In her bid to be a little bit of everything for everyone, some of the unique flavor that has made her a star is sadly diminished.

A slick, curious concoction that sounds like Dave Matthews crossed with the Beta Band.

Yet where the music is hard-hitting, the hoarse, almost drunken vocal style of lead singer Hamilton Leithauser can be grating.

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

Though this music could easily be viewed as Longwave's take on Interpol's take on Coldplay's take on Radiohead, it isn't that derivative or boring.

Overall it's rather tough to get a grip on what they're getting at.

Fish Outta Water may lack the demographic-tripping vibe that even a Jurassic 5 in turmoil could whip up, but it's a mostly winning debut that makes up in vocal prowess for what it lacks in hooks.

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.

Despite it being more rock-oriented than 2005's "The Beekeeper," this album isn't much of a sonic progression, and it takes a while for "Posse" to find its voice. [5 May 2007]

While "Golden Greats" features some intriguing tracks and a healthy dose of Brown's trademark bravado, it doesn't come close to ringing in as powerfully as that of the Roses' era-defining sound.

Outer South is a decently stocked serving of rambling, saloon-joint alt-country, but one that finds the freewheeling Oberst and band in need of a little focus.

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

It comes across as unnecessarily tame.

While not a completely lovable effort, "1968" extends Pajo's varied lineage.

On first listen, it might seem too derivative, even dull, but Jeff Tweedy's intricate vocal melodies and Nels Cline's ferocious guitar work keep things interesting. [19 May 2007]

While collaborations with the likes of Viktor Duplaix ("Pull Up"), Rahzel ("Out of Breath") and British MC's Darrison ("Time") and Dynamite MC ("No More") provide interesting listens, nothing here is as revolutionary as such Roni Size classics as "New Forms" or Breakbeat Era's "Ultra Obscene."

Simon LeBon and company have a lot of baggage, and their latest effort doesn't match the neon-lit glory days of yesteryear.

These tracks lack the magnetism of Miller's material with the band.

There are clunkers, like the half-there torch song "Life Is Hard." But the great thing about 67-year-old Dylan is that even when it's not working, it's working.

Overall, the album plays too stiffly for these experts of synth-hewn dance/pop.

Though the album is good, for an artist of 50 Cent's caliber, it's not great.

The lack of big-name guests may make it hard to woo new fans, but those who preferred Paul's earlier work will be happy to hear he has returned home. [1 Oct 2005]

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

Over the course of 14 cuts, the record gets a tad repetitive, with nary a fiddle or steel break within earshot.

While the all-original material is not strong enough to qualify this as the instant classic some have suggested, heartfelt tracks like the jubilant "Delirious Love," the rousing "Hell Yeah" and the string-tinged love song "Evermore" are outstanding. [12 Nov 2005]

This sophomore set likewise has moments of indelible pop bliss, but too often veers off track with unnecessarily long songs and dull arrangements.

The songwriting grows less challenging as the album unfolds, often lacking the kind of vocal performances that provide real traction.

The extremes offer up a portrait of a man far more complex than what we get from many of Banner's peers, and the inventive beats (by Banner, Cool & Dre, Akon and others) add vital life to his gruff flow. But you have to wonder if some of these tracks simply reflect the rapper's desire to be all things to all consumers.