With the exception of the swaggering "Vegas Two Times," Just Enough may not pack the same wallop as Cocktails, but tunes like "Lying In The Sun" and the soaring "Watch Them Fly Sundays" instantly stand out as some of the band's best to date.

There just is a real feel of lightweights here--be it in the band's often balls-less bottom end (a real problem with so many rock bands these days) or just in the overall music itself.

Most of Eve's third album won't come as much surprise to those who bought the first two--and that's nothing to complain about.

When you get over Everyday's new look, you still have the best Dave Matthews Band record ever.

God Says No brings the New Jersey quintet into the millennium with the same sharp approach of their other four records--it's loud, it's brash.

Dead Man Shake is a kick in the pants that shouldn't be missed.

Donelly focuses on tunes that enter your head with a determination to stay for the long term.

The basic ingredients are delicate, minimal, well-conceived songs that utilize instruments ranging from guitars and analog keyboards to melodicas and chop sticks.

Full of juicy hip-pop hooks in the grand P. Diddy tradition.

For those who missed Nico’s erotic darkness the first time around, Midnight Movies have found the recipe.

The disc lacks the coherent vision that would have made the best argument for Clef's claims.

Unfortunately, the spell breaks down and the songs grow tedious as the album nears its end, practically running out of a steam like an emotional rollercoaster stranded at the bottom of the tracks.

Nothing terribly original here, but they do manage to kick out the jams with fervor and the kind of enthusiasm that only wavers when carpel-tunnel or rheumatism sets in.

Buckcherry's overblown rock 'n' roll is exactly the kind of music that can be dressed up by production, almost (but not quite) giving the illusion that something exciting is happening when, in fact, its merely recycling the already recycled.

Wait a minute... you mean this isn't a Duran Duran album?

There is some real grime and songwriting grit in these songs, that while outfitted in lush production, faux-soul effects and banal duets, rock harder than anything Sting has offered in ages.

The good humor and easier tempos also make Twista’s forays into Guinness World Record speed more effective, even if manic window-rattlers like “Kill Us All” seem a bit predictable once you’ve heard his latest, slowed-down twist.

Unlike a lot of mix-and-match groups, the tracks are filled with grooves that are substantive as they are moving.

Both accessible and fun.

Happy People [is] a featherweight collection of midtempo, Marvin Gaye-influenced tunes... The sacred material on U Saved Me, by contrast, is more exciting--and troubling.

Just when you figure he's down for the count, he comes back with an album as majestic and epic as this one.

The best work of his inventively mad career.

Some of it sounds remarkably sedate and conventional ("Televised Executions," "American Mean") while other tracks ("Beggin' For Miracles") ramble psychotically into the good night of avant-garde minimalism.

While the kiddie trance and dirrty hip-hop are as blatant a bid for credibility as young Brit's moans upon discovering the joys of all-night raving and her own hand, the pop princess of old keeps peeking through the steamed-up windows, and ultimately saves the disc from disaster.

Yet while the familiar spirits-soaked verses of J-Ro and Tash will reassure old fans, it's the music here that should encourage them to set down their cans and bottles and listen.

Touching Down is thrilling for its purity of thought, and equally chilling for its singular modes and moods.

The grooves here prove Chuck D and Flavor Flav can bring the noise of old.

Channeling greats from Gaye to Wonder, his stripped-down bangers bang harder, his ballads have more gospel bluster, and he sings with the desperation of a loveman who knows the cops are waiting at his bedroom door.