From the broad, hopeful tone of opener 'Don't You Wish It Was True' to the brisk closer 'Longshot,' John Fogerty at 62 has made his toughest, best-written album since Creedence Clearwater Revival disbanded in 1972.

While Dulli's bitter, drunken voice remains front and center, the backup vocals and orchestras nearly make the songs sound like a parody, marrying a beast to a beauty.

Denver-based Devotchka delivers another batch of aching, spacious and histrionic tunes on A Mad and Faithful Telling.

The uptempo tracks are invigorating with their harder guitars and drums, and Lewis' humor abounds, but his slower, softer, acoustic songs are the standouts.

"The Devil and God" plays its hurt with polish and panache, however, as Brand New's textured dynamics marry mood and an aggressive ebb-and-flow on nearly every track. [25 Nov 2006]

This is the same pop-wise Hot Chip, only wilier and with a more dastardly sonic arsenal.

Here, her vocals--less developed and wobblier than now, yet still astounding--and tell-it-like-it-is lyrics ('Fuck Me Pumps') take center stage.

All in all, the effort has more space, less atmosphere and gets right to the point.

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

The group has abruptly cashed in a good deal of its personality for an unflattering, generic modern-rock sound.

Between the pounding pianos and the non-stop wave of arena-ready power chords and driving drums, most of "The Wolf" sets a new standard for fist-pumping anthems.

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

The Stand-Ins feels looser and breathier than "Stage Names."

"The Life Pursuit" continues B&S' growth into more of a timeless pop act, its wry eye toward U.K. life refocused into tighter, swifter arrangements. [11 Feb 2006]

"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.

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

A feisty set of primarily thrash-hop covers of socially and politically charged hip-hop, pop, rock, and punk jams.

"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.

Not that the band's blend of metal; world music; jagged, breakneck rhythms; and non sequitur lyrics don't still connect, but it is nowhere near as dazzling as it was on its first two go-arounds. [26 Nov 2005]

In lesser hands this collection of country classics might have been badly mishandled, but in the willing arms of traditionalist extraordinaire Patty Loveless and producer/husband Emory Gordy Jr., the past is brought to new life.

The Oklahoma singer/songwriter and multi-instrumentalist raises eyebrows from the get-go on his 16th solo outing, dipping into jazz for the gently swinging 'Who Knew' and the self-effacing 'Former Me.'

Revels in dirty guitars and fuzzy distortion while maintaining Depeche Mode's familiar electronic sound. [22 Oct 2005]

The 2005 version of QOTSA finds the band more relaxed and loose than it has ever been on record.

Costello's vocal range is challenged like never before, but his phrasing is always on the money, and Joe Henry's production makes it all sound so natural.

Even when you can't understand what he is breathily crooning, Prekop is a master at setting just the right mood.

It's a pleasant enough, if uneven work. [14 Apr 2007]

Busted Stuff is marked by luxuriously long tracks that maximize the skills of the band.

Another pleasant helping of sweet headphone pop.