His lyrics have matured past coke-slinging to the drug's effect on his life. [16 Dec 2006]

There are fewer memorable moments here than on his solo albums, but it's still nice to hear him taking risks. [21 Apr 2007]

The Dolls' bark is as big as their bite.

Duran Duran has a new lease on life, sounding more vibrant and exciting than it has in eons.

His voice is beautiful, his phrasing adventurous and his arrangements intense.... But the material could stand a bit of pruning

What helps Smoosh rise above novelty, however, is the quality of young Asya's songs.

While the Who's acoustic side has always been underappreciated, Townshend revels in it here. [4 Nov 2006]

DJ/rappers Redfoo and Sky Blu (the son and grandson, respectively, of Motown founder Berry Gordy) fulfill all the lyrical requirements for a summer anthem--sunny locale, sexual tension and a liquor-assisted nonstop party.

This isn't a perfect album, but it is a great pop leap for Fischerspooner.

The M's and their "Future Women" not only jog the memories of rock past, but are memorable in their own right.

Hiccups aside, there's something really brave and thoroughly punk rock about hearing her tackle Ma Rainey's 'Daddy Goodbye Blues.'

To save themselves from the sneaking accusation that they were fizzling out, the quartet self-produced and -mixed "Swimming," and the result is an album notably more laid-back and truer to their wistful personalities than 2006's "Two Thousand."

His ambitious self-titled solo debut goes a long way in turning over a new musical leaf, thanks to the presence of a top-notch nine-piece band and a host of complex, melodically inventive tunes that could please a wide range of listeners.

Lloyd still serves up a satisfying sophomore suite.

Those familiar with '80s funk trio the Gap Band will find a decidedly modern R&B sound on the second Jive solo album from frontman Charlie Wilson, which by turns is both riveting and a little disappointing.

Ne-Yo still has a way with melody, managing to upgrade his offerings while showing that the writer in him ain't dead either. [5 May 2007]

Its most difficult and uncompromising album to date.

Although Metric might get lost in the ongoing mainstream melee, "Live It Out" has all the right ingredients for building a strong underground fan base. [29 Oct 2005]

Like instrumental masters Tortoise, the new Tristeza is much like the old, offering subtle variations on a pleasant theme.

Minor flaws aside, these Jersey boys have paid a tribute to their neighboring city befitting that famous New York attitude.

7 This is Chesney doing what he does so very well, and his legions of fans will eat it up. [12 Nov 2005]

Some cuts, like the cover of 'Pretty in Pink,' or the tensionless march of 'Mouse and the Model,' didn't need to be resurrected. But others, like the singalong rolling notes of 'Sorry Bunch' or 'Night Reconnaissance,' a multipart romp about middle-class vagrants, can stand with the Dolls' A-sides.

Continues to straddle the line between street credibility and mainstream success.

The melodic yet dissonant sea of guitar attack Burma brings to the table sounds arguably more relevant today than it did 20 years ago.

Her big sense of humor and little sense of shame should help keep "Impeach" in rotation for incumbent spins.

Attention does seem to wander during some of the post-millennial songs, and the insistent clapping on the wrong beat during 'Drive' is irritating, but the crowd's love is audible and the band more than earns the affection.

Not every track is equally gut-busting, and a few, like the poseur reggae tune 'Ras Trent,' are made much funnier by the included video. But the Lonely Island has certainly found its bearings.

The Canadian quartet continues to polish its spacey, new wave-colored sound that's heavy with buzzing synths and echoed vocals.

While the self-imposed constraints limit the emotional power of songs like "Mary of the Wild Moor" and the hushed, fingerpicked "Manson Twins," it's a happy addition to Pajo's solid lo-fi repertoire.

There's a refreshing lack of samplers, loops, and unnecessary electronic ephemera here... [s]olid from beginning to end...

Willner's soulful production, elegant and layered, recalls Daniel Lanois' work with Emmylou Harris. [17 Feb 2007]

It's fun to hear Trent Reznor play other roles and fire holes into the technology he's been so vital in employing. [21 Apr 2007]

While Marsalis' verse falters, the music beams stellar with lyrical rhapsodies and compelling arrangements imbued with multifarious colors and orchestral textures.

Backed by a fine team of multi-instrumentalists, Molina delivers a harrowing set of songs with short running times and minimalist arrangements.

Emo fans will be satisfied; dabblers will have their assumptions about the genre confirmed.

The band's evolution is not without growing pains, but the balancing act of appealing to core fans while reaching for something more is mostly successful. [8 Oct 2005]

Corner is sort of like ["Ruckus'"] older cousin, as it finds Galactic enlisting a monster guest list of MCs to rock over its densest grooves to date. You'd think the results would vary more than they do.

The songwriter's fondness of esoterica makes "Pig Lib" a trying listen; even the song titles can elicit an eye roll.

The dabbling in different sounds and textures results in a surprisingly cohesive effort for DMST, and one that successfully sustains interest throughout. [3 Mar 2007]

It's driven by Helm's warm, amazingly rich moonshine vocals and decorated with bluesy guitar sprinkles, angelic violins and lovely harmonies by his daughter Amy of the folk-rock outfit Ollabelle.

The stylistic seesaw between hyperactivity and placidity is almost too much to bear -- and will surely frighten the pets -- but that may be the point.

A one-two punch of radio-ready, rock-tinged riffs and Lavigne's signature defiant yet introspective vocals.

A substantive collection of back-to-basics indie rock.

Nothing here has quite the same panache as club hits like "Bingo Bango" or "Romeo," but "Crazy Itch Radio" nonetheless contains a handful of songs that reassert Basement Jaxx's superior production skills and unfailing ability to get any dance party grooving.

The alluring texture of every track on "Tres Cosas" makes it a winner.

LL... seems to have regained the fire that was sorely missing from his previous release, "Phenomenon."

Enya keeps the comfort factor high with several compositions that are arguably descendants of her 1989 pop hit, "Orinoco Flow." She steps outside of that zone on the first single, "Only Time," an elegant effort that is wrapped in soothing harmonics fondly reminiscent of vintage Beach Boys tunes...

A gripping yet comic collection of Americana songs braced with wit, heartbreak, social critique and spirituality. [20 May 2006]

This London-based crooner emerged in the early '00s as the face of Britain's 2-step scene, but on his fourth full-length Craig David doesn't sound tethered to any one sound in particular.

Much of "Human the Death Dance" goes for something deeper—the sound of an artist afraid of what he almost became. [12 May 2007]

The appearance of Hood's dad, legendary session man David, gives parts of Murdering Oscar--even within the Southern-rock storm and Hood's charcoal vocals--a sweet, possibly unprecedented sense of tranquility.

Some may find the subtle Fan Dance too unadorned, but its quiet beauty holds real strength.

"Guero" explores all of Beck's influences and revisits so many of his finer ideas. It's not the cheeky soul-funk orgy of "Midnite Vultures," but something more mature.

Easily the radio-friendliest set ever from the Phish camp.

All in all, "How Animals Move" is a slow-burning, understated gem that intrigues and engages in equal measure.

Tori Amos delivers some of the most accessible music of her career, coupled with beautifully obscure lyrics.

A pleasing collection of midtempo songs and ballads brushed with, but not obscured by, a contemporary sheen. [30 Jul 2005]

Weird, and often wonderful. [22 Oct 2005]

It's practically something straight out of the United Kingdom for all of its poppy goodness. [14 Apr 2007]

Buck may not be as charismatic or as lyrically compelling as his cohorts, but he still makes a strong impression.

Too many tracks get bogged down with a straight-ahead progressive trance formula, where zoning out feels more suitable than attempting to move your feet. Still, because the good stuff is so darn good (and it is), it is easy to brush aside any missteps.

Songs of losers and loss tempered by only a taste of wry humor.

The California-based trio continues its exploration of more straight-ahead rock and pop with surprisingly strong results.

Stronger than not and off-kilter enough to remain engaging even when the skits come on, "Theloneliest" might not have been worth a five-year layover, but it's weird and wide open.

While the set could be more dynamic with greater variation in tempo, the producers blend their vast range of influences in innovative ways.

It's almost as if they've been raised on a steady diet of "Laugh-In" reruns, sugary disco beats, James Bond films, and the Ray Conniff Singers.

Such uniformly dark material makes one long for a tune or two to lighten the vibe.

A welcome return from a band that still doesn't sound quite like anybody else. [30 Jun 2007]

Throughout, Cole leaves behind her staple vibrato, which is refreshing.

Another pleasant helping of sweet headphone pop.

[It] doesn't offer many surprises, and as usual that's OK.

She is grappling with issues of faith, but she is charmingly skeptical. [28 Jan 2006]

The Special Goodness' has crafted a dozen punk and pop-influenced songs that the modern rock hoi polloi will have a hard time leaving alone.

The Maels continue flexing their musical might. Tracks like "More Than A Sex Machine," "The Calm Before The Storm," and the eye-winking title track are just waiting to be embraced by dancefloors worldwide.

An enchanting introduction to a talented band's equally solid beginnings.

Cooder has fine musical companions on his journey. [10 Mar 2007]

This is Moby without his usual bag of tricks; the material rings truer than any of his previous work.

The band too rarely steps out of its dream pop mode to actually move the listener.

"Silent Shout" excels with pulsating electro-rhythms, even though they don't include drums, bass or even a drum and bass sound.

"Guerolito" proves that remixes do not have to work solely for dance crossover: They can give a well-received album new legs among its original fans, too. [17 Dec 2005]

The chameleon has come home and still sounds like no one else.

An artistic experiment that stretches the band's sound while meditating on the film's menacing malaise.

A melancholy gem of gorgeous, whispery folk and delicate countrified rock.

There are a few head-scratchers,....but singer Caleb Followill has never been in better command of his beyond-his-years howl, and he's got monster hooks and melodies yet in his bottle of tricks.

Fans will note a lack of Bruceness here: big-sounding proclamations about faith and dreams are few and far between, replaced by sneakily complex love stories all washed down with sudsy pop.

Characterized by production rawness--for better (the immediacy of the performance) and worse (traces of off-key harmonies).

"Yr Atal Genhedlaeth" is undoubtedly a charismatic prize for die-hard Rhys/Super Furries fans, but for drive-by listeners, it's just an interesting appendix to the band's body of work.

A guilty pleasure.

Remains in the tradition of his previous releases, offering a combination of witty rhymes and unforgettable hooks.

The overall result lacks the ebony-hued cohesiveness and experimental flair of the debut set.

The Aluminum Group's "Pelo" features the lush production and silky arrangements one expects to find on a Tortoise record, plus a healthy dose of Stereolab-influenced vocal harmonies thrown in for good measure.

Gold left many Adams fans listening in awe at the leaps and bounds by which he was growing as a songwriter. This record doesn't do that; and though that's just fine, it makes Demolition less diverse and ultimately less exciting.

The utilization of American hip-hop scenarios in the context of the English slang is exactly what makes "Coming On Strong" such a unique listen.

A warm, enjoyable effort, but perhaps short on the Jews' best asset: Berman himself.

The repetitive opener 'Let's Be Mates' gets the album off to a rocky start, but Lady Sov quickly redeems herself with 'So Human.'

"The Big Bang" successfully treads the line of commercialism, with palatable mainstream singles and solid street tracks.

Frusciante channels his creative spirits through a homegrown hybrid of early '80s new wave and late '60s acid rock that sounds a lot better than it reads on paper.

The monochromatic melancholia eventually weighs the disc down, but even when Arthur's songs drag they do so with a grace and beauty that transcends the morose subject matter of his self-pitying lyrics.