While Turner is a worthy heir to such barrel-chested baritones as Don Williams, Randy Travis and Trace Adkins, his fourth album, "Haywire," is a study in inconsistent use of his vocal gift.

About half of them work, though which half might depend on your love or tolerance for the players involved.

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

Much of It's About Time is dense, cooking Southern rock. It can be frivolous (the bleacher-stomp shout-alongs "Club U.S.A." and "The Party's On") but has no problem nailing a groove.

It sounds like a collection of random one-offs rather than an album. Foxx's voice, falsetto and all, still sounds lovely, but he seems unsure exactly how he should use it.

Despite a few highlights, This Is Acting is scattered and forgettable next to the emotional 1000 Forms of Fear.

The nine-song album's softer ballads--like the piano-driven "What If"--distract from Derulo's powerhouse vocals. His talent is somewhat misused on the tune, blanketed beneath equal parts Auto-Tune and lyrical vagueness. However, the inclusion of club bangers like "The Sky's the Limit" and "Love Hangover" boost the set's energy.

What results is a new-ish, but not necessarily improved, Nickelback.

The overall sound might be slighter and less sprawling, but it's also more sharply focused.

The formidable 3rdEye ladies want badly to be a raw, stripped-down rock band, but despite their chops and the analog production, the performances are slightly anodyne, scrubbed of menace.

The album lacks the obvious potential hits to guarantee that, although the moody, Jeremih-featuring single "Like Me" is easy to get lost in. The album does, however, strike a graceful balance between gritty roots and big-budget sheen.

On Cheek to Cheek, Gaga justifies his [Tony Bennett's] faith--sometimes a bit too forcibly. Whereas Bennett is a master of restraint--a guy whose best performances play like melodic chat sessions--Gaga thrives on spectacle.

It's a promising teen's first album, and it will satisfy the ­longings of the keepers of fan Tumblrs. So far, though, Mendes' music is not nearly as inventive as his strategies to publicize it.

On Khalifa, he's characteristically mellow and melodic, mixing rhymes that are part equal parts braggadocio and motivational slogans in an almost singular pursuit of highs and riches. By design, none of the songs stand out, save for the Travis Scott featuring "Bake Sale," which wins mostly by sounding like an aired-out version of Scott's own hit "Antidote."

Grand Romantic has some moments more danceable than dour.

The recipe might be different, but the ingredients are largely the same.

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

All that retro angst is more rote and less involving than the way its debut tried to square loud guitars with the hooky imperatives of chart pop. In the last several tracks, though, the energy returns.

The result is an album that doesn't quite reach the heights of Vessel, but nevertheless serves as evidence that one of pop's most daring duos isn't about to slow down--even if that means running into a few walls.

Accented by piano, glassy guitars, occasional strings and vocal harmonies inspired by ’90s R&B, the project’s highlights--“Deadwater,” “Weak” and “You’re the Best”--aren’t all that dissimilar from its lesser tracks: lovely, yet forgettable.

Fiasco turns Food & Liquor II into one long tirade -- everything sucks and no one's going to fix it.

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.

Young's scratchy vocal fails to complement its exquisitely cinematic orchestration until the final two lines show a fleshed-out poignancy. It's the same, too, with his blues performances.... At times, though, Young and his many collaborators do gel.

On Everything Is 4, some songs give him newfound definition, but then others distract from it.

Run is more of a technical accomplishment than an artistic one. Bruno the pop star is not nearly as appealing as Bruno the juggler.

Ink has clearly studied his success, and it feels strategic that Full Speed is sardine-packed with star collaborators.

Bundy's obvious affection for feisty predecessors like Loretta Lynn and Dolly Parton adds an appealing jolt to the music's already clever hooks and personal narrative. But what Bundy still needs to develop are the durable melodies and lyrical nuance that turned those artists' compositions into classics.

It's true that Eclipse unveils itself less coyly than previous Twin Shadow albums, and sounds more brashly contemporary. But it hazards turning generic in the process.