I had high hopes for Tennessee’s Kings of Leon. Their debut EP, 2003’s Holy Roller Novocaine was a rock ‘n’ roll delight. This was heightened by the full length Youth and Young Manhood released later that year.Their latest Only by the Night (RCA) is disappointing, much like last year’s Because the Times, in that they’ve lost their spark and spontaneity. I can understand growing up, maturing and ignoring commercialism, but at what cost? They’ve become a bit of a bore.

It’s kind of like a bait and switch tactic. You expect a certain sound from a band and they change musical philosophy on you mid-stream. What a drag!

They can play. “Be Somebody” with its rhythmic, almost hypnotic beat is proof enough, but that’s 10 tracks deep on an 11-track CD. Otherwise, the band consisting of three Followill brothers and a cousin, to me sounds lost and undirected.

Maybe Kings of Leon’s Only by the Night is one of those albums that will take a few months to take hold. Probably not.

There’s been a lot of neo-soul ’60s-styled albums that have come out in the last few years, but none has truly captured the authentic sound and texture as Raphael Saadiq’s latest The Way I See It (Sony).

Architect of Tony! Toni! Tone! with the hits “Feels Good” and “It Never Rains in Southern California,” Saadiq always displayed a knack for retro rhythms. This album reflects that and then some. You can hear Temptation, Curtis Mayfield, Marvin Gaye and Sam Cooke influences throughout.

Self-produced by Saadiq, everything here is real instrument performed. That’s right – not one sample. Hip-hip hooray for that alone! Ultimately though, as good as it is, the album’s a bit flat, only because the songs here are a notch below the overall arrangement and production of the music.

Being a member of Tony! Toni! Tone! and Lucy Pearl as well as his production work with Macy Grey and The Roots, Raphael Saadiq’s The Way I See It is an album very much worth its while. Even if only for the killer single “Never Give You Up.”

So this is what happens when you get old. That’s not a knock. Many consider Jackson Browne a consistent, vibrant, contemporary performer. With Browne’s previous three albums being a greatest hits and two live efforts, arguably he’s living off his past.

That should change though with Time the Conqueror (Inside Records), his first album of new material in six years. Browne hasn’t changed a lick since his debut in 1972. Vocally he’s still Southern California and musically he still has a keen eye and unique take on what’s happening around us.

That’s obvious on the socially conscience tracks like “The Drums of War,” “Going Down to Cuba” and “Off yo Wonderland.” The other consistent theme in Browne’s work is finding and holding on to relationships, and “The Arms of Night” and “Giving That Heaven Away” are both standouts.

Self-produced by Browne, he never strays from his comfortable piano, guitar, drums and bass complement, which strengthens these songs. While he’s had more hooks and frills on previous records, Time the Conqueror demonstrates that age isn’t a requirement to making good, quality records.

There are simply too many albums in the hip-hop genre that are indistinguishable from each other. Case in point: T.I.’s Paper Trail (Grand Hustle).

Nothing here stands out, just another album by another artist. T.I. has some back story to him that he pretty much sidesteps here. Instead of writing about his federal weapons conviction, he’s content with radio-friendly fare like “Whatever You Like” and “Ready for Whatever.”

I’m not saying that the album is shoddy because that would be untrue. The production is tight and it’s a high-end project, with quality photos, detailed production notes and classy art work.

But not being blessed with the best of voices, it becomes even more glaring when teamed with the likes of John Legend, Ludacris, Usher, Kanye and Jay-Z.

Acceptable tracks on an only so-so album include “Swagga Like Us,” “My Life Your Entertainment” and “Porn Star.” Otherwise Paper Trail is just an ok album lost in a glut of ok albums.

Hey The TIMES own cool little hero, Ani DiFranco has a new album out, and it’s another good one. I’ve always enjoyed DiFranco’s work but what makes her latest, Red Letter Year (Righteous Babe) so good is a great bunch of songs.

The record and its 12 songs sound relaxed. Produced by Mike Napolitano, the musicianship as always is top notch. Acoustic guitars strumming with stand-up bass and a simple drum kit never take away from content.

DiFranco sounds as if – how can I say this – she just exhaled and is tranquil. Just becoming a new Mom might have had something to do with this as well. Vocally she can be direct, soft or sharp when need be, whether it’s a song about love or the ills of society.

Standouts include “Smiling Underneath,” “Star Matter,” “Red Letter Year,” and my favorite on the album, “Way Tight” on another great Ani DiFranco album.

Raphael Saadiq (Bob Hanson)