Between tunes Cohen recites lyrics from the next song to be performed, and these 26 tunes, delivered in his steady rumbling baritone, may have never sounded better, certainly not in one place on one special night.

The threesome is best when trading verses and flaunting its ample talent on strummy singalongs like 'Just About Time.'

Lotusflow3r has Prince channeling his Hendrix spirit guide on a cover of 'Crimson & Clover' shot through with riffs from 'Wild Thing;' on 'Wall of Berlin' and 'Dreamer,' he squeezes the Jimi out of his guitar until you can almost see the hologram.

Mplsound is sometimes stronger still [than "Lotusflow3r"], with the party whoop of '(There'll Never B) Another Like Me,' the delicious dirty mind of 'Chocolate Box' and 'Ol' Skool Company,' which will have you partying like its 1985.

It's about average for albums from Prince proteges.

Welcome to Mali showcases the duo at some distance from its original, more elemental sound, but the overall feel is that of musical progress.

Despite Meloy's lofty vocabulary and penchant for themes of antiquity, Decemberists albums are consistently generous with great tunes and charm, and "The Hazards of Love" is no different.

It's an icy blast of electro-pop that channels the genre's most quirkily beautiful moments and ups the ante with the unmistakable influence of the duo's film-scoring heroes, Vangelis and Angelo Badalamenti.

Though audibly relaxed in their freedom from the label system, the duo delivers a few real emotional stunners.

On her album debut, the 26-year-old singer/songwriter lays her vocal and writing skills over boom-bap productions for a set that is delightfully flirtatious, heartfelt and full of diva antics.

Producer Brendan O'Brien kicks up classics like 'Even Flow' and 'Black' by putting Vedder more upfront and toning down the reverb so listeners can better hear the interplay of guitarists Mike McCready and Stone Gossard. Disc two tacks on six more tracks that represent the real gold for diehards who have traded sludgy bootlegs of the band's early jams for years.

While Marsalis' verse falters, the music beams stellar with lyrical rhapsodies and compelling arrangements imbued with multifarious colors and orchestral textures.

Jim Jones may be rolling out his fourth studio album (and first major-label release) with off-Broadway plays, documentaries and a movie, but don't get it twisted—the Harlem-born rapper hasn't lost his grime.

"This will be a better year," sing the Shakes on 'Strictly Game.' If based purely on the imagination shown in this innovative album, it will be.

Metamorphosis, which follows 2006's commercially stillborn "The Paramour Sessions," is the most polished and wide-ranging of Papa Roach's six releases.

Beware is supremely sequenced, and is possibly Oldham's finest album yet.

The combination of old-school melody and post-mod dissonance is risky, bold, and one of the most exciting releases of the year so far.

This new recording is richer and more daring in its arrangements and choice of material.

There aren't any subpar tunes and no flagging moments as Marsalis, pianist Joey Calderazzo, bassist Eric Revis and drummer Jeff "Tain" Watts deliver a nine-song masterwork.

Sometimes it's good bizarre. Other times it's bad bizarre.

Clarkson's always had the best throaty yell in the business. But now she's becoming a masterful interpreter too.

All sound pretty wonderful in the hands of Peyroux's stealthy, silk-draped vocals, delivered with a winning air of slightly detached mystery.

The-Dream has definitely bypassed the sophomore slump with "Love Vs. Money." The songwriter-cum-singer pushes the envelope production-wise (incorporating more of his Prince influences, among others) as well as lyrically.

With Blink-182/+44 bassist Mark Hoppus producing, Fight does pack a wallop, enveloping frontman Jordan Pundik's angsty relationship paeans on a dozen compact, dynamic and hooky tracks in a mere 35 minutes.

Lyrically, frontman Tim Kasher never misses a step (see the men-as-animals 'From the Hips' and 'Donkeys'), proving once again why he's among indie rock's greats.

It's a rich, engaging set that reveals something new with each listen.

Indie rock's favorite (and most prolific) red-headed woman has never sounded more assured than she does on this solo-billed set, a soaring, brisk rumination on love and other matters that comes with a dusty tinge befitting its Arizona roots.

Digesting the blend takes some time, but the best moments offer that immediacy, as on the opening punch of the groovy title track and the chiming "Magnificent."

The Irish quartet holds up its end with an album of melodically memorable and inventively arranged songs, most clocking in at more than five minutes and massaging listeners with a wash of keyboard and guitar textures.

The real virtue of Lucky One, as on all of his previous efforts, is Malo's voice, a full, rich tenor that conveys dramatic emotional sweep without gratuitously emotive technique.

One thought-provoking knockout anthem after another marks the uplifting debut by this New Hampshire quartet.

Considering how prolific they are, it's a surprise that this vital album is only Buddy and Julie Miller's second duet project and their first since 2001

K'Naan's singular take on the parallels between Africa and America is the strongest thread running through this diverse, socially alert and frequently brilliant sophomore disc.

Although much of the album is about saying goodbye to the past, Morrison uses the performance to breathe new life into the songs with a band that can follow anywhere he leads--jazz, folk or soul.

Cuts like 'In Your Words' and 'Grace' cover an impressive amount of sonic ground, from delicate acoustic atmospherics to full-on rhythmic pummeling. Yet with frontman Randy Blythe's guttural growl--not to mention his bile-soaked lyrics about religious hypocrisy--this is hardly a bid for an active-rock breakthrough.

The Oklahoma singer/songwriter and multi-instrumentalist raises eyebrows from the get-go on his 16th solo outing, dipping into jazz for the gently swinging 'Who Knew' and the self-effacing 'Former Me.'

The album is a refreshing mix of thoughtfulness and testosterone.

Hungry Bird is a charming and welcome return to form for Barzelay.

Rather than debut with her new label by methodically working the groove that got her here, she has cut a dozen tunes that suggest she's ready to crunch a few genres.

Mr. Lucky makes up for lost time with 14 gems that showcase his sharp vocal stylings, particular brand of countrified pop music and (given his sex appeal) an equally impossible-to-believe preponderance of romantic heartbreak.

The album could serve as an excellent point of entry for a new crop of fans.

Though a few tracks like 'That's How People Grow Up' fall back on overused Morrissey formulas, others like the Latin-tinged 'When Last I Saw Carol' add welcome variety.

Thursday's Epitaph debut melds the band's hardcore influences with shoegaze and atmospheric elements, with mixed results.

This Texas rock combo returns to form on The Century of Self, with producer Chris Coady stepping in for longtime collaborator Mike McCarthy.

The Americana is first-class, be it on crunchy, boozy romps with stinging solos or the slow-burning acoustic fare, but this batch of tunes proves far less memorable.

Frontman/lyricist Lillian Berlin urges his listeners to "take to the streets," if necessary, to enforce the will of the people. It's a heady manifesto, but Habeas Corpus never gets bogged down in rhetoric.

The dozen tracks on Hush" offer more in the way of tone and texture than they do melody and groove.

That overstuffed guest list doesn't necessarily work to the exclusive benefit of The Spirit of Apollo, as sometimes the clutter makes it hard to hear precisely what kind of music Zegon and Spiegel are trying to make here.

The group aims to shed the "freak folk" misnomer once and for all with a gorgeous collection of rustic folk rock.

Those familiar with '80s funk trio the Gap Band will find a decidedly modern R&B sound on the second Jive solo album from frontman Charlie Wilson, which by turns is both riveting and a little disappointing.

Thanks to Allen's still-sharp lyrical wit and an exceedingly crafty production job by Greg Kurstin, It's Not Me, It's You is hardly the grown-up buzz-kill it might have been.

Dan Auerbach has veered off the garage-rock path now and then throughout the Black Keys' career, and this solo debut reaffirms that he's no one-trick pony.

Although more upbeat than its predecessor, Vol. 2 requires some time spent listening. Those who do so will be richly rewarded.

While Light of X seldom soars, it certainly cruises at a pleasant altitude.

With its smooth melodies ("Just Right"), fresh beats ("Diamond Girl") and effortlessly suave lyrics ("Quicksand"), the album satisfies from beginning to end.

Not every track is equally gut-busting, and a few, like the poseur reggae tune 'Ras Trent,' are made much funnier by the included video. But the Lonely Island has certainly found its bearings.

The Fray is a more angst-filled and melancholy set than you'd expect from a group following up a double-platinum debut, populated with songs about lost love and tortured souls. But hand-wringing music sells.

His exceptional new album has plenty of sex and senoritas, but also a higher calling on the uplifting 'It's a Beautiful World,' a duet with Patti Griffin.

Of course, straying from emo's typical lyrical terrain is less risky when it's accompanied by music that fulfills the genre's stylistic requirements as completely (and as satisfyingly) as the hooky, fuzz-encrusted tunes on Lonely Road do.

On their third full-length, Heartless Bastards honor the penetrating howl of leader Erika Wennerstrom, who sounds like Robert Plant's less-shrill American sister, by including several acoustic tunes that underscore her vocal versatility.

Decades in the making, this collection of swing classics as interpreted by Willie Nelson and Asleep at the Wheel doesn't disappoint.

While it would have been interesting to hear a further evolution of the band's sound, the album offers plenty of adrenaline, pheromones and stealthy sophistication, thanks to Bob Hardy's driving bass, Alex Kapranos' expressive crooning and the band's unusual ability to make every song sound like a single.

Fans will note a lack of Bruceness here: big-sounding proclamations about faith and dreams are few and far between, replaced by sneakily complex love stories all washed down with sudsy pop.

Singer/songwriter Inara George and producer Greg Kurstin know how to craft a pop song. On their second album as the Bird and the Bee, George (the bird) and Kurstin (the bee) continue to juxtapose tongue-in-cheek lyrics with sugary vocals and quirky electronic effects.

Merriweather Post Pavilion is so gorgeously confident that it fulfills expectations and more.

The follow-up to Antony's acclaimed 2005 breakthrough album, "I Am a Bird Now," is perhaps only a less astonishing listen in light of the artist's growing reputation.

On his second solo outing, New Pornographers main man Carl Newman gives a master class on how to merge melody and classic song structures without making music that sounds dated or retro.

With its cuteness and shimmying pace, the opener 'Oh No' gets your seat in the chair, while the other tracks keep you there.

Even though Grand is a bit toned down from Matt and Kim's first albums, it maintains the spunk, high energy and carefree attitude that caught people's attention in the first place.

The Vocoder on the a cappella track 'Woods' puts forth a robotic wooziness that's more about technical expression than personal sentiment. With full-band backing, Vernon also seems more social on the title track and 'Babys.' What remains from "For Emma" is a dizzying and ethereal beauty.

As Fiction Family, the two San Diego musicians find plenty of sonic common ground and, most important, a dozen richly crafted and intriguingly rendered songs.

When these guys avoid the occasional regrettable extended downshift in tempo, the angular yet danceable set combines a mixture of menace and fun volatile enough to hint that their live shows must be irresistible.

The Notorious film soundtrack not only assembles the best of the Notorious B.I.G.'s work, it includes gems like the rapper's first demo tape, two new tracks from Jay-Z and a 'One More Chance' remix featuring B.I.G.'s son, CJ Wallace.

It's that mix of sad-sack circumstances and cautious optimism that makes the Scottish quartet's debut such a rich exercise in self-aware spleen-venting.

Cook bursts back with Brighton Port Authority, a project that liberates him from the "electronic dance artist" identity crisis and allows his production talents to shine.

It's one of those rare soundtracks that holds up well independent of its film.

When the World Comes Down doesn't evince much growth, proffering more of the same hooky pop/rock centered around adolescent love and heartache.

His reports here from the streets ('Me and My Goons'), the boudoir ('Spend the Night') and the hospital room ('Family Straight') sizzle with a stripped-down immediacy that makes good on the album's title; few MCs seem as committed to a warts-and-all presentation as Plies.

As was the case with John Legend, who beamed into the club on his latest, the initial effect is jarring, even in its star's capable hands. But it also settles in nicely.

Hearing a crowd go wild for a kick drum has to do the dance community proud.

Call and Response is everything the format could and should be.

A 62-page book and new vinyl pressing complete the package for the audiophiles and superfans, but the real value is in the album itself, an important piece of the history of a seminal '90s band.

The singer does double duty as a dance diva and brokenhearted balladeer. It's no easy feat, but when Spears shoves aside the tabloid trauma and hooks up with the right producers--on this album it's Guy Sigsworth, Danja, Dr. Luke and Max Martin--she is in a class of her own.

While 'Troublemaker' and 'Holla Holla' each sound a lot like prior Akon songs (the former like Kardinal Offishall's 'Dangerous,' the latter like '07's Akon/T-Pain pairing 'Bartender'), ultimately they're highlights for that very reason.

While Everything is firmly grounded in Eno and Byrne's previous work, their mutual commitment to musical exploration ensures the album rarely sounds like something we've heard before.

It's clear from the sheer range and energy on this album that McCartney is heeding his own advice.

In the end, it seems that no matter how pained West is, as long as his one true love--himself--is intact, he will prevail in the face of adversity

This one's stuffed with massive, flamboyant beats; overloud dirty-comic vocals; and all the usual lyrical stops.

Six tracks are leftovers from the Brian Eno-produced "Vida" sessions, many of which make noticeable, if not exactly terrifying, departures from the band's swelling rockery.

Jones roars out of the box with Tommy James & the Shondells' 'I'm Alive,' a sweat-soaked jumpsuit of a song thick with fierce maleness.

While the debut showed him eager to step outside the confines of STP, he essentially has nothing to prove here, and as a result, it's a casual-sounding record.

Not known as a songwriter, Adkins has an innate ability to make a song his own, as is the case with the seemingly autobiographical 'Happy to Be Here' and the family-first 'All I Ask for Anymore.'

It may be because of its unevenness that Alone II is an intriguing look into Cuomo's complicated mind, because unlike his largely homogenized Weezer albums that have stuck to the center of late, these recordings shed light into every dark corner.

The Caribbean-flavored 'I Can't Stay' and the Duran Duran-lite 'Joyride' are much more perplexing, as is the looped chanting that anchors 'This Is Your Life.' If nothing else, this band keeps fans on their toes, and they're likely to buy in for another round.

With Rick Rubin polishing the group's garage rock approach into a sharper aural attack, T(I)NC dishes out such heady anthems.

The artist is in fine, ever-changing voice throughout, and there's certainly a ton of musical food for thought here, requiring several listens before the nuances are revealed. Worth the wait? Maybe. Worth a few hours of your time? Definitely.

It's the kind of recording that makes you wish you were there—but also makes you feel like you are.

It's the classic, more timeless R&B songs on the I Am portion of the album that seem like a much-welcomed stretch for the singer.