“Truck Yeah” is a rare moment of goofy self-referentiality on the otherwise straightforward Two Lanes Of Freedom.

While his 17 new songs don’t amount to a flawless masterpiece, they do paint a picture of a Post Malone who not only knows he needs to turn things around, but also intends to at any cost.

Some, like musician Dean Evenson, believe that nature itself has a tone, a vibration. It’s low, hushed, almost imperceptible. But Barnett’s new LP seems to bring those sensibilities to the light, to the cultural forefront. Whether Barnett has studied the theory that Evenson espouses or not, the truth is that it’s in her work here. Clear as day.

These versions show a seldom seen side of Chris Cornell’s talents. They deserve to be heard by both existing fans and especially those unfamiliar with his stunning vocal talents.

While perhaps not the most ambitious of albums, Ben + Vesper's Honors is the kind of record that shows that the artists behind it know where their strengths lie. The duo works fast and works well together, with lush, transportative harmonies that cannot be denied.

It may have taken her over 20 years, but today Sheryl Crow is retrieving and expanding upon those parts of her artistic sensibility that had always been there.

Because of the lack of strong material and perhaps lack of preparation, The Blackbird Diaries ends up coming off like just one more project for Stewart, a gifted guy who needed something to do while visiting Nashville and making some talented new friends.

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.

In the end, this album just doesn't make it.

While the album may leave some longtime fans pining for their beloved band of yesteryear, those who are willing to listen with open minds (and ears) will soon realize that Say Anything hasn't lost any of its true musical identity, but simply expanded upon it.

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.

This is mood music, so little jumps out as the songs melt together. But a little goes a long way.

In the end, Alive As You Are is a polished and impressive effort that heralds DML's chameleon like musical ability by exemplifying you can in fact teach an old dog new tricks.

While O’Connor never really went anywhere, this self-assured and confident release feels like a comeback. It has elements of what made her so strong and startling back on her still dynamic 1987 debut but tempered and matured with the wisdom of a quarter century of experience.

It’s far from prime Rundgren and there’s little doubt that most of this would sound better with a full band instead of Rundgren’s “I’ll do it alone and save some money” keyboard dominated music.

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

Existing fans won’t be terribly disappointed since there are just enough high points spread throughout the 11 songs to keep the faith. But even they might agree this is far from the act’s best work and even a few notches below its more creatively stimulating predecessor.

If Traveler seems too random and scattered for its own good, it's never less than interesting.

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.

Ultimately you wish they would have put more effort into what seems to be a really relaxed, yet not lackadaisical release.

The album is finished a scant 32 heart-pulsating minutes after it started, but nothing is rushed. Rather, the Lovell sisters have opened the door to a dark, bluesy, portentous worldview, something sinister and threatening even in its lightest moments. It’s like little else out there, so hang on tight and join them.

Some of the melodies and production tend to be a bit overwrought and there isn’t much in the way of a lighter touch. But it’s the Melissa Etheridge her fans have come to know and respect.

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.

The full-band electric tracks have many intriguing elements, including a vibe that captures the wonder of Crazy Horse while infusing that chunka-chunka sound with skittery guitar riffs and other young-blood input. But the new-era tunes tend to be marred by seriously clunky lyrics.

It's such a disappointment when something you hope is going to be great is, well, such a disappointment. That's the case with Dreams, the latest album from Neil Diamond.

Despite a few glaring omissions (no “The Slider”?), most of Bolan’s recognizable work is represented. Willner’s flair was matching artists with unlikely song pairings and having them gel perfectly, such as Lucinda Williams running “Life’s a Gas” through her moody, Southern-swamp personality.

It’s hard to imagine anyone other than extreme DM reactionaries finding anything here essential besides the abovementioned tracks [“Soft Touch / Raw Nerve” and “Soothe My Soul”], the stirring “Secret To the End,” and the mid-tempo “Broken.

There is more than enough proof in this sprawling set that Joe Bonamassa doesn’t intend to rest on his laurels or take his star status in the blues-rock genre for granted.