For a songwriter with nearly two decades of performing under her belt, Marshall has never sounded so youthful or commanding.

This is a striking, exciting debut crafted with a confident, crackling urgency that makes this music leap out of the speakers.

This CD/DVD combo, recorded in September 2011, shows the 73-year-old Shaver still has plenty of gas left in his tank.

With nearly 80 minutes of music that will make you hear these 17 tunes in new ways, and in most cases drive you back to the originals to stare and compare, this is one of the few covers sets that pushes boundaries but still remains respectful to a classic band and its bulging catalog of timeless music.

It's a record well worth listening to, and such a myriad of sounds.

These acoustic performances are laid back but sizzle with the soul of the blues.

Not only is Handwritten The Gaslight Anthem's best album, but it's also one of the best albums of 2012.

By adding little touches like a gospel call and response ("Bones") and a haunting, echoing choir ("Always Waiting"), the listening becomes a more rewarding experience.

Yeah, it's the new OCMS album and, not surprisingly, it's simple and great (and simply great).

Even at only eight tunes clocking in under a half hour, this is a sincere, heartfelt and often riveting performance that might bring those who had lost the Adams map back into the fold.

It's beautifully conceived, timeless music perfect for pity parties, languid Sunday mornings or times when introspection doesn't need to mean wallowing in sorrow.

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

Oceania sounds louder, better, and altogether more revelatory than any Pumpkins album in years.

At 10 tracks clocking in at about 35 minutes, it leaves you wanting more .

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.

Feat stomp and strum their way through a pretty good batch of new tunes that capture the band's distinctive musical gumbo but aren't exactly classics.

This melodic yet dynamic punk seems to have been created in the early '80s, a high compliment and one the band is likely to embrace far more than the realization that the disc's title is impossible to fulfill.

Country rock done right, ie: without anyone taking themselves too seriously.

Sun Midnight Sun, which deftly combines all these forces--bluegrass, folk, indie rock, pop, country--into something that sounds smooth and comfortable in its identity, where others might just sound jumbled.

Chesney has an uncanny knack for finding top-shelf material which sounds autobiographical and mixing it with his own to craft a uniquely distinguishable musical statement.

The band's newest album is likely to alienate longtime followers and music snobs alike, but will undoubtedly excite newer fans who embraced their massive smash hit "Moves Like Jagger."

It's clearly a labor of love but should also help Walker's tunes (and extensive career) get discovered by Snider's younger, hipper fan base.

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

This 2-hour double disc captures all the excitement and improvisational interplay of the gigs.

Like an open wound, The Idler Wheel isn't always pretty, but it pulses with life, brutal and true.

There's an undeniably unsettled, even creepy gothic quality to her noir approach that takes hold early and gradually ratchets up as the eleven tunes gently tangle and unwind.

Another dozen perfectly crafted ringing nuggets that pick up where 1982's "Repercussion," the last album that featured the original lineup, left off.

[A] well meaning but ultimately disappointing release.