The beauty of the record is that even though listeners expect Ween to be peculiar, the band's versatility and strength of songwriting keeps "White Pepper" intriguing through dozens of spins.

A mostly mainstream pop album with Latin inflections.

What they lack in ingenuity, they make up for by turning each song into a full-out event. [4 Mar 2006]

The slick, hyperproduced "It Won't Be Soon Before Long" is a set of 12 potential hits, all mashes of groove and guitar firepower. [26 May 2007]

Street Dreams is a little too padded for its own good, and a handful of tracks suffer from all-too-familiar samples that have been used in recent hits by other artists.

It all goes down smooth until Gordon introduces funk ("Radar Blip," "Jaded") and calypso ("Morphing Again") to the mix, with the results sounding stiff or dated. But make no mistake: He's got plenty to be proud of here.

Tenacious D insists it is the greatest band in the world, and on a couple occasions during this soundtrack to the duo's upcoming film of the same name, you kinda believe it. [18 Nov 2006]

At times it feels like a lot is going on, others not so much. The pieces are all there, but it just doesn't add up to more than the sum of its parts.

Thematically starved, Seeing Sounds is nonetheless a sonic feast.

Sure, there's the occasional melodramatic interlude (despite its lyrical cliches, "Luv Lies" has the potency to be another "Angel"-size smash). But there's also more white-knuckled hard-rock intensity here than on the band's most recent efforts.

Lyrical themes get a bit murkier on her appropriately titled sophomore effort, Battlefield.

This self-released third record sees them right back on form.

"My World, My Way" shows the continuing evolution of a young MC with a promising future.

"Under the Covers" has just the right mix of reverence and fun to be enjoyable even on repeat listens. [22 Apr 2006]

Engineered for short attention spans at just 44 minutes, One of the Boys is still more than enough to make this one long, hot summer for Perry.

Perhaps the most intimate of an intimate series.

When these guys avoid the occasional regrettable extended downshift in tempo, the angular yet danceable set combines a mixture of menace and fun volatile enough to hint that their live shows must be irresistible.

With the roaring guitars and raucous attitude blaring from The Datsuns, it is tough not to crack a smile.

While the electronic flourishes and arrogant bombast that respectively marred the band's last two efforts are thankfully gone, there's nothing on Heathen Chemistry to suggest that the "Wonderwall" commercial glory days of the mid-'90s are coming back.

With this mostly impressive album, Loewenstein has stepped out from behind Sebadoh founder Lou Barlow's shadow to prove he's a powerful songwriter and player in his own right.

The first half of "Living With the Living" offers well more of everything that's made Leo and his Pharmacists such post-punk studs. [24 Mar 2007]

This smart and fascinating album could use some subtlety, rather than bashing the concepts into the earth.

While the majority of the cuts expertly merge the group's melodic vocals, the aggressive chants of Edwin Starr's 'War' are unbefitting an act known for silky ballads.

Metamorphosis, which follows 2006's commercially stillborn "The Paramour Sessions," is the most polished and wide-ranging of Papa Roach's six releases.

Subtlety is one thing, but at times Williams makes the Cowboy Junkies seem downright rambunctious.

Talk about bleak. [24 Mar 2007]

It's the classic, more timeless R&B songs on the I Am portion of the album that seem like a much-welcomed stretch for the singer.

Pink's sound is more aggressive this time and owes more to '80s pop/rock than contemporary hip-hop--with dollops of folk and blues.

Though a few more lively tunes would've been welcome, October Road marks the return of an artist who is as creatively vital as ever.

While Zwan sometimes displays the anguished heart of the Pumpkins, the band also has a leaner, upbeat sound that is, at times, downright sweet and playful.

Overall, a modest debut from a band that has potential for a mass following down the road.

An enjoyable pop romp.

The album as a whole finds a strange homogeny, and Tapes 'N Tapes keep exploring hip, leaving everyone guessing as to whether they meant to make such a confusing outfit or the pieces were just on sale.

The band takes its proven peppy rock sound to new heights.

Hudson is so comfortable with singing--whatever the song might be--that she elevates the material, making it sound like nothing you've ever heard before. All hail the new diva.

While not quite as revealing and rewarding as its 2005 cousin, the new album will certainly please fans of Rubin and Diamond's stark-yet-comfy acoustic direction.

Conor Oberst doesn't sound much different from any of Bright Eyes' acoustic material, except that it is lacking in the bare honesty of his earlier albums.

Although this two-CD manifesto isn't completely immune to the current bar-lowering--disc one is heavy on wispy, lo-fi throwaways (one exception: an intimate acoustic version of the Flaming Lips' "Waitin' for a Superman")--there's more wheat than chaff.

The new set isn't without a whiff of schmaltz....Thicke's strong singing--and a few winning uptempo numbers, including the infectious 'Magic' and the R. Kelly-ish 'Sidestep'--right the ship.

While much of "Blacklisted" is hyper-stylized, suited for playing against the backdrop of psychedelic sunsets that only exist in novels and movies, the album's heart remains Case's voice, as real and strong as they come.

It's hard to take the band too seriously, but the songs are debaucherous fun. [14 Jan 2006]

The folk and electronic elements are ever-present, but the chilled-out downtempo rhythms are now intertwined with chilled-out uptempo fare as if the duo has remixed itself.

Although the album doesn't knock the ball out of the park on first listen, ultimately it reveals just enough cool ideas to keep things interesting.

A number of songs significantly pick up the pace for a change. [12 May 2007]

A good-time, classic rock feel permeates [the album]. [11 Feb 2006]

Rock's in a comfort zone on his first album in four years, a solid effort that makes up with work ethic and historical good will what it lacks in door-blowing moments.

While more musically complex than previous set "Under Rug Swept," "Chaos" has less experimentation and fewer vocal intricacies.

Best-known for her flame-throwing hit "Kerosene," Miranda Lambert delivers more of the same on her new album. [5 May 2007]

"Different Days" manages to be sleepy without being lazy and sad without being depressing.

Born Ruffians are in the business of kicking out jumpy live-band power-pop jams far more concerned with melodic zing than textural depth.

This album showcases De La Soul's more playful side while maintaining the group's intelligent, witty lyrics.

"Funeral" is a modest debut, but it hints at a band that sounds like its ready to make a statement over the next several years.

[He said] wanted to take a different direction on Year of the Gentleman. However, it seems he still has a heavy--yet welcome--case of the (rhythm and) blues on the finished product.

Put [the covers] all together and you get an idea of Low's surprising range and versatility.

An intriguing change of pace. [18 Feb 2006]

"Security" lunges in a new experimental direction every few minutes... but never strays far from the groove, nor its compelling indignation. [10 Mar 2007]

He stuffs "Atlantis" to the core with ambition, wicked grooves and more hooks than you might expect. [24 Feb 2007]

A relevant addition to System's catalog.

Chock-full of catchy songs.

McCartney continues to surprise, opening this set with four of his best songs in ages. [17 Sep 2005]

Funplex works best when the voices blend into the ass-moving momentum.

The title of Staind's sixth album is a bit of a misnomer, but there are a few new stylistic directions here.

There is enough of the original DNA in the mix to make this a worthy listen for fans. [1 Oct 2005]

The gem of this old school-flavored set is its low-key grooves that rely on thought-out storylines and not just sweet-talking jargon. [18 Feb 2006]

Songs so intimate that they sound like singer Margo Timmins could be whispering them in your ear remain the group's hallmark, but the delivery continues to grow more sophisticated. [21 Apr 2007]

This is a surprisingly homogenous set of tunes, and on the whole, the album can make for a rather repetitive listen.

Although not as cohesive as Jean's "Carnival," "The Ecleftic" spins a compelling tale of a hip-hop superstar who defies convention.

Though far from groundbreaking, "Destroy Rock & Roll" spotlights an artist who has a knack for cleverly referencing music that has come before. [11 Feb 2006]

Gillespie's lyrics will never win any Nobels, but the musical excitement generated here is impossible to deny.

The Spree... is generally a bit more streamlined in its approach. [23 Jun 2007]

Has more melody and memorable riffs than the band's previous two albums.

While dancehall novices may find some of the material redundant, "Back to Basics" is a traditional dancehall album in every sense of the word. It's rhythmic, sexual and unapologetically raw.

Just as the busking, basement-tapes balladry of Stereo feels wan and undercooked, the rough-and-ready rock of Mono brims with the thoughtfulness and soulful energy of Westerberg's 1993 solo debut, 14 Songs, and his ever-influential Replacements catalog.

The album's best moments come on XTC-flavored new wave tracks like "Skip to the End" and "Favours for Favours," where they ease up on the accelerator and let the songs breathe.

[A] compendium of mostly refined Americana, albeit filtered through Black's uniquely cockeyed worldview.

Kelly has an uncanny ability to mix retro sounds with tasty dollops of contemporary seasoning.

Overall though, is the album better than "Prairie Wind" or "Living With War"? Yes.

While fans of her early-'90s material will find much to embrace here, those that rallied 'round the singer during her hip-hop days may feel lost and abandoned.

Guster's loudest and most ambitious effort to date.

A surprisingly moody affair.

There's nothing all that innovative here, but Preparations is warm and familiar enough to keep the brain buzzing.

Cuomo turns the mic over to the other three members of Weezer for a song each (the best: "Automatic," sung by drummer Pat Wilson), unironically salutes the influence of Nirvana ("Heart Songs") and marries fake crowd noise and piano to the thick power chords of "Greatest Man." Rock on.

"Mighty Rearranger" isn't great, but it's awfully good, and if Plant's voice has faded slightly in power over the years, it's still remarkably strong.

An understated triumph. [9 Dec 2006]

A nice teaser to satiate fans between proper full-lengths.

Finds Merritt and his longtime backing band moving away from pop formalism, slightly toning down the cabaret affectations and focusing a little more on the melodies and hooks rather than the genre-hopping arrangements.

While "Hives" isn't as easy to digest as previous Broken Social Scene outings, it still deserves many a spin.

The artists seem to have brought the best out of each other, and the result is much better than just hearing them go through the motions.

When "White Trash With Money" is good, it's very good. And when it's not so good, it's still OK. [15 Apr 2006]

[Finn's] attempt to add more dimension to his whiskey-soaked vocals is striking. And for the most part it works.

Cuts like 'In Your Words' and 'Grace' cover an impressive amount of sonic ground, from delicate acoustic atmospherics to full-on rhythmic pummeling. Yet with frontman Randy Blythe's guttural growl--not to mention his bile-soaked lyrics about religious hypocrisy--this is hardly a bid for an active-rock breakthrough.

It deftly balances sweet ballads, outer-space jazz, acid-rock, and firecracker funk superior to almost anything he has offered since perhaps "Sign O' the Times."

Unfortunately, this disc's positives don't add up to a great album: Plenty of boilerplate g-funk thuggery serves as filler.

It's always sort of tough to rally behind an artist dissin' the music industry—I mean, how do you support someone who's living a rock star's life but still complaining, right? But Tom Petty makes it all too easy here, slyly balancing bitter references to modern-day payola, shifty execs, and even the struggles of artists over 40 with wistful imagery of rock'n'roll dreams.

Despite meticulous production, "The Re-Up" retains some of the spare, raw feel of an underground release. [16 Dec 2006]

Of course, straying from emo's typical lyrical terrain is less risky when it's accompanied by music that fulfills the genre's stylistic requirements as completely (and as satisfyingly) as the hooky, fuzz-encrusted tunes on Lonely Road do.

Fun, thoughtful, and dynamic-

While there are certainly some forgettable moments here... the refreshing news is that "Normal Happiness" can stand proudly amid the Pollard oeuvre.