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.

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.

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.

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.

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.

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.

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

With some hits and misses, A.K.A. journeys through some predictable refrains with a handful of prospective triumphs.

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

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.

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.

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

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

What's left, then, is a collection of 11 shinily produced pop songs that find Gomez trying on a series of different personalities with her slight-yet-capable vocals.

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.

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.

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.

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.

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

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.

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."

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.

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

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.

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.

It’s essential listening not so much for its quality--uneven, if generally high--but for the strange place it occupies in Morrissey’s discography. Not since 1991’s “Kill Uncle” has he given us anything quite so puzzling.

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

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.

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."

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

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

The usual, more or less. Musically, it’s her typical mix of pop-classicist balladry and hip-hop-tinged summer jamming, and if Carey doesn't exactly go strutting into new territory, it’s because she knows most people like her right where she is.

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.

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.

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.

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

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

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.

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.

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 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.

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.

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.

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

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.

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

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."

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.

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.

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.

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

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

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.

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

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

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.

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."

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

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

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.'

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.

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."

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 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.

The Weird One delivers the reprocessed goods, though it's his original tunes — done in the idiosyncratic styles of his favorite artists--that truly warrant repeat listening.

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

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

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

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

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

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

Britney Jean, her first album released in her thirties, is a subtle shift away from frantic bangers and into more forthright songwriting.

A welcome, long-awaited return after a troubled hiatus, but it hums along comfortably without striking any innovative poses.

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.

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.

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.

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.

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.

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.

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.

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

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

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.

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

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

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.

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.

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.

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.

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

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.

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.