The National had reached a level of comfort very few indie rock acts achieve. That feeling of comfort permeates every part of their new album, Trouble Will Find Me.

For an album with crowded electro-pop instrumentation, the music isn't overbearing, and Little Boots' cheeky lyrics never lose any of their dry attitude.

The rapper's delivery is confident in a poetic and artful way, channeled through a theatrical set of songs.

Streisand gives her trademark romantic-ballad treatment to 13 well-known standards.

Martsch has hinted that There Is No Enemy could be the band's final album. If that's the case, the set's multifaceted melodies and experimentation would be an inspired sendoff.

The set features several strongly tropical numbers, like the gentle 'Cancao de Amor' and a fine cover of her father's original bossa nova classic 'Bim Bom.'

While not groundbreaking, Evolution of a Man shows McKnight still has a way with the ladies.

Here, the artist seems to finally feel comfortable in her own skin. It's a wide-ranging album-she's in love, out of love, light-hearted and playful.

While listeners can't help but be reminded of his fall from grace, Brown also shows us on Graffiti that he's still a formidable talent.-

Throughout Stronger With Each Tear, Blige solidly reinforces why she endures as a fan favorite.

Leaps and bounds over the act's earlier material, "Teen Dream" allows Legrand and Scally to truly come into their own while leaving the listener aching for more.

Between the folds of intricate sound on Odd Blood float Yeasayer members Anand Wilder's and Chris Keating's expressive vocal harmonies, giving this seemingly disparate, indefinable music a clear identity.

The new set-Lady A's follow-up to its self-titled debut in 2008-showcases the group's ability to combine its own contemporary country sound and folk-rock flair with a familiar formula, making it a refreshing addition to the ever-expanding country genre.

The most obvious distinction from past releases is the richly textured soundscape of unusual tones that Metheny harmonizes with on with his guitar.

Not every track on Another Round may be a winner, but Jaheim remains a welcome oasis in a desert of Auto-Tuned voices-and a beacon for the next generation of soul.

The vibe on the new album may be rootsier and more acoustic than Walker's usual fare, but it still emphasizes his knack for memorable wordplay and melodic know-how, which have earned him writing and producing gigs.

On its fifth studio album, "Fire Away," Ozomatli shows a remarkable ability to innovate with its most expansive and energetic set in years.

The opening track, "Don't Let Me Fall," showcases the rapper's smoothed-voice singing talent and vulnerability ("They say what goes up must come down/But don't let me fall") over a booming guitar, while "Magic" (featuring Weezer frontman Rivers Cuomo) takes a more pop-driven direction.

Even as his piecework band stretches the sound in unexpected directions, Lidell--like a peculiar cross of Prince and Otis Redding--remains confidently true to his soul vision, creating a tense musical discourse that wrings raw emotion from each eclectic track.

While "The Oracle" is certainly familiar, it still sounds fresh enough and well worth the wait for fans who prefer their Godsmack served up straight.

Bingham's writing is filled with stark images and canny observations, which is evident on such tracks as "Self-Righteous Wall" and album opener "The Poet." Look for this gifted young artist's star to keep rising.

By using the lineup shift as a chance to explore different terrain-namely, eschewing pop choruses and traditional vocals-Underoath's sprawling, at-times disquieting music is newly realized.

For all their diversity and maturity, these songs couldn't have been written by anyone else, and this welcome return shows that the three years since the last Bright Eyes album have been well spent.

Underneath the Pine is at its best on songs like Got Blinded, Still Sound and Divina, with solid grooves and discernable melodies that leap out from the kaleidoscopic bramble.

Sonically it's a super-charged take on the girl-group sound, with thundering drums, multilayered vocals, heart-wrenching lyrics and loads of echo-all of which contrasts with her honeyed voice.

The easier-but not exactly wiser-route for Brown would've been to take jabs at those who turned their backs on him, but his tactic here seems to give listeners a solid album.

Akinmusire has chosen to challenge listeners, exploring free territory where Smith squeaks and squawks his way into the wilderness.

Mostly, though, the surprisingly warm-blooded Audio, Video, Disco reveals Justice to be human after all.

Clearly you can take McBride--who co-wrote six of these tracks--anywhere and she'll sound just fine.

The band fares better in a handful of frothier cuts.

The rage gives American Capitalist a fierce potency.

You can hear the result of all those showbiz connections in the radio-ready economy of high-sheen hook bombs.

They never supersede the originals, but hardly suffer in comparison.

Frontman Randy Blythe still growls his guts out while his bandmates hammer away at economy-sized grooves that suggest an extreme-sports version of Southern rock.

An old-fashioned countrypolitan album-and a really good one at that.

Picture Show should end up as one the year's most tuneful rock releases.

Its new studio album, Tornado, seems designed to demonstrate that stardom hasn't separated the band from the backwoods roots it famously celebrated in the song "Boondocks."

Even with so many producers lending a hand, there isn't a dud to be found on the record's thirteen tracks.

Rebel Soul brings [that devil (without a cause, of course)-may-care 'tude] back into the mix without sacrificing the lessons Rock learned from working with Rubin and his cadre of top-shelf session hands--only this time he applied them to the live, lived-in feel of his Twisted Brown Trucker band.

Thomas Bangalter and Guy-Manuel de Homem-Christo have made an analog album that's less of a "throwback" and more of a salute to the idols that would now do anything to hop on the duo's full-length.

London rock act Bombay Bicycle Club hasn't been playing together long, but the foursome boasts an impressive sound on debut album I Had the Blues But I Shook Them Loose (released last July in the United Kingdom).

Benson spent the early part of the decade building a repertoire of scruffy but sophisticated pop songs, but he fulfills his potential on this sparkling new set.

The lack of woe-is-me melancholy on Mindy Smith's fourth release, Stupid Love, is what makes the heartrending album so intriguing.

Even with the hiatus, the effort is remarkable for its maverick spirit and pop unorthodoxy.

Although the set's complex instumentation finds BLK JKS occasionally losing their footing, their confidence in their craft largely covers up any glaring errors.

Goodnight Unknown is layered with subtle distortion and commanding percussion, combined with Barlow's confident, sometimes contemplative vocals.

While the album's softer instrumentation and thematic preoccupation with romance may initially frustrate some diehard rap fans, its silky hooks begin to sink in with repeated listens.

Crazy Love is another step in Buble's creation of his own kind of songbook, and there's nothing necessarily crazy about that

The New Jersey group gets back to the business of rocking on its 11th studio album, The Circle.

While the artist has raised some eyebrows by asking, "Who says I can't get stoned?" (on the album's first single, 'Who Says'), the rest of the collection certainly has the goods to eclipse that overblown controversy.

"The Courage of Others" doesn't offer anything as immediately captivating as "Van Occupanther" gems like "Roscoe" and "Young Bride," but the new songs slowly take shape and are unafraid to choose interesting detours.

In New Orleans vernacular, Ya-Ka-May is a stew comprising various meats, green onions, noodles and a hard-boiled egg. This album may well be the musical counterpart of the dish for which it's named.

Full of contradictions, the album is primitive and ultra-modern, dark and enchanting, tranquil and energetic.

The Black Dirt Sessions delivers even more grit and lyrical heaviness than its predecessors, revealing a desperate, wayworn side to McCauley's songwriting.

While not every track is a slam-dunk, Gray definitely recaptures her earlier promise.

Leave it to Em to continue confounding expectations this late in the game.

Flamingo finds Brandon Flowers exploring big topics (love, religion, the complicated charm of his Las Vegas hometown) over even bigger arrangements.

After 15 years of recording together, the members of Guster deliver their poppiest, most cohesive effort with Easy Wonderful.

With production by Joe Barresi (Coheed and Cambria, Queens of the Stone Age) and Howard Benson (Three Days Grace, My Chemical Romance), Apocalyptica continues to impress with its unique ability to meld classical with metal.

Most important, it's big fun, whether you buy into the high concept or not.

Based on David Lynch's reputation, one can expect his first album to be either weird or cinematic. He delivers on both counts on Crazy Clown Time.

If fans felt like they got to know the real Blake on the hit NBC show, they'll get another close look with this batch of songs.

["Entertainment,"] like almost all of the LP, there's heavy pop appeal for those with an ear for glistening production.

The singer has a strong grip on her skills as a performer, but is still chiseling away at the formula that works best for her as an artist, and is unwittingly putting that self-discovery on display here.

With a voice that seems to work with many genres, James' set is reminiscent of hits from late-'90s pop acts, but with a more mature, sexually charged attitude and influence from country and hip-hop.

The new album is a testament to Henry's singular sonic vision and a masterful mix of history and mystery by an industry veteran who sounds like he's just getting started.

Yo La Tengo has little to prove at this point in its 20-year career, but its dedication to expanding its sound without obscuring its songwriting formula remains impressive.

His regretful croon in the debut single, 'Just Ain't Gonna Work Out,' will have the ladies swooning, while 'Your Easy Lovin' Ain't Pleasin' Nothin'' will have listeners jazzed up and aching to cut a rug.

At times, it's difficult to differentiate who is singing, thanks to masterful producing by Bright Eyes' Mogis. When viewed less as a hipster supergroup and more as an old-fashioned song swap, Monsters of Folk live up to their hype and then some.

Listening to Get Lucky feels like a journey, where great care has been taken to ensure that you'll come back a little better.

Southern Voices is done well overall, but listeners may want to keep close a copy of McGraw's upbeat hit 'I Like It, I Love It' to lighten the mood.

The chaos is nothing new for Say Anything, but the band's newest release is tightly executed and gives fans a deeper look into Bemis' clever mind.

Her latest release, Midwinter Graces, is a typically provocative-in the best possible way-entry in the yuletide canon.

Though not as sprawlingly ambitious or experimental as the 2007 "The World Has Made Me the Man of My Dreams," Meshell Ndegeocello's eighth release, "Devil's Halo," neatly straddles a line between challenging and accessible, with some of the tightest and catchiest compositions she's yet brought forth.

Keys delivers a musically understated but richly passionate set of soul paeans to being in love, out of love, lovelorn and pining for her man to return.

Spoon's seventh studio album, Transference, strikes a balance between its early angsty indie-rock and the soulful deconstructed pop of its 2007 release, "Ga Ga Ga Ga Ga."

Delphic is at its best on the pop-leaning cut "Doubt" and the captivating "Halcyon," which features a cold vocal delivery and scattershot synths.

The Besnard Lakes amp up the energy with a more guitar-driven approach on third album The Besnard Lakes Are the Roaring Night. But this added vigor doesn't distract from the rock band's more familiar fare of gentle vocal deliveries and downplayed drums.

Blake Shelton's new six-song album, Hillbilly Bone, may be a marketing and sales experiment by Warner Bros. Records, but fans of the Oklahoman artist won't be disappointed.

The track "Water in Hell" is an anthemic rocker with a catchy, shout-along chorus ("From what I can tell/There's water in hell!"), and "Forced to Love" combines the band's usual grit and a hook that unexpectedly sticks, similar to "Cause = Time" from its 2002 breakthrough release, "You Forgot It in People." Strangely enough, the new album's less pop-driven songs are hit or miss.

With erotic themes, smooth production and the use of a Japanese Omnichord synthesizer, the band's fourth album, OMNI, proves that there's still plenty to explore.

Although Francis has described himself as a "low-confidence engine" since early in his career, the rapper has produced a strong and instantly relatable album with Li(f)e.

Following the release of its much buzzed-about 2008 breakout album, electro-rap duo 3OH!3 returns with more fast-paced, catchy digital-pop beats on its latest set, Streets of Gold.

Nightmare is the group's best work yet. It's a sweeping, quasi-thematic epic whose nearly 67 minutes mixes punky abandon with prog-rock ambition and muscle with musicality.

On Praise & Blame, that gusty Northern soul voice sounds as righteous and true as it does when he's operating in the more carnal regions of his catalog.

Fistful of Mercy's sound shouldn't surprise fans of any of those acts; nor, for that matter, should the appealingly casual quality of the nine songs on "As I Call You Down," which the musicians wrote in three days.

Longtime fans might raise an eyebrow at the band's songs appearing in a videogame and Microsoft ad, but commercialism remains a part of Gang of Four's lyrics more than its sound.

The album's dozen story songs-11 penned solely by Parton-are filled with uplifting sentiment and words of encouragement set against a variety of backdrops, most of them deeply rooted in country traditions rather than acquiescing to radio demands.

As always, though, Streisand sings the material like it was written expressly for her, elongating phrases at will and slowing most of the tempos to a luxurious Old Hollywood crawl. What matters most? Babs' bliss.

It's a well-crafted brand of meat 'n potatoes hard rock.

As comeback albums go, though, this one feels unusually natural.

Rich organ swells and muscular horn charts mark many of the 10 tracks, with a live, off-the-floor groove that levitates.

It's indeed better the second time around, no matter who's running her down.

Those who have witnessed the group's floor-shaking live shows might be a bit disarmed by the deliberately dense and lo-fi production of "Boys & Girls."

"Born Villain" finds a seemingly refreshed and clear-minded Manson and his band poring through a diverse set of moods and styles in songs that cut a little deeper than the deliberate provocation of many of his previous works.

Restrained, moody and subtle. It has its big footprint moments, of course, and there's an audible ambition that gives the album a crackling if slow-burning energy.

I Love You is guiltless fun, just like any proper quickie.

If you don't finish this part record a hot mess, then you probably didn't have a good time.

Ingram may be good on his own, but Patty Griffin's sweet harmonies on the enchanting 'Seeing Stars' and Dierks Bentley's growls on Ingram's live classic 'Barbie Doll' are welcome additions.

Packed front to back with lyrical treats and lovely sonic touches (thanks to producer Rick Rubin), I and Love and You may be one of the major labels' best pieces of news this fall.

Bennington and his Dead by Sunrise bandmates (who hail from the electronic rock band Julien-K) also display a deft touch with atmospherics and textures on tracks like "Too Late," "Give Me Your Name" and the goth-tinged "Let Down," among others

Annie steals listeners' hearts with her light-as-a-feather vocal delivery and infectious beats.

Johnston delivers another album of nuanced and evocative tunes laced with vivid imagery and emotional depth.

Although Chandra and Leigh Watson don't employ their entire vocal range on the bluesy "Devil in You," they make up for it with lyrical maturity.

Full of blues and roots tracks, the new 13-song set lives up to its title.

With its serene landscapes and beautiful imagery, listening to The Golden Archipelago makes waiting for the tropical temperatures of summer all the more difficult.

Because she's bold enough to do it her way, Aguilera maintains her reign.

It's the balance between delicate guitar, lush cello and the singer's rich vocals on "Brooklyn Fawn" that proves Matt Pond PA is ready to stretch out, not compromise.

Nobody's Daughter recalls the highlights of the band's critically acclaimed 1994 album, "Live Through This," and shows that, as a band, Hole is not one bit damaged.

The departure earlier this year of keyboardist Franz Nicolay means less Springsteen-like keyboard embellishments, but the group's Everyman quality remains intact thanks to vocalist/guitarist Craig Finn's straightforward lyricism and lead guitarist Tad Kubler's signature swells.

Its new album, "Dirty Side Down," plays to all of Widespread Panic's strengths, from the intricate weaving of John Bell's and Jimmy Herring's guitars with John Hermann's keyboards to a stylistic sweep that spans from the epic, prog-like opening suite "Saint Ex" to breezier fare like the title track and the spritely gallop of "Clinic Cynic."

How I Got Over finds the Roots acting as elder statesmen in hip-hop, but its mix of nifty experiments and straightforward rap eliminates any sense of predictability.

A tendency to let the songs run too long notwithstanding, this 100 Miles is a path Crow was certainly wise to tread.

With sophisticated grace and evocative lyricism, Melua has made a brave reinvention that raises her already lofty artistic bar.

Grace Potter & the Nocturnals' new self-titled release finds frontwoman Potter and her band in full bloom, hammering out hook-heavy rock tracks with a confident, natural sound.

The Thermals may not change your life, as Harris promises on the opener, but they keep on issuing front-to-back fun albums like few other bands.

The 12-track set plows some new ground for Little Big Town, from the way Karen Fairchild and Jimi Westbrook's duet intertwines with the group harmonies on the title track to the traditional country flavor of "You Can't Have Everything" and the bluegrass tinge on "Little White Church."

Lil Wayne's latest album, I Am Not a Human Being, is not as experimental as the rapper's previous rock-tinged "Rebirth" set that arrived earlier this year, and most fans will likely appreciate this.

It's a lot to take in, but his aim is true as always.

Austere and melancholy, dealing mostly with heartbreaks and farewells with a modicum of hope, new album "Paper Airplane" still conveys the rich and understated beauty that's always been the group's trademark.

What marks "No Devolucion" as an improvement over 2006's "A City by the Light Divided" and 2009's "Common Existence" is that frontman Geoff Rickly and his bandmates have finally written a batch of songs worthy of those complicated arrangements.

While that post-9/11 set had a fantastic first single ("Ch-Check It Out") and nothing else close to its level, the group's latest lacks a standout track but is a consistent hodgepodge of slimy beats and no-nonsense rhyming.

Gold Cobra reminds us of how much fun a tight, no-holds-barred rap-metal record can be in the right hands.

18 Months has a certain set of goals in its sights, and Harris (alongside an all-star roster of vocalists and co-producers) resoundingly achieves these goals.

His highly anticipated sophomore album succeeds in mixing its safer stylistic choices with its relatively bold ideas.

Save Rock and Roll contains some head-scratching collaborations, including link-ups with Big Sean and Courtney Love, but even those that fall relatively flat are still positive indicators that Fall Out Boy are back to having fun, stretching their legs and taking risks.

After 20-something years of rap and dance running in mostly parallel lines, Kid Sister's imagining of their intersection is fresh and unapologetically fun.

Kingston does widen his scope a bit, as evidenced by the percolating synth/dance vibe of the set's first single and top five hit, 'Fire Burning.'

By closing the song with unadorned strings, Basement Jaxx seems to be finding feeling in its new efficiency.

The duo backs up its devotion to classic sounds with rich layers of funk, soul, jazz, blues and rock sampling that honor the genre-bending experimentation prevalent in '80s and early-'90s hip-hop.

This rock supergroup delivers by drawing upon each member's talents and creating a sound that's refreshingly singular and remarkably fun.

The broad spectrum of genres Merchant explores also prevents the set from feeling overlong. She has returned with a painstakingly constructed record that feels light and nimble, a credit to her still-impressive talent as a songwriter.

The fresher feel on the Vancouver group's new set could partially be attributed to frontman Carl Newman's openness to collaborating with his peers.

While old-school rap nods and blunt lyricism add to the set's allure, its fluidity suffers.

Brooklyn duo Sleigh Bells is loud, raucous and unapologetic. Members Alexis Krauss (vocals) and Derek Miller (guitarist/programmer) prove it on debut album Treats.

Mostly known for delivering folk-punk anthems, Against Me! delivers a no-fuss rock collection with its latest release.

There are some moments when the mood lightens, usually for romantic fare like the funky Estelle-assisted song "Midnight Hour." But these tracks display neither Kweli's lyrical precision nor Hi-Tek's adventurous sounds. The set also falls short of its opening promise to engineer a "shift in the paradigm of hip-hop."

Korn III (a reference to this lineup as the third incarnation of the band) moves forward more than it retrenches, referencing some stylistic trademarks while introducing some fresh dynamic sensibilities.

The sense of abandonment hinted in the title of David Gray's second album in less than a year, Foundling, could be a reference to the work's minimalist nature.

For all the pomp and watermelon costumes, Perry is primarily a smart and personal pop songwriter. And Teenage Dream shows-in carefully selected spots-that she's ready to grow up.

There are enough brains and brawn to make this an "Asylum" any head-banger would be crazy to avoid.

This is also some of Tankian's most accessible material to date, whether it's the grooving verses and exploding choruses of "Left of Center," the cascading ebb and flow of "Borders Are . . ." or the fierce charge of "Electron."

This Stockholm-based DJ outfit scored a dance hit earlier this year with "One (Your Name)," its hard-hitting collaboration with Pharrell Williams of N*E*R*D. But separately, the men of Swedish House Mafia-Axwell, Sebastian Ingrosso and Steve Angello-have been rocking dancefloors for years, so here we have a 24-track primer designed to update new fans on each artist's earlier work.

Given Kelly's absurdly effortless melodic flair, the result certainly satisfies. But Love Letter could use more of his effortless absurdity.

It's not surprising that his first new album in five years, "Tha Funk Capital of the World," is epic in scale, from its 16 mostly woofer-shaking tracks to the generation-spanning guest list.

A phenomenally successful career as part of a duo doesn't guarantee success outside of it. But it should certainly come as no surprise that Ronnie Dunn doesn't slouch or stumble on his solo debut.

Many of the dozen songs achieve the kind of meatiness that the group approached tentatively on The Fray.

The result is an album that comes on a bit strong, but has the pop pedigree to avoid any major missteps.

It's arguably the most potent lineup since Josh Homme put QOTSA together in 1996, and it's embellished on the band's sixth studio album by guests.

Christmas in the Heart is an odd one-a collection of straight-ahead Christmas songs that benefits Feeding America, as well as food charities in other countries. But it will remind listeners that for nearly a decade Dylan has been working on his croon-exploring musical styles that are more polished than folk and blues.

Give Up the Ghost is another rich offering from this distinctive female talent.

This time the quintet holed up for two months in a Northern California cabin, and the resulting collection from the idiosyncratic singer/songwriter is intimate, experimental, and ultimately accessible.

The end result may not be enough to convince America it's missing out, but expect this album to bring the already-converted back onboard in droves.

The set careens confidently from the Prince-inspired fuzz-funk of opener "WTF?" to the slinky live-band R&B of "I Want You So Bad I Can't Breathe" to "This Too Shall Pass," a thudding psych-pop anthem in the mold of "Kids" by MGMT. It's not all so good-naturedly goofy.

The new ambition found on "A Chorus of Storytellers" has led the Album Leaf to its best execution yet.

Fans will be pleased to find Alkaline Trio remembering what it's like to be itself.

Splicing sounds and rhythms that sometimes complement and often compete, "Oversteps" creates an evolving harmony built on its own continuous assembly and breakdown.

With the help of heavyweight producer Rick Rubin, Gogol Bordello's major-label debut, "Trans-Continental Hustle," maintains the band's ethno-clash dance party reputation, but with less punk attitude and a more mainstream songwriting approach.

Children's gospel choirs and Joss Stone make somewhat unnecessary appearances, but musically the project impressively meets its goal of cultural connection.

A natural progression from 2008 release "Sleep Through the Static," the new set features more electric guitars and a brighter, full-band sound while still bringing plenty of singalong acoustic romanticism and breezy melodies.

Full of attractive instrumentation and unfalteringly charming lyricism, Bonham's collection brings a sophisticated quirkiness to the femme alt-pop table unseen for quite some time.

It's his understanding of the niche he's carved for himself--a love affair with darkness and sludgy rock braced with stripper-worthy blues rhythms--that makes his continued output worthwhile.

The set has a fullness and energy-not to mention an arsenal of layered guitars-that give it the kind of muscle we haven't heard from the band in quite some time.

On its latest release, A Thousand Suns, the six-piece rock act truly breaks the habit of everything we've heard from it before.

Another victory in a storied career, Small Craft on a Milk Sea is Eno's attempt to reiterate the relevance of the long-player through its unique sequencing.

The sparse production recalls Cohen's 1988 release, "I'm Your Man," by throwing the Canadian balladeer's ever-deepening voice and his mix of poetic flair and pitch-black humor into satisfyingly stark relief.

A set of tightly crafted, richly arranged pop songs.

Reincarnated stands as an enjoyable pop record laced with an assortment of roots and dancehall reggae references.

Like a true woman, Ledisi keeps growing as she takes the good with the bad.

Plenty has been said about how well They Might Be Giants' playful, absurdist rock translates to kids' music-and the band's fourth offspring-focused effort is no exception.

The band's sixth studio album, Alter the Ending, is a perfectly blended concoction of acoustic melodies, graceful harmonies and powerful anthems wrapped around the story of a man trying desperately to save a failing relationship.

Her debut album, Just Like You, has no shortage of commanding pop-rock tunes, but Iraheta really shines when her spirited voice breaks through the precise production.

The quietly brilliant set translates the dance-rock explosion through the lenses of two guys who have lived the dance scene from the beginning.

The Monitor probably could've borrowed more firepower from the ironclad battleship for which it's named, but the album nevertheless meshes old-fashioned themes with a modern twist.

The duo strays into territories of pop predictability with lines like "The music stops/And the music drops," but jj's sophomore effort is nonetheless charming and imaginative.

The Toronto-based collective goes all out on its third album, Latin, which features lead members Brian Borcherdt and Graham Walsh's spacey keyboards and effects supplemented by the powerful live drums and bass of their touring personnel.

Hawthorne Heights' rediscovery of its heavier roots may be what longtime fans have been yearning for, and also what the band needs to recover from past personal struggles.

Rock act We Are Scientists typically has a good sense of what hits, but on its latest album, Barbara, the band begins to figure out what misses.

The delicately crafted "Coming Home" is Maiden's most effective power ballad ever, while "The Man Who Would Be King" delivers a slice of medieval mayhem. And the jam section during the cut "Isle of Avalon" suggests a metal take on the Grateful Dead. With all that, The Final Frontier boldly goes where few metal bands have gone before.

As the band's first disc for Epitaph following a 15-year major-label run, the stripped-down Hurley mostly delivers what you'd expect.

The guitar legend still plays with the energy of a teenager-albeit a highly talented one-just starting out. And when he gets his dander up on such tracks as "Too Soon" and "Let the Door Knob Hit Ya," Guy can still diss like a street gangsta

For something drawn from so many obvious sources, Amoral is refreshingly original.

Nestling welcomed experimentation among familiar tunes, Beam is hedging his bets with Kiss Each Other Clean.

Jollett and company do it one more time, most definitely with feeling.

It's a worthwhile reinvention, but a little more noise wouldn't have hurt, either.

Ambition nods to Ross' cartoon grandiosity in "Miami Nights," where Wale details his collection of luxury goods over a jubilant horn riff. Characteristically, though, the album heads in plenty of other directions as well.

We come to "A Wasteland Companion" with certain expectations. Happily, Ward meets them.

Overall, Believe sinks its tendrils into the listener's brain by riding the dance music phenomenon and offering some whizz-bang production alongside Bieber's sticky-sweet singing voice.

The British vocalist was pegged as a Beyoncé-style pop/ R&B diva during an abortive mid-decade Los Angeles stint. But escaping that environment allowed her to develop the genre-straddling, retro-modern mélange of Travelling Like the Light, which was released overseas last July.

It took the Black Crowes seven years to release last year's "Warpaint," but now that the Robinson brothers are back in the studio album business, they're making up for lost time.

For this warm set of 11 country-time covers (including a track from his 1986 album, "Eye of the Zombie"), Fogerty turns to his speed-dial list of superstars.

Even though Crash Love isn't terribly progressive in scope and the band's '80s idolatry might one day run its course, the set is another highlight in a discography that's as consistent as it is expansive.

With Closer to the Bone Kristofferson digs deep into his long and troubled past to bring listeners one of his most beautiful moments.

While "Hellbilly Deluxe 2" certainly captures the Saturday afternoon matinee spirit of his 1998 solo debut, it's also a different kind of creature.

It may take listeners a while to wrap their heads (and ears) around Scratch My Back, but it will undoubtedly polarize an audience that has long awaited something new from Gabriel.

Omarion describes his third solo album, Ollusion, as proof that he's all grown up. But the set comes off more like a bid for street cred than maturation....But when Omarion reaches for the high notes and sticks to nuance on the aching ballad "Speedin'" and the teasing "Sweet Hangover," he shines like a seasoned star.

Although Raekwon, Bun B and Birdman all turn in solid guest spots, Freeway remains in control and drops his most memorable lines since his 2003 debut, "Philadelphia Freeway."

The 11-song set draws from some of the Big Apple's more established rock outfits, but still keeps the DIY feel of the Whigs' previous albums.

Aside from arrangement updates and catchy synth touches, the Bird & the Bee play it straight as George fetchingly channels Hall's vocal groove.

Balancing these cheery influences with the melancholy prose is the name of the game. The lively accordion and clanky piano on the song "Shadow People" recall Bob Dylan's 1974 country-folk single "Forever Young," but the cheerfulness seems to contradict Dr. Dog guitarist/vocalist Scott McMicken's strained lyric: "It's the right time for the wrong company."

Slash shoots a little too wide for its own good, but the album showcases him as the guitar hero we've always known and as the songwriter we probably haven't appreciated enough.

The set is full of the Deftones' usual energy and showcases singer Chino Moreno's knack for alternating between screams and sweet vocal delivery over heavy, complex guitar work.

Kurupt's distinct slurred-barking cadence lends itself well to the anthems on "Streetlights," an impressive albeit uneven release.

The group's poppy guitars and thick, layered vocal harmonies occasionally improve upon some selections of the vastly diverse material.

Strange Weather, Isn't It? is not life-altering fare, but the album's 40 minutes of club-approved funk-rock signals another noteworthy entry in the band's discography.

Olson is still processing some pain, but there are plenty of bright moments.

Consider Eric Clapton's 19th solo album a largely successful bid to be all things to all people, including himself.