Volume and snappy nods to '70s arena rock cannot obscure empty angst and lazy rhymes.

The group seems incapable of integrating these traits into something new. It's either Morello re-writing his old licks for bash-and-thud Rage-style rawk or Cornell's more straightforward tension/release confessionals.

"Play" is light-years more enterprising than Diddy's sample-happy history might suggest.

Free Somehow, which marks the debut of new-ish guitarist Jimmy Herring, is no less of a tease, boasting three or four memorable songs (none mightier than 'Airplane') and the rest serviceable filler.

"The Listener" is a low-key, early morning album, perhaps something Lou Reed would have created had he spent his career playing saloons in Tucson, Ariz.

Unfortunately, he's traded some of his cutting-edge British mergings (R&B, hip-hop, two-step, rock) for a more crossover-friendly (read: formulaic) approach that doesn't fire on all cylinders.

This record isn't for casual listening, so those checking out the Mars Volta for the first time should take it slow to prevent a sonic hangover.

No matter how hooky things get, the Warlocks tend to bury each song in the same multi-layered haze of feedback and distortion, as if sheer decibels are the sole element holding everything together.

"The Mix-Up" is thematically sound and feels like a comprehensive piece instead of a self-indulgent scheme. [30 Jun 2007]

It's defiant like a bad drunk, uncomfortably oversexed and more at home in a seedy after-hours club than a celebrity ultra-lounge.

A largely frustrating set of Saturday morning cartoon electronics.

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

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

The project just doesn't offer as many gems as "King," which pushed T.I. to new commercial heights.

While there's not necessarily a bad song to be found, Gough is capable of much more than the pretty yet bland compositions that dominate "One Plus One."

There aren't enough original ideas here to know if Rooney can shine as a relevant, modern rock band.

Primarily lackluster.

The melodies aren't always there, and the restrained production makes for an occasionally nagging sense of meandering. [3 Mar 2007]

He talks about the fire he used to possess without rekindling those flames.

Their technically adventurous playing occasionally gathers some spooky steam, but this is definitely a fans-only affair.

On 'High Price,' where she takes her vocals to an opera-like pitch, and her collaboration with the-Dream, 'Lover's Things,' whose faint tenor would seem like an ideal match, Ciara seems to go almost unnoticed. Thankfully, 'Work,' featuring Missy Elliott, has Ciara showing fly-girl antics over a house-like, clap-laden production, and the breakup song 'Never Ever,' featuring Young Jeezy, which samples 'If You Don't Know Me by Now,' pick up the slack.

Despite hitmaker Linda Perry co-writing half of the album's original tracks, something is missing.

The music fails to gain any momentum until track seven, and by then, Train's lucky the listener's still spinning the CD.

A fairly paint-by-numbers affair.

Once again, the results feel too spotty.

The constant talk of expensive cars, gyrating women and endless parties quickly becomes redundant--and boring.

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

Nostradamus isn't likely to surprise you--this is softcore for the hardcore.