Simply awesome.

Moore's voice has grown stronger, she updates the covers with some youthful enthusiasm, and, well, these songs are hard to screw up.

When all is said and done, Everything to Everyone manages to be good for many.

Any music snob who has ever fantasized about grafting Belle & Sebastian's deceptively sweet melodies onto Modest Mouse's angular rhythms and riffs needs look no further than the Shins.

So what if the clean-ish production elicits screams of "Sellout!" from longtime fans? This is good stuff. Somewhere, Courtney Love is wishing she made this album.

Jet has more fun with songs like "Cold Hard B****" than most bands do during their entire careers.

When Ludacris promised his new album would cover all bases, he wasn't kidding.

Ben Gibbard has a knack for painting scenes of such intimate detail they come off as universal.

That's not to say that it's bad--it's just that the radio-friendly chanteuse's lightweight fusion of beats and folk songs is sleepy and barely discernable from one track to the next.

More scattered than his past works, Wainwright's skills bubble to the surface here only after repeated listens.

Nickelback's so safe, so sanitized and so damn catchy that it's downright scary.

On "Hands on You,"... Trice gets to show off his incredible lyrical flow alongside an unusually subdued Eminem.

By far the best showcase for Dave Matthews' seductive, haunting and deep warble.

Double the pleasure, double the fun? Definitely, definitely.

It's a rootsy, honest album in the simple tradition of Hank Williams and Jimmie Rodgers.

Sure, it takes some time to sink in, but once it gets a hold of your heart, it won't let go.

Stone navigates her way with confidence and prowess, passion and experimentation.

The album quickly reveals itself to be a muddled effort of overproduction and drab lyrics.

Granted, Step doesn't have anything as effortlessly flawless as the classic single "Judith" from the band's last album, but it does have a number of songs ("Blue," "The Outsider") that are almost as bombastically beautiful.

This body of work will be a wonderland of hits in time.

Some Girls dishes out dirty, greasy rock 'n' roll that doesn't sacrifice mood for hooks.

Instantly engaging, and totally engrossing over time.

Pretty much the same as his head-banging debut, only louder and with more keyboards.

Sure, it has a slightly confusing air to it, but with lost gems like "Ali's Waltz" and "Beautiful World" popping up along the way, that's part of the fun.

The band's equally impressive second album grooves with both a Detroit hipster sound and some spacey atmosphere.

Their whisper-thin, doo-wop harmonies, fuzzy guitars and barely-there percussion make the Strokes seem like Led Zeppelin. But that's not a bad thing.

It's an easy listen, enjoyable on the surface with deeper meanings you're willing to dig.

This is a fine final coda that's no tearjerker but a reminder of how much he matters right now.