Magic & Medicine is hardly a record that will catapult The Coral to the next level; but at the same time, it's also far from being an embarrassment.

Mount Eerie doesn't work outside of its concept and, to the detriment of the songs, the album is so intensely personal that melody and song structure give way to abstract conceptualism.

It’s a confectionary delight, from start to finish: sometimes intelligent, sometimes emotional, always likeable.

With each successive album Eminem finds new depth and excitement within the same themes and structures he used way back on The Slim Shady LP, so even if new songs contain earmarks of Eminem classics, they still feel reinvigorated.

With this album, the deejay only adds to his rep and further solidifies his place amongst Hip-Hop's elite producers and turntablists.

In the moments when Shaddix's voice and lyrics don't detract from the band's remarkable bluster, Papa Roach soars.

Barricades and Brickwalls paints a broad spectrum of alt.country/ bluegrass/honkytonk music, and that variety is its greatest strength.

Epitomizes everything bad about the already questionable garage rock revival.

For pleasant, albeit unchallenging pop-tunes which will not offend anyone, but may also put you to sleep, Your Majesty is the way to go.

Nocturama is as slight and as pretty as a walk through the snow on a sunny Winter day.

If 2001’s Weezer was a second-rate Blink-182, almost every composition on Maladroit is more strongly developed, whether it is the tight drumming to the point of showboating on the album’s first single, “Dope Nose,” the surprisingly successful intricate guitar work on the crunchy “Take Control,” or the band’s return to form, producing some of the best pop songs since their 1994 debut.

The real problem with Gutterflower is that it doesn't really add anything new to the Goo Goo Dolls repertoire.

The experimentation of tracks like "Off You" and "Put on a Side" show that Kim Deal and co. aren't concerned with reproducing past success, but also shows that they are entirely capable of producing the same interesting song structures and pop pleasures that we have come to expect.

With one album, Alicia Keys jumps up from the most overrated R&B artist since Michael Jackson to the best young talent R&B has seen in a very long time.

Burn and Shiver shows Azure Ray maturing and improving the quality of their craft while settling into their familiar, pleasant formula.

This album is carried by its incredibly poetic lyrics.

What saves her from getting HACK stamped across her forehead is how she chooses to approach the material, meaning she's turned down the notch a couple decibels for the duration of the trip.

A tremendous waste of time for everyone involved.

Most of it is pretty middle-of-the-road female singer-songwriter tripe.

The overwhelming majority of this album is unbelievably annoying dance pop.

Justin Timberlake's solo debut is good.... Was this the same Justin Timberlake from that boy band *NSYNC? Could it be? Better asked, how could this be?

Eve-olution isn't revolutionary but the album is strong, definitely her strongest to date.

The tracks included in Dust are thoughtful, introspective canticles that are best enjoyed under the fog of your favorite incense and the glow of a candle or two.

As usual, Public Enemy's lyrics are relevant, intelligent, unyielding, and punctuated with skillfully crafted accompaniment.

The production on St. Anger is abysmal.

It's like you're listening to the same tempo and volume for 52.5 minutes when you really wanted a variety show.

Not entirely the soul baring effort that one would have expected, nor exactly the breezy Summer album that critics are saying it is, what Sheryl has cooked up here is a highly pleasing stew that is one third smart Pop, one third touching love songs, and one third “look at all my famous friends” posturing.

One of the best hard rock albums of 2002.