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Ever since Ozzy became known to millions as the dumb rock-star dad in the reality TV series The Osbournes, it’s been hard to take the former prince of darkness seriously. With his 10th studio solo album, Ozzy is once again trying to regain his heavy-metal crown. But Scream, a collection of lackluster numbers like “Life Won’t Wait,” is a far cry from his best work with Black Sabbath. Only the anthemic “Let Me Hear You Scream,” with its arena-ready chorus, has any real staying power. Maybe it’s time for a family album.

With the Freudian album title and tracks like “Psychopath,” you might fear that the world’s most distinctive soul singer has been on the therapist’s couch and turned all dark and introspective. In fact, her latest is a giddy romp through rock, funk, disco and hip-hop and even includes the wild, Threepenny Opera-ish “Oblivion.” Turns out, Gray just got in touch with her freak side and went for full-on eclecticism.

Soft, subtle, subdued, seductive. Canada’s celebrated singer-pianist seems to attract alliterative adjectives with her brand of smooth and sophisticated jazz. No surprises here, just more exquisitely phrased chestnuts, a sensuous Latin tinge and stately backing by the London Symphony Orchestra. Krall could be accused of playing it safe, but why mess with such a successful sound?

An institution in their native province, La Bottine Souriante are Quebec’s answer to Louisiana’s Beausoleil or Ireland’s The Chieftains. Taking Quebec fiddle tunes, absurdist ballads and bawdy drinking songs, the nine-piece ensemble put an infectious, modern spin on vintage Canadiana. With the right marketing, these guys could become the musical glue that holds the country together.

Take a dozen oldies, chop and mix in a blender, changing tempo and adding a woman’s perspective and—voila!—retro rock with a feminist twist. Amos’ recipe produces powerful results, recasting 10cc’s “I’m Not in Love” and Neil Young’s “Heart of Gold” as dark commentaries on the state of the sexes. But the best is a recent cover, an inspired version of Eminem’s disturbing “’97 Bonnie & Clyde.”

Montreal’s Merlin has never been content with the rapper label, despite his hip-hop heavy debut, A Noise Supreme. Rap is just one useful tool in his bag of tricks. Piano ballads, symphonic strings—even Nirvana-esque guitar on “Ultrasensitive”—all come in handy on the singer-producer’s latest, ambitious album. If Merlin has one obvious influence, it’s that tiny perfect multi-tasker Prince.

Expect another ear-splitting album of speed metal laced with raging, hated-filled rap lyrics. Sounds like fun, eh? Hailing from Des Moines, Iowa, this nine-piece band could actually be a really nice bunch of farmboys beneath their evil clown faces and pointy-nosed goalie masks. But don’t tell that to their legions of fans, who obviously have a fondness for the terror of it all.

Many people tuning into this year’s Oscars barely knew what to make of the pixie in the strange swan dress who warbled her way through a song called “I’ve Seen It All,” backed by a 55-piece orchestra. Few had caught the Icelandic singer’s acting debut in Lars Von Trier’s film Dancer in the Dark, in which she played an east European girl who goes to America with her young son. Fewer still were familiar with her recordings, avant-pop albums that make Canada’s quirky pop princess Jane Siberry seem positively conventional. Little is known at press time about this next Björk album, but it’s bound to confound all but her most ardent supporters. An acquired taste.

Breaking out of the country-music straightjacket has proven tricky for the native of Sydney Mines, N.S. He’s tried singing with the Scottish band Runrig. On his latest album, he’s employed producers as diverse as Malcolm Burn (Emmylou Harris), John Hampton (Gin Blossoms) and Cracker’s David Lowery. For all that, the talented singer-songwriter still sounds most convincing when crooning blue-collar ballads with a twang like “Factory Line,” the album’s first single.

Scottish-born Shirely Manson is a red-haired force of nature who favors short skirts, big boots and swears like a drunken sailor.  But she also howls like a hellcat and fronts this stylish electronic rock group from Madison, Wis., whose self-titled debut and followup, Version 2.0, sold over eight million copies. Judging from the buzz, this will be one of the season’s most eagerly anticipated releases.