The best soundtracks are like movies for the ears, and O Brother, Where Art Thou? joins the likes of Saturday Night Fever and The Harder They Come as cinematic pinnacles of song. The music from the Coen brothers' Depression-era film taps into the source from which the purest strains of country, blues, bluegrass, folk, and gospel music flow. Producer T Bone Burnett enlists the voices of Alison Krauss, Gillian Welch, Emmylou Harris, Ralph Stanley, and kindred spirits for performances of traditional material, in arrangements that are either a cappella or feature bare-bones accompaniment. Highlights range from the aching purity of Krauss's "Down to the River to Pray" to the plainspoken faith of the Whites' "Keep on the Sunny Side" to Stanley's chillingly plaintive "O Death." The album's spiritual centerpiece finds Krauss, Welch, and Harris harmonizing on "Didn't Leave Nobody but the Baby," a gospel lullaby that sounds like a chorus of Appalachian angels. —Don McLeese

As the 1960s wound down, one American band towered above all the others with a California-bred, Southern-flavored sound that remains as powerful and engaging today as it was three decades ago. Track listing 1. Born On the Bayou 2. Have You Ever Seen the Rain? 3. Cross-Tie Walker 4. Run Through the Jungle 5. Down On the Corner 6. Feelin' Blue 7. Long As I Can See the Light 8. I Heard It Through the Grapevine 9. Midnight Special, The 10. Susie Q 11. Who'll Stop the Rain 12. Cotton Fields 13. I Put a Spell On You 14. Fortunate Son 15. Bootleg 16. Effigy

30 Seconds to Mars 30 Seconds To Mars Photos

More You Might Enjoy

A Beautiful Lie
Don't You Fake It
Saosin

Beck It's unfortunate how much attention has been paid to how this album was recorded—quickly, without the same level of studio fuss that marked Beck's breakthrough album, Odelay. That's a shame because our favorite chameleon has pulled the neatest trick of all: he's dropped the lyrical schtick that sometimes marred his sonic wizardy, leaving listeners to wonder if he even believed in the music he was playing. That's not an issue here. At times, he sounds like Ray Davies updated for the '90s, stripping himself bare with lovely, simple songs that linger long after they've supposedly ended. Beck may have made his initial mark with "Loser," a clever but insincere admission of inferiority; he's more likely to be remembered for the similar but more heartfelt confession of "Nobody's Fault But My Own." —Keith Moerer

Beck Now that Beck has effectively exorcised his personal demons with 2002's hyperconfessional Sea Change, he can get back to the business of being a total fruit loop. We all know what that involves: videogame sound effects, random shouting in Spanish, and rhymes about popsicles and vegetable vans. And that's just the second track. Guero is like every Beck album condensed into one, a no-holds-barred collision of two-turntables and a microphone with the added bonus of guitars, bossa-nova beats, Jack White, lyrics about spaceships, and dumptrucks full of ideas all fighting to be heard above the ruckus. It's an exhausting and exhilarating listen with lots of peaks, such as the digitized power ballad "Broken Drum" and handclap-drenched folk freak-out "Farewell Ride," and more than enough to restore anyone's faith in Beck as one of the most chaotically inspired songwriters of our time. — Aidin Vaziri

Beck On The Information, Beck Hansen is seriously bummed out. Not that he sounds it as much as he did on 2002's laconic, Fred Neil-worshipping Sea Change. Technology and stuff, and the way it gets in the way of human interaction, is the subtext if not the full-on concept at play here. Recorded with art-rock anal-retentive Nigel Goodrich at the helm, work began on this album not long after Sea Change but was shelved for a few years while Mr. Hansen made 2005's Guero with the Dust Brothers. Unsurprisingly, it sounds a bit like both of those. The trappings of minimalist pop, fuzzy folk, click-hop, hip-hop, baroque psychedelia, and funky pop are to be found on this endearing release. Like Jean Cocteau or David Bowie, Beck is an artistic chameleon whose greatest gift is knowing which artists to borrow from, and when. The cover artwork consists of stickers that you can arrange however you like, which perhaps appeals too much to your own nostalgic/retro, "Trapper Keeper" sensibilities. And yet, it's kind of awesome, something you can't believe has never been done before. Much like the album it adorns. —Mike McGonigal

The Black Crowes Electrifying unreleased tracks from the Tall album sessions [Disc 1] and recordings from the Band sessions [Disc 2] in 1997 when the Crowes convened to track a loose and organic set of rock gems spotlighting their range and maturity. Together, these previously-unissued works fill in long-missing gaps in the Crowes' creative journey.

Cartel Cartel have now finished tracking at the legendary Tree Sound Studios (Outkast, Beastie Boys, Jimmy Eat World, Whitney Houston, Zwan, etc.) in their hometown of Atlanta for their smashing debut album entitled "Chroma."

This album will without a doubt set Cartel apart from all other bands in their genre and serve as a distinct listening experience.

Produced, recorded and mixed by Zach Odom and Kenneth Mount at Tree Sound Studios.

CHROMA IS SET FOR A SEPTEMBER 20TH RELEASE DATE

Cartel The album was completed in 20 days inside a giant glass bubble as part of the Band in a Bubble program sponsored by Dr. Pepper, MTV and KFC. The band was forced to live inside the bubble for 20 days without being able to leave. The first single Lose It was performed from the bubble live on June 1st for TRL's Spankin' New Music Week. Throughout the recording of the album, the band was watched constantly by fans through 23 webcams that were positioned all through the bubble. The album was finished two days before the set time and was completed with 13 songs. The album was performed by Cartel after they left the bubble on June 12, 2007 at 8:00 p.m.

Duncan Sheik

Electric Light Orchestra

Ferras Ferras Photos

Finger Eleven Finger Eleven's career shifted suddenly and significantly when their 2003 emo-hit "One Thing" turned the band's career on its axis. At that point, they went from being known as 'the boys from Burlington who used to call themselves the Rainbow Butt Monkeys' to a group whose anthemic slow rock song went Platinum in Canada and Gold in America. So how does a band respond after its widespread fame is the result of just one song? In the case of Them Vs. You Vs. Me, Finger Eleven have consciously stayed away from anything remotely resembling their past and put the focus on the straight-ahead alt-rock formula that they've consistently excelled at. There are certain old-school rock influences that bleed clearly through their music, from Rush-isms in the form of frenetic time changes ("Sense of a Spark") to "Talking to the Walls" and "Lost My Way" which evoke Peter Gabriel-era Genesis. Frontman Scott Anderson's voice is impressive throughout, but when he sings ballads, especially "Window Song" and "Easy Life," something enables him to appeal to a whole different audience than traditional alt-rock fans. There is no 'one thing' on this disc that will allow them to reach the heights of their self-titled CD, just a consistency that will provide longtime fans reason to appreciate the band even more. —Denise Sheppard

James Blunt As a piece of propaganda, James Blunt's album Back to Bedlam does more for changing the face of the British Army than a series of television adverts ever could. Swapping a rifle for a guitar, the former cavalryman's ballad-heavy debut is a clearly aiming to win the battle for the public's hearts and minds. The U.K. success of singles like "You're Beautiful" and "No Bravery" (inspired by his time stationed in Bosnia) are both heartfelt and sensitive, the latter packing an additional emotional punch beyond the typical lovelorn ballads of his contemporaries like Damien Rice. But Blunt also sings with conviction about matters of the heart, and that's the territory that most of Back to Bedlam visits, with songs of loss like "Goodbye My Lover", "So Long Jimmy" and "Billy". And throughout, the arrangements remain understated yet effective, thanks to the input of such heavyweight producers and songwriters like Linda Perry and Guy Chambers. All of which prove that there's a lot of depth to this modern, musical hero. —Robert Burrow

The Killers The Killers match postpunk guitars with a synthesizer overlay that recalls '80s New Wave without burying their sound in nostalgia. On their debut, Hot Fuss, frontman Brandon Flowers plumbs his imagination for tales of murdered lovers ("Jenny Was a Friend of Mine," "Midnight Show"), voyeurism ("Mr. Brightside"), and sexual confusion (the single "Somebody Told Me"), Flowers and his mates are obviously canny students; the total effect is of a playacted obsession, but one made irresistible by their skillful, catchy songs. If there's an occasional misstep (the painfully earnest line "I got soul but I'm not a soldier" from "All These Things That I've Done"), it seems of a piece with the Killers' influences. As it is, Hot Fuss is one of several recent releases that bring a diverting faux glamour to the mainstream rock scene.

The Killers With only two studio releases behind them, it might surprise some to hear that the Killers had enough material to release a b-sides and rarities CD only five years after forming, but this is definitely no all-filler/no-killer collection, instead containing a mittful of legitimately strong and worthwhile songs. There are four never-before-released Killer songs on Sawdust, including "Tranquilize," featuring rock legend Lou Reed on half of the vocals, a number that is filled with a Queen-affected operatic touch. The previously unreleased "Shadowplay"—a Joy Division cover—unfortunately pales compared to the original, while "Leave Your Bourbon at the Door" is easily the summit of the CD; a longtime live favorite, the song's despair and urgency is a must-have for any Killer fan. Also noteworthy is an outtake from the Hot Fuss sessions called "Under the Gun," a driving melody with a memorable chorus that feels like a Killers classic. Lesser-known tracks gathered together on this compilation include "Move Away"—first heard on the Spiderman 3 soundtrack—which is straight-up U2-circa-Vertigo era, but still exciting to listen to. Some previously released b-sides are cover tunes that provide musical whimsy, but not much more: the trad-country "Ruby, Don't Take Your Love to Town," which was made famous by Kenny Rogers, while the impassioned "Romeo and Juliet" tune—written by Mark Knopfler of Dire Straits fame—is nearly mimicked by Flowers, and serves little more purpose than providing homage to a wonderfully written melody and tale. —Denise Sheppard

The Last Goodnight The Last Goodnight is the name of a rock band from Enfield, Connecticut. They are currently on tour promoting their first major record album Poison Kiss, which debuts August 28, 2007. A single from the record "Pictures of You" (not to be confused by the Cure song with the same title) became a minor pop radio hit in the summer of 2007

Lostprophets 2006 third album by this British hard rock outfit, produced by Bob Rock (Metallic/Motley Crue/etc). Visible Records.

Mika The pop world might be all cooing 'n' cross-eyed over this flamboyant elfin with extended tail-feathers, as if it were shaken suddenly from a slumber, but the arrival of such a character was in fact always inevitable. He's an unlikely but traceable amalgamation of random pop culture explosions from the past few years—two parts Paulo Nutini, one part Kemal from Big Brother, a dash of Daphne & Celeste, a barrel measure of Scissor Sisters, and another pinch of post-ironic dancing to Elton John at the Students' Union gone midnight. It's no secret that the UK has a weakness for pretty-boy singer songwriters either—he fits in there too, in that he's about to stick its index finger in the socket and pour it a drink.

Give it 12 months and you might be taking out a restraining order—Mika will split opinion—but his quasi-soul falsetto is unbelievable, that much is immediately obvious. There are moments nearing syrupy Feeling-esque normalcy (take "My Interpretation"), but those aside it's high camp insatiability all the way. There's a hint of Freddie Mercury's theatricality in the voice, and in "Big Girl" he's even written a modern day "Fat Bottomed Girls". "Lollipop" is Jake Shears leading the Jackson 5, "Love Today" is the missing link between the Bee Gees and Village People and "Relax, Take It Easy" is a chilled Pet Shop Boys in gold lamé. Too cheesy to be a classic, perhaps, but this is just the brand of subversive eccentricity Robbie has failed miserably to achieve over his past few albums. —James Berry

OK Go On its self-titled 2002 debut, OK Go nailed the two things every decent power-pop band needs—deadly looks and deadly hooks—to deliver the knock-out hit "Get Over It." Its follow up, produced by Tore Johansson (Franz Ferdinand, the Cardigans) and recorded in Malmöö, Sweden, offers more of the same. Much more. The Chicago quartet can't seem to move through its record collection fast enough, piling on the Beach Boys harmonies, Cars synthesizer squelches and Queen-inspired fanfare on breakneck songs like "Here It Goes Again" and "Crash The Party." Without any pauses for breath or quiet contemplation, it's frankly almost too much to take in one sitting. Then again, it can't be easy trying to cram the entire history of pop in just under an hour. —Aidin Vaziri

Plain White T's Contains the smash hit, "Hey There Delilah"!

Punchline

Rocket Summer

The Rocket Summer "Hello, Good Friend", from The Rocket Summer is an incredibly infectious album with wonderfully detailed songs. The brainchild of musical wunderkind Bryce Avary. The Rocket Summer blends everything from smart '70s piano pop, passionate punk and lo-fi indie rock into a cohesive modern rock gem. But instead of singing about despair and hopelessness like his comtemporaries, he sings about life, love and God, which is kind of refreshing. So go ahead and say "Hello, Good Friend" to The Rocket Summer.

The Rocket Summer

The Rocket Summer At only 16 years old, Bryce Avary put out a self-titled EP as "The Rocket Summer". Local radio shows started playing tracks from the album. Two more records, Calendar Days and Hello, Good Friend followed, along with the fans, who sing along to every word of every song. Soon, Avary found himself headlining mid-size concert halls. Do You Feel, his first major label release with Island Def Jam, is similar to his previous work in that he wrote and performed the entire album himself. Co-Produced by Jim Wirt (Incubus, Jack's Mannequin), it is also possibly the most energetic and upbeat album you'll hear all year. Do You Feel is full of guitar-fueled power pop, piano-laced ballads and big, big choruses. The horn-driven "So Much Love," the first single, marks a bit of a departure, and one of the rare times Avary collaborated with other musicians. "There's a common theme on this record," says Avary, wanting to do greater things for the world, and not just trying to be a rock-'n'roll star. I think we all have that desire but our issues and daily life get in the way. These songs are about trying to overcome that."

Tally Hall Marvin’s Marvelous Mechanical Museum showcases the songwriting, musicianship and unique “wonk” that embody the Tally Hall sound. Joining them on the album are choirs, string sections, brass ensembles, guest musicians of all kinds even some 5th graders. Genre bending and mixing influences as diverse as Bach and the Beastie Boys, there is something in Marvin’s Marvelous Mechanical Museum for every listener, in every demographic.

TJ Moss

TJ Moss Band

Van Morrison Navigating Van Morrison's extensive catalog since 1993 is a formidable task even diehard fans might not want to attempt. The Irish icon has flirted with blues, jazz, country, pop, Celtic, and his own style of indescribable into-the-mystic spiritually-oriented poetic folk on his numerous releases, making for quite a thorny culling assignment. So the EMI brass were probably ecstatic when the singer took the job himself. He weeds through a dozen or so albums released since Volume 2's mile-marker, and adds a clutch of previously unavailable mixes, rarities, and live tracks. The result: a nearly two-and-a-half-hour, 31-track double-disc set as sprawling, eclectic, and tenacious as Morrison's vision and discography. From occasionally rambling but spirited duets with veterans Bobby "Blue" Bland, Junior Wells, Georgie Fame, Lonnie Donegan, B.B. King, the Chieftains, Ray Charles, and even Tom Jones to concert versions of hits such as "Moondance" and an impressive take on Sinatra's classic "That's Life," along with hidden gems like "Steal My Heart Away," this is a beautifully assembled and sequenced collection. It presents most of this multitalented auteur's facets and softens his often crusty exterior by showing his appreciation for the journeymen that helped develop the trail that Morrison then blazed in his own distinctive style. —Hal Horowitz