Some tracks, like “Teenage Summer” (the first single and video) and the tuneful “Oh Hi” highlight choruses that immediately entice like the group’s biggest hit, “Don’t Dream It’s Over,” did nearly four decades ago. But generally, Finn and sons spoon out pleasant, low-key, pensive material that’ll take a few spins to connect with.

Good Together concludes after a concise 37 minutes, proving that skillfully written pop, played by a collective with serious chops honed over decades, can be both contemporary and timeless.

The tracks, credited to the band collectively, are dense at times and often prove fairly impossible to untangle lyrically—exemplified by the opening “Ballerina Radio” (Radiator burns along your quilt / General admission of your guilt). It all begs the inevitable question: “Are they having fun yet?” Based on the evidence at hand, the answer appears to be a resounding “Hell yes.”

These selections twist in enough unique directions to keep from sounding dated, stale, or worse, ripped off outright. Rather, there’s crackling life and inspired sparkle to the performances despite the multiple overdubs and the lack of a band to gel with.

Crow returns to basics, crafting sharp sing-along pop-rock that defined some of her more memorable hits with a small but talented combo.

Like its simple, evocative cover painting of puffy white clouds drifting by a window, Khruangbin’s music hangs and hovers, creating an ethereal ambiance beckoning the listener to explore more of their addictive, atmospheric sound.

The concept of “country rock” seems clichéd at this late date, but Shook and band exemplify how that amalgamation remains effective when the writing, singing, and lyrical concepts are as sharply conceived as on the illuminating Revelations.

The contemplative sound of the album’s most beautiful ballads “Sure As the Rain,” “Ghost” and “Between Us There Is Music” are calming and captivating, even though the eerie ambiance and atmosphere may suggest otherwise.

Like R.E.M., this package is classy and creatively designed. It illuminates a challenging yet fulfilling turning point in the group’s impressive and influential legacy.

Given that these performances take on a sparse demo-like approach, the intimacy is obvious and revealing, as if the listener is eavesdropping on the artist at a particularly vulnerable moment, or even more likely, while he’s simply opting to run through some songs for his own pleasure and satisfaction.

This is not to say that this golden anniversary collection doesn’t do a perfectly respectable job. .... But with only one album of original material since the compilation in 2000, and a startling lack of liner notes in the 23-page booklet (the previous one boasted a book twice as long and far more comprehensive), there is little reason for this to exist other than to rake in some bucks by repackaging content any fan already has or for whoever doesn’t already own this material.

There is still a lot to like on Welcome 2 Collegrove. Wayne is still rapping like he is in his prime as an artist, as his auto-tuned, crooned flow will never get old. Add to this the ever-amusing, boisterous flows from 2 Chainz, which contrast well with Wayne’s delivery. It just feels like, at times, a sharp-minded executive producer could have done wonders for the rhythm of the track list.

Rather than sticking to his bread and butter, Busta had his sights set on bold instrumental choices that he didn’t mesh well with, trendy samples that came across as tacky, and far too few awe-inspiring or substantive performances. And because of that, Blockbusta fell short of what it claimed to be.

C’est La Vie is a welcome return for Madness, an outfit most wouldn’t have expected to deliver a project so musically or lyrically complex, and enjoyable, this late in their career.

As much as the record is a tribute to rock and roll, it is as much a testament to Parton’s prestige. Who else could gather so many for a party in honor of the genre? Indeed, the album is a show for the ages, a show for one and all. Standing ovation.

The one-woman production preserves Lynne’s style yet dials down the theatrics to not quite garage band levels, making it one of the most successful outings in her ongoing covers project series.

For the most part however, Coyote is a stealth-like affair, filled with suspenseful circumstance. Likewise, it’s an impressive achievement that ought to bring LeBlanc the further recognition he so decidedly deserves.

Although his sound is more varied than ever, the collection of songs feels cohesive. He’s never been an artist too confined by genre lines, but Higher lets Stapleton roam free creatively.

As a one-off project, this is an enjoyable romp, especially for Cat Power fans. Chan Marshall applies her stamp on material she loves, the live atmosphere enhances the enthusiasm, the audio is crisp and the show successfully accomplishes what it sets out to do. But it’s no replacement for the real thing.

Price’s ability to mesh elements from rock, soul, country, and beyond to craft her own modernized yet classic sound shines on tracks like “Where Did We Go Wrong.” Although the project is a departure from the traditional country sound of her early albums, every song feels authentic and distinctly her own.

Morrison and his always top-shelf musicians knock out these songs as if they’re hanging around the studio, having a party playing music they love without knowing tapes are running.

An illuminating effort in absolutely every regard, Nothing Lasts Forever is easily one of the most memorable musical encounters you’ll hear this year.

An excellent example of a sound served up on a vibrant and expressive musical palette. It bears an air of familiarity that could easily lead one to believe these songs have been lingering in the ether forever.

Whatever its brew, at its core, Danse Macabre is Duran Duran, 40-plus years later, sounding their best.

Save some production switch-ups, 1989 (Taylor’s Version) doesn’t provide too many revelations, but that is the point. Moreover, we will have the Vault Songs on repeat until we are gifted even more new music from Swift.

Another rollicking, rolling set of the 69-year-old Finley’s Louisiana-based soul, blues, and gospel-laced intensity.

It makes for an intense, generally unrelenting forty-minute project; one that pushes The Kills into fresh musical territory, extending and altering the sound they have cultivated for the past twenty years without selling out.

A fine comeback by any measure. Some 60 years on, the Stones are rolling as effortlessly as ever. Welcome back, boys.