Populating that lyrical forest are knights, goblins, talking animals and ticking (shades of Peter Pan crocodiles), Costas spinning her offbeat tales like a young Suzanne Vega setting Brothers Grimm fables to music. It's all melodically accessible.

In signature Björk fashion, the songs are emotionally intense, beautifully orchestrated, sensually sweet, and wickedly exotic.

The disc spotlights Veloso blasting off with raw, beat-driven fuel in the company of a band of youngsters who animate and invigorate him. [27 Jan 2007]

Even during the second-tier moments, there's a sense that he's regained his artistic footing. [31 Mar 2007]

Every song becomes her own, with each one having just the right amount of torch and twang.

Far more '70s-style easy rock than rap/rock bombast.

The results are a selection of high quality that veers between brightly spirited ("Manhole," "Lag Time") and somber ("Callous").

Marshall's reinterpretations reveal a welcome intimacy.

George dives in full bore, her voice navigating his undulating road map like so many animated bluebirds flitting through a forest.

While there's not a bad one in the bunch, once you've heard LaMontagne loosen up, you're left starving for more of it.

Producer Brendan O'Brien kicks up classics like 'Even Flow' and 'Black' by putting Vedder more upfront and toning down the reverb so listeners can better hear the interplay of guitarists Mike McCready and Stone Gossard. Disc two tacks on six more tracks that represent the real gold for diehards who have traded sludgy bootlegs of the band's early jams for years.

She has never sounded so earthy, so bluesy, so soulful.

It trades in the Robert Johnson and Dolly Parton covers that go over so well live for more of singer/guitarist/keyboardist Jack White's hard-blues, garage-rock originals.

It has the ambition, enthusiasm and intensity of an artist still pushing the envelope. [27 Jan 2007]

It's trim rather than hurried, does not waste a note and, because of that, may be the best of Vega's seven studio albums.

We haven't heard such a melodic Swedish act since ABBA.

Fully realized and largely insane. [4 Nov 2006]

Aside from moments where the wackiness gets too overwrought (kid song sound-alike 'Underwater,' the Muppets-y 'Like It or Not'), Places really struts when snarkless electro is in the fore, and a disco high-hat or sunny, guitar-led rock dominates.

Tunstall crushes the sophomore jinx under the stilleto heels of the white boots she wears on the album cover, delivering a confident and assured set that's fuller and a touch more electric than its predecessor.

This North Carolina-based sextet's major-label debut is as rich and diverse as 2006's "Be He Me," unfolding with layers of piano and string flourishes, crunching guitar jams and vibrant pop melodies.

They Might Be Giants' 12th full-length record is arguably their best since 1994's "John Henry."

There are more examples of cover albums gone wrong than gone right. Thankfully Glen Campbell's new set, which finds him ably putting his own twist on tunes from Tom Petty & the Heartbreakers, Foo Fighters, U2, Green Day and John Lennon, among others, fits into the latter category.

Paisley hits all the right notes, literally and figuratively, weighing in on skinny dippin', beer, fishing, technology, children and women, among other all-American topics.

The album is another market-smart collection of radio fodder, rather than Lopez's artistic breakout. That said, no one does classy pop quite like she does.

Instead of paying tribute as concept, Lynne owns these songs, taking inspiration from the renowned blue-eyed soul singer to create her own sober renditions of indelible melodies from the '60s and '70s.

Lyrically, frontman Tim Kasher never misses a step (see the men-as-animals 'From the Hips' and 'Donkeys'), proving once again why he's among indie rock's greats.

They strive to be a classic band, crafting timeless songs that will still be fresh and relevant long after the competition sounds dated and quaint.

Darren Hayes' double-disc This Delicate Thing We've Made is a momentous spiritual tour de force, an undressed lyrical exploration of a soul reborn, tucked into a labyrinth of sonic textures.