One can't help but think that by scaling back their ambitions, the Foos could have made one great album instead of two average ones.

The Americana is first-class, be it on crunchy, boozy romps with stinging solos or the slow-burning acoustic fare, but this batch of tunes proves far less memorable.

It's hard to sound as sweet as Tegan & Sara and not come across as precious. But somehow this duo does it, and the result is fantastic.

A mixed bag of pure-pop lyricism and throwaway covers.

Though nothing quite reaches the heights of past work, there's ambience to spare on "We Own the Night" and the lush "Highway of Endless Dreams."

There are moments when you wish for just a tiny bit of dirt, or just a little bit of edge.

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

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.

Although the mix of dance beats, pounding basslines and palatable vocals is occasionally marred by mundane R&B tracks like "Until the End of Time," there are far more pop gems than slow jams.

Two bonus cuts, 'Till We Ain't Strangers Anymore' with Bon Jovi and 'When You Love Someone Like That' with Reba McEntire, are icing on an immensely satisfying collection.

Scialfa's third and most accomplished solo album.

Fish Outta Water may lack the demographic-tripping vibe that even a Jurassic 5 in turmoil could whip up, but it's a mostly winning debut that makes up in vocal prowess for what it lacks in hooks.

Throughout, she romps with creative abandon, thankfully unafraid of stretching the boundaries lyrically and musically.

Knowle West Boy shows that regardless of era, Tricky does his thing and does it well.

Brad Paisley's mostly instrumental new set, which chronicles his self-described "love affair with the guitar," is both outstanding and diverse.

"Blueberry Boat" will confuse first-timers with its cartoonish feel, but repeated listens start to reveal the subtle complexities that each song brings to the table, regardless of their seemingly short attention spans.

Beyond the bombast, Wilson has personality and soul to burn, and her impact on country music is going to be felt for many albums to come, starting here. [1 Oct 2005]

Snoop has found a happy balance between pop and hardcore. [25 Nov 2006]

He stuffs "Atlantis" to the core with ambition, wicked grooves and more hooks than you might expect. [24 Feb 2007]

After taking care of some unfinished business in recent years, Brian Wilson shows he still has the stuff of conceptual brilliance on his eighth solo album.

More consistent and enjoyable than its predecessor.

"Honey" is a commendable first effort from an artist whose lush vocals are a treat for the ears no matter the genre.

Burnett's settings are much more stripped-down than his work on Robert Plant & Alison Krauss' "Raising Sand" but no less precise: 'My All Time Doll,' one of the strongest cuts, Jeff Taylor's accordion shades the desperation in Costello's lyric with just the right amount of sarcasm.

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

Chesney gets better with age. There are radio hits here: 'Never Wanted Nothing More' has already hit No. 1 and second single 'Don't Blink' is off to a fast start, but there's depth, too.

Exit Strategy finds Ron Sexsmith exploring his songwriting talent in new ways, crafting an instantly memorable album full of soulful, classic pop tunes.

A set of rousing, sharply focused, late-night pleas and barroom romps that take the group well beyond its garage roots.

In the studio, Jones and musical friends... distill the fun, down-to-earth spirit of their live shows. [11 Mar 2006]