Clarkson's always had the best throaty yell in the business. But now she's becoming a masterful interpreter too.

All sound pretty wonderful in the hands of Peyroux's stealthy, silk-draped vocals, delivered with a winning air of slightly detached mystery.

The-Dream has definitely bypassed the sophomore slump with "Love Vs. Money." The songwriter-cum-singer pushes the envelope production-wise (incorporating more of his Prince influences, among others) as well as lyrically.

With Blink-182/+44 bassist Mark Hoppus producing, Fight does pack a wallop, enveloping frontman Jordan Pundik's angsty relationship paeans on a dozen compact, dynamic and hooky tracks in a mere 35 minutes.

Lyrically, frontman Tim Kasher never misses a step (see the men-as-animals 'From the Hips' and 'Donkeys'), proving once again why he's among indie rock's greats.

It's a rich, engaging set that reveals something new with each listen.

Indie rock's favorite (and most prolific) red-headed woman has never sounded more assured than she does on this solo-billed set, a soaring, brisk rumination on love and other matters that comes with a dusty tinge befitting its Arizona roots.

Digesting the blend takes some time, but the best moments offer that immediacy, as on the opening punch of the groovy title track and the chiming "Magnificent."

The Irish quartet holds up its end with an album of melodically memorable and inventively arranged songs, most clocking in at more than five minutes and massaging listeners with a wash of keyboard and guitar textures.

The real virtue of Lucky One, as on all of his previous efforts, is Malo's voice, a full, rich tenor that conveys dramatic emotional sweep without gratuitously emotive technique.

One thought-provoking knockout anthem after another marks the uplifting debut by this New Hampshire quartet.

Considering how prolific they are, it's a surprise that this vital album is only Buddy and Julie Miller's second duet project and their first since 2001

K'Naan's singular take on the parallels between Africa and America is the strongest thread running through this diverse, socially alert and frequently brilliant sophomore disc.

Although much of the album is about saying goodbye to the past, Morrison uses the performance to breathe new life into the songs with a band that can follow anywhere he leads--jazz, folk or soul.

Cuts like 'In Your Words' and 'Grace' cover an impressive amount of sonic ground, from delicate acoustic atmospherics to full-on rhythmic pummeling. Yet with frontman Randy Blythe's guttural growl--not to mention his bile-soaked lyrics about religious hypocrisy--this is hardly a bid for an active-rock breakthrough.

The Oklahoma singer/songwriter and multi-instrumentalist raises eyebrows from the get-go on his 16th solo outing, dipping into jazz for the gently swinging 'Who Knew' and the self-effacing 'Former Me.'

The album is a refreshing mix of thoughtfulness and testosterone.

Hungry Bird is a charming and welcome return to form for Barzelay.

Rather than debut with her new label by methodically working the groove that got her here, she has cut a dozen tunes that suggest she's ready to crunch a few genres.

Mr. Lucky makes up for lost time with 14 gems that showcase his sharp vocal stylings, particular brand of countrified pop music and (given his sex appeal) an equally impossible-to-believe preponderance of romantic heartbreak.

The album could serve as an excellent point of entry for a new crop of fans.

Though a few tracks like 'That's How People Grow Up' fall back on overused Morrissey formulas, others like the Latin-tinged 'When Last I Saw Carol' add welcome variety.

Thursday's Epitaph debut melds the band's hardcore influences with shoegaze and atmospheric elements, with mixed results.

This Texas rock combo returns to form on The Century of Self, with producer Chris Coady stepping in for longtime collaborator Mike McCarthy.

The Americana is first-class, be it on crunchy, boozy romps with stinging solos or the slow-burning acoustic fare, but this batch of tunes proves far less memorable.

Frontman/lyricist Lillian Berlin urges his listeners to "take to the streets," if necessary, to enforce the will of the people. It's a heady manifesto, but Habeas Corpus never gets bogged down in rhetoric.

The dozen tracks on Hush" offer more in the way of tone and texture than they do melody and groove.

That overstuffed guest list doesn't necessarily work to the exclusive benefit of The Spirit of Apollo, as sometimes the clutter makes it hard to hear precisely what kind of music Zegon and Spiegel are trying to make here.