The ambition is admirable, but a schizophrenic quality pervades the effort overall. The dramatic shift in sound makes it hard to get a handle in terms of either consistency or feel. Perhaps the two are merely feeling each other out and taking advantage of their options. Whatever the case, 18 still seems like an odd assortment of numbers at best.

The 11th release from the Toronto-based, foursome certainly contains some of The Sadies’ finest work. Colder Streams is one of the group’s most diverse sets.

Anyone who has somehow been immune to the late icon’s talents need only push play and let his showmanship, musicality and sheer star power wash over you to understand why he was such a legend. This captures it all and it has never looked or sounded better.

Without stronger, more diverse material, the whole frustratingly becomes less than the sum of its parts. Notwithstanding its good intentions, Sage Motel doesn’t resonate as forcefully as it should, especially in light of the amount of work clearly instilled into its creation.

The music returns to the melodic strains of Hornsby’s more elegiac work, offering a frame of reference that longtime listeners will likely relate to best — from the sweeping piano undertow that characterizes “Days Ahead”—which sounds remarkably at times like Brian Wilson in symphonic mode—to the melodic strains of Lidar,” the “Way It Is”-like narrative that characterizes “Is This It,” the sparkle and sheen of “Had Enough,” the stately feel of “Simple Prayer II,” featuring the tender shared vocals of Z Berg, and ultimately, the dramatic delivery of “Point Omega.”

Jerry Jeff serves the purpose well by turning the spotlight on an artist that deserves greater attention within the Americana arena. Earle’s effort to share his songs will hopefully contribute to that added appreciation.

It maintains an unblemished feel overall, one that stays true to Lund’s traditional template.

While Welcome 2 Club XIII has been described by the band itself as autobiographical in nature, it still manages to retain the populist appeal that drove those earlier efforts.

He zips past previous genre assumptions, ripping up any blueprint for how a blues album should sound on this daring and audacious release.

In listening to this remarkable audio document, the thing that stands out most assuredly is the remarkable chemistry these two artists shared, as evidenced through a set of songs culled from the pair’s shared love of gospel, R&B, folk, and other archival sources.

His quality control remains in place though which makes No More Worlds to Conquer another absorbing, if maybe not essential, entry into a bulging catalog that has remarkably few missteps.

Harry’s House pleasantly surprised us—knocked us off our feet actually—with its synth-layered earworms.

Now in her early 70s, Wilson’s distinctive, powerful pipes haven’t lost any of their soulful command on this eleven-track program mixing intriguing covers with Wilson co-penned originals.

“If They’re Shooting at You,” “Deathbed of my Dreams,” “Do It for Your Country” and “Prophets On Hold” manifest as engaging and affecting ballads, sweetly suggestive and instantly engaging.

At its best, it’s a reasonable recap of their strengths kicked up a few notches for the small stage they hadn’t played in far too long with a tight band and generally stripped down (no horns, backing singers) lineup featuring then new guy Ron Wood. Those looking for “satisfaction” won’t hear that tune but will get gratification from the majority of this long sought-after audio document.

It’s all interesting, at least once, and there is plenty to chew on in these nine tracks. How often anyone other than Scott fans will want to hear some of these again is unclear.

Fame, fortune and influence haven’t dulled their initial impulses, something made clear on the hypnotic unvarnished vibe created throughout the superb Dropout Boogie.

Citizen Kane Jr. Blues finds Young back in a solo setting, and while some of the performances initially seem rather tentative, he comes through with unfailing effort and determination.

The setlist is expanded and the sound quality is more than adequate to ensure Young is spotlighted in fine form. Taken in tandem with his other live recordings, Dorothy Chandler Pavilion 1971 ranks among the more essential offerings of Young’s current crop of releases.

The material is consistently strong, thanks in large part to her ability to integrate her originals with a well-chosen collection of covers. And while she doesn’t feel the need to lean on standards, the material does have meaning.

Paint This Town could be considered the group’s most emphatic effort yet, given its music and messaging. Simply put, it’s also their best to boot.

Ultimately, Second Nature finds Lucious at a precipitous point in their combined career, a reckoning of sorts that calls for reconciliation and resolve. Then again, if they can keep grooving on propulsive momentum, there’s a good chance they’ll succeed through sheer willpower alone.

Brother Johnny should send blues fans, or those new to his catalog, back to the initial recordings to appreciate the legendary guitarist’s talents at their most inspired.

An intriguing offering, it also finds them expanding their appeal in a very distinctive way. More earthbound than ever, these seductive melodies ought to find them dialing into an audience that’s been targeted by any number of other contemporary combos who are paying heed to today’s multi-cultural mainstream.

The vibrant, caffeinated production and pulsating sonics help these performances explode with dollops of the frazzled charm, roaring intensity, and sheer musicality we expect from a Jack White project. White, a faithful baseball fan, has knocked another one out of the park.

Honest emotion comes through in every note and nuance. So too, that personal perspective brings honesty and immediacy that makes for an unmistakable impression. Clearly, this Crooked Tree is extremely well rooted.

Those in tune with Cowboy Junkies’ storied circumspect will likely find Songs of the Recollection an interesting outgrowth of the band’s desire to expand their parameters and offer homage to their influences. In that regard at least, these Cowboys appear to have corralled another winner.

It takes a few spins for the tunes to register as some seem more like provocative set pieces than songs. But once they do, the thoughtful lyrics and sometimes diffuse sonics kick in.