LL does DEFinition with a superstar panache that never gets into that dangerously cheesy Will Smith territory and keeps it streetwise without putting on a front.

While the signature muffled beats of Shadow are missing, Land is so much more expansive, effortlessly melding electronica and Britpop.

Most the songs feel like they should have come out around the same time Clinton moved into the White House.

This isn't just a step in the right direction for the band, it's--believe it or not--a good move for the pop-punk genre as a whole.

Fortunately, Fiddy's rhymes are a riot, and Dr. Dre's production is as golden as ever.

Twista still manages to steal the limelight on hot booty-busters like "Slow Jamz" and "Pimp On."

The one thing Banks lacks is Fiddy's natural charisma--he's also about eight bulletholes short in the "life-experience department."

Too much of the disc is filtered through clinical and slightly jazzy rock that renders it a tiny noise about nothing.

Thoroughly enjoyable.

The most rewarding reworkings (Boards of Canada's "Broken Drum," Octet's "Girl") come from those who avoid novelty and realize that, underneath all the blips and glitches, Beck is just a soul man.

While he lags a bit in the emotional department, he nails the spirit with songs like "She's Lost Total Control" and "So Alive."

U Saved Me's songs of praise like "Leap of Faith" and "Prayer Change" can be taken in two ways: attempts at redemption for what you've just heard or hollow attempts at album sales.

There are no new ideas, no points of interest.

While their sound is decidedly of the moment (Bloc Party, the Killers, et al), their songs are undeniably catchy as all get-out.

Sure, it has a slightly confusing air to it, but with lost gems like "Ali's Waltz" and "Beautiful World" popping up along the way, that's part of the fun.

The change may shock fans, but Phantom Planet wears the shaggy tunes well.

The long-standing ambient-techno pioneer uses everything from heart-attack-paced jungle to classically minded electronic minimalism to remind us why bands like Radiohead cite him as an influence

She finally delivers an album that's more fun than filler.

Unlike previous albums, The Altogether doesn't really take the listener on some mind-altering trip. It simply throws together some half-baked novelties, some wasted and underwhelming guest appearances and a bunch of rhythmic ideas that would have sounded infinitely better a decade ago.

Sounds uniquely fresh.

[Plans has] ginormous power-pop melodies in songs such as "Soul Meets Body" and "Marching Bands of Manhattan" and wussy-boy lyrics that'll make your heart grow a few sizes.

If imitation is the biggest form of flattery, everyone involved in the Manchester scene circa 1988 will be smiling ear to ear when they hear Kasabian.

The slow-motion funk of the previously unreleased "Ghost Train" alone makes it worth the sticker price.

She might be unplugged--but she's still electrifying.

'N Sync reminds us why boy bands were put on this earth in the first place: to have a good time.

Somewhere in here, there's a lovely, compact, cohesive little album. It just takes a little too much digging to find it.

Declawed and hesitant, it's hard to get excited about this piece of funkless confection.

Aside from some cool collaborations with Missy Elliott, Twista and Method Man, Kim spends most of the album lecturing her fans with less-than-stimulating lines.