His singing partners, all of whom bring their “A” game. They help make what could have been a forgettable, tossed off, commercially driven, contract fulfilling item into one of the singer’s more memorable projects. And with a catalog as rich and deep as Van Morrison’s, that’s high praise indeed.

With 17 mostly terrific songs (three sung in Italian), only one breaking the four-minute mark, the collection has the jittery intensity of a lion pacing before feeding time. ... Perhaps we could have done without the closing power ballad “The Loneliest,” but that’s the only misstep on an album that should thrust this band into worldwide superstar status.

Mylo Xyloto is fully realized and instantly revealed on first listen.

Whitmore might only occasionally let that rock ‘n’ roll animal out from time to time, but that scarcity--coupled with excellent pacing--is exactly what makes it so exciting.

A free yet fanciful spirit, Nilsson would likely be proud that his legacy lingers even now. A treasure waiting to be discovered, Losst and Founnd offers renewed reason for celebration.

Bridges' rough baritone talk/sung voice just doesn't connect with songs and production that seem lazy, if somewhat less self-indulgent than other successful actors who try to make their mark as singers.

This set's downbeat musings about life's foibles is ominously compelling.

Where Cale would experiment with horns, vibes, female backing vocals and even restrained orchestration, these tracks stay rooted in a respectful if rather heavy lidded closet.

Mission Bell is hopefully a transition record for Lee, one that shows him at the crossroads of polished, packaged pop tunes and the grittier gut-wrenchers of artists like Nelson and Williams.

If you buy Bingo! expecting to hear some burning blues, or to hear another of the Miller hits that may have excited you in the '70s, you'll be disappointed either way

Although the songs on Speed Of Darkness have a heavy theme, this fifth album by the band is anything but sorrowful.

As usual, the originals prevail. Yet even with its musical limitations, it’s hard to dislike an album that’s ultimately a lot of fun.

It’s hard to follow any Ry Cooder assisted act, but Outlaw coalesces around his own, more intimate sound. We can always use an honest, unpretentious Sunday morning album to enhance the usually easygoing mood, and for those moments Sam Outlaw’s unassumingly enjoyable Tenderheart hits the mark.

This album, produced by Steve Lillywhite whose credits include U2, Dave Matthews Band and The Smiths, shows this band is ready to ready to compete for world-class status. Rock on.

This is a tough listen and not in a good way. Most of the songs are little more than unfinished sketches, most just over a minute long, waiting for more inspiration to be completed.

The breezy, rhythmically complex melting-pot approach still plays a pretty big role on Candela, Mice Parade's eighth album, but more than ever, Pierce seems to have a vested interest in letting some graceful whooshes of shoegazer noise take over where necessary.

Taken in tandem, All Roads Home makes for an enjoyable outing, one that gives each musician an opportunity to take center stage while demonstrating a small sampling of their individual wares.

As much as the record is a tribute to rock and roll, it is as much a testament to Parton’s prestige. Who else could gather so many for a party in honor of the genre? Indeed, the album is a show for the ages, a show for one and all. Standing ovation.

Steve Dawson’s fleet fingers, dexterity and sheer musicality make this a must for acoustic guitar aficionados and a treat for everyone else.

Nobody's asking the Killers to restock their eyeliner, but if they insist on making everything so over-the-top, it would serve them well to crack a smile every now and then.

The lack of the Spector-ish sound, while understandable--Ronnie’s marriage to Phil was legendarily troubled--along with material that is far more powerful and enjoyable in its original form, makes this an experiment that fails on most levels, in particular from Scott Jacoby’s ill-fitting production and sonic approach.

The hitch in the album is the hit-or-miss probability of the listener connecting with the quizzical story, wrought in obscurity.

Even though their vocals aren’t always suited to each other, this set of mostly covers (some previously recorded by the participants), works relatively well, as long as you’re not expecting too much.

No, MDNA can't be hailed as Madge's best ever album, and it may not contain the most thought- provoking lyrics of her career (perhaps an intentional tongue-in-cheek poke at the current state of pop music?), but it is the reigning Queen of Pop's most inspired work since Music, as well as the highly addictive record Madonna celebrants have been craving.

Mercyland: Hymns for the Rest of Us hits its stride once it takes an old-school turn courtesy of the Carolina Chocolate Drops, who kick up some serious string-band dust with a cover of the traditional gospel number "Lights In the Valley."

A beautifully fashioned, classy and meticulously crafted background music, perfect for Sunday brunch among the NPR crowd.

If Only Run proves anything, it’s that Clap Your Hands Say Yeah are still making music on their own terms--they just have the budget and freedom to pull it off with a little more flash.

The band expertly navigates unusual, sometimes radical mood changes, with a maturity that forsakes some of its youthful friskiness without compromising an idiosyncratic vision that is just as compelling today as it was 25 years ago.