Food is just as tangy as the concoctions Kelis whips up every week on the Cooking Channel, in spite of the stylistic departure from her R&B albums like "Kaleidoscope" and "Tasty" as well as 2010's dance-focused "Flesh Tone."

Sea of Cowards is even wilder, with grungier guitars ("I'm Mad," "No Horse"), greasier synths ("The Difference Between Us," "Gasoline") and funkier neo-John Bonham beats from White himself ("Jawbreaker," "Old Mary").

Entirely produced by the Black Keys (except for the Danger Mouse-helmed song "Tighten Up"), the pair's latest album, Brothers, lures with its spooky throwback sound, preternatural grooves and dark bluesy jams.

Reflective but never bitter, I'm New Here contains the musings of a poet wizened by hard luck.

Cosmogramma may evade complete comprehension, but Flying Lotus' foreign and colorful arrangements entice even the most casual listener.

Lady Gaga promised her fans (perhaps a tad prematurely) that her new album would be the greatest of the decade. But even if the next nine years bring something better, we're unlikely to hear anything bigger than Born This Way.

Tempering heavier blues-alternative influences with a softer folk-rock feel, Broken Side of Time leaves an unmistakable mark.

Unapologetic is Rihanna's most confident, emotionally resonant work since 2009's "Rated R.

Plant has steadfastly resisted a return to the Zep fold; Band of Joy makes us glad for that.

In grappling with the sudden death of her husband in 2008, the U.K. singer/songwriter has crafted a remarkable set that includes influences from rock and jazz, rich instrumentation and lyrics that linger well beyond the first listen.

Her fifth and arguably most consistent album to date.

In addition to Rubin's typically austere moods, the set features an all-star core of musicians (including members of the Avett Brothers) and Cash's tasteful renditions of the title track, Kris Kristofferson's "For the Good Times," Sheryl Crow's "Redemption Day," Tom Paxton's "Where I'm Bound" and Bob Nolan's "Cool Water."

Overall, another solid effort from one of country's finest.

Trespassing continues the work of the underrated "For Your Entertainment" and allows the singer to keep unveiling his character in broad, colorful strokes.

Girls are poised to take their rightful place as one of the blog-crossover bands of 2009.

Ariana Grande's debut LP is a surprisingly varied affair for a 20-year-old Nickelodeon star with a devastatingly strong voice.

Levine's hummingbird vocals and passionate delivery are as earnest as they were on their 2002 debut Songs About Jane.

Red is her most interesting full-length to date, but it probably won't be when all is said and done in her career.

The Truth About Love is a peerlessly witty, endlessly melodic tour de force.

High Violet synthesizes the best parts of the National's past into a fantastic present

Bowie is back, and thanks to better technology, these special editions of "Raw Power" sound right on the money. But the story here is the extras.

Through it all, Finn's durable songcraft never fails to enthrall.

Comprising eight new songs plus There Goes My Baby, the new set alternately bumps and throbs as a reinvigorated Usher further paves his comeback path.

"Crows" opts for a mostly stripped-down acoustic sound that provides the perfect setting for Moorer's marvelous, R&B-inflected voice.

"Babel" reveals a band happy to remain entirely Mumford - although a larger, smoother Mumford, offering fresh nuances and textures while emboldened by the promise of the initial mission.

At 71, Staples still knows how to hang tough and shows no signs of slowing down.

The Gin Blossoms continue to concoct melodic hooks framed by a mix of jangly alternative pop-rock on the band's newest album, No Chocolate Cake.

And as on "Idol," that aesthetic is most appealingly expressed here in the material that seems the least suited for it-i.e., mushy heartland rock ballads.