Celebrity is a few good songs short of becoming a new gold pop standard (Michael Jackson's all-hits Thriller still holds that distinction), but with its well-balanced dance track-to-ballad ratio and uniformly infectious grooves, it does come within moonwalk striking distance...

The results are unfortunately as atrocious as they are blasphemous, setting a tone that keeps Vavoom! mostly falling flat on its straining-to-jump-jive-an'-wail face.

Tha Last Meal, mixed and largely produced by Dre (Master P is the executive producer), manages to sidestep the déjà-vu-all-over-again pitfalls by injecting the formula with sly wit, a healthy helping of cosmic slop, and, last but not least, some mind-bending production.

Unfortunately, the heavy-handed folk-pop production... doesn't serve Williams well here.... In general, the overwrought keyboards and Steve Holley's percussion... could use a good slapdown.

Longtime fans will no doubt be initially thrown by the lack of "motorik" beats and general rock action here. Yet after a couple of listens, many of Exciter's songs begin to worm their way into the subconscious.

Surprisingly, Strange Little Girls is a street project -- daring, visceral and engaging, even when it's not fully successful.

It's too lightweight and silly to appeal to those looking for musical innovation, and the songs aren't focused or fully developed enough to grab new fans. Mostly, it's just a really annoying album.

Granted, not everything here is top drawer scarf-worthy.... Still, it's worth noting that the album works to a middle-of-the-set peak -- which means that Aerosmith understands the dynamics of CD construction better than bands half its age.

With Cydonia, Paterson continues on the trippy trajectory he established in 1989 with his debut 22-minute single, "A Huge Ever Growing Pulsating Brain That Rules From the Centre of the Ultraworld."

Fizzy but numbingly predictable.... The delightful element of surprise occasioned by Martin's breakthrough English-language debut has been replaced by a formula-milking attempt to replicate its track record. This is particularly disappointing, since in concert Martin stirs things up by doing more than nodding to his roots.

Fans of "Praise You"'s twisted but hooky soul or the beat-box bonanza "The Rockafeller Skank" may be a bit disappointed with this current collection. Not because the record is a thundering and cohesive example of sequencers used for good instead of evil, but because Fatboy's approach this go around is a lot less (new-) user friendly. The tracks are longer and more measured, many of them built around the ebb and flow so essential to dance music made for the clubs, as opposed to dance music made for TV dance shows.

Wildly uneven -

Perhaps what makes The History of Rock most interesting -- and what ultimately validates Kid Rock as the real deal -- is that these old tracks prove that his love affair with rap and rock wasn't something he just cooked up to weasel onto MTV's "TRL."

Unfortunately, this newest attempt at expanding the group's musical horizons is more a lateral move than a vertical one, and the same problems that have plagued Better Than Ezra since Deluxe -- mawkish, derivative material -- undermine this effort as well.

Traditionalist rock fans have got to be cheered by Fastball, a group plucky enough to take on teenage pop bands and rap-rock sensations with perky harmonies and piles of guitars. But in the end, songs like these shine brightest outside of the album context, as stand-alone songs coming out of the dashboard radio.

Even though O'Connor adopts a penitent tone on Faith and Courage, this album is no concession to anyone or anything. O'Connor is still O'Connor: strident, contradictory, motherly, seductive.

While Beyoncé is credited with co-writing and co-producing the entire album, merging the Destiny's Child camp with a stronger guiding hand (say, the Rodney Jerkins tribe) might've helped weed out the weaker material -- and kept the flame going throughout this uneven album.

My World, My Way, despite its flaws, may be the New Orleans label's most heroic effort yet, as Silkk parlays a strong message -- about hardcore rap, and real life, and the relationship between the two.

The resulting sonic model represents a giant step in the evolution of sound sculpture

John and Frank Navin, the brotherly core of Chicago's Aluminum Group, produce impeccably tailored bachelor-pad pop with a cynical bite -- like a less restrained Sea & Cake or a more Anglicized Stereolab.... More post-consumer than post-rock, the Aluminum Group's environmentally conscious sounds will make your ears feel as comfortable and cultured as fine quality furnishings.

Date of Birth is packed with hard-driving, repetitive beats that are equal parts Wu-Tang Clan and Gang Starr, yet the music lacks either of those groups' charms.

Inevitably, all the shifts in tempo, mood and lyrical slant ultimately hurt Morning View more than they help.

The most memorable tracks on Pieces in a Modern Style feel like high-brow Puff Daddy songs...

Tweekend isn't a giant leap forward for the Crystal Method, but it certainly doesn't keep them trapped in the past.

The spy-music fetish and dubbed-out paranoia of the band's first two albums are traded in for earthy Stax soul and sprightly disco funk, along with plenty of turntable wobbles, wah-wah scratches and analog squiggles...

Van Helden continues to battle being pigeonholed by throwing disparate musical elements into the mix; unfortunately, the resulting musical tapestry is uneven.

Filled with the sort of aggressive, testosterone-fueled rage that has helped make DMX the Henry Rollins of hardcore hip-hop.

The dearth of memorable melodies ruins the once-successful formula.