This scrap of a record is nothing more than something a hardcore collector adds to the library for completion's sake.

The slick varnish he [producer John Agnello] slathers on doesn't do this group any favors. Still, the melodies stick to your brain like flypaper.

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

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.

More often these tracks wander in search of melodies that seem frustratingly out of reach.

There are highlights here but not enough to leave all but the most rabid Black Crowes fans hoping for much better from a once riveting frontman who can’t seem to consistently catch that ever elusive groove he so effortlessly used to harness.

For those who, like Thomson, also yearn for the charmingly constructed sounds of classic singles which remain timeless slices of memorable music, and others wanting a taste of those songs in a contemporary setting, Heartbreaker Please finds Teddy Thompson nailing that elusive style with deceptive, impressive ease.

Despite, or perhaps because of, the scattershot musical smorgasbord, Calexico delivers a fitfully enjoyable album, one with enough artistically entertaining moments to make it worthwhile, even if its overall approach is more unfocused than festive.

Only rabid Dan/Fagen fans need apply. Everyone else should hang onto their money and spin the still timeless and definitive original recordings.

Good To Be is an album that’s sorely needed in these turbulent times when divisions and despair are clearly so predominant. In that regard, consider Good To Be a most worthy mantra to maintain.

As with any of Jethro Tull’s early albums, The Zealot Gene demands more than a cursory listen. The intricate arrangements and articulate instrumentation result in a demonstrative display that continues to be well worthy of the Tull legend and legacy.

For all the eccentric performances and approaches, it’s hard to warm up to these songs.

It feels like the band is playing it a tad safe here.

Robertson recruited heavyweights such as Steve Winwood, bassist Pino Palladino and co-producer Marius de Vries to record twelve tracks that wade in soulful atmospheric moods and personal lyrical introspection on this generally inspired comeback.

Overall, arriving nearly five years removed from his prior studio album, UTOPIA sees Scott stay true to his style, his preferences, and his principles, going against the grain of the tendencies in the viral-hungry world that is 2023 rap.

While it's not in the vein of his riveting, pulsating classics, it's a tough, often lyrically reflective rumination set to no nonsense, simmering, often swampy blues inflected rockers with an undercurrent of taut funk.

Ultimately, this album will not convince any non-believers. But fans will find a lot to love, and perhaps even notice and enjoy the increased quality of musicianship as they bask in that all-girl garage-fuzz-pop glow and inch towards a future in hi-fi.

When Wayne is on, he's one of the best in the game, but on Human Being he's just killing time with sub-par versions of his far more popular songs – this is a completely superfluous release that lacks the relevance and immediacy of his mixtape works and the quality-control of his albums.

In Another World displays the Tricksters cranking out another 45 minutes of crackling rock and roll that belies the members’ age, extensive backstory along with a work ethic doesn’t show any signs of slowing down now. Cheap Trick is a group too smart to quit.

It's a Corporate World is a refreshing full-length debut that would serve well on any summer playlist.

Those willing to put forth the effort will be rewarded with a beautiful, stimulating and eclectic album that stands alone in a genre of its own making.

Generally missing, though, are hooks that bring you back for another listen. The songs are melodic and easy on the ears if not particularly memorable.

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.

Cut half the roster on Chimes and you've got an amazing lineup of Dylan's peers and admirers.

Given Surfer Blood’s appreciation for the qualities of surf rock and pop, a conventional approach toward melody and harmony recurring in many of Carefree Theatre’s tracks is understandable. Nonetheless, it isn’t a detriment to the album’s collective listening appeal.

Magpie is chock full of tracks that show the Avett Brothers are (very wisely) growing their sound, while remaining true to their core principles and what listeners like about them to begin with.

It's all pleasant and inoffensive but with production that sounds phoned in based on market research, little is memorable.

This pleasant set of smooth honky tonk finds a sweet, somewhat slick path and never wavers as it coasts through eleven slices of radio ready country.