Prince's '80s heydays were far behind him when he released what is alternately referred to as The Love Symbol Album, but there are some amazing tunes here. "7" explores the mysticism that would soon consume Prince's private life, while "My Name Is Prince" is one of the few Prince forays into hip-hop that actually works. The sizzling and slinky "Sexy MF" is among the funkiest songs Prince has ever released and aptly utilizes the considerable talents of his backing band. Soon after this album, Prince would change his name to a symbol and plunge into a decade of mediocre material. Editor: Sam Chennault
Before Norah Jones or Diana Krall made it big, there was Holly Cole. Raised on jazz, rock and pop, Cole has been successful in many settings, though she normally prefers a supper-club vibe, stripped down and quiet. On this 2007 outing, Cole sings standards while surrounding herself with deft big-band and smaller group jazz charts. She's still not limited to one approach, so she's able to put some rock rebellion into her ballad take of Jobim's priceless "Waters of March" and then turn around and make like Bobby Darin on a smoking gallop through "Charade," the moody Mancini/Mercer movie theme. Editor: Nick Dedina
Any true Neil Young fan has already seen that jaw-dropping BBC footage of him performing acoustic on February 23, 1971. This monumental performance (from his second vault offering) predated that one by just over a month. Recorded on January 19, Young test-drives newly written songs like "Tell Me Why," "Old Man" and the ever creepy "A Man Needs A Maid" (with different lyrics bleeding into "Heart Of Gold"), as well as songs that would eventually become Harvest. Other rare gems include "Bad Fog of Loneliness" and "Dance Dance Dance" which was the blueprint for "Love Is A Rose." Editor: Eric Shea
Johansson's first offering as a vocalist is so high in concept and crowded with contributors (Bowie guests, TV on the Radio's Dave Sitek produces) that it's hard to get a sense for the starlet herself as she mopes in the corner under spacey organ and big atmospheres, borrowing the confidence of Nico on off-kilter arrangements of Tom Waits. It's a compelling result, sure to rankle ardent fans of Waits ("I Don't Wanna Grow Up") and yield curious rewards ("Falling Down"). The only tune she cowrote, "Song For Jo," like the LP surrounding it, is stylish enough, but not all that memorable. Editor: Nate Cavalieri
Over the course of their career, 3 Doors Down have continually moved toward a heavier sound -- a trend that holds through the big-caliber distortion of guitars of this, their first self-titled effort, and makes old hits like "Kryptonite" sound as fierce as a toy poodle by comparison. "Citizen/Soldier" (adopted as a commercial anthem for National Guard recruiting commercial) and "It's Not My Time" are the two chest-thumping showpieces. Editor: Nate Cavalieri
This side project bears the unmistakable mark of Billie Joe Armstrong's vocals, but the music is steeped in '60s garage rock - it's Green Day channeling the Kinks and the Monkees. Raw songs like "Ruby Room," "27th Ave. Shuffle" and "Alligator" abound with simple chord progressions, handclaps, plenty of background harmonies and the occasional Hammond organ. Other faves include the sinewy, psychedelic gem "Red Tide," "She's a Saint Not a Celebrity" and the most Green Day track here, "The Pedestrian." Editor: Linda Ryan
Given the funky guitar, airtight horn punctuations and occasional falsettoed "whoo!," it seems like Mraz has been spending some quality time with MJ's Off the Wall of late. He pulls it off with varying success, alternating the blue-eyed funk pop with coy girl-crazy pap, er, pop and overtly sentimental numbers (grab the Kleenex for "Love for a Child"). The showpiece might be the sunny "Lucky," a duet with the do-no-wrong princess of beach bums, Colbie Caillat. Editor: Nate Cavalieri
With scarcely more than campfire chords and an enigmatically chillaxed persona, Jack Johnson has thrived, issuing the same lovely and lazy ethos again and again. Sleep Through the Static is notable for its sonic and thematic departures: bigger textures, full-time keys and electric guitar accompany a slightly more somber worldview that seems to, at least occasionally, contemplate life beyond his well-loved shores. Tunes like "They Do, They Don't," "Sleep Through The Static" and "All At Once" are tranquil protest songs, but the gentlest moments, like "Same Girl" or "Go On," might still be his most poignant. Editor: Nate Cavalieri
The album title may be a nod to physics, but the songs aim for voyeur physicality. "Touch My Body" is self-conscious sexual fantasy hung on a golden hook. Throughout, Mariah forgoes the octave-scaling, roller-coaster melisma of earlier work in favor of restrained phrasing that puts the emphasis on her voice. Check the vocal layering on mid-tempo ballad "I Stay in Love" or the bouncy BBQ jam "I'm That Chick." These more classic R&B forms are where Mariah shines. When she ventures into R&B/snap hybrid ("Migrate," "Side Effects"), her beauty is lost in the claptrap. Editor: Sam Chennault
Swedish songstress Robyn has chosen an ideal time to make her American debut. While many of today's pop divas appear to be faltering, Robyn has crafted a self-titled album that's an electro-pop smash guaranteed to wow fickle fans. More
