There aren’t any future gems here on the order of “Paranoid” or the immortal “Iron Man” but these songs could have been album tracks on any of the band’s early recordings.

Everything is wrapped up in a breathless half hour and except for titles that aren’t quite as controversial as the immortal “I’m Not a Sicko, There’s a Plate in My Head,” this makes similar groups such as the veteran Fleshtones sound like Taylor Swift.

Removed from the plot, the edgy swamp/country music score doesn’t connect with the powerful and gripping intensity of the show.

The remastered sound for this spiffed up reboot is a big improvement over the previous one. The extras on the various editions, especially the Wings Over the World doc with fan interviews, backstage shenanigans and offstage prep for the shows, help bring the 1976 experience to life for a new generation, shameless nostalgia and all.

There aren’t many groups whose fifth album is as riveting as their first, but there also aren’t many groups with a vision as clear, focused and defined as that of Camera Obscura. And with Campbell at the helm, five more of the same will be just as welcome.

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.

While there isn’t a strict cohesion tying the record’s ten tunes together sonically, an attempted theme would likely have distracted Maines in the effort to spread her wings and show off a bit. Offering up a stylistic sampler provides a portrait of an accomplished artist setting out on her own.

Both as a songwriter and as a performer, Laura Marling has never soared so majestically.

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.

Amidon’s plaintive, boyish vocals make up in character what they lack in uniqueness.

There are standouts everywhere.

Just as good, and arguably better, than their first collaboration, this sympathetic partnership will thrill established fans as well as new listeners and will hopefully continue for many future editions.

Progress may not be the right word for what The National achieves with Trouble Will Find Me, but sustained brilliance is a pretty good alternative.

The Great Gatsby Soundtrack is a fine example of what a film’s musical-mate can and should be; it mirrors many aesthetic elements of the film, augments the general storyline and adds depth and personality to the characters and dialogue on the screen.

It’s time to start thinking of Vampire Weekend not as upstarts but as one of the world’s best bands, because they’ve delivered a trio of great albums in an era when diminished expectations leave most listeners grateful for one.

Over production is a constant issue with these tunes, as Stewart (who co-produced) layers guitars, horns, backing vocals and too much of everything on melodies that, by and large, are strong enough to stand on their own in more stripped down arrangements.

Griffin digs deep into introspective lyrics, some with historical references, to display her distinctive vocals and original songs with stripped down arrangements that use space and the silence between notes to create shimmering music you won’t soon forget.

When Volume 3 soars above its status as just a nice summer soundtrack are the moments when Deschanel lets some deeper emotions break through the carefree demeanor of the songs.

Dropping a few songs would have made this stronger overall, but there is no escaping the spooky, druggy vibe created over the course of an hour’s worth of pretty yet eerie and ultimately edgy music.

Kelly is a tenured veteran songsmith who creates melodies, if perhaps not hooky ones here, that grow on you like kudzu, intentionally creating an album that is greater than the sum of its parts.

The stories are typically droll, but the accompaniment is solid, sturdy, old school country played by veterans who know how to keep things tight yet loose.

A few highlights such as the soaring, dramatic title track are spread over an expansive 70 minute playing time. But there isn’t much you’ll revel in as timeless art criminally neglected to the dustbins of R&B obscurity.

Richey’s doe-eyed, bittersweet approach perfectly captures the hurt and regret in her material, but you may wish there were more glimmers of light to offset her somewhat bleak outlook.

Those looking for a cool album to throw on as invigorating background music will be delighted. Those who want a little more substance with the style should cherry-pick a few chosen tracks which spotlight why Yeah Yeah Yeahs still impress a decade down the road.

This is clearly a labor of love for Boyd and a wonderful introduction to a tragically flawed but exceptionally talented singer/songwriter.

The good news is that this one is so powerful and varied that it will make those hard truths a little easier to bear even after the disc ends.

The Flaming Lips return with one of their most challenging, yet cohesive records to date.

Stories Don’t End is still a step forward, if only for the moments of off-the-cuff brilliance that result from all the ambitious effort.