Whether the songs get a grimy edge or sweet touch, the textured album leaves Shadows as a bright spot in the singer-songwriter genre.

A funky, soulful flashback to the works of outspoken jazz and R&B greats like Gil-Scott Heron and Miles Davis.

But whether they're being snotty or serious, there is a constant thread at work: those catchy melodies.

Palookaville will surprise you.

Unfortunately, things do go awry more than a few times.

Slapping his knees, spitting and grunting, Waits makes the already raw blues sound of songs like "Metropolitan Glide" and "Trampled Rose" sound even more grizzled.

Shatner oversees some surprisingly tuneful turns.

Pulling off the tricky balancing act of aiming for mainstream success while keeping one's street cred intact, songs like "Ghost of You" and "Predictable" abandon the band's mall-rat roots in exchange for more mature influences like U2 and Muse.

The results, much like last year's debut, Soul Sessions, are spine-tinglingly great--even if there is the slightest bit of bland Celine Dion balladry seeping in at the edge.

There's something totally irresistible about Antics: The air of mystery, the bleak but hopeful arrangements and the melodies so sharp and moving that they might inspire a night of heroic partying.

While undeniably ambitious and moving in parts--with sunny harmonies and layered production--it also happens to be a little kitschy.

Costello's most exciting album in ages.

There's still plenty of spunk in to be found in this Sgt. Pepper-lite.

Even though some of the novelty's worn off with Let's Bottle Bohemia, the hand claps, woo-hoo choruses and wide-eyed lyrics are still undeniably enjoyable.

While some of the posturing about his bling--as well as the repetitive dirty South beats--might get a little tired, this one is guaranteed to keep it hot in herre all night.

Nice and musically diverse.

An emotionally wracked masterpiece, drawing on immaculate influences like the Pixies and Talking Heads while sounding distinctly original.

Some called their first two albums derivative, but with this third disc the guys wrestle their greased-up garage boogie until they own it.

LL does DEFinition with a superstar panache that never gets into that dangerously cheesy Will Smith territory and keeps it streetwise without putting on a front.

The album quickly unravels into a mess of mumbled vocals, pointless guitar solos and songs that sound suspiciously unfinished.

Fans of the Icelandic wonder's more orchestral tunes might think there's something missing here. Well, unless they're too busy being totally blown away.

U Saved Me's songs of praise like "Leap of Faith" and "Prayer Change" can be taken in two ways: attempts at redemption for what you've just heard or hollow attempts at album sales.

Sure, a couple of the hokey lyrics... slightly taint the return. But pulling tricks like sampling the Welcome Back, Kotter theme for the [title track's] intro is pure genius.

Fans of Travis and Coldplay will certainly find much to treasure in the soaring harmonies, soft strings and heartfelt sentiments.

Even though the production is slicker, The Dirty South is still packed with painful, well-illustrated southern gothic sagas.

Part new-wave keyboards, part folky acoustic guitars, the music on More Adventurous is unexpectedly beautiful.

All of this vitriol, however, tears away at the more palatable hooks found in past Saliva hits, which isn't necessarily a good thing.

It's a welcome throwback in today's complicated rap game.