Peace of Mind is a steadfastly positive affair both lyrically and musically, as evidenced on bucolic numbers like "Sky is the Limit" or "Comfort Zone." Respected Jamaican singer Lutan Fyah delivers a competent verse on "Good Vibes," while the music on "Closer I Get (Feat. John Popper)" emulates Damian "Jr. Gong" Marley and Nas' reggae-hip-hop fusions. The only darker (or "dread") theme comes via a melancholy Middle Eastern oud solo in "Life on the Line." Apart from that, Rebelution stake their peace with sunny songs that conjure chilling with friends and lazy days on the beach. The Peace of Mind deluxe edition includes acoustic takes of all the songs plus dub versions by Easy Star's Michael Goldwasser.

Tomas Palermo, Google Play

Californian reggae-pop outfit Rebelution (Rebby to fans)) earned enough accolades after their superb 2007 debut to warrant some serious industry buzz. Where some bands would jump at the chance to take their music into the crowded mainstream on the back of a juicy major-label deal, Rebelution did just the opposite. Rather than give up the creative freedoms that are the very core of their signature blend of contemporary reggae, rock, and hip-hop, the Santa Barbara-based outfit chose the road less traveled and started its own label, 87 Music. The hectic, two-year tour that followed the release of Courage to Grow served the band well, as the songs that comprise Bright Side of Life have that "lived in" feeling that can only come from an endless string of hot nights in strange cities. From the smooth confidence of the title cut to the slow burn of "Dubzilla," Rebelution have crafted another winner full of vibrations that are decidedly more than good.

James Christopher Monger, Rovi

Released the same year as Virgin's The Best of Shaggy, Universal's The Boombastic Collection contains all the hits missing from its competition including the big one-two punch of "It Wasn't Me" and "Church Heathen." The earlier singles "Boombastic" and "Oh Carolina," plus the electronically pumped cover of "In the Summertime," have carried over from the Virgin set, meaning that when it comes to massively important Shaggy numbers, this one is only missing "That Girl." The great sequencing of this compilation almost makes up for it and while this disc is packed at 18 tracks long, this is high caliber dancehall the whole way through and varied enough to keep things interesting. Following the singer from the '80s electro dancehall sound to the R&B-injected reggae of 2008 with all the flavors in between, The Boombastic Collection is a near perfect representation of Shaggy's career and a great argument that he's reggae's most popular crossover artist since Bob Marley.

David Jeffries, Rovi

When Collie Buddz's debut single, "Come Around," came around, it catapulted this unknown white Bermudian into the Jamaican dance hall charts by first conquering Europe and then making an impression on American urban radio. It usually doesn't work like that, but this "Legalize It" for the Beenie Man and Akon generation was so instantly infectious and gloriously speaker-rumbling that the sometimes fickle JA dancehall massive had to let this outsider in. With his debut album, Buddz proves he deserves it. This is partially due to the way he rides the seemingly impossible jumble of genres his showcase of a debut throws at him. The Shakira-flavored "Mamacita" lives a couple doors down from the bravado-driven street track "Defend Your Own" featuring rapper Krayzie Bone, while further down the road there's the righteous roots number "Let Me Know," produced by the tasteful choice of reggae stalwart Bobby Konders. Then there's the David Bowie "Let's Dance" sample that figures into the wicked ragga of "My Everything" and the almost too polished and pop "Tomorrow's Another Day," which could have been pure syrup in someone else's hands. Wherever the music goes, Buddz is always Buddz, with island soul and convincing delivery, like a more punkish Sean Paul with traces of Anthony B. and Damien Marley. His lyrics are right there, too, be it a swaggering club track or a plaintive plea for social justice. This ambitious whirlwind falls into place after a couple listens as any lack of focus is forgotten, thanks to the many great tunes and the exciting, hungry, and extremely talented man who anchors it all.

David Jeffries, Rovi

For fans of classic dancehall , the Dancehall 101 series proves to be an indispensable tool for hard to find cuts. Dancehall 101, Vol. 3 boasts both the rare gems as well as the more ubiquitous singles found on other compilations. The opening track, Musical Youth's bubblegum hit "Pass the Dutchie," and Mad Cobra's "Flex" are examples of the more commonly heard tunes. As crossover hits, both tunes ruled airwaves on and off Jamaica. Hardcore fans will appreciate offerings such as Junior Cat's "Iron Gloves" and Red Dragon's "Yu Body Good," which didn't climb any charts but are classic dancehall scorchers.

The artist himself hasn't said it happened this way, but one has to wonder if the strictly dancehall- and strictly Jamaican-Too Bad is a product of the outside world's recent shunning of Buju Banton thanks to the controversy around his old homophobic track "Boom Bye Bye" rearing its head again. It's a problem he's dealt with for years, but the 2005 cancellations of overseas shows seem to have been the final straw, perhaps influencing the multifaceted singer to drop the reggae for a while and return to straight-up dancehall as a "screw you world" move. Other factors could include having his own label, Gargamel, and in turn the freedom to do this, and since Gargamel has released plenty of great roots music, Banton could have decided to save dancehall music instead, since he had recently declared the scene a "common whorehouse." His assessment seems rather harsh, but if dancehall really does need saving, these tracks could do it, although they're thrown together in such a jumble here that the album as whole works better in small bites. What makes Banton's return to Jamaica's most aggressive music so great is that he's created tracks that are equal shares nostalgic -- quoting dancehall vet Yellowman on the title track for example -- and forward-looking, with the thirty-something singer proving he can ride the most up to the time riddims as well as any young upstart. He's one of the few singers who could turn the ridiculous "Wipeout" riddim -- which is based on the surf classic by the Surfaris -- into the vicious rallying cry "Me & Oonu," and while there are more slick party and "for the ladies" tracks than usual, substantial numbers like "Driver A" tip the scales the other way, saving the album as a whole from being too lightweight. So much dancehall will probably alienate the massive fanbase Banton earned with the versatile efforts 'Til Shiloh or Unchained Spirit, but longtime fans who miss the fire of his early work are going to go ape for this one.

David Jeffries, Rovi

Four years separate Wayne Wonder's 2007 effort Foreva from his breakthrough album, No Holding Back -- and its massive hit, "No Letting Go" -- and little changed in that time. Wonder's swagger is still convincing, his reggae is still pop, and romance is still the thing. If there's any evolution in his sound, it's that R&B now plays an even larger role, something to be expected seeing as how "No Letting Go" was that rare reggae tune that crossed over onto urban radio. More Babyface than Bob Marley, the polished ballad "Again" suggests Wonder enjoyed this taste of fame quite a bit, which doesn't mean the radio-friendly track isn't well written or that the singer doesn't pour his heart into it. The exciting "For My Love" with rapper Trina mentions "Jamaica" and "the Yard" just to make listeners aware it's filed in the "reggae" section, but when the ballads mistake smooth jazz for R&B, they come dangerously close to schmaltz. The island-flavored tracks are much more consistent, with the bouncing, smile-inducing "Hotter Than Fire" leading the pack, although the closing "Take It Off" deserves special mention since it's the one time the album lets raw, rough dancehall music enter the picture (plus, the guest DJ's name is Mr. Chicken). Trim off the few tracks where Foreva stumbles, and you're left with a solid, seductive album.

David Jeffries, Rovi