Waking Up boasts enough intertwining pop melodies backed with anthemic vocals to show fans of the 2007 Timbaland-remixed track "Apologize" that OneRepublic can deliver more addictive hooks while still maintaining its own graceful and introspective sound.

Judging by the delivery of those poignant lines, it's hardly a stretch to imagine Bieber racking up more hits in the next decade to come.

Overall, the God MC can still carry the throne as one of the greatest rappers of all time, but he'll need stronger production the next time around.

Her latest release, Midwinter Graces, is a typically provocative-in the best possible way-entry in the yuletide canon.

The New Jersey group gets back to the business of rocking on its 11th studio album, The Circle.

Luckily, Wale never spreads himself too thin on Attention Deficit and maintains the urgency of his mixtapes to ensure that the set contains little filler.

The band's sixth studio album, Alter the Ending, is a perfectly blended concoction of acoustic melodies, graceful harmonies and powerful anthems wrapped around the story of a man trying desperately to save a failing relationship.

It's a sleekly presented modern-rock album with no shortage of bruising guitars or catchy choruses.

It's good, dirty fun.

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.

Here, the artist seems to finally feel comfortable in her own skin. It's a wide-ranging album-she's in love, out of love, light-hearted and playful.

From the range of production styles to the bonus disc of live tracks, Swords is a welcome catalog addition

This Reading appearance-released for the first time on the CD/DVD package "Live at Reading"-captured the trio's skill at turning simple power chords into some of the most memorable rock anthems of the '90s.

And as on "Idol," that aesthetic is most appealingly expressed here in the material that seems the least suited for it-i.e., mushy heartland rock ballads.

Bleach is freshened up with remastered versions of unusually heavy songs like the haunting "Negative Creep," where Cobain howls about alienation and being stoned, and the pounding "Floyd the Barber," where the main subject of the eerie track is a man being strapped down and tortured by characters from "The Andy Griffith Show.

The chaos is nothing new for Say Anything, but the band's newest release is tightly executed and gives fans a deeper look into Bemis' clever mind.

This smart four-disc package commemorates the concert's 40th anniversary with a pristine remastered version of the original recording, five previously unreleased songs from the same show and an entire disc devoted to the fiery opening acts, B.B. King and Ike & Tina Turner.

This time the quintet holed up for two months in a Northern California cabin, and the resulting collection from the idiosyncratic singer/songwriter is intimate, experimental, and ultimately accessible.

Strict Joy maintains the relatability and sincerity that made the soundtrack to "Once" so compellin

While not groundbreaking, Evolution of a Man shows McKnight still has a way with the ladies.

Perhaps that's a story for another set, however, and newcomers and fans alike will find this one remarkably satisfying

What's surprising about the best cuts from the 15-track set is how much heat the Police frontman and his varied collaborators create.

Atreyu has resharpened its teeth on its new album, "Congregation of the Damned," which features the return of Varkatzas' deadly scream. But the set still features somber moments.

Southern Voices is done well overall, but listeners may want to keep close a copy of McGraw's upbeat hit 'I Like It, I Love It' to lighten the mood.

Percussion is nowhere to be found on the group's latest release, Declaration of Dependence, and the pair's Simon & Garfunkel-esque harmonies are less dynamic than they once were. But there are still plenty of bright spots.

She continues to hit each note with the precise amount of retro pomp that one would expect, and there are again moments when the '70s soul love affair gets a little carried away.

Grizzly Bear contributes a typically gorgeous psych-folk incantation called "Slow Life" (with guest vocals from Beach House's Victoria Legrand), and Bon Iver's Justin Vernon duets with St. Vincent on "Roslyn," which could warm even a vampire's heart.

The act should be credited for not hewing to the tried-and-true formula it pretty much invented with previous releases but many of the double-disc's 18 tracks feel like they are embryonic rather than fully formed.

Bennington and his Dead by Sunrise bandmates (who hail from the electronic rock band Julien-K) also display a deft touch with atmospherics and textures on tracks like "Too Late," "Give Me Your Name" and the goth-tinged "Let Down," among others

Christmas in the Heart is an odd one-a collection of straight-ahead Christmas songs that benefits Feeding America, as well as food charities in other countries. But it will remind listeners that for nearly a decade Dylan has been working on his croon-exploring musical styles that are more polished than folk and blues.

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.

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

Crazy Love is another step in Buble's creation of his own kind of songbook, and there's nothing necessarily crazy about that

On Music for Men, the band's devotion to being itself has finally found it a place in the mainstream.

Style trumps substance in this particular breath of Air.

Martsch has hinted that There Is No Enemy could be the band's final album. If that's the case, the set's multifaceted melodies and experimentation would be an inspired sendoff.

Humanoid is no less appealingly shiny than its 2007 stateside debut, "Scream." But with the exception of the song 'Automatic,' an instantly catchy chunk of bubble-grunge perfection, it does have fewer killer melodies, which allows more of your brain to focus on Kaulitz's lyrics.

Goodnight Unknown is layered with subtle distortion and commanding percussion, combined with Barlow's confident, sometimes contemplative vocals.

Cash not only infuses love into her delivery on the collection but also proves herself a supreme song stylist.

Years removed from their teen-pop prominence, Backstreet Boys continue to produce pleasurable hooks and hummable vocal harmonies on This Is Us.

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

Give Up the Ghost is another rich offering from this distinctive female talent.

Though not as sprawlingly ambitious or experimental as the 2007 "The World Has Made Me the Man of My Dreams," Meshell Ndegeocello's eighth release, "Devil's Halo," neatly straddles a line between challenging and accessible, with some of the tightest and catchiest compositions she's yet brought forth.

Overall, Carey's throwback vibe on Memoirs is refreshing and much welcomed.

The angry young woman who famously sang about setting kerosene fires and waiting with a loaded gun for her abusive beau has found love with new boyfriend Blake Shelton, and it's reflected on the diverse Revolution.

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.

Even though Crash Love isn't terribly progressive in scope and the band's '80s idolatry might one day run its course, the set is another highlight in a discography that's as consistent as it is expansive.

Streisand gives her trademark romantic-ballad treatment to 13 well-known standards.

The band's classic, downtuned stomp could easily pass for an unreleased track from the "Dirt" era and is sure to keep longtime fans feeling pleasantly dystopic.

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

The music on Yeah Ghost is still Zero 7-but after a few cans of musical Red Bull.

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.

Patty Loveless has an innate soulfulness that can't be taught, bought or won on a reality show. That's one of the reasons-along with sterling musicianship and inspired song selection-why her new album, Mountain Soul II, is a must-have for fans of Loveless and roots music alike.

While the album's softer instrumentation and thematic preoccupation with romance may initially frustrate some diehard rap fans, its silky hooks begin to sink in with repeated listens.

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.'

On The Boy Who Knew Too Much, this Beirut-born singer comes back strong with another set of over-the-top anthems that proves no one's more entitled to inherit Freddie Mercury's glam-god crown.

Kingston does widen his scope a bit, as evidenced by the percolating synth/dance vibe of the set's first single and top five hit, 'Fire Burning.'

By closing the song with unadorned strings, Basement Jaxx seems to be finding feeling in its new efficiency.

At times, it's difficult to differentiate who is singing, thanks to masterful producing by Bright Eyes' Mogis. When viewed less as a hipster supergroup and more as an old-fashioned song swap, Monsters of Folk live up to their hype and then some.

Girls are poised to take their rightful place as one of the blog-crossover bands of 2009.

What gives Brother Ali's slice-of-life ruminations their impressive heft is the rapper's eye for everyday detail and the handmade appeal of his vintage-funk arrangements.

Don't mistake the softness for weakness. While nothing is as biting as the aging hipster takedown 'Femme Fatale' (from his 2006 set "At Home With Owen"), he pulls out the knives and slices pseudo-intellectuals on 'A Trenchant Critique.'

The whole album has a pleasurable mix of lean, mean rock'n'roll and pensive ballads that reflect both the state of the world and the band's place in it.

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

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

With simple, straightforward songs that appeal to melodic sensibilities rather than rhythmic contraptions, the set is a mix of vulnerability and earnestness.

Spanning the years 1968-75, this exquisitely designed four-disc boxed set gathers a treasure trove of rare gems.

Listening to Get Lucky feels like a journey, where great care has been taken to ensure that you'll come back a little better.

The band's first release since 2003, "The Chair in the Doorway," is too scattered -- and occasionally silly -- to make a serious re-impression.

Yo La Tengo has little to prove at this point in its 20-year career, but its dedication to expanding its sound without obscuring its songwriting formula remains impressive.

11:11 is another winning showcase of exotic instrumental brilliance.

The long-awaited Blueprint 3 doesn't disappoint. In fact, the album may just be the blueprint for hip-hop music to come.

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

Joy is a journey not to be missed.

Although the set's complex instumentation finds BLK JKS occasionally losing their footing, their confidence in their craft largely covers up any glaring errors.

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.

55 Cadillac offers a fun, technically exciting journey that paints Andrew W.K. as an artist unafraid of risks.

Plenty has been said about how well They Might Be Giants' playful, absurdist rock translates to kids' music-and the band's fourth offspring-focused effort is no exception.

The Used pushes boundaries with the frenetic lead single 'Blood on My Hands,' whose video features McCracken as a gleeful, blood-soaked vigilante. But the song doesn't so much reinvent the band's sound as amplify it. Other tracks like 'Sold My Soul' and 'The Best of Me' highlight the Used's knack for crafting brutal yet crowd-pleasing anthems.

It took the Black Crowes seven years to release last year's "Warpaint," but now that the Robinson brothers are back in the studio album business, they're making up for lost time.

You either love or hate Pitbull's music, and sometimes a little of both when listening to the same album.

For this warm set of 11 country-time covers (including a track from his 1986 album, "Eye of the Zombie"), Fogerty turns to his speed-dial list of superstars.

The set is a nice welcome back and a new beginning for the singer.

Arctic Monkeys have captivated the post-Britpop scene since their 2006 debut, but Humbug finds the group justifying the hype by shifting its best qualities into different, equally dazzling shapes.

Produced by renowned adult contemporary producer Tommy LiPuma, American Classic-Nelson's finest album since 1998's "Teatro"-contains 12 timeless melodies that bridge the gap between Nelson's love for Django Reinhardt and Bob Wills & His Texas Playboys.

A manifesto for the synthesis of dance and hip-hop, French DJ David Guetta's new album One Love turns out top 40-friendly songs while remaining true to dance club culture.

Masterfully bleak and hyper-stylized, He Was King is music for the robot age.

He may still sport the same look, but stylistically his new music proves that he's not a one-trick pony.

Shaka Rock may not expand Jet's range, but its high-energy guitar assaults should impress modern rock audiences.

Breakthrough never quite lives up to its title. But the songs that do diverge from the formula even slightly-like the Greg Wells-produced "Fearless"-offer delightful relief, and perhaps a taste of what could be if the singer were to dig deeper.

Ingram may be good on his own, but Patty Griffin's sweet harmonies on the enchanting 'Seeing Stars' and Dierks Bentley's growls on Ingram's live classic 'Barbie Doll' are welcome additions.

Half of the album finds the successful singer/actor making the kind of pop-inflected R&B once heard from En Vogue or SWV. Cool & Dre handled the bulk of the album's production, setting the star's vocals against head-nodding beats that come reasonably close to more youthful urban-radio fare.

A mixture of optimism and realism is present throughout Everybody, and Michaelson's insights occasionally sting with honesty.

Seven-inch obsessives probably could have seen the debut's tangy intensity coming, but for rock fans unaware of Reatard's history, Watch Me Fall is a welcome surprise.

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.

Country singer Reba McEntire doesn't miss a beat on Keep On Loving You, her debut album for Valory Music.

The new album is a testament to Henry's singular sonic vision and a masterful mix of history and mystery by an industry veteran who sounds like he's just getting started.

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