] by far.

Their songs are infectious, silly and often weirdly beautiful.

By and large this is a delightful power-pop excursion.

Songs cascade along in loping forward motion, as prone to lushly orchestrated decomposition ("Apnea Obstructiva," "Te Amo...Por Que Me Odias") and succulent adagio ("Faltamos Palabras," "Olhas") as they are to the simple, charismatic sense of melody that propelled S&S.

The time apart has made the Posies come back fiercer, louder and heavier.

When standards are done like this, there's just nothing like 'em.

Chase This Light is packed with huge pop moments, galloping off with the exhilarating 'Big Casino' and swiftly following it with the towering 'Carry You,' songs seemingly custom made for action-packed pick-up truck commercials.