His well-documented spiritual quest, prime fodder for his songs even when he was pop-star Cat Stevens, remains his primary subject, but there is a toughness here that we're not used to hearing from the reflective singer-songwriter.

Clearly, these songs are standards for a reason, and Lennox does nothing to tarnish their legacy or expand it.

The singer's personality emerges more forcefully on his originals.

Everything will likely add a few tunes to the pile of singalongs, but likely won't change anyone's mind about what the band's greatest albums still are.

[The cover of J.J. Cale's "Magnolia" is] a beautiful grace note that rewards those who stay for the long haul.

Hardcore Prince guitar-freaks--those who yearn for an entire album of six-string slash-and-burn in the mold of Jimi Hendrix, Ernie Isley, Eddie Hazel and Prince himself on "Purple Rain" and "I Could Never Take the Place of Your Man"--will find much to love on PlectrumElectrum.... Though the 3rdEyeGirl rhythm section of Donna Grantis, Hannah Ford Welton and Ida Nielsen provides a solid foundation, and shares some lead vocals, the songs feel slight, a touch predictable.

In an era when innovative artists such as Frank Ocean and The Weeknd are redefining the form and feel of R&B seduction ballads, Prince sounds not just relevant, but renewed.

The second disc is lower key, a less varied collection of music than Disc 1. Though it might have made sense for tonal variety to distribute the acoustic pieces more evenly between the two albums, they work together in creating a sustained mood piece.

Songs of Innocence comes off as flat and strangely complacent, even as it pays lip service to youthful inspiration, notably the punk and post-punk of the late '70s.

Interpol has never wallowed in happiness, but yet the songs sound not only splendid but strangely triumphant.

The band's debut studio album is more Lullaby than ceaseless roar. As such, it leaves more room for Plant to explore the next time he gets together with this formidable crew.

Brill Bruisers sounds like a bunch of friends reuniting for a long-overdue blow-out.

The production will frustrate those who demand cleaner sounds, who like their vocals to rise above the rhythm section. Instead the singer's voice folds into the noise, just another grimy texture on an album that treats the blues not as a museum piece, but as a roadmap of one prodigal son's early life.

Unfortunately, much of the album shrouds the transparent emotions in slick production, most egregiously O'Connor's multitracked vocals. This is not a new problem for her, but it's particularly vexing in that it sugarcoats songs that should be anything but.

The quintet likes to pull melody out of dissonance and repetition. Now they've also found the soul.

Petty's music stands strong against a tide of new trends, fresh sounds, fabulous makeovers. His defiance underlines the music, animates it, makes it feel vital even if it may sound familiar.

Nothing feels particularly overdone, and the album plays smoothly enough to qualify as background music for a sand bar.

This is not Morrissey's finest solo work by a long shot, but as the singer enters his 55th year, its moments of vulnerability feel earned.

This alien brand of funk is far more open-ended and abstract than the first album, and better for it.

If not exactly lighthearted, Once More 'Round the Sun is certainly the brightest and catchiest of the six Mastodon albums.

Ultraviolence almost qualifies as a parody. Unfortunately, there's not enough punch in the songs to make listeners care whether she's joking or not.

It's only when White breaks through the more familiar framework that the album sparks.

The gussied-up production--by respected names such as TV on the Radio's Dave Sitek, Chris Coady (who worked with another up-and-coming Chicago group, Smith Westerns) and Jim Abbiss (Arctic Monkeys)--subtracts the charming sloppiness of 2012 debut "Remember When" and amps up the popcraft, but loses some of the energy.

Accompanied by Jack White, at whose studio he recorded on the Voice-O-Graph, Young sings with a perspective and appreciation that his 68 years undoubtedly bring.

In answer to the question posed by the album title, Van Etten's characters are still in transit, spinning their wheels, uncertain of their destination. No wonder their soundtrack brims with turbulence.

Variation, once a strong suit of Coldplay’s songwriting, isn’t much in evidence. Over nine songs, Martin and company create a mood and then stick with it--to a fault.

Over seven increasingly ambitious albums, they refined the approach, and Turn Blue contains their most atmospheric and somber music yet.

Sheezus connects because it's more conversational than confrontational, a personal statement that dabbles in pop rather than trying to embody the pop moment.