Make up for lost time and embrace these wonderful smartypants-es today.

An album that sounds unlike anything else.

It plays like a hilarious concept album more than anything.

Songs like "Baby Come On" and the spooky "Little Death" show the musicians finally delivering the substance that was promised on Blink 182's self-titled 2003 release.

Campbell's second extraordinary release of 2006.

As a player, his bold, midrange-heavy tone complements his most nuanced vocal performances.

Features the kind of envelope-pushing fans have come to expect.

No, it does not rank with the band's best work. But yes, as long as Pete Townshend and Roger Daltrey walk the earth in tandem, the Who live on.

Don't expect a derivative mash of smudgy, nostalgia-filching sounds, though, because despite its retro leanings, what's in store somehow crackles with currency.

Her sing-songy tunes are honest and earthy, her diction intense and mannered but never pretentious.

His talents and the heart he puts into his writing, singing, and picking remain at their peak. This stellar collection proves it--four times over.

As before, he continues to flawlessly integrate straight-ahead, unforced vocals into a riproaring sound.

Imagine the Mars Volta undergoing electroshock treatment or Blonde Redhead at war with an army of feral cats.

Unable to pen and record a clunker amidst his handsome ballads and cascading rockers, McCaughan coalesces sugar-coated melodies with personal, often uproarious lyrics that can make his 40-something voice sound half its age.

With her expressively breathy vocals and uplifting melodies, Mindy Smith expresses both the romantic and spiritual dimensions of rapture.

While the trio hasn't managed to outshine their spectacular debut, Hello Love is a CD filled with cross-generational charm and musical riches.

Hitchcock has made a return to garage rock not heard since 1989's Queen Elvis.

Strange, alluring, and disarming.

Pernice's unblemished voice is the key instrument.

Rather than getting bogged down in concert-album fashion, Okonokos plays spanking new, almost re-studio recorded.

If there's a downside to this brilliant, if unlikely pairing, it's that Krauss's somber program could benefit from something a tad more libidinous or uptempo.

This is the kind of album that clicks right off but continues to grow on you.

When standards are done like this, there's just nothing like 'em.

Almost wholly brilliant.

No modern-day male artist beats him when it comes to single-minded self assurance or suavity.

[It] has more powerful and propulsive arrangements than is often the case with the artist.

Brazilian Girls maintain the same kinetic thrust and hook-laden melodies as before, but they've turned up the rhythmic aggression and electronic squelch to 11.

Fans of Norah Jones should gobble up this album, but Peyroux is no mere imitator: She's her own, very real thing.