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The title could refer to how much has been written about Kylie’s bum, especially in Britain, where the Aussie pop singer’s pert bottom is a national obsession. In fact, it’s about movement, which Minogue’s record label hopes will happen at American dance clubs and cash registers. The album opens strongly with the sultry “Slow,” but shifts into ’80s-style Prince on “Still Standing” and then a dizzying array of styles and tempos. Too eclectic for U.S. dance-pop, Kylie remains, in the end, a distinctly European attraction.Feb. 10    

The jazziest thing here is “The Prettiest Thing,” a song she co-wrote. And “Don’t Miss You at All,” with her lyrics set to Duke Ellington’s “Melancholia,” also leans naturally toward jazz. Otherwise, the second album by the 24-year-old Jones is heartfelt adult pop, spanning folk, blues and country. There’s even a giddy bluegrass duet with Dolly Parton (“Creepin’ In”) and a gorgeous Tom Waits cover (“The Long Way Home”). Although guitars are more prominent than her own piano, Jones’ voice remains as sultry as ever.Feb. 10

A kinder Courtney Love? Judging by the cover, a Vargas-style pinup painting of the rock star as a guitar-slinging (fallen?) angel, you might think so. But on her long-awaited solo debut, the always controversial Love is anything but sweet. Tracks like the ferocious single “Mono” and the tortured “Julian” exemplify the former Hole leader’s new solo sound, assisted by legendary MC5 guitarist Wayne Kramer. Aside from the wistful ballad “Hold On to Me,” Love’s latest is mostly a fierce, fuzzed-out homage to garage rock. Feb. 10        

Jason Stollsteimer sure knows how to launch his Detroit garage-rock band. Last December, he got punched out in a bar brawl by the White Stripes’ Jack White. The resulting news (White was subsequently charged) has given Stollsteimer’s band valuable notoriety. The Von Bondies’ new album, produced by ex-Talking Head Jerry Harrison, features energetic rave-ups like “C’mon C’mon” and “”The Fever,” although “Broken Man” might now be a little too close to the bone for the badly injured Stollsteimer.

It takes conviction in these days of George W. Bush to open an album with a medley of union songs. But the biggest challenge faced by Peter, Paul & Mary is being taken seriously since the mockumentary A Mighty Wind lampooned the earnestness of the folk era. Hearing the trio perform “Union Maid” as cheerily as the movie’s squeaky-clean Main Street Singers or tackle a militant song like “Have You Been to Jail for Justice?” as vigorously as the straight-laced Folksmen provides for some unintentional hilarity.  

They’ve played with Shania, symphony orchestras and even shared stages with heavy-metal bands. Everywhere Leahy goes, the group of siblings from Lakefield, Ont. wins over audiences. And why wouldn’t they? Leahy’s infectious mix of singing, fiddling and step-dancing gives them a distinct edge over their more glamorous, pop-oriented Irish counterparts, the Corrs. Leahy’s latest expands their repertoire to include influences ranging from Quebecois (“Pointe au Pic Medley”) to classical (“Gzowski Medley”).

It’s unfortunate that the title of this Kitchener, Ont. rock group’s second album, and first for MapleMusic Recordings (the hit-factory home of Sam Roberts, Kathleen Edward and Gord Downie, among others), is overshadowed by Joe Strummer’s recent posthumous classic song “Coma Girl.” Songs like the buzzing “Little Bird,” the dreamy “Unusual Beautiful” and the peppy title track prove that the Miniatures are a talented, diverse band and that singer-guitarist Ian Smith is a songwriter with an obvious gift for melody.

As leader of the popular U.S. alt-rock/roots trio Grant Lee Buffalo, he chronicled mythic Americana. On his third solo album, Grant-Lee Phillips continues that tradition, crafting historical epics like the native Indian portrait “Susanna Little” and the Louisiana delta tale “Josephine of the Swamps.” Phillips, a former film student, also cast a cinematic eye on subjects in songs like the suicidal broken-hearted lover in “Dirty Secret.” And he tops off this fine solo outing with a mellifluous cover of Gram Parsons’ “Hickory Wind.”

The first CD by these cringe rockers was a cycle of fragile love songs addressed by lead singer John Crossingham to then-drummer Lesa Hannah, prompting one critic to rightly ask, “Doesn’t this make her blush?” Hannah has since left the Toronto band (to become a fashion journalist) and Crossingham’s sad-core songs now take a broader view. Although he often sounds like Radiohead’s Thom Yorke, Crossingham’s sweet “Gwendolyne,” the groove-laden “Top to Bottom” and the dreamy title track are pure aural ambrosia.

In the early ’90s, Irish singer Glen Hansard landed a part in Alan Parker’s film The Commitments. At the same time, his band the Frames got signed to Island Records. But Hansard’s billing in the movie hamstrung his band while the Frames fell victim to label indifference. Now the Frames are Ireland’s biggest live act, more popular than U2. This live album shows why. Exquisite songs like “Star Star,” “Lay Me Down” “Fitzcarraldo,” all featuring crowd sing-alongs, reveal Hansard to be a gifted songwriter and performer.