To be sure, the majority of "Island" could be Pink Floyd in all but name only.

Occasional clunkers aside, the impassioned delivery and stripped-down G-funk grooves are still more potent than plenty of efforts by rappers half Cube's age.

Unexpected does boast a handful of shiny electro-R&B gems ("Hello Heartbreak," "We Break the Dawn") that make Williams' journey from church to club as enjoyable as it was inevitable.

A couple of tracks sound derivative, but for the most part fans of the duo will embrace this album as well as the twosome's maturing sound.

Chesney shows development here as a writer, and past success ensures him top-shelf material.

Overall it's rather tough to get a grip on what they're getting at.

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

Hiccups aside, there's something really brave and thoroughly punk rock about hearing her tackle Ma Rainey's 'Daddy Goodbye Blues.'

Anyone expecting something akin to a new Björk studio recording may not enjoy "Drawing Restraint 9," but taken at face value, the disc is a rewarding sidestep. [27 Aug 2005]

Outer South is a decently stocked serving of rambling, saloon-joint alt-country, but one that finds the freewheeling Oberst and band in need of a little focus.

Given Lamb's heady back catalogue, some may dismiss this album as digestible trip-pop free of synthetic intricacies and sonic meanderings.... [But] it's the first to harness 100% of their talent as a band.

Equal parts soul, funk, rock and blues, "can'tneverdidnothin'" continues to showcase the fiery, audacious style first heard on Nikka Costa's 2001 debut.

With its smooth melodies ("Just Right"), fresh beats ("Diamond Girl") and effortlessly suave lyrics ("Quicksand"), the album satisfies from beginning to end.

Fully realized and largely insane. [4 Nov 2006]

Although not as cohesive as Jean's "Carnival," "The Ecleftic" spins a compelling tale of a hip-hop superstar who defies convention.

Vedder effectively conjures the endless possibilities of the open road with sparse, never morose, tracks.

The utilization of American hip-hop scenarios in the context of the English slang is exactly what makes "Coming On Strong" such a unique listen.

The most potent and cohesive album of its career.

Key to the success of the disc is Krall's stretch on the keys, making this her strongest jazz outing.

"Word of Mouf" never quite meets the standard 'Cris set for himself with his debut.

The lack of big-name guests may make it hard to woo new fans, but those who preferred Paul's earlier work will be happy to hear he has returned home. [1 Oct 2005]

Maximo Park... safely explore new territory without being too obvious. [12 May 2007]

"Under the Covers" has just the right mix of reverence and fun to be enjoyable even on repeat listens. [22 Apr 2006]

Taking no risks, "Nightcrawler" shows little growth and makes one wish for the morning after.

Snow Patrol suddenly sounds like a cross between Goo Goo Dolls and Train.

Supergrass has gone from energetic, young and roughshod to energetic, veteran and polished.

With his raw, raspy baritone voice, he paints vivid, usually empathetic pictures within an instrumental context that is rife with refreshing live beats and sharply drawn guitar and keyboard lines.

With the roaring guitars and raucous attitude blaring from The Datsuns, it is tough not to crack a smile.