Oblivion simmers without boiling, and the tension is intoxicating.

This smart and fascinating album could use some subtlety, rather than bashing the concepts into the earth.

Attention does seem to wander during some of the post-millennial songs, and the insistent clapping on the wrong beat during 'Drive' is irritating, but the crowd's love is audible and the band more than earns the affection.

Stone remains impressive as a vocalist, an old-school soul with an understated delivery that's more hushed than histrionic.

Overall, the material feels more human, more honest, more assured.

It's difficult at times, though, to pick out one song against another and some tracks are too same-y or too heavy-eyed for a second glance.

The album is another market-smart collection of radio fodder, rather than Lopez's artistic breakout. That said, no one does classy pop quite like she does.

Fans of Carlton's indelible white-chick anthem "A Thousand Miles," on the other hand, have plenty to be excited about, since Heroes presents another batch of appealingly wistful reflections on life and love.

Two bonus cuts, 'Till We Ain't Strangers Anymore' with Bon Jovi and 'When You Love Someone Like That' with Reba McEntire, are icing on an immensely satisfying collection.

Cease falters when it dips into mediocre balladry ('Detlef Schrempf,' 'Marry Song'), and at a scant 35 minutes, the album at times hints at greatness but ultimately leaves you wanting more.

We may be more entertained at times by Rock's extramusical affairs, but the "Devil" should still be given his due as a clever and creative musical force.

Every song is laced with harmonies that will weave their way deep under your skin.

A sleek machine that's practically pleading to be taken out on the highway.

There's no getting around the overall thematic pall, but Lennox surrounds every message with such beauty that one remains convinced that it's all going to be OK.

From the broad, hopeful tone of opener 'Don't You Wish It Was True' to the brisk closer 'Longshot,' John Fogerty at 62 has made his toughest, best-written album since Creedence Clearwater Revival disbanded in 1972.

Whether discoursing about Jesus freaks and thugs, wanting something real out of life or his biracial background, the Angela Davis-fro'd Michael takes the listener on an energetic romp that swerves from lovelorn R&B to playful funk. Keep an ear open.

The band's reverence for its source material--all horns, Stax/Volt soul and he-done-me-wrong lyrics--occasionally gets so close that it's more clone than homage. But there's no denying the 51-year-old Jones' brutal, Aretha-ish voice

Harvey's mostly bare arrangements, stark vocal delivery and razor-sharp lyrics add up to a poignant, haunting rumination on what makes--and breaks--a life

On their sixth album, Foo Fighters have renewed their membership in the "if it ain't broke . . ." school of songwriting. And essentially, there's nothing wrong with that.

The result is an album of tremendous fullness: The sound is dense, the lyrics are complex, and the production is top-drawer.

Serenade is most compelling when Earle snarls in his irrefutable way at Middle East warmakers ('Jericho Road') and rural drug pushers ('Oxycontin Blues').

Thanks to its humorous lyrics and relaxing beats, Songs About Girls is a diverse album that's perfect for that last beach day.

Throughout, Cole leaves behind her staple vibrato, which is refreshing.

Joni Mitchell's first album of new material in nearly 10 years is a return to the form that made her a star.

Despite her co-conspirators, LaVette proves again that she's the star of the show.

Tunstall crushes the sophomore jinx under the stilleto heels of the white boots she wears on the album cover, delivering a confident and assured set that's fuller and a touch more electric than its predecessor.

He shows the abandon and confidence of a long-term artist, not just a one-hit wonder.

Its third and most ambitious release. 'Asleep' is notable for its beefed-up instrumentation and an overall darker tone than its predecessors.