While he is certainly an innovative producer, that originality fails to translate on "In My Mind."

A surprisingly moody affair.

[Franti's] ambitions pay off on this strapping, if sprawling, collection.

This first new Dolls album in 32 years is not just a legitimate entry in their catalog, it's a great one.

A substantive collection of back-to-basics indie rock.

The chameleon has come home and still sounds like no one else.

"Silent Shout" excels with pulsating electro-rhythms, even though they don't include drums, bass or even a drum and bass sound.

"Savane" is without question one of the finest efforts in his legendary discography.

These songs simply don't stack up to their predecessors.

All the elements for a smart, catchy dance-rock album seem to be in place, but the final product still remains slightly unstructured and rehashed.

Expertly tows the line between old-school hip-hop homage and forward-looking experimentation.

Though the album grows stronger as it lurches on, the trio's pursuit of bombast leaves the killer melodies lost in outer space.

Her big sense of humor and little sense of shame should help keep "Impeach" in rotation for incumbent spins.

Too often his songs fail to captivate beyond a curiosity factor.

Anyone who found the alien sonic landscapes of "Kid A" a bit overwhelming will feel much more at home with these nine less fussy but primarily electronica-dominated compositions.

An old-school alternative rock album full of oversized riffs and open-hearted hooks.

Perhaps the most intimate of an intimate series.

An ambitious, aurally rich suite of storytelling songs.

Slower paced and more atmospheric than any of its predecessors, "Dusk" is an ambitious showcase of maturity.

For greatness, look to the irresistibly melodic "Twentieth Century," the New Order-hued "Minimal" and the Diane Warren-penned ballad "Numb."

"The Return of Dr. Octagon" suffers from the classic case of "too little, too late."

[A] compendium of mostly refined Americana, albeit filtered through Black's uniquely cockeyed worldview.

A welcome exercise in versatility.

An album to return to again and again, whose depth grows with every spin.

A debut recording as fine as this one deserves immediate attention.

Guster's loudest and most ambitious effort to date.

The album's best moments come on XTC-flavored new wave tracks like "Skip to the End" and "Favours for Favours," where they ease up on the accelerator and let the songs breathe.

A stunning shot of muscular, melodic rock.

Seem[s] like a missed opportunity.

"The Big Bang" successfully treads the line of commercialism, with palatable mainstream singles and solid street tracks.

Equally stands as Six Organs' most accessible and complex collection to date.

"Rather Ripped" is a concise serving of what the band does best.

"Son" is yet another triumph for Molina, who continues to distinguish herself as one of the most innovative electronic artists today.

There is plenty to love here, so don't be surprised when you find it has become the current soundtrack to your life.

Costello's vocal range is challenged like never before, but his phrasing is always on the money, and Joe Henry's production makes it all sound so natural.

Surprisingly, a middle-aged Cube still packs a youthful punch when it comes to the gangsta tales. [3 Jun 2006]

Nothing they've done can match the pure pop beauty of "Puzzles Like You."

Too many tracks meander aimlessly without finding the perfect beat.

The folk and electronic elements are ever-present, but the chilled-out downtempo rhythms are now intertwined with chilled-out uptempo fare as if the duo has remixed itself.

What helps Smoosh rise above novelty, however, is the quality of young Asya's songs.

Live has settled too comfortably into the skin of a middle-of-the-road rock act. [17 Jun 2006]

Patton is either a musical genius or one lucky mad scientist. [3 Jun 2006]

[An] uneasy listening masterwork.

Many of Angel's midtempo tracks, while well-intentioned, fail to reach the lofty heights to which they aspire.

The first-time pairing with Rubin has resulted in a surprisingly cohesive mix of country and rock tunes.

The melodic yet dissonant sea of guitar attack Burma brings to the table sounds arguably more relevant today than it did 20 years ago.

This is the kind of record the Strokes and countless other newfangled pop/rock groups have been trying to make over the first half of the decade. But nobody's done it with such effortless flair as Phoenix.

A set of rousing, sharply focused, late-night pleas and barroom romps that take the group well beyond its garage roots.

Though Milian often comes off as a third-rate Beyoncé, her feathery soprano captivates when her lyrics do not.

No one is breaking any ground here, and White fanatics looking for a new White Stripes record should temper their expectations. But as far as side projects go, this is as good as it gets.

While Dulli's bitter, drunken voice remains front and center, the backup vocals and orchestras nearly make the songs sound like a parody, marrying a beast to a beauty.

"II" conjures a creepy but very real neo-psychedelia that is alternately paranoid, somber and reflective.

Nearly every cut shoots for maximum radio mileage, and the album's lack of stimulation makes such pandering harder to overlook. [20 May 2006]

A gripping yet comic collection of Americana songs braced with wit, heartbreak, social critique and spirituality. [20 May 2006]

Though its novelty diminishes more with each listen (with the first being the freshest, most energetic romp of them all), "Bang Bang Rock & Roll" still stubbornly continues to amuse.

Some of the record gets bogged down in its own deliberate weirdness.

A milestone effort.

This time, the gorgeous harmonies and lo-fi ELO homages remain, but the lyrics are more personal.

"Springtime" could very well be the singer/songwriter album against which all others are measured this year.

A mature showcase of concentrated power with riotous groove jams, super-sized hooks and transcendent vocal arrangements.

"Surprise" falls shy of a masterpiece, but it is consistently engaging and offers some of Simon's most creative songs in two decades.

Snow Patrol suddenly sounds like a cross between Goo Goo Dolls and Train.

By abandoning the gloom and doom and embracing quirky power-pop, the Stills seem to have morphed into a less minimalist Spoon, and your replay mileage may vary based on how strongly you liked what they were doing before.

Right off the bat, you realize this is serious music for serious listeners.

Sure, there's a formula at work here, but it doesn't feel forced.

There's plenty here for old and even new fans to enjoy.

A masterwork from one of the genuine lights in rock music.

The finest and most listener-friendly album of Gomez's 10-year career.

"Goodbye Alice in Wonderland" returns Jewel to her folk/pop roots, serving up her usual host of poetic metaphors for lessons learned and observations on humanity.

Mobb Deep often sounds like a guest at its own party.

Pearl Jam is fully, comprehensively re-energized.

The entire record is a disquieting trip.

A young, kick-ass band with a dusty, unpolished garage sound, Wolfmother excels in what everyone else has already done.

"Shut Up I Am Dreaming" is a grower, and doesn't grab you by the ears like Wolf Parade's debut did.

A quality album. [6 May 2006]

"Hardest Way" is good, but perhaps not good enough to win him any new fans.

This folk album is a loud, energetic, arena-ready fiesta.

Riley's clearly shooting to become hip-hop's answer to Billy Bragg or Steve Earle, and he's getting there. His ambitions outweigh his results, but there's very little about his "Weapon" that won't spark a response.

Has its moments, but it comes across as a baby step forward.

While over-produced and quite sentimental, this is a very sweet record.

Those looking for "Marquee Moon"-style guitar heroics will be disappointed.

For every piece that sounds like aimless noodling, there are keepers like the strutting "Wheel Broke," the guitar-only "Mountain," the Tortoise-style "Balcony" and the absolutely gorgeous "Eighty Eights."

With its broader musical canvas, "Blessing" may seem like a left-turn to diehard Truckerheads, but it's likely a wise move toward growing the DBT fan base.

The densely produced layers of previous works are gone in favor of a big and bright fun-house feel.

"Under the Covers" has just the right mix of reverence and fun to be enjoyable even on repeat listens. [22 Apr 2006]

It can be seen as a return to form (epic songs, blistering guitar work) and a step in a new direction (rough-around-the-edges production, layered percussion).

This new set fills in the spaces with sweeter, fuller arrangements, but the songs are hit and miss.

This is the thinking person's dance music with lyrical content to match.

Continues in [the debut's] innovative spirit, both elemental and experimental. [15 Apr 2006]

When "White Trash With Money" is good, it's very good. And when it's not so good, it's still OK. [15 Apr 2006]

The album doesn't really push the creative envelope and relies too heavily on guests at the expense of the principal artist. [15 Apr 2006]

Powter firmly establishes himself as a singer/songwriter who sits somewhere between James Blunt and early recordings by Elton John—albeit one who also knows the power of blue-eyed soul. [15 Apr 2006]

Their most organic-sounding album since 1995's "Clouds Taste Metallic."

"Ringleader" proves Morrissey does not need to be miserable to make memorable music.

Pink's sound is more aggressive this time and owes more to '80s pop/rock than contemporary hip-hop--with dollops of folk and blues.

One wishes they would spend a little more time plowing through the album while kicking amps and knocking over mic stands rather than changing things up.

Mostly, this is by-the-numbers stuff.

A through-and-through classic.