On this fine self-titled set (produced, as was the most recent 97's album, by Dallas-based Salim Nourallah) Miller works his familiar mixture of '60s-pop jangle and alt-country twang, singing about the highs and lows of love like someone who just experienced them for the first time.

McGraw's best effort yet. [31 Mar 2007]

15 tracks of welcomed live drum sounds, symphonies and stacked harmonies.

Raitt's eternal vocal effervescence and enthusiasm continue to amaze and astound.

Taut musicianship, well-crafted songs and potent vocals make this a landmark album in an already multiplatinum career.

Early on frontman Yan (Scott Wilkinson) wishes us, "Welcome for a day--or stay forever," and if you do like rock music, you'll likely choose the latter.

Sugarland's third album, finely crafted with producer Byron Gallimore, is proof positive that singer/songwriters Jennifer Nettles and Kristian Bush are on the cusp of superstardom.

Special guest vocalists, plus a turn at bat from longtime member Jacob Valenzuela on 'Inspiracion,' add intriguing textures to the 15-song set.

Beyond unnecessary remixes, there are joyous discoveries to be had here.

A winning result.

This is the kind of record the Strokes and countless other newfangled pop/rock groups have been trying to make over the first half of the decade. But nobody's done it with such effortless flair as Phoenix.

This Way is not as accessible to the masses as previous albums, but this jewel doesn't need to be so polished to glitter.

With help from A-list guest stars (T-Pain, Robin Thicke) and producers (Kanye West, Swizz Beatz), Lil Wayne backs up the boasts [of "best rapper alive"] on the oft-delayed Tha Carter III.

Forth not only equals the Verve's best work, but in many cases exceeds it.

Six tracks are leftovers from the Brian Eno-produced "Vida" sessions, many of which make noticeable, if not exactly terrifying, departures from the band's swelling rockery.

The effect is never derivative, nor is it catered to the commercial hip-hop landscape, but it's always memorable.

This self-assured, illuminating "MTV Unplugged" performance underscores Keys' boundless passion for her craft. [15 Oct 2005]

This is the thinking person's dance music with lyrical content to match.

The fab five has more than made up for lost time with the deliriously buoyant God Bless the Go-Go's.

"Some Cities" is less epic, but no less important, than its predecessors.

With Butch Vig producing, there is an extra coat of studio sheen on anthemic rockers ('Big Casino'), finger-snapping dance-y numbers ('Always Be') and such borderline Fall Out Boy-sounding political shout-outs as 'Electable (Give It Up).'

An unexpected but dazzling return to the top form of the later Beach Boys years.

Urban hardly rests on his laurels on Defying Gravity, trying some interesting new directions.

A diverse and highly enjoyable ride.

London-bred singer Estelle's stateside debut, Shine, is heaving with catchy, instantly likable hip-hop/R&B/ pop songs produced by the likes of Will.i.am, Wyclef Jean and Mark Ronson, to list a few, and featuring Kanye West and Cee-Lo, among others.

It all adds up to a guilty pleasure for those old enough to remember the '80s.

The peerless BBC archive continues to yield heaven-sent live performances, and none is more enjoyable than this two-disc set surveying David Bowie's early appearances on the British network.

The most potent and cohesive album of its career.