Other piano-based narratives like the closing “Angel Blues” are delicate, pretty, and charming, but edge dangerously close to schlocky and don’t play to Lofgren’s tougher talents. Thankfully there’s enough solid material here displaying Lofgren’s impressive vocal, instrumental, and songwriting qualities to punch another notch on his belt of good but not great albums.

Whether or not this will be Bulat’s breakthrough record remains to be seen. The sound sustains the suspense, but rarely does it leap out at the listener. It hardly matters though. Are You In Love? answers its own question with every repeated encounter.

Sun June defines its enigmatic, shadowy sonic borders but never pushes beyond them, which causes the disc to occasionally lapse into tedious uniformity as it progresses.

While there are moments in which Coldplay take some interesting steps forward on Ghost Stories, there are a few moments when the band rests a little too heavily on easy listening or pop music clichés.

A sturdy but far from a revelatory example of Creedence rolling through a dozen hits and album tracks without much fuss and virtually no connection with the audience for a meager 42 minutes.

The sound is of bootleg quality, with audience comments and an occasional cough evident in the mix. Nevertheless, given the set list that’s spread out over the two discs, it does make for a worthy archival addition.

High Flyin’ offers an interesting insight into one of Young’s many outside ventures and a good representation of a brief chapter in his ever-changing trajectory that hasn’t been shared to any great extent before. On the other hand, it doesn’t represent any dramatic change in his template, as the replay of his aforementioned classics confirms so convincingly.

This remains a moderate leap forward for them and indicates an adventurousness they will hopefully explore further on forthcoming albums.

While the set of songs on this album may not count among the best of McCartney's career, they definitely provide a pleasurable listen for both casual fans and ardent supporters alike.

Even though their vocals aren’t always suited to each other, this set of mostly covers (some previously recorded by the participants), works relatively well, as long as you’re not expecting too much.

Even completists might quibble with the fact that several of these bonus tracks appear to overlap those on the previous edition. The fact that two additional covers are included — a loose cover of “Money,” expanded from the 40th anniversary extra, and an extended read of “Rock Me Baby,” each well in keeping with the blues motif that encompassed the album overall — may be cause for persuasion, although certainly not on their own

The King of Limbs is Radiohead's Sky Blue Sky–a reliably enjoyable record that follows a heightened run of musical genius.

Everyone acquits themselves admirably with highlights being Chris Isaak's sumptuous "Crying, Waiting, Hoping" and Imelda May's rocking "I'm Looking for Someone to Love." However a closing trash-up by Monty Python's Eric Idle is painfully unfunny and borderline disrespectful to a still influential artist who deserves all the accolades he receives.

Fortunately, there is some respite with “June 21” and “The Aphorist,” both of which allow the raucous proceedings to take a brief pause. Yet even there the turgid trappings aren’t entirely abandoned. There’s a clear sense of foreboding imbued in each of these offerings and the darkness and doom continue to linger throughout.

While there are dreary aspects to much of What Is There, the general vibe, and slick, meaty production, is one of a moderately hopeful future.

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

At just over a half hour of music, we’re not getting anything fresh here--no outtakes, studio chatter, demos, remixes, nothing--which, in this day of easily being able to build your own playlist, seems at best like a waste of time and at worst a greedy cash grab aimed at those who can’t figure out how to create this themselves.

Perhaps the input of a full band or an outside producer would have curtailed some of Scott’s more impulsive, if well-meaning, tendencies and made this a more cohesive experience. They may not work, but give him credit for trying.

Campbell seems reluctant to imbue a significant imprint of his own. It leaves little that hasn’t been rehashed dozens of times before. That makes Wreckless Abandon nowhere neither as daring or distinctive as its title otherwise implies.

It's all as heavy and convoluted as it sounds, but the playing and production is top notch and those looking for an adventurous, unpredictable ride will appreciate Cursive's sheer depth of vision.

There isn't much break from the gravitas throughout these dozen character driven, often lyrically obtuse songs, almost all of them sung from the first person perspective.

This is clearly for existing fans; those new to Oldham’s expansive, often confusing catalog are advised to start elsewhere. But if you are already converted to his stridently uncommercial musings, these once difficult to find performances make a wonderful addition to what is likely your already extensive Oldham collection.

Workaholic producer Dave Cobb keeps Shooter’s sound polished proving that for better, and sometimes worse, Shooter Jennings can play by the country-rock rules when he wants to.

The album is best absorbed gradually, likely over repeated plays with no distractions.

With Say Nothing the band takes enough steps to both developing their lyrical content and staying musically contemporary to please hard rock fans who weren’t born when their debut was released and may have no idea who Ted Bundy, or even Nickelback, is.

The heightened level of fury and overall frustration about the state of society is admirable. Some might say there is not enough of it in today’s music. But that needs to be balanced with songs which beckon you back for another listen, an aspect of the confrontational No Gods No Monsters that too often falls short.

It’s a logical extension of their earlier work that’s easier on the ears without watering down the inherent craftiness of the vibe or, even worse, selling out.

It’s hard to shake the nagging notion that this hews too closely to a classy, not-so-subtle advertisement enticing more customers onto future trips. Despite those reservations (pun intended), there is enough wonderful music here for even landlubbing Americana fans to enjoy.