Given her current partnership with the crossover kings at Big Machine, one hopes that an album of pop covers might loom in McEntire's near future. (How great would she be on "Just the Way You Are" by Bruno Mars?) Until then, we'll have to make do with "All the Women I Am," which offers another welcome helping of her well-established sound.

The set features several strongly tropical numbers, like the gentle 'Cancao de Amor' and a fine cover of her father's original bossa nova classic 'Bim Bom.'

An album that works better as a musical koan than it does a hip new collection of indie folk.

The guitar legend still plays with the energy of a teenager-albeit a highly talented one-just starting out. And when he gets his dander up on such tracks as "Too Soon" and "Let the Door Knob Hit Ya," Guy can still diss like a street gangsta

With its serene landscapes and beautiful imagery, listening to The Golden Archipelago makes waiting for the tropical temperatures of summer all the more difficult.

Although it may not be a punk album through and through, songs like "The Stick" and "Where Was My Brain?" embody the genre's spirit with pounding drums, frenzied guitars and rushed deliveries (the former cut clocks in at less than two minutes), while "Mourning in America" mixes the genre's chaotic arrangements and political bite with Leo's usual power-pop flare.

She may be changing direction, but that swagger is still intact.

When It's Dark Out marks a vast leap forward: His cadences are more agile, his boasts more boastful, his guest list tighter (Too Short, E-40, Kehlani).

Every song comes and goes in less than three-and-a-half minutes (and most in a lot less) as the band makes up in ramshackle charm what it lacks in glossy production.

On Storyteller, it’s striking to hear her respond to varied musical textures by expanding her repertoire, toying with inflection and phrasing, and bringing new wrinkles to the characters she’s inhabiting.

Her willingness to own every step and misstep, and to show her audience how the rough times helped her become the woman she is, makes Confident a surprisingly compelling listen.

With her third Sire album, the deliciously attractive Far, Spektor again shows how original she is, finding the gleam in modern life with its contradictions and confusion in a uniquely colloquial manner.

Auerbach offers a more sedate take on the "Born to Die" template, lightening the orchestrations, ditching the hip-hop beats, and presenting Lana as a perpetually scorned pop-noir fugitive--part Neko Case, part Katy Perry. It's a delicious contrast that makes for a surprisingly great album.

It's rare when every member of a band can claim both vocal and instrumental contributions to an album, and even more rare when each contributor is exceptionally talented.

Even with the hiatus, the effort is remarkable for its maverick spirit and pop unorthodoxy.

It's not the challenging listening experience that such recent albums as "Orchestrion" (2010) and "The Way Up" (2005) provided, but "What's It All About" is Metheny at his most genteel.

Caracal is the kind of effort that diehard fans might convince themselves to appreciate, and then never play again.

Its new album, "Dirty Side Down," plays to all of Widespread Panic's strengths, from the intricate weaving of John Bell's and Jimmy Herring's guitars with John Hermann's keyboards to a stylistic sweep that spans from the epic, prog-like opening suite "Saint Ex" to breezier fare like the title track and the spritely gallop of "Clinic Cynic."

Its muted mood and tempo may be initially disappointing for an artist who's been at the forefront of pop and, often, innovated it.... A closer listen, though, shows Rihanna harnessing the moody, intimate sounds for a novel purpose: to open up and let us peer into how complicated her adult life has become.

As on Volume One, Ward's performance and production excel, and his song arrangements move effortlessly between heart-rending and cheery.While Ward's musicianship remains the magic behind She & Him, Deschanel's lyrical growth on Volume Two proves she can hold her own alongside a well-respected partner.

Stuff Like That There shows that Yo La Tengo is, remarkably, still effectively the same band it was a quarter-century ago: graceful, centered and eager to play its latest finds.

It's the airtight beats of Danger Mouse and the surreal songwriting of Linkous that make this a fascinating set.

With Closer to the Bone Kristofferson digs deep into his long and troubled past to bring listeners one of his most beautiful moments.

The Black Dirt Sessions delivers even more grit and lyrical heaviness than its predecessors, revealing a desperate, wayworn side to McCauley's songwriting.

It's his understanding of the niche he's carved for himself--a love affair with darkness and sludgy rock braced with stripper-worthy blues rhythms--that makes his continued output worthwhile.

With a voice that seems to work with many genres, James' set is reminiscent of hits from late-'90s pop acts, but with a more mature, sexually charged attitude and influence from country and hip-hop.

Although the new set may lack the wide-eyed naivete that made the group's past efforts so endearing, the newfound maturity makes for a compelling set of songs.

During the 13-song set, Jones ditches the gentle piano-playing of her previous work and rises to a new level of creative boldness.

Mario has a broken heart and he's pouring it all out on his latest set, D.N.A.

As the album's title suggests, Slug primarily concerns himself here with matters of home and family, but it's hardly a Hallmark affair.

Packed front to back with lyrical treats and lovely sonic touches (thanks to producer Rick Rubin), I and Love and You may be one of the major labels' best pieces of news this fall.

[The album was] rush-released by Def Jam on a low budget. It's a fact that's somewhat hard to hide behind the set's lean production and uneven narrative. But there's cohesion among most of the 13 tracks.

How did they do? Very well, to be honest.

On new album Moth, the follow-up to 2012’s Something, Polachek and Wimberly seem to relish their good luck, layering hooks and beats with a kooky exuberance that was missing last time out.

As comeback albums go, though, this one feels unusually natural.

It's one of Mayer's most diverse and exploratory albums yet, trying on a variety of different styles to accompany a set of particularly reflective and soul-searching tunes.

This adjunct to "Animal" is unapologetically escapist and highly programmed fun.

The album is quieter and torchier than its predecessors, with the singer delivering uniformly stellar vocal performances.

Children's gospel choirs and Joss Stone make somewhat unnecessary appearances, but musically the project impressively meets its goal of cultural connection.

The duo backs up its devotion to classic sounds with rich layers of funk, soul, jazz, blues and rock sampling that honor the genre-bending experimentation prevalent in '80s and early-'90s hip-hop.

At this point, the Brothers are effectively ­historians, and the album's most thrilling moments are often references to their own past or inspirations.

With the help of heavyweight producer Rick Rubin, Gogol Bordello's major-label debut, "Trans-Continental Hustle," maintains the band's ethno-clash dance party reputation, but with less punk attitude and a more mainstream songwriting approach.

The result is certainly more adventurous than anything from her peers, if a little forced.

Mixing nasty guitar leads with cavernous beats, the Black Keys have crafted a dark, sprawling opus that's convincing in its commitment to a unique sound.

The album's dozen story songs-11 penned solely by Parton-are filled with uplifting sentiment and words of encouragement set against a variety of backdrops, most of them deeply rooted in country traditions rather than acquiescing to radio demands.

While it's not the Clan in full, you'd be hard-pressed to find a better supporting cast. If Tomorrow is, in fact, the group's swan song, 36 Seasons proves that Wu's members can do just fine--and maybe even better--on their own.

Every ounce of pain and acceptance rings true, not only through his raw vocal virtuosity but also thorough very live, immediate-sounding production that leaves deliberate, closely guarded space in otherwise active arrangements.

The whole endeavor has a “live and let live” feel that fits in perfectly with Strait’s laid-back, though never sloppy, attitude.

The Black Keys' eighth long player isn't loaded with obvious hits, and that's more than okay--because this is a brave, varied and engaging collection of songs.

Frontman Randy Blythe still growls his guts out while his bandmates hammer away at economy-sized grooves that suggest an extreme-sports version of Southern rock.

While many artists sound anything but comfortable breaking these kinds of musical barriers, Cullum proves once again that he sounds most like himself when the walls come tumbling down.

Ultimately, the electronic-free approach on the closer of the trilogy results in the Magnetic Fields' most organic effort to date--and it doesn't stray too far from Merritt's pop-leaning background, making it the most successful of its synth-free siblings.

Despite its retro influences, MGMT isn't out of touch: "Lady Dada's Nightmare" is an eerie, instrumental nod to a certain pop star. So to answer Vanwyngarden's question: Yes, it's working.

Martin largely shuns easy romanticism for more assertive messages that celebrate liberation and diversity, themes that can be associated with his coming out last year.

Among the many Odd Future efforts already circulating on the Internet, BlackenedWhite was a wise choice for an attempted mainstream incursion: It's got enough of the outfit's deranged humor to titillate tourists (see tracks "Gunsounds" and "Deaddeputy"), but softens the edginess with a pronounced pop sensibility.

Rich organ swells and muscular horn charts mark many of the 10 tracks, with a live, off-the-floor groove that levitates.

Too many songs fail to equal the quality of the guest list, meaning the substance of Olympia never quite matches its undoubted style.

If you don't finish this part record a hot mess, then you probably didn't have a good time.

Some fans may miss Wainwright's more complicated orchestral numbers, but a single piano is all that's needed to show off his immense vocal talent.

The Thermals may not change your life, as Harris promises on the opener, but they keep on issuing front-to-back fun albums like few other bands.

Olson is still processing some pain, but there are plenty of bright moments.

It's not news that these guys rock, but on their first new album in eight years the Heartbreakers have their Mojo working like they never have before-which is a fine thing indeed.

Mary Mary never forgets to weave in an empowering, uplifting message that lingers long after the last note has sounded.

Dylan's newest album, Women and Country, explores fuller arrangements that better complement his simple but significant lyrics.

Strokes frontman Julian Casablancas steps out with his debut solo album, Phrazes for the Young, and dynamically weaves '80s techno-pop with psychedelic punk, while also reinventing his usual monochromatic croon.

There's a little less bluster and bravado on Toby Keith's latest album, American Ride, and it's a welcome turn.

Consider Eric Clapton's 19th solo album a largely successful bid to be all things to all people, including himself.

It still warms the blood to hear those trip-hop synths roll on the slow-burning "Flat of the Blade" (with some acid loops thrown in for good measure), but Massive Attack's arsenal has expanded and the resulting onslaught is nothing short of brilliant.

With its Motown feel, the title track finds singer Elizabeth "Z" Berg crooning about love gone wrong ("I wish you knew I'm not the one for you/You're not the one I need/And I can't stand you") over a harmonized chorus of "ooh's" from her female bandmates, but the vocals don't go down as smoothly as the Supremes. Meanwhile, it's on the standout cut "I Can See It in Your Eyes" where Berg settles into her most comfortable range and the group does its most believable impression of the Animals.

The 10-track set, which contains multiple sounds and styles, gives a brief glimpse into both artists' scattered versatility.

As the title of a song on new album "All of You" suggests, Colbie Caillat isn't afraid to sing about a world where we "Think Good Thoughts" - most of which are about her falling in love.

With sterling wordplay and a consistent melancholy vibe, the Detroit native took all the tension, the highs and lows, and laid it out on wax, compiling the strongest project of his career.

"The Courage of Others" doesn't offer anything as immediately captivating as "Van Occupanther" gems like "Roscoe" and "Young Bride," but the new songs slowly take shape and are unafraid to choose interesting detours.

Heavy Rocks arrives in the marketplace along with Attention Please, a lower-key companion album that showcases the coolly resigned singing of lead guitarist Wata. Surprised? Don't be.

Benson spent the early part of the decade building a repertoire of scruffy but sophisticated pop songs, but he fulfills his potential on this sparkling new set.

The album, which is loaded with plenty of dramatic lyrics and arrangements, closes with a truly luscious ballad which leaves the listener wanting more.

Like a true woman, Ledisi keeps growing as she takes the good with the bad.

Another victory in a storied career, Small Craft on a Milk Sea is Eno's attempt to reiterate the relevance of the long-player through its unique sequencing.

The Resistance, shows growth from the band's previous releases and proves that it's primed for a global musical takeover.

The Scissor Sisters' third nightlife-themed album, Night Work, is a return to the glittery, flamboyant pop of the group's 2004 self-titled debut

The result is a 12-song collection of washed-out summer tunes perfect for beach outings and late-night house parties.

Hynes continues to explore the scope of his musicianship, producing a collection songs that refuse to stand still.

Barter 6 does not have a comparable entry point. Instead, this album offers cohesion and unity, though maybe at the expense of the exciting, what-will-happen next feel of past mixtapes.

Cut Copy thrives when the ingredients are simple: melody, voice and its influences interpreted.

["Entertainment,"] like almost all of the LP, there's heavy pop appeal for those with an ear for glistening production.

Patti Smith, Eddie Vedder, Peaches and Lenny Kaye are along for the ride, helping Collapse Into Now stand tall in R.E.M.'s richly diverse canon.

The singer matches Danger Mouse's inventive sonics with his usual complement of twisty-turny melodies and dense wordplay, though compared with the Shins' relatively high-octane 2007 release, "Wincing the Night Away," such jangly space-folk tunes as "Vaporize" and "Sailing to Nowhere" can seem a little snoozy.

The EP concept behind All About Tonight may seem small, but like its predecessor, it delivers big.

On the disc, co-produced by McGraw and longtime collaborator Byron Gallimore, the singer stretches a little more than usual--and takes a few musical chances.

The artists' masks are designed precisely to keep us guessing about what's going on in their heads, but who knew it was this?

Past Death Cab albums have found frontman Ben Gibbard penning youthful lyrics about the wariness and mystery of love, but now, the singer -- who recently married actress/musician Zooey Deschanel -- seems to finally be at peace with his strange, wonderful self.

The rapper's delivery is confident in a poetic and artful way, channeled through a theatrical set of songs.

The lyrical focus, along with raw production and eclectic instrumentation (including mandolin, strings and autoharp), give the 10-song set a heat that's honest and personal, but not quite the riveting bearing of souls that Heart is known for.

Even in English, even without bachata, Royce hasn't lost what makes him ­special: his ability to emote, to deliver lyrics as though he believes them vehemently and make the listener do the same.

A playful effort that comes from an ease with pop hooks and power-pop chords, a knowledge of how to employ a steady beat.

Unfortunately, "Year" lacks the grandiose thematic concepts of previous outings as well as an immediate single, like past songs "A Favor House Atlantic" or "The Suffering."

Singer-songwriters Joy Williams and John Paul White brought in more instruments, added deeper textures and, in general, upped the intensity of the songwriting for their second effort.

His regretful croon in the debut single, 'Just Ain't Gonna Work Out,' will have the ladies swooning, while 'Your Easy Lovin' Ain't Pleasin' Nothin'' will have listeners jazzed up and aching to cut a rug.