Overall, these songs are safe, inoffensive and respectable, but they simply don't quite scale the same musical heights of Dolly's former glories such as "Jolene" or "I Will Always Love You."

Live in Japan-an album unreleased in the U.S. until now-shows the entertainer in good form, doing a lightweight, crowd-pleasing set especially indicative of the dead-center-mainstream approach that had cemented his fame.

"Family" oozes with humility and domestic contentment, while the gentle, Nashville-leaning "Lucky That Way" (sung with Kenny Chesney on Crossroads) is a Walsh mini-biography

Ranging from jazzy jaunts to breezy tropical confections and varied country and blues hues, the sometimes-scattered Ready for Confetti is a multicolored parade in which even the shovel-pusher walking behind the horses can find that hope happens, too.

If that weren't the case, the well-rounded first installment of Remember Me would nonetheless serve as a modest but fitting memorial to a world-class artist, as well as a testament to Willie's enduring musical ties to Nashville.

Country Hits Bluegrass Style is mostly a rehash of Ricky's 2008 album for Cracker Barrel.

While Snider has been more entertaining and melodically engaging on previous efforts, here he risks trying to get his head around the disturbing times in which we live and, just as importantly, to avoid clichéd responses.

Frankly, traditional-minded listeners will wonder if the whole crew shouldn't be committed, as this quirky affair-depending on your perspective--is either brilliant or crazy.

There's plenty of room on these 11 tracks for Kellie's steely determination to shine.

Even if the whole affair is something of a lark, Norah's songbird stylings and The Willies' uncluttered arrangements send it skyward.

The album plays like a tribute to an earlier era, rich with period atmosphere, and Gregg, as always, delivers an authenticity few white singers could muster.

Her recurring implication that this life may be all we have is a bold notion that may bring relief or dismay-and your response to that notion will tell you whether or not Hello Cruel World is an album you'll greet with open arms.

This album brings together a diverse lineup of artists for a collection that promotes the message that God has more to do with love than religion.

Aside from bandmate Dan Tyminski's American-roots turns, there are fewer diversions this time from the restrained, often introspective fare Alison favors, including the regrettable omission of the stirring devotionals that have graced her past works.

With this vocal showcase, Ronnie may finally garner a long-overdue best male country vocalist award.

It's a formula sure to satisfy any fan--even Bruce.

She doesn't just alternately pay homage to country and jazz here; she elegantly blends the two.

Hank's been bruised but not broken, and Old School's aggressive attitude evidences that he still rules, with or without reinforcements, on his particular piece of the playground.

Country die-hards are likely to favor something sturdier, but listeners who walk on the wilder side are sure to find a few kicks inside Little Red Boots.

While some of the project’s dozen tracks, like the beautiful ballad “Do You Remember” and the refreshingly ’70s-sounding “Lay Low,” which calls to mind Gary Stewart, are of Blake’s caliber, others feel rushed.

Younger listeners will get the most out of this sometimes-inspired, retro-leaning smorgasbord; the more observant among them may even discern that Wanda's "bad girl" '50s persona, unlike today's blunt and blush-worthy equivalent, is nothing more than an act.

Much of the rest of the album features ho-hum mid-tempos and ballads that don’t move the meter much in either direction.

Kenny's sincere vocal delivery and the lyric content of each track are promising--but together, they register barely above maudlin, thanks to an overabundance of puttering tempos and downtrodden story lines.

There's nothing wild or organic about this overly calculated debut.