It's too bad the best songs here don't really match up with her best performances, but that's nothing new for Spears.

Akon's undeniable gift for hooks makes this an easy listen, and the ex-con posturing isn't missed.

Here, Eno, who wrote the music, opts for a more familiar sound, mixing electronic elements and acoustic guitars to create cottony, unobtrusive pop songs.

He has done what few hip-hop stars (and precious few pop stars) have the inclination or ability to attempt: make an album with a consistent vision, which will play convincingly five years later, when its novelty is long gone.

The Killers only stumble here with the nearly seven-minute closer 'Goodnight, Travel Well,' a sleepy meditation on all things cosmic that's hopelessly lost in space.

There's no denying the passion and skill behind the group's fourth album, its most accessible collection yet.

While few have ever actually accused the singer of using good judgment, Chinese Democracy shows him to be a man who, however divorced from reality, hasn't lost the instincts that once made him great.

The ballads are nice enough, in a syrupy, overwrought way. But slamming dance songs have always been Beyoncé's strength, so it's no surprise that the "Sasha Fierce" half of the album is the better showing.

A vigorous cross-section of wallop and weepers that revels in its down-home personality.

Lanegan and Campbell are different creatures, but they have the same concept of cool.

'Ringleader Man,' remind you that whatever his vocal limitations, T-Pain has reintroduced the idea of melody to urban music, which is no small feat. However, predictable overkill of both the signature AutoTune warble and guest stars (Ludacris, Ciara, Akon, et al) obscures that accomplishment.

The Pennsylvania native delivers another pleasant assortment of precocious pop country on Fearless, a set that keeps her natural polish in the middle of the mainstream road, and sports uncommon refinements for a singer her age.

As it turns out, the 45-year-old English singer's exploration of Soul comes up short in interpretation as it retreads ground long since broken by others.

This is the grittiest album the band has yet put out.

He gives indulges that portion of his muse on the instrumental-centric Play while also managing to deliver a collection that is consistently lively and fun.

The music on Take It to the Limit is forceful and full of bright, churning guitars, with just enough melody to elevate the songs above most of the hedonistic hard rock out there.

From this ambitious approach comes an unqualified stylistic success.

Whereas its early tunes built from twitchy verses to shout-along choruses, the new material skews glossy and nondescript.

The album may lack the emotional heft of the Cure's more patient, atmospheric recordings, but should it wind up being the group's last, it will be remembered as more than an unnecessary footnote.

Anything that reduces Pink's in-your-face presence, and that includes a preponderance of slowed-down, tarted-up examinations of divorce, is probably an ill-advised move.

It's a very consistent record, with lots of wide-open spaces and quivering quietness, and just about every sound seems to fit perfectly exactly where it sits.

Evolver delivers what it promises: A singer, songwriter and musician pushing himself to grow. This is a good first step.

With its poignant beauty and powerful songwriting, Adams' latest is, well, the latest in a string of ever-better sad-bastard records.

The 47-year-old Oklahoma native alters that repertoire somewhat with That Don't Make me a Bad Guy, sticking to accessible, down-home rock even as his singing ranges from new directions to bland drains on his natural character.

Barnes and company's ninth studio album isn't as catchy or cohesive as the past few, hitting upon sublime moments--like when he quietly asks "Why I am so damaged?"--that are frustratingly few and far between.

The Chicago quartet has been making this kind of music since the '90s, and its eighth album is much in the spirit of past releases.

Womack's natural balance of tasteful and evocative shapes each tune it touches, carefully stretching the likes of 'Solitary Thinkin'' to make it sweet-sounding and substantial.

Not every missile here reaches its target, but the older, wiser Dears will remain darlings of all who keep hearts affixed firmly to their sleeves.