Matchbox Twenty never claimed to be original or challenging or anything more than a lightweight and entertaining pop band. Which is why Mad Season, with its rather casual and jammy feel, is so surprising, so substantial, and much more satisfying than expected.

She still suffers under the Whitney-Mariah delusion that Volume equals Passion, which proves to be her greatest undoing on this 11-song set.

The members of Blues Traveler, new and old, still play better than they write songs, but there's no denying that the group's indefatigable spirit remains engaging.

Unfortunately, Rule 3:36, which does feature a few worthwhile moments, doesn't string enough strong tracks together to be a cohesive, effective listen.

Soul Daddy offers the real spirit of the Daddies, a blend of styles that rocks as much as it swings, taking side trips into soul reggae and smoky lounge blues along the way. The combination makes for a much more potent recording.

The band hasn't taken the same sort of strides it has in the past. That's not to say Wishville isn't a strong album, but in the realm of Catherine Wheel recordings, it doesn't deliver on the promise of Adam and Eve.

A rousing, driving smack in the face of all things pop, punk, and hard rock.

The disc's first single, "Someone Else Not Me," makes it clear that although the band often sticks to the same songwriting formula, there are still new melodies left to explore.

A welcome antidote to the hard rock and bubble-gum pop flooding today's airwaves.

Neither a chip off the ol' Bizkit nor the kind of indulgent instrumental workout many ax aces opt for on their solo turns, Big Dumb Face is a work of clever humor, spirited silliness, and, in more than a few places, some pretty good songwriting.

A perfectly serviceable modern-rock record-

While Run-D.M.C.'s chest-thumping reclamations of its prominence grow tiresome through the course of the disc -- they need to do more showing than telling -- the good news is that the tracks helmed by the group ("Crown Royal," "Aye Papi," "Ash," and "Simmons Incorporated") show that its own creative touch is still intact.

If you look beyond the ludicrous lyrics, you almost come to respect them as pop barometers. The music draws on everything from alternative rock to funk, but the result is not a melee of sounds but rather well-crafted syntheses.

Saratoga, however, reaches a whole other level. A truly excellent show, it features a wonderful extended version of "Daughter," an absolutely kick-ass rendition of "Even Flow," and Vedder's most consistently strong singing throughout.

Overall, this is a compelling mix of underground and moderately mainstream fare, and a top-notch -- if long overdue -- American introduction to this seasoned U.K. vet.

The main problem on At Last is that despite her best intentions, many of the tunes are so sappy that they just don't live up to the high standards a veteran singer can and should aim for.