While not a completely lovable effort, "1968" extends Pajo's varied lineage.

On first listen, it might seem too derivative, even dull, but Jeff Tweedy's intricate vocal melodies and Nels Cline's ferocious guitar work keep things interesting. [19 May 2007]

While collaborations with the likes of Viktor Duplaix ("Pull Up"), Rahzel ("Out of Breath") and British MC's Darrison ("Time") and Dynamite MC ("No More") provide interesting listens, nothing here is as revolutionary as such Roni Size classics as "New Forms" or Breakbeat Era's "Ultra Obscene."

Simon LeBon and company have a lot of baggage, and their latest effort doesn't match the neon-lit glory days of yesteryear.

These tracks lack the magnetism of Miller's material with the band.

There are clunkers, like the half-there torch song "Life Is Hard." But the great thing about 67-year-old Dylan is that even when it's not working, it's working.

Overall, the album plays too stiffly for these experts of synth-hewn dance/pop.

Though the album is good, for an artist of 50 Cent's caliber, it's not great.

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]

For greatness, look to the irresistibly melodic "Twentieth Century," the New Order-hued "Minimal" and the Diane Warren-penned ballad "Numb."

Over the course of 14 cuts, the record gets a tad repetitive, with nary a fiddle or steel break within earshot.

While the all-original material is not strong enough to qualify this as the instant classic some have suggested, heartfelt tracks like the jubilant "Delirious Love," the rousing "Hell Yeah" and the string-tinged love song "Evermore" are outstanding. [12 Nov 2005]

This sophomore set likewise has moments of indelible pop bliss, but too often veers off track with unnecessarily long songs and dull arrangements.

The songwriting grows less challenging as the album unfolds, often lacking the kind of vocal performances that provide real traction.

The extremes offer up a portrait of a man far more complex than what we get from many of Banner's peers, and the inventive beats (by Banner, Cool & Dre, Akon and others) add vital life to his gruff flow. But you have to wonder if some of these tracks simply reflect the rapper's desire to be all things to all consumers.

Even Björk's misses are more exciting than most of what we currently call hits. [12 May 2007]

Too frequently on the band's third album, the fun gets lost in difficult song structures and chord changes that deliver less than we have come to expect. [14 Jan 2006]

The album sounds cool, but it also sounds cold.

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

"The Listener" is a low-key, early morning album, perhaps something Lou Reed would have created had he spent his career playing saloons in Tucson, Ariz.

At times compelling in its eccentricities, this record emphasizes experimentation rather than tunefulness.

While over-produced and quite sentimental, this is a very sweet record.

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

It's a very sexually explicit R. Kelly who greets fans on this outing. [2 Jun 2007]

On 'High Price,' where she takes her vocals to an opera-like pitch, and her collaboration with the-Dream, 'Lover's Things,' whose faint tenor would seem like an ideal match, Ciara seems to go almost unnoticed. Thankfully, 'Work,' featuring Missy Elliott, has Ciara showing fly-girl antics over a house-like, clap-laden production, and the breakup song 'Never Ever,' featuring Young Jeezy, which samples 'If You Don't Know Me by Now,' pick up the slack.

Enigk's vocals here are as translucent as ever.

Sweet and pretty. [25 Nov 2006]

There aren't enough original ideas here to know if Rooney can shine as a relevant, modern rock band.