Because of the lack of strong material and perhaps lack of preparation, The Blackbird Diaries ends up coming off like just one more project for Stewart, a gifted guy who needed something to do while visiting Nashville and making some talented new friends.

Casual listeners will probably wish Folds had used his obviously impressive improvising skills a bit more. But as the audience reaction here indicates and die hard fans will undoubtedly concur with, anything that floats their boat out to Folds island is a good trip.

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.

Signed and Sealed In Blood is a record that should thrill the diehards even as the band evolves and escapes enslavement to the sound of their past success.

Ultimately, this set succeeds because of how natural and effortless it feels. Like Petty’s writing, these songs seem to emerge fully formed. Tasjan appears at home in this sonic environment.

These strummy rockers, highlighted by the group’s established three-part harmonies, are some of the most incisive and powerful in their catalog. Those who acquire music one track at a time need to rethink their position here since these songs weave together to form a tapestry that works as a beautifully constructed unified whole.

The Warren Haynes fronted quartet’s first studio album in four years and its Blue Note label debut is a typically gritty eleven song set of gutsy Southern blues rock.

Jurado manages to fill Visions Of Us On The Land full of musical surprises, but the unfettered emotion that sneaks in toward the end is the most welcome surprise of all.

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.”

High Hopes plays very much like a sequel to Wrecking Ball, but Springsteen is less angry and blameful, more cheerfully weary this time around.

Overall, the playing and singing are well above average, which helps put across even the weakest material like the closing “Congratulations” ballad, the only non-original.

Multiple spins help define some of the melodies. Jackson’s voice is never less than distinctive and often riveting. At times this is a challenging listen because the personal revelations feel so intimate and private. But she locks into a rootsy groove that makes even the darkest concepts connect on an album that’s as honest, revealing and authentic as they come.

Now a husband and soon-to-be father, you might expect Church to express that serenity and joy in songs about married bliss. Not here, where he prefers to sing of bruised heart and booze-filled adventures, even better fodder for his gnarled drawl

Where You Stand is a welcome, beautifully crafted and timeless return.

Their eighth studio album is somewhere between an extension of their previous indie gems and another baby step towards radio-friendliness.

For the first time, a new Spoon LP feels like business as usual, a creative step sideways.

There isn’t much in the way of surprises on The Happiness Waltz, though that’s no knock against Rouse; a songwriter of his caliber need not reinvent himself to create something rewarding.

Even though there’s little definitive here–Swift and Sansone’s approach to these Dylan chestnuts is more toned down than you might expect or anticipate– it’s a generally successful, instantly likeable meeting of voice, production and of course songs.

For those prepared to hunker down and get immersed in Angel Olsen’s laconic, often downbeat echoes on depressing life events many of us have experienced, it’s a startlingly uncompromising, if occasionally uncomfortable peek into her haunted dreams.

While able to raise the hair on the back of your neck, The Fool, like many monstrous creations, sometimes lacks the necessary intelligence to be fully alive.

This is another in a long line of quality Chris Isaak releases that optimizes his well-established vocal and songwriting strengths, brings a bit of retro, rootsy cool, and ends up a solid entry into an already impressive catalog.

There’s no grand concept other than Bonamassa returning to the music that initially inspired him, playing it with the maturity and talent that 20 additional years brings. Whether it becomes as popular as the first volume remains to be seen, but the guitarist is best when he’s most comfortable as he is on this impressive set.

Forever Endeavour may be as solid a record as he’s has ever made, but it’s also more of the same, a retrenching rather than an expansion of his capabilities.

Keys to the Kingdom is both a tribute to and a continuation of the Dickinson musical tradition.

It’s miles from the bluesy/folk/country you might expect from a band with “Texas” or even “gentlemen” in its name. But proceed into Floor It!!! with an open mind and find plenty to enjoy.

While the blueprint of starting songs with sparse accompaniment and gradually building to resounding sing-along levels isn’t exactly fresh, the music is so well written that it avoids sounding like a cliché.

These 12 songs are as simple as it gets--just two musicians harmonizing and plucking away, making up in soul and pure joy what they lack in overstuffed arrangements.

A perfectly pleasant, largely successful return to form that’s a delight for existing fans yet ultimately missing a bit of the “je ne sais quoi” that made the best ELO music so timeless and classic.