Sounding like a Pabst Blue Ribbon-slamming cross between John Cougar Mellencamp and Janis Joplin, Etheridge unleashes pool-hall rockers... as if every night is Friday night.

Taking a cue from the success of his last major hit, "Again," Lenny, the sensitive, midtempo balladeer, cavorts all over this largely reflective, romantic effort.

This isn't necessarily the best place to hear the definitive versions of Bo Diddley's "Road Runner" or Big Joe Williams' "Baby, Please Don't Go," but it's definitely the place to hear Aerosmith having the time of its life.

The disc is bubbling with techno effects, a loose interpretation of Jamaican production and a (welcome) severe case of ADD.

The disc's bountiful electric piano, plaintive acoustic guitars and gentle vocals recall old AM radio fare like Cat Stevens or, more currently, an American version of Travis.

He fails to come up with an album that keeps up the standard set here by a couple of standout tracks such as "Strawberry Wine" and "Nightbirds."

The whole deal threatens to take off occasionally, but in the end, it doesn't rise beyond meandering.

That's not to say that it's bad--it's just that the radio-friendly chanteuse's lightweight fusion of beats and folk songs is sleepy and barely discernable from one track to the next.

The treasures in this latest pile of Garbage may not be as apparent as they were in the past, but the goodies are still there.

Once again, it's a batch of arena-ready, metal-friendly, upbeat punk rock that often sounds like Sum 41 doing its best Bay City Rollers impression.

With the macho posturing out of the way, it makes it easier to appreciate his powerful voice and million-dollar arrangements.

Armed with a summer anthem and all ("Lucy Doesn't Love You"), it shouldn't be long before Ivy's popularity grows.

The best he has sounded in years.

More realized than 2002's In Search Of..., they hit all of their marks, rubbing guitar licks against '70s funk and sexy R&B that's bound to get any club flying high.

Wonderfully soothing, late-night music that is simply beautiful.

The mellow moments define this album with "The Missing," "The Only Way (Is the Wrong Way)" and the contemplative "God Damn Me" being the main reasons to stick it out with these dudes.

All droning guitars, snail-paced rhythms and bombastic arrangements, songs like "Schedule for Using Pillows & Beanbags" and "Your Lights Are (Out or) Burning Badly" will either raise the hairs on the back of your neck or put you to straight to sleep.

Sounds exactly like you would expect a Tool album to sound.

There's no reason to buy any other electronica CD this year.

Most of it strikes deeply and poignantly.

The originals are still the best, but this is pretty fly for a white guy.

The simpler style allows the tense commentary to come through loud and clear, as the band keeps up.

Hearing the bare-bones "Across the Universe" or a de-orchestrated "The Long and Winding Road" is revelatory.

The Canadian rocker looks like a (prettier) member of Sum 41, sounds like a slightly less-pissed Alanis Morissette and has the streetwise 'tude of Pink.

Like the soundtrack of a very bad Jazzercise class.

43 minutes of thrills.

She's the perfect '70s soul-funk mama, and lucky for us, she's stuck in 2004.

Shatner oversees some surprisingly tuneful turns.