The Pussycat Dolls feat Darkchild , Diddy , Lil Wayne & Fatman Scoop - When I Grow Up Remix

They altered the beat, and The Pussycat Dolls are only on the chorus, but it’s a nice, new version.  I personally don’t like it as much as the original, however this is nice change of pace version.  8/10

Katy Perry feat Mims - I Kissed A Girl Remix

I like the Remix better than the original.  Mims provides a nice touch.  8/10

Walter Trout - The Outsider

“If 2007’s “Trout’s latest disc comes via the Dutch label Provogue, which is not surprising, considering that his solo career took off in Europe years before he made a name for himself stateside. “The Outsider” reveals him and his bandmates hard at work doing what they do best: crunching together blues and rock to create a distinctive, intense groove. For a sumptuous taste of Trout’s blues, spin “You Can’t Have It All.” The song is a basic three-chord blues, but it comes at you like a sledgehammer. Bassist Hutch Hutchinson and drummer Kenny Aranoff deliver a thunderous bottom line while Trout cuts loose a pair of guitar solos that are as fluent as they are nasty. For something in a quieter vein, check out Trout’s acoustic rendition of “Turn Your Eyes to Heaven.” —Philip Van Vleck”

Chromeo - Fancy Footwork / Fancier Footwork

“If 2007’s “Fancy Footwork” was Chromeo’s go at a slick dance party, then “Fancier Footwork” is the duo’s attempt to keep you bouncing in the club all night long. The reissue’s bonus disc packs cuts from Chromeo’s first album, 2004’s “She’s in Control,” and a number of remixes from the likes of DFA and Crookers. See the chill vibe of “Needy Girl” and “Rage!” or the tongue-in-cheek jazzy swagger of “You’re So Gangsta” for a glimpse of where these boys got their start. Elsewhere the hardened edge that MSTRKRFT gives to “Tenderoni” and DFA to “Destination Overdrive” are perfect late-night thumpers, and Yuksek’s treatment of “Bonafide Lovin” oozes with even more ’80s cool and bright splashes of electro. It might not be all that more fancy, but it sure is just as fun. —Jill Menze”

Del McCoury Band - Moneyland

“Bookended by excerpts from Franklin Roosevelt’s Depression-era Fireside Chats as well as the 1932 original version of Bernard “Slim” Smith’s “Breadline Blues” and an updated version by McCoury, “Moneyland” convincingly speaks to the current economy and how it affects the working class, always ripe material for a bluegrass album. While many of the cuts have appeared elsewhere—Merle Haggard, Emmylou Harris, Marty Stuart and Patty Loveless are among those tapped—McCoury’s contributions create a proper bridge between old and new. His take on the Lennon/McCartney classic “When I’m 64″ has new meaning as a bluegrass tune, and “40 Acres and a Fool” is a clever look at how money transforms rural life. A reworked version of “The Way It Is” by Bruce Hornsby and the Fairfield Four further punctuates the set’s relevance. —Ken Tucker”

Alison Moyet - The Turn

“America may know Alison Moyet for her only top 40 entry, 1985’s “Invisible,” but global music aficionados have celebrated her charms as part of ’80’s duo Yazoo with Erasure’s Vince Clarke and a half-dozen lovingly crafted solo efforts during the two decades following. “The Turn,” which launched at No. 21 in the United Kingdom last October, proffers all sides of the smoky, blues-soaked singer/ songwriter’s persona: dramatic chanteuse (”Fire”), dance siren (”A Guy Like You”), pop master (”It’s Not the Thing Henry”) and smart sophisticate (”One More Time”). Meanwhile, Yazoo has reunited for a worldwide tour. After all this time, this “Turn” joyously brings Moyet full circle. —Chuck Taylor”

Ron Sexsmith - Exit Strategy of the Soul

“”Exit Strategy” finds Ron Sexsmith exploring his songwriting talent in new ways, crafting an instantly memorable album full of soulful, classic pop tunes. The Canadian vocalist/multi-instrumentalist hits high points with the Enya-meets-Brian Wilson instrumental opener “Spiritude”; the lilting, Buddy Holly-evoking “Music to My Ears”; ’70s soul epic “This Is How I Know”; Bill Withers-style uplifting singalong “Brighter Still”; and the stately, horn-drenched ballad “Hard Time,” but nearly every song is a well-sculpted melodic exercise in another mode of Sexsmith’s repertoire. Big brass band romp “Brandy Alexander” was co-written with Feist, who recorded a sparser version on her breakthrough 2007 album, “The Reminder.” Sexsmith’s version is almost a gospel anthem, with backing singers and Cuban horn flourishes. There and throughout, the artist’s signature croon and playful piano playing lead the way to new plateaus in an already impressive career. —Troy Carpenter”

Albert Hammond Jr - Como Te Llama

“Recorded in Albert Hammond Jr.’s native New York, “Como Te Llama” is the solo Stroke’s follow-up to his lauded 2006 debut, “Yours to Keep.” The album is filled with big guitar noise and mildly incongruous but not unpleasant mixtures of modern riffs (”Rocket”), new wave basslines (”Victory at Monterey”) and retro hooks and melodies (”Miss Myrtle”). Like any solo record by a member of a groundbreaking and unique band, it’s easy to hear Hammond’s influence on the Strokes’ music. The set’s two opening tracks, for instance, contain familiar trilling guitars and vocal reverb, and the guitar lines mimic the melody in a very recognizable style on “The Boss Americana.” But “Llama” has a much poppier flavor than anything the Strokes have ever recorded, once again setting Hammond apart from his gritty rock bandmates.—Lavinia Jones Wright”