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.

Time has not dulled the group's scarily tight musicianship. [15 Oct 2005]

Carnival II sounds louder when it's quieter.

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

Thursday's Epitaph debut melds the band's hardcore influences with shoegaze and atmospheric elements, with mixed results.

And while it is a bit less corrugated than some of its early work, it packs a bite that's far more venomous than any of the sound-alikes that continue to nip at Plaid's heels.

Returns to hip-hop basics.

Mr. Lucky makes up for lost time with 14 gems that showcase his sharp vocal stylings, particular brand of countrified pop music and (given his sex appeal) an equally impossible-to-believe preponderance of romantic heartbreak.

Seven years after breaking out of Sweden's eternal garage-revival scene, this color-coordinated quintet has somehow created its liveliest, most playable album.

Its debut U.S. set showcases its accessible modern rock and frontman Paul Noonan's ambitious lyrics.

The band retains a certain backwoods spookiness, meaning songs like 'Many Funerals' and sci-fi lead single 'Invasion' keep their edge amidst a clutch of tunes ('Come Clean,' 'Ten Cent Blues') that resemble nothing so much as mid-period Fleetwood Mac.

While Yusuf (formerly known as Cat Stevens) officially returned to the pop world in 2006 with the welcomed "An Other Cup," his re-entry has only now been fully realized with the thoroughly engaging Roadsinger (To Warm You Through the Night).

Williams and Elvis Costello get their twang on for the spirited 'Jailhouse Tears,' and a combination of new elements (horns) and powerhouse playing by her touring band Buick 6 bolster the set's emotional heft.

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.

While the album isn't nearly as compelling as Wilco's latest, it proves a thoroughly enjoyable listen nonetheless.

Beneath the dreamy melodies is more than a hint of darkness, disguised by the languid arrangements and dreamy playing.

One of the prettiest albums of the year.

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

There is a little too much tra-la-la-ing, but it's a pleasure to hear a new band having so much infectious fun. [24 Mar 2007]

From "Project Roach," where Nas says that the NAACP's burial of "n*gger" was pointless, to "Untitled," which discusses Louis Farrakhan's role in America, the Queens MC impresses his listener while provoking social and political thought.

Exceptional technical ability, lyrical insight far beyond their years and unbridled exuberance merge into one of the most promising rock entrances since Radiohead's "Pablo Honey." [18 Feb 2006]

Despite embracing the styles of decades past (specifically, the piano-driven pop of [Elton] John and the Bee Gees' disco-riffic ditties), the Sisters still manage to sound unique.

Barnes isn't so much indulgent as he is overly ambitious and seemingly out of his mind, making Skeletal Lamping as wonderfully brilliant as it is weird.

"Compound Eye" is difficult as a complete listen but works well in smaller chunks. [28 Jan 2006]

Flaunting the band's love for classic AOR riffs more here than on any other previous record, Nude chugs along on the strength of licks lifted from Led Zeppelin ("The Kicking Machine") and "Killer"-era Alice Cooper ("The Stupid Creep"), bringing a sense of boogie to Buzz's now-perfectly honed tablature of bludgeoning guitar work.

Thanks to Allen's still-sharp lyrical wit and an exceedingly crafty production job by Greg Kurstin, It's Not Me, It's You is hardly the grown-up buzz-kill it might have been.

Populated with high, lonesome soundscapes that condense the Americana epics of last year's "Black Letter Days" into concentrated studies of tears-in-the-whiskey depression.

One of his finest hours.