The lack of the Spector-ish sound, while understandable--Ronnie’s marriage to Phil was legendarily troubled--along with material that is far more powerful and enjoyable in its original form, makes this an experiment that fails on most levels, in particular from Scott Jacoby’s ill-fitting production and sonic approach.

Ultimately, it takes a real curmudgeon to dislike this often enchanting, rosy-cheeked, harmony laden alliance, even if you wish it was better. It also does little to display the vocal talents of Kelly Jones who has a handful of terrific albums under her own name but whose own style gets lost here.

Robbie Fulks at 53 might be a kinder, gentler version of the rascal of old, but one who has perfected balancing touching, reflective ruminations and a sardonic outlook with effortless aplomb.

These songs may take a few spins to connect and early fans of La Sera may need to open up to accept the revised style. But most will appreciate Wisenbaker’s higher profile input and Goodman’s ability to remain distinctive in the La Sera guise while maintaining the music’s chameleonic qualities and urging it forward in her still dreamy fashion.

Sometimes, as on “Shroud,” the introspective songwriting isn’t strong enough to sustain the bold attack and the seriousness can feel confining.

Much of this revamped version of Psychedelic Swamp is vastly more conventional--even normal--than the record that inspired it, which is as much a selling point as it is a slight source of disappointment.

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.

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.

Another Country has far too many moments that will have them lurching for the track-forward button while admitting this once talented songwriter needs someone to tell him when his reach exceeds his grasp.

Existing fans will find enough to satisfy them, but newbies should choose from earlier Los Lobos works for a better understanding of what makes these guys so special.

How many times you’ll return to it is questionable, especially for power pop fans, but it’s a logical extension from the chamber accompaniment of the album’s opening songs and shows Folds to be even more gifted than many of his followers thought.

After a few spins, some melodies seem a little less meandering. That’s part of the charm for this predominantly acoustic indie folk that feels as honest and truthful as it sounds.

Even though a handful of tunes seem forced, for the most part, Rateliff’s material and the brassy, bossy attack work well enough together to suggest this was a savvy career move, both artistically and commercially. Next time, if the songs mesh better with the arrangements, he might have a classic on his hands.

As it stands, it’s another entry in Young’s bulging catalog that, like Storytone, Greendale, Le Noise and others, you might play once or twice to see what he’s up to, then return to far more listenable classics like Rust Never Sleeps.

When Feels Like is at its best, it’s a reminder of how exciting it can be to plug into a distortion pedal and let it rip. In its lesser moments, that’s still more or less what it is.

While it doesn’t come close to their best work, there is enough spunk and pluck on Mystery Glue to provide the Parker faithful with confidence that better work remains in him.

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

Existing Wilson fans will find this an enjoyable enough diversion, but even they will have to admit, it’s a little flimsy and simply not up to the high water mark Wilson has set for himself.

Grey and his band’s drive, energy and enthusiasm go a long way to selling this music but at nearly an hour the effect is diluted. Leaving a handful of the weakest cuts in the vaults and honing the best parts from some of the others would have resulted in a stronger outing.

Though Title Fight may have accomplished what they wanted to achieve on Hyperview, it seems the group is still searching for that ideal combination of aggression and peace.

Ultimately this is a missed opportunity to either unearth obscure, under the radar gems from this era or push Krall outside her comfort zone with challenging interpretations that reveal new meanings in songs we already know by heart.

[A] superb if somewhat restrained There’s a Blue Bird in My Heart.

Ultimately despite, or perhaps because of, its minor ambitions, Classics succeeds on its own terms.

We’re treated to a combination of short, instrumental segments and lyrically-driven, radical, long jams that sound familiar, yet unpredictable enough to demand further listening

If this underwritten, over produced debut for Capitol (after being affiliated with Columbia since 1973) is the best he can muster up in six years, it’s sad to say, it’s time to consider retirement.

Those willing to take the plunge are likely to find enough here worthy of a future return to explore further and ignore, or more likely respect, its self-indulgent qualities.

It’s encouraging that Seger is expanding his boundaries, especially this late in life. But a few more representative tough rockers interspersed in the album’s disappointing second half would have helped what starts out like a revitalized return to form from--here’s that car/Detroit metaphor again--running out of gas.

With 10 songs running just over 40 minutes, the disc is compact and taut. That helps makes this a moderately successful return for a veteran singer and occasional songwriter who always seems one hit away from the mainstream audience that threatens to constantly elude her.