"The Good, the Bad and the Queen" seems to be waiting for a payoff that never materializes.

Unfortunately, for all the hype surrounding "Restless," Xzibit has lost some of the lyrical ferociousness that made his previous releases underground favorites.

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

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.

100th Window meanders along, emotion-less and soul-less—albeit with haunting Middle Eastern flourishes.

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

Lerche seems headed in a promising musical direction, but not all the songs here pack the expected punch. [10 Feb 2007]

Seem[s] like a missed opportunity.

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

Even visionaries lose sight at times, as Pierce does on "Let It Come Down," an album that can only be deemed a fractured opus.

Even though "Doctor's Advocate" has its failings, it's a prescription that comes recommended. [18 Nov 2006]

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

While the overlong album sometimes threatens to bury C&C with its own excess, the craftsmanship suggests the band is more than capable of breaking into the mainstream. [24 Sep 2005]

Familiar, yes, but not unwelcome. [1 Oct 2005]

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.

The Coral's trade has made them less rumbling and more meandering, more coherent but less mysterious.

Yet for all the headphone-worthy sounds, the pace seldom rises above a back-porch feel and, at times, the stickers meant for customizing the cover seem like more fun than the music.

Missteps more than it hits.

16 songs of stalwart Stones riffs that almost compensate for generally embarrassing lyrics. [10 Sep 2005]

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]

[An] uneven set.

Paint-by-number grooves, coupled with nonexistent hooks and forgettable melodies, do not result in an album that requires repeated plays; that is unfortunate, since a few Timbaland-produced tracks demand just that.

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

There's an odd allegiance to the overblown prog-rock theatrics of Rush... and Yes... that seems incongruous alongside earnest Beatles homages... and straight-up, gloom-rock confessionals.

Aside from a few unique moments ("The Return," "Take Me Away"), there's not much new to report here.

Although "Parachutes" brings nothing new to the table, Coldplay seems talented enough to transcend this early identity crisis.

Where the Faint falls short, though, is its lack of daring; even with the welcome addition of strings (apropos of its cinematic live show) and varying styles, "Wet From Birth" sounds contained and merely likeable.

Too much here sounds like Coldplay-by-numbers, and the lyrics lack the deeper meaning the album seems desperate to provide.