When Beyonce goes schizo -- dividing her musical persona into balladeer Beyonce and club diva Sasha Fierce -- she is certainly organized about it. She dedicates the first side to the 'Yonce persona and the second to Fierce. Both halves are great. The gorgeous, sweeping "Halo" displays her incredible range and knack for squeezing pathos from stone, while the second half's "Diva" offers Fierce a chance to strut through Bangladesh's stuttering production while proclaiming, "Diva is the female version of a hustler." Editor: Sam Chennault
Nickelback worked with veteran producer Mutt Lange (AC/DC, Def Leppard) on Dark Horse, and not surprisingly the album is as heavy as, if not heavier than, the kajillion-selling All the Right Reasons, with more chug-a-chug songs than the anthemic ballads they scored with in 2005 ("Far Away," "Photograph"). Fans of those ballads still have "I'd Come for You " and "Never Gonna Be Alone," which are just as good as any Kelly Clarkson song (admit it, you like "Breakaway"). The fact is, while Nickelback may prefer playing fast 'n' loud, they're really good at the melodrama. Editor: Mike McGuirk
What is the deal with American Idols releasing eponymous albums? Perhaps they're trying to ensure we don't forget their names -- a valid concern (Taylor Hicks, anyone?). David Cook ought to be all right, though. His debut shows off that gruffly sensitive voice the ladies love, as well as his true ace in the hole: the ability to make post-grunge sound both authentic and accessible. Put another way, tracks like the soaring "Mr. Sensitive" and the hushed, hurt "Lie" could win over even the most adamantly anti-Nickelback contingent. Just call it the Daughtry method. Editor: Rachel Devitt
The Smiths bypassed the 1980s' musical stereotypes in favor of a fresh update of the Beatles/Byrds/Elvis shimmering guitar sound. The band also decided to unleash a torrent of singles at a time when the 7-inch single was dying out. These fantastic singles, collected here, show a restlessly creative band who could do more in three minutes than most bands can do across entire albums. But the Smiths were also the best B-sides band ever, often toning down the euphoric rush of the A-side in favor of melodic introspection. And fans get a couple of rarities and live tracks with this deluxe edition. Editor: Nick Dedina
Fifty-seven years haven't worn Chrissie Hynde thin -- she sounds saucier than ever on the Pretenders' first album since being inducted into the Rock and Roll Hall of Fame. The band's rock is strictly rooted in tradition here via Bo Diddley rhythms, rockabilly romps, bluesy ballads, countrified soul and boot-stomping boogies. Hynde remains the unwavering crux of a line-up in constant flux, and through pedal steel licks and knee-slappin' beats, her no-nonsense attitude ("Rosalee"), poignant poise ("One Thing Never Changed") and street smarts ("Break Up the Concrete") prove to be aging gracefully. Editor: Stephanie Benson
The original 1966 LP Otis Blue was a raw, riveting breakthrough for Redding, helping cement his towering reputation as a soul icon. This exhaustive collector's edition features stereo and mono mixes of the whole LP alongside alternate and live versions of the tunes. True completists are rewarded with a second disc of bonus tracks, including killer material from a 1967 European tour, recorded months before the singer's death. Editor: Nate Cavalieri
Long stuck in the shadow of the metal titans Queens of the Stone Age, the Eagles of Death Metal have so primed their swaggering, rock'n'roll engine that no one will mistake them for a hot-rod side project again. Their recent concert in Madison, Wis., demonstrates their groove-oriented tunes can shake hips as well as preconceptions. Full Story ››
![The Sound Of The Smiths [Deluxe Edition]](http://images.ibsys.com//2008/1120//18021973.jpg)
![Otis Blue: Otis Redding Sings Soul [Collector's Edition]](http://images.ibsys.com//2008/1120//18021975.jpg)
