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.

"She's On Fire," the opener from San Francisco-based Train's second release, promises a solid if not memorable rock 'n' roll effort. Unfortunately, penning this catchy and muscular rocker seems to have sapped the boys' creative well.

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.

Another batch of tunes that entwine gorgeous, intricate arrangements with the dark, intoxicating side of our libidos.

Hammond's vocal, minus Waits's affected (and annoying) growl, puts the emphasis where it belongs--on the songs. The effect is to make peculiar vistas like "Jockey Full Of Bourbon" and "Murder In The Red Barn" even more vivid and the tunes truly sound like artifacts from another era.

Though its methods reek of gimmickry, and are not as interesting as similar but more musical travelers like Plaid, Autechre, or Mouse On Mars, Matmos does construct a daring two-cans-and-a-string party album.

Finally, a near-perfect pop disc from Minneapolis's Semisonic. While the band has always hinted it had the right stuff to deliver a truly great record, Chemistry is the first of the band's three releases to make good on the promise.

Once again, Hefner has delivered what is sure to be one of the most original releases of the year.

The band’s most energetic record since 1993’s Get A Grip.

Like Dylan going electric, Frank Sinatra going disco, and Kojak going bald, this is a watershed work for Nick Currie...

A rich collection of tunes that definitely will put you in the mind of [Nick] Drake--but stop one (small) step short of sheer imitation.

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

By far the best album from the New Orleans rapper.

Though the steaming electro missives of 604 can sound a bit uniform at times, Ladytron's buzzing bin of automaton female vocals and retro machine accompaniment intoxicates with illicit ease.

Mission Accomplished finds Tricky still musically intriguing, still lyrically fascinating; but the fix is too short, the message mostly unaccomplished.

Length considerations aside, only die-hard Beck devotees and studio nerds are likely to be dazzled by the dithering, technoed-out proceedings here.

Glossy, electronic, and at times quite infectious, the record extends Vitamin C's bubbly reign.

The music gets gorgeously bizarre, but there is always a sleepy dog and a piece of apple pie waiting at night's end.

By and large, the disc is made up of ambitious but misguided attempts to elevate mundane rock 'n' roll to some kind of higher art form.

Her taste in cover material is slightly idiosyncratic, but that does nothing but add luster to the program...

Her vocals are so mannered, self-conscious, and limited, there is no way to gloss over the facts, except when booming dance grooves rule the mix.

Using sparse arrangements, usually just a few programmed instruments and her feathery voice, Minekawa succeeds in creating lush songs rife with detail, melody, and mystery.

In making consistently mediocre music, the group appeals to the country fan with the lowest expectations out of life, one who never wants his moon-pie-and-RC-Cola values challenged, but likes his emotions jostled once in a while.

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

Exhibiting a lyrical prowess which has made him a fan and critical favorite over his relatively short career, Xzibit holds his own...

The production, lyrics, and hooks make this an impressive sophomore effort from Ms. Badu.

The Offspring are interested in distilled punk-by-numbers, and are hardly interested in--or perhaps incapable of--finding something new to say.

An artist this gifted uses his skills to make music, not cling to style. While the familiar 808s and 909s of techno are rife on Unreasonable Behaviour, the music covers breakbeat, jazz, techno, beat noir, and even hints at Brazilian rhythms.