The songs don't exactly have the stripped-down demo feel Harrison intended--but mercifully aren't as over-glossed as those on his last solo album, 1987's Cloud Nine.

Country's biggest commodity takes the easy way out with a meticulously picked and produced batch of tunes (see: safe) that would be impossible to screw up.

An album that is as lovely as it is seductive.

If you're not already into it, you're not missing much.

This could have been groundbreaking once upon a time, but there's nothing really new here and only a few songs ever rise above sheer novelty value.

For hard-core fans, there's a wealth of rare gems here.

This album contains just eight tracks--but each one of them is a testament to the unshakable power of the group.

Someone get this woman some drama, pronto.

Walk isn't groundbreaking as much as typical Tori Amos--a dramatic menagerie of atmospheric tracks filled with manic piano, morose characters and so many literary allusions you'll need CliffsNotes to figure 'em out.

Bluesy, fragile and gorgeous.

The disc is made up mostly by mid-tempo classic rockers and sweet nothing ballads. Disappointing? Well, yes.

Most of these songs are just as good, if not better, than the ones that actually made the cut.

The Back Room is a fine album that proves you can look backward while paving the way forward.

Though not as immediate as some of her past mainstream work, Aaliyah's latest has the smoky temptress slowly working her way through R&B, hip-hop and even slightly techno beats...

Stanley's eloquent, understated and unpretentious folk music is more than up to the challenge of finding its place in a world devoted to teen pop and nü-metal.

Totally depressing and totally engaging.

Snoop sounds as cool as ever with his velvety voice and nodding head keeping the laid-back party going.

The sonic pleasure of the band's languid guitar balladry still pulses, and bassist Britta Phillips adds pleasant Stereolab-y vocals to some tracks, but there isn't much here you haven't heard before from Luna.

Doesn't disappoint.

Kinky, however, gets tangled up when they attempt to rock out in English, and the odd rhymes and dated '80s vibe taint their musical revolution.

[A] thoroughly underwhelming debut, an album that merely paints within the lines already drawn by Pavement and the Pixies.

The surprising thing about this retro rock trio is that it can actually rock.

J5 is hard enough to sample Public Enemy on the standout single "What's Golden" and features two of the best turntablists working today, Cut Chemist and DJ Nu-Mark.

[Stereo] is brimming with expressive, beautifully articulated songs that speak to both sides of his personality.

The best stuff here eschews tradition for sonic rebellion...

[A] balanced mix of streetwise, club-ready and bedroom-bumping cuts.

Elvis Costello is back, bashing and clanging away at what he does best: delivering out vitriolic songs of curdled romance and sodden, soiled dreams.

Tak[es] on the state of global affairs in a way that is both surprisingly direct yet somehow reassuringly weird.