A mixed bag of pure-pop lyricism and throwaway covers.

As was the case with John Legend, who beamed into the club on his latest, the initial effect is jarring, even in its star's capable hands. But it also settles in nicely.

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."

For the most part, the producers simply add audio garnishing to Korn's signature sound via loops and Pro Tools trickery. [10 Dec 2005]

"Life in Cartoon Motion" is like Scissor Sisters-lite: Retro disco with heavy doses of rollicking piano and funk. [31 Mar 2007]

There's an overriding sense of preciousness that permeates "Mr. A-Z," and a few instances ("O. Lover," "The Forecast") where his homages to '70s AM radio sneak over into copies.

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.

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

There are a few instances where the songs manage to make the listener forget about the court appearances and remember Doherty's uniquely skewered way around a guitar line and lyric.

Although it doesn't always work as a whole, this adventurous collection echoes Jones' catalog thematically and musically...

In each case, a brand-new track has been crafted, but some work better than others. [10 Feb 2007]

While it's commendable for the trio to try to break out of its teen dream box, it's on songs like 'Before the Storm'--featuring Miley Cyrus--where the brothers prove they're still among the best at putting the fizz in pop culture.

Unfortunately, instead of eliciting the same response as its predecessor, ["Girl Tonite"] comes as a feeble attempt to copy success. Luckily, there are enough highlights to balance things out. [8 Oct 2005]

It doesn't all hit home, but at its best ("Heaven/ Where True Love Goes," "In the End," "Green Fields, Golden Sands"), this record is uplifting enough to satisfy even a 30-year thirst. [18 Nov 2006]

Overall, Sugar Ray sticks to what it does best: helping audiences realize that there's no better alternative to a California fun-in-the sun day at the beach.

As projects of this nature go, this is a remarkably cohesive, high-quality set. For the most part, the material is appealing, if not terribly memorable.

Dennen's tenuous vocals (and lyrics) are better suited to silly love songs than this sort of material, and though producer John Alagia knows how to make the guitars jingle and jangle and how to work up a soft, swimmy groove, Dennen needs a little more to rise out of the ever-growing multitude of sensitive guitar dudes.

A mostly solid collection of quirky dance pop and cryptic rock.

There is an easy-listening elegance to his songs, but the album plays out like a soundtrack to sipping coffee. [28 Jan 2006]

Halfway between a fraternity kegger and a housewarming party.

More hit than miss. [30 Jun 2007]

It's a pleasant enough, if uneven work. [14 Apr 2007]

Leans more toward conscious than commercial. [26 Nov 2005]

Overall, listeners will struggle to classify "Rubies," as much for Bejar's blurring of bluesy folk, pop and lo-fi indie rock as his unconventional delivery.

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.

Snoop has found a happy balance between pop and hardcore. [25 Nov 2006]

There's nothing really spectacular about any track, although in a strange way the entire album does have the ability to grow on you.

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.