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

While the set of songs on this album may not count among the best of McCartney's career, they definitely provide a pleasurable listen for both casual fans and ardent supporters alike.

Even though their vocals aren’t always suited to each other, this set of mostly covers (some previously recorded by the participants), works relatively well, as long as you’re not expecting too much.

Even completists might quibble with the fact that several of these bonus tracks appear to overlap those on the previous edition. The fact that two additional covers are included — a loose cover of “Money,” expanded from the 40th anniversary extra, and an extended read of “Rock Me Baby,” each well in keeping with the blues motif that encompassed the album overall — may be cause for persuasion, although certainly not on their own

The King of Limbs is Radiohead's Sky Blue Sky–a reliably enjoyable record that follows a heightened run of musical genius.

Everyone acquits themselves admirably with highlights being Chris Isaak's sumptuous "Crying, Waiting, Hoping" and Imelda May's rocking "I'm Looking for Someone to Love." However a closing trash-up by Monty Python's Eric Idle is painfully unfunny and borderline disrespectful to a still influential artist who deserves all the accolades he receives.

Fortunately, there is some respite with “June 21” and “The Aphorist,” both of which allow the raucous proceedings to take a brief pause. Yet even there the turgid trappings aren’t entirely abandoned. There’s a clear sense of foreboding imbued in each of these offerings and the darkness and doom continue to linger throughout.

While there are dreary aspects to much of What Is There, the general vibe, and slick, meaty production, is one of a moderately hopeful future.

Born This Way isn't the landmark record it could or should be.

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.

Perhaps the input of a full band or an outside producer would have curtailed some of Scott’s more impulsive, if well-meaning, tendencies and made this a more cohesive experience. They may not work, but give him credit for trying.

Campbell seems reluctant to imbue a significant imprint of his own. It leaves little that hasn’t been rehashed dozens of times before. That makes Wreckless Abandon nowhere neither as daring or distinctive as its title otherwise implies.

It's all as heavy and convoluted as it sounds, but the playing and production is top notch and those looking for an adventurous, unpredictable ride will appreciate Cursive's sheer depth of vision.

There isn't much break from the gravitas throughout these dozen character driven, often lyrically obtuse songs, almost all of them sung from the first person perspective.

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.

Workaholic producer Dave Cobb keeps Shooter’s sound polished proving that for better, and sometimes worse, Shooter Jennings can play by the country-rock rules when he wants to.

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

With Say Nothing the band takes enough steps to both developing their lyrical content and staying musically contemporary to please hard rock fans who weren’t born when their debut was released and may have no idea who Ted Bundy, or even Nickelback, is.

The heightened level of fury and overall frustration about the state of society is admirable. Some might say there is not enough of it in today’s music. But that needs to be balanced with songs which beckon you back for another listen, an aspect of the confrontational No Gods No Monsters that too often falls short.

It’s a logical extension of their earlier work that’s easier on the ears without watering down the inherent craftiness of the vibe or, even worse, selling out.

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 a fun listen but also feels like a way for Hatfield to amuse herself, romping through a dozen interesting, far from essential interpretations of the Police’s music in 45 minutes as she works on new material.

While the playing remains somewhat generic and you can’t imagine the group without Price fronting it, Free Yourself Up refines and defines Lake Street Dive’s accessible, retro-leaning, radio-friendly pop aesthetic.

Melodies take longer to reveal themselves and choruses don’t have the natural hooks Loveless has crafted before. Which just means you’ll need to spend additional time exploring the songs, mulling them over, absorbing the lyrics and letting their more elusive charms sink in.

On stage, the stretched out pieces allow the group to more seamlessly stitch their tapestry together, a talent that isn’t quite as effective in this occasionally inspired but just as often hectic studio set.

Generally missing, though, are hooks that bring you back for another listen. The songs are melodic and easy on the ears if not particularly memorable.

The "big-in-England" quartet's fourth release is more of the same that made them so admired overseas;ie trippy yet expansive psychedelic Brit-pop sung and played with attitude (some may say ego), a whip smart attention to melody and an arena sensibility/swagger that screams "rock stars."

In Postcards Pieta Brown has created a trip through her most personal and revealing moments with an honesty and confidence most wouldn’t even attempt.