Most of the extraneous contributions are little more than negligible. ... Any live album that showcases their classics—and, as in this case, makes room for some newer offerings as well (“All and Chain,” “Tea and Theatre,” “Hero Ground Zero”) is, by degree, an essential additive to the band’s continuing catalog. So too, both Daltrey and Townsend are in fine form, and clearly up to the task of presenting the group’s catalog in the best light.

Not only have Two Gallants returned refreshed and revitalized, but they push the boundaries on their groove, marrying subtle shadings and pounding intensity into a terrific set that will excite existing followers and should find plenty of new ones.

This a powerful, uncompromising release and one that doubles down on her established style while pulling no punches.

All Your Favorite Bands is an inspired record full of space, swagger and warm, analog glow.

The Civil Wars is a testament to the power of their undeniable musical chemistry. It’s even better than their Grammy-winning debut, Barton Hollow.

With a release as consistently robust as Pollinator, the remaining trio has tapped into past glories without sounding stiff, or worse, desperate. At this late stage, we can confidently call that a comeback and hope they still have a few more albums as strong as this in their tank.

Inclusions is a thoughtful and thoroughly imaginative album about what a huge and complicated undertaking it is to truly relate to other human beings, what with all our mismatches in expectations and differences in background, experience and belief.

A nice summation of Chris Cornell's career up to this point, Songbook makes for a fine springboard into the next creative chapter of his life.

One Man Mutiny does a great job of balancing Stinson's pop-punk sheen with a bittersweet dose of aching ballads.

Your enjoyment is decidedly dependent on how you appreciate her sweeping, multi-octave singing and tunes that reflect the give and take of relationships in ways that make soap operas seem subtle.

Both respectful to rustic tradition while energizing and expanding it, the Supersuckers semi-humorously declare themselves “the greatest rock and roll band in the world.” And, even in their less forceful country guise as here, few would dispute that claim.

Heavy? Sure. Wrenching? Yep. Soul searching? Big time. The pureness of Gibson singing almost wincingly personal words along with magnificent and above all creative production makes for a stunning album you’ll want to spend time with.

On Life In The Dark, the Felice Brothers continue their decade-plus quest of chronicling our crooked national pathologies with quirky humor, slacker indifference and guarded folkie optimism. Never before has the Felice Brothers taken in their country with so much wide-eyed wonder.

When all is said and done, Angles could make for an exciting introduction to a new chapter for The Strokes, or it could be a disappointing swan song.

This is music for relaxing and enjoying the good times, after all, delivered with just enough abandon to make sure you know these guys can really play--and more than enough hooks to keep the hit songs coming.

While it might not be breaking any new ground, Buddy & Jim is hard to top when it comes to supremely enjoyable Americana music.

Born This Way isn't the landmark record it could or should be.

Asher’s deft work provides breathing room between the instruments, Martin’s subtle playing leaves the showboating behind and the trio delivers a modest gem.

Change in the Show is Kane’s fourth solo album to date, and, by and large, his most satisfying as well.

Fogerty knew the risks and sought to rise above mere sing-along gimmickry, inviting his partners to share ideas for their tracks. Wrote A Song for Everyone, the result, is, at times, revelatory.

Votolato's clear eyed honesty about what seems to be a crumbling long-term relationship as reflected in often nature inspired lyrics, is thought provoking, melancholy, remarkably personal and ultimately revealing of sober truths many have felt in the same situation.

Keith's plenty good enough and smart enough to do a lot more than ably cover the bases on his annual albums whenever he wants to.

Songs with poetic yet plainspoken lyrics about found love and lost souls twist in unusual directions and often take a while to absorb. But repeated spins are rewarded with sharply realized words atop melodies that, like most of the gems in his catalog of eight solo albums (along with work in the previously mentioned bands), entice you back for more.

It’s the textured restraint on rockers like the closing “DDT,” which unexpectedly changing tempos mid-track, that shows the group’s maturation in their performance and songwriting chops. It indicates a leap forward in the Banditos’ artistic evolution and the potential to expand their sound even further in the future.

The performances themselves are well-arranged and played in virtually all aspects, although as a full listening experience, it gets a bit repetitive by album’s end, even at a scant 45 minutes.

Those who wanted a well-rounded musical summation of Russell’s oeuvre instead of this highly stylized set of romantic musings might be disappointed, but this is the album he wanted to leave as his legacy. As such, it’s a significant, often impressive work from one of rock and roll’s true icons who has chosen a unique and, to many, surprisingly starry-eyed way to say goodbye.

Recording in his Glasgow hometown helps provide a vibrant, unhurried enthusiasm that’s contagious. Each track is enhanced with guests periodically contributing horns, woodwinds, strings, and even French horns and glockenspiels.

As far as this legendary foursome's new offering, Content, is concerned, well, at least they're not simply cruising on the laurels of their formidable back catalog, and to be fair, Content is no worse than other recent comeback albums by fellow post-punkers Mission of Burma, The Buzzcocks, and Wire.