Despite his dirty mind, Chasez has proven to be an adventurous auteur, taking his music to places where NSNYC would never venture.

If it's an album that also argues that the band is working from formula, it's one they'd be wise to patent.

The best evidence arrives two tracks in: though 'Bring It On' features the soothing sitar of Anishka Shankar, it bashes its way through the speakers as though fueled by kryptonite. It is bad-ass, in a word. And so is this album.

What's changed is that maturity has granted Jewel, now in her early 30s, greater perspective.

No less than a half-dozen songs have hit potential.

Seal never goes all out in any direction and this coolness, combined with Trevor Horn’s perfectionist production, plants the album inescapably in the realm of adult contemporary (although this is as good as adult contemporary gets).

There are moments of light and hope on At the End of Paths Taken, but overall it is a deliriously dark and brooding album.

Like every Backstreet record before it, Unbreakable boasts Super Glue-strength harmonies and an overall tightness of sound--the boys may be practitioners of the kind of pop that music snobs love to skewer, but that doesn't mean they're not exceptionally good at it, or that there's not a lot here worth whistling to.

Garcia and company wear their '80s influences proudly throughout, yet bring enough fresh ideas to the mix to avoid being mere slaves to precious retro-fashion.

Sport[s] a trace more big league sparkle, but with the frayed cleverness and rock-solid musicianship that their fans know best.

For all its cathartic lyrics, I-Empire is actually packed with dazzling, fast-moving songs, like 'Everything's Magic' and 'Sirens,' that bring together U2's widescreen guitar flights with tuneful, straightforward punk melodies.

Shock Value is a far-reaching and ambitious disc; a masterpiece, even, in its own way.

The result is an energetic paean to the Cars' power-pop heritage, capturing the band's classic feel-good vibe with all cynical subtexts intact.

If you're over 21, file souljaboytellem.com under guilty pleasures. If you're younger, let it rip without reservation.

All of it works, and works wondrously.

Here's a set that suggests rock has got its head screwed on straight again, that the path to real feelings need not necessarily be led by Norah Jones.

As far as standard Celine fare goes, in fact, Chances is likely her strongest non-French outing since 2002's "A New Day Has Come;" nobody unfolds a lyric with more care or nuance.

Brave may not be the most groundbreaking record ever to climb the pop charts, but it's enough to convince you JLo's discs don't stint on substance.

Always clever, sometimes hysterical, and sometimes cloying, Lynch is a way hipper Weird Al for the post-millennium MTV generation.

It plays like a hilarious concept album more than anything.

Simple Plan's plan--to get you bouncing, bobbing, and otherwise grooving--is still simple. And like all uncomplicated strategies, it's still remarkably effective.

If there's one thing the R&B phenomenon demonstrates on Grown & Sexy, is that growing up is sexy.

Viscerally contemporary, Necessary Evil harnesses youthful exuberance from across the charts, and Harry and her team of producers and songwriting partners do radio-ready rock, pop, and soul-lite with à la mode savvy to spare.

Mixes arena rock in the vein of an Alice in Chains with the aggression of Pantera.

An album that should appeal to fans of Weller and the original legends alike.

A denim-clad, riff-heavy beast of a rock album. [Amazon UK]

Their multiple piercings, shaved heads, and abundant tattoos have them labeled a punk band, but on [Revival], Good Charlotte... fall much more under the umbrella of 1970s arena rock and mainstream ballads.