Talib Kweli’s disc may be overshadowed by new releases from Kanye West and 50 Cent, but the former Black Star member’s Ear Drum deserves to be heard. With public consternation rising over hip-hop’s lyrics, Kweli grabs the bull by the horns, intoning on “More or Less”: “With less misogyny and less curses/Let’s put more depth in our verses.” In the mouths of hectoring characters like Al Sharpton, such sentiments would be irritating, but when they’re delivered in the form of Kweli’s smooth street poetry, they’re electrifying. With help from a gaggle of guests including will.i.am, Kweli turns in an album that provides music for the soul and food for the intellect. Catch him at Unit on Oct 16. DG

Kanye West’s diatribe against formal education comes to an evident conclusion with this, his third studio album. Whereas 2004’s The College Dropout and 2005’s Late Registration were addictively cohesive, Graduation is more a loose collection of singles. Proving even superstars phone it in sometimes is the uninspired “Drunk and Hot Girls,” a tragic waste of the musical talents of both West and collaborator Mos Def. On the other hand, “Stronger” ably remixes Daft Punk’s tech-house anthem, and on the surprise stand-out “Everything I Am,” West waxes lyrical in slo-mo “Pomp and Circumstance.” Overall not West’s best, but worth picking up, if for the trippy cover art alone. Beau Miller

The Coral have long been known more for their quirks and critical acclaim than commercial success. After some promising early work, Roots & Echoes, their fourth full-length studio album, keeps further experimentation on the backburner and concentrates instead on a more mature melodic sound, keeping one foot in the ’60s and ’70s and one foot in the here and now. In ironing out their eccentricity, however, The Coral are in danger of losing some of the character that set them apart in the first place. It is certainly a tight collection and contains some sunny highlights in “Who’s Gonna Find Me” and “Jacqueline,” but the disc isn’t likely to win any new admirers or build on the critical acclaim of old. Solid but a little too safe. Mark Butterworth

Over a career stretching back 15 years, Toshi has styled himself as the Japanese Luther Vandross—with just a touch more street cred. His sound is maturing too, emphasized by the slow pace of much of his latest work. Samurai Quality is clearly a highly personal album, with each track reading like an ode to love and romance, and “More Than Sorry” and “Extra Ordinary” are intimate pieces for that special someone. While the mood is uplifting, it’s unfortunately let down by some ham-fisted lyrics on “You Make My Day,” and the misplaced J-pop experiment “So Damn Crazy,” which unsettles the balance. Competent, but not likely to make his star rise much higher this time around. Robert Poole

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