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.