"Alligator" is easily the National's best effort and quite possibly one of this year's finest records.

Holly Williams, the daughter of Hank Williams Jr. and granddaughter of Hank Williams, follows her own musical path to deliver one of the best singer/songwriter albums to come out of Nashville in the last year.

On the Jodeci-sampled 'You're Everything,' Bun B rhymes about his love for his hometown of Houston, while poverty, politics and spirituality dominate the reflective 'If It Was Up to Me.' But the most heartfelt track on the album is the one dedicated to Pimp C, 'Angel in the Sky.'

It makes for a difficult listen but will be fulfilling for those who find their way out on the other side.

Features some of the group's most focused and seductive work ever.

The band's collective songwriting skills impress frequently.

"Rather Ripped" is a concise serving of what the band does best.

An understated triumph. [9 Dec 2006]

It's no wonder that visionary artists like Brian Eno and Tricky have welcomed the act with open arms. "Good Looking Blues" finds the group combining the best elements of its past... with bluesy horns, Jamaican beats, hip-hop drum loops, and avant-jazzy excursions.

Ultimately, "Moon" may frustrate because it really is a little bit of everything: spastic, Talking Heads-ish funk ("Tiny Cities Made Of Ashes"), campfire acoustic yarns ("3rd Planet," "Gravity Rides Everything"), and Sonic Youth-ish rock epics ("The Cold Part," "The Stars Are Projectors").

That Lonesome Song is a testament to raw and real, right down to open studio mics catching stray commentary and static from a bad input.

Considering how prolific they are, it's a surprise that this vital album is only Buddy and Julie Miller's second duet project and their first since 2001

Green's voice remains lithe magic, and he's brought in such contemporary all-stars as Anthony Hamilton (on the album's two best tracks, "You've Got the Love I Need" and the slinky title song), John Legend and Corinne Bailey Rae for help.

Despite her prolonged absence, Bush sounds as vital as ever.

The real revelation here is their ability to show a more varied and at times vulnerable side to their sound.

A sparkling little gem.

The Trashcans toil on their songs, and at times, it shows -- but all it takes is the 4:10 melodic blizzard of "All the Dark Horses" to sum up what all that sweat was about: birthing pure bliss.

Lyrically, Doom hasn't sounded this vital since Viktor Vaughn's "Vaudeville Villain."

"Picaresque" is by far the Decemberists' best work to date.

Elliott brings a seen-it-all authenticity to this repertoire while Joe Henry's sympathetic production (aided by guest appearances by Los Lobos' David Hidalgo and Van Dyke Parks) is pitch perfect.

A mature effort that shines with nakedness and clarity.

The finest work of this talented individual's solo career thus far.

A new high point for the already accomplished Walker.

Endearing sour trumpet and recorder notes on uptempo tracks like 'Judy and Her Dream of Horses' and a stunning 1998 version of 'Slow Graffiti' capture the essence of early Belle & Sebastian, while the four unreleased songs from 2001 find the group experimenting with funky, spoke-sung vocals ('Shoot the Sexual Athlete') and haunting atmospherics ('Nothing in Silence').

An aurally hypnotizing collection that is comparable to, if not better than, Endtroducing.

Employing layered guitars, probing bass lines, and the occasional synthesizer swoon, Interpol creates an homage to their particular vision of the '80s that stands proudly alongside the best of its idols.

The back half is all over the place, prone to the sort of detours that seem designed solely to show off Mos' scope, like the all-Spanish throwaway 'No Hay Nada Mas.' Still, when's he's on, which is more than not, Mos is refocused and seemingly rededicated.

It can be seen as a return to form (epic songs, blistering guitar work) and a step in a new direction (rough-around-the-edges production, layered percussion).