It's a pleasant, moody, laconic bordering on snoozy, stripped down affair that never breaks a sweat or escalates into a gallop.

With the balance of upbeat rockers, twangy Americana, sassy humor and even some delicate moments, this is everything longtime Lambert fans would want, all wrapped up in a 51 minute gift to her fervent, largely female audience.

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

Weller’s in sturdy, soulful voice throughout. There is virtually no interaction with the audience, yet he’s clearly invested in this performance. Even if you’re familiar with the older material, you’ll want to explore it again after hearing it revived with full orchestration. The audio mix is stunning, the strings and horns are beautifully conceived and the entire concert is a succinct and often challenging overview of one of the UK’s most consistently impressive and creative singer-songwriters.

From the throbbing Led Zeppelin-styled hard rock of “Don’t Bother Me” (complete with short drum solo), to the following Elton John/10cc influenced piano ballad “Shine The Light On Me” and the riff-rawk driven “What’s Yours is Mine,” these four guys play together like a well-oiled machine, not one that has been idle for a decade.

It’s a perfect juxtaposition of earthy lyrics and frank storytelling with honest, unaffected roots music organically adding an exclamation point.

It’s a non-stop party highlighting not just Taylor’s music but GA-20’s powerful approach. Don’t believe the disc’s tentative title though; they should have gone with the more decisive Try It, You Will Like It.

It’s a release you’ll want to live with for a while, and not just on Sunday mornings.

It shows Nikki Lane at her best, stepping towards a darker direction while keeping one foot planted in the country and roots music of her past.

The bottom line is that The Next Day proves that Bowie, whoever he might be, is back, invigorating his listeners even as he stupefies them.

In the end, these four alt-folkies honor their idol's legacy, providing a gateway for a younger generation of fans to further experience and explore the importance of Woody Guthrie.

Patti Smith builds upon her already impressive career for one of her finest, least commercial but most enticing and entrancing albums.

They [vault songs] offer something completely new, which is what many people expect from an album release, but they aren’t the most interesting thing about Speak Now (Taylor’s Version), in my opinion. .... That matured, time-honed voice coming out of Swift in her latest re-recording is a mirror image of a fan base who has weathered the storm and come out the other end with her.

The singer is in fine voice and seems inspired by this outlaw move to revive the time-honored music he loved when he first hit Nashville as an impressionistic kid in 1972.

Based on recording location alone the varied musical approach to these 10 cuts veers from straight country, to rockabilly, R&B, rootsy rock and even some pop, all connected by Ortega’s trilling, bittersweet, instantly recognizable vocals.

While it remains to be seen if any of these eleven tracks yields another legendary moment on the order of the ones Crowell has already penned, the organic Tarpaper Sky is a welcome reminder that at 63 he remains capable of releasing beautifully crafted music that can stand toe to toe with his best.

Both knowing and nuanced, its 13 songs share Kelly’s determination to maintain his sobriety following his earlier struggles with alcoholism and drug dependency. It is, in the truest sense, both a vindication that his vulnerability was sorely needed, and that he’s wholly committed to his craft. It is, in fact, one of the best albums released so far this year.

At just over a half hour, the short but compelling set finds a generally chipper—if somewhat guarded—Andrews expanding her musical boundaries and peering cautiously to a brighter, more fulfilling, and looser future ahead.

It’s not for the squeamish or those looking for concise, structured songs. But established followers will likely get on board and stay there. Others may want to dip their toes to test the temperature before they jump into Lanegan’s choppy, occasionally dissonant but revelatory waters.

There isn’t a huge sonic difference between Onion and the past few Clams releases, but the songs and instrumentation are tighter and better crafted with defined hooks and choruses.

This set confirms she’s a rugged, uncompromising young talent with a distinctive voice and take-no-crap attitude primed and ready to take Americana into the next few decades.

Overall, this is another quality entry into Thompson’s bulging yet impressive discography. It’s one that lets us explore the darkest recesses of his diary while composing tense, emotionally spellbinding music reflecting those feelings. At the same time he displays a talent for snaking, occasionally wordy songwriting and gripping lead guitar, both instantly identifiable as his.

This rampant musical eclecticism is fun and keeps things from getting boring but it’s also occasionally too scattershot, even though most of the players remain the same throughout.

These are some of the most musical and enjoyable tunes of his more than 20-year career; one that has found him shifting styles without abandoning a dedication to compelling words matched by intriguing songs that never take his audience for granted.

At just over a half hour of music, we’re not getting anything fresh here--no outtakes, studio chatter, demos, remixes, nothing--which, in this day of easily being able to build your own playlist, seems at best like a waste of time and at worst a greedy cash grab aimed at those who can’t figure out how to create this themselves.

The more sophisticated Chains are Broken reflects a willingness to push beyond the somewhat cult audience The Devil Makes Three has accumulated, into a wider framework without abandoning their reputable roots. While it may be a bit jarring on initial spin, the risk has paid off.

The diversity works to Los Coast’s advantage, keeping a vibrant, generally exuberant approach coalescing around Pivott’s voice as it ignores stylistic boundaries more established outfits might be hemmed in by.

Consequences offers no shortage of rhythm-ready offerings, which ensure the enthusiasm remains at a constant peak.