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It's hard to imagine an album by these late-'80s black nationalist funk bombers without leader Professor X's basso profundo imprecations ("This is protected by the red, the black, and the green" or the less noble "Sissy!").

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The two bands that Franz Nicolay plays keyboards for -- the Hold Steady and World/Inferno Friendship Society -- share a drunken, wild-eyed aesthetic. But while the former group is classic rock and proud, the latter plays oft-frantic cabaret punk with heavy klezmer touches.

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Nearly three decades after quitting secular pop to seek fulfillment in the Islamic faith, the former Cat Stevens revisits his old turf, sounding weirdly unchanged. While '70s hits like "Wild World" studied youthful innocence and adult experience, Yusuf's supple folk tunes predictably take a more spiritual route, yet largely avoid cosmic corn.

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As heavy as Led Zeppelin, but way less obnoxious, Earl Greyhound update traditional hard rock by leaving out the crotch-happy swagger, with terrific results. Fronted by excitable guitarist Matt Whyte, the New York trio seem happiest when they're trying to simulate an earthquake on the pounding "S.O.S.," though even the Beatles-esque "Good" produces a wicked rumble.

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When these Long Island thinkers released their second album, Deja Entendu, in the summer of 2003, it stood as one of the most promising artistic statements of the mainstreamo boom. With their bravely ambitious songs and Smiths-obsessed singer/guitarist Jesse Lacey, the band formed a deep connection with LiveJournal-authoring teens. And then...well, nothing.

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Originally scheduled for March 2005, Styles P's long-delayed sophomore album wasn't worth the wait. Here, the least flashy but usually most consistent member of veteran Yonkers, New York trio the Lox falls back on weak R&B choruses (from Gerald Levert, Jagged Edge, Mario Winans) and faux-anthemic, sub-Swizz Beatz production ("Who Want a Problem" and "Favorite Drug").