As a debut for five musicians who are busy with their own careers, let’s hope there is a follow-up sooner rather than later.

Webb's knack for purging the sentimentality out of these seemingly trite topics of conversation is most commendable.

With or without Olson, the Jayhawks remain one of the lynchpins of Americana, a position they proudly solidify on the impressive Paging Mr. Proust.

After a few listens, every track reveals gem-like layers in Collingwood’s tunes, often missed on initial listens.

With Beneath The Eyrie, Pixies have finally found a new stride, releasing a solid effort that can breathe easily on its own.

At turns witty, sarcastic, evasive and chilling, Dylan's mercurial song-cycle takes listeners from the exuberant opener, through the sarcastic jibes of "Talkin' John Birch Paranoid Blues" and into the bleak sorrow of "Ballad of Hollis Brown."

The album's longer numbers (four of the ten songs are five minutes or longer) are the more successful ones, as they're better able to stretch out and create a suitably hypnotic mood.

[Their] biggest, most-produced and boldest album yet.

It’s a whiz-bang romp perfect for the Claypool faithful to devour, and may even attract some of the more roots oriented not already onboard his distorted fun-house mirror music crazy train.

The Old 97's latest effort mimics the end of the workweek. At first, the possibilities seem endless. Every moment, just like every possible meaning, could be the one you've been looking for.

As with the best concept sets, you don’t need to follow the story, or even know there is one, to enjoy these songs, since most stand on their own. They may not be the best or catchiest ones Escovedo has written, but this is one of the most passionate, relevant, politically charged and personal projects he has released in a career pushing 40 years.

Sunken Condos is a smooth collection that insinuates deeper feelings through the head-bobbing rhythms and offbeat humor. In other words, it's Donald Fagen doing what he does best, which is always good enough.

All in all, Monogamy is a bit underwhelming, but there is understated humor in Kasher's musings, and he has a flair for infectious melodies without hooks. He snaps the puzzle pieces together, whether it's a fit or not.

Robert Ellis’ self-titled album is the sound of a young songwriter solidifying his blend of East Nashville country with whatever sounds, styles, and sentiments that suit his interests.

American Goldwing is an all-around great listen - one perfectly suited for late fall nights on the porch or holiday road trips - and it may even be the band's best record to date.

This is the Shack Shakers as we know them with every sweaty, caffeinated concert and rollicking disc bringing the group closer to the “legendary” status flaunted even before their first release.

Those who liked One Quiet Night, especially those familiar with the pop material Metheny is recalling, should enjoy this record. But many non-jazz listeners will find this CD dreary and sleepy, and jazz purists probably won't like it a lot either.

First Aid Kit’s latest may be a slightly more conservative gesture than their last record, but it synthesizes their many musical strains more fully than ever before.

On their 5th studio album, North Carolina string band Chatham County Line show no signs of ruining the good thing they've got going. Each album they've cranked out has been a keeper, and Wildwood is a grower, to say the least.

shed. It’s beautiful, intense, occasionally relaxing but most of all challenging music that borrows from a myriad of influences and never feels derivative.

Chrissy Hynde remains a powerful and iconic presence. We should be thankful she’s still at it and recording music as impressive and distinctive as Alone.

This is the work of a mature artist, comfortable in his skin, creating insightful, brilliantly recorded and performed reflective music he knows will never find favor on the radio.

At its most upbeat and salacious, it's a glorious thing.... At its slowest and most soulful, the band's music finds a warm inspiration in the soothing sounds of gospel.

Are We There is definitely an album that will reveal itself to you with closer attention and multiple listens, as opposed to Tramp, which was a little catchier with its obsessions right from the get-go.

There's no shortage of catchy, bopping crowd pleasers on The Carpenter, and the Avetts churn them out with gusto and pride.

This is no halfhearted sideshow done on a drug prompted whim, but a serious if twisted and undeniably idiosyncratic re-make/re-model.

Perhaps a few upbeat performances would have better balanced the all-ballad program, something Hynde could surely have pulled off without breaking a sweat. Regardless, what’s here displays her ability to inject a fresh approach to Dylan’s timeless work, revealing nuances of his writing that often get overlooked in his or others’ hands.

The production is raw enough for the guitar chords to slash and burn, yet clean enough for the words that are so integral to this band’s attack, to be understood and felt. Like the music of the Replacements, the melodies creep up on you and by the second time through, each one has a chorus that’s tough and memorable.