His label home may have changed, but his everyman approach to songwriting holds steady.

Only a real party-pooper would deny Guy's talented pals the chance to respectfully demonstrate how well this stuff still works.

Release Me provides a clear picture of Lovett's stylistic bedrock, and reminds that he's stood steadfast upon it all along.

Despite the album's title, she plays it safe rather than wild.

Hitting a sweet spot between honky-tonk and the more sophisticated Nashville Sound of yore, Long Line of Heartaches delivers unapologetically traditional fare without resorting to self-conscious nostalgia.

Overall, Josh's sound boasts enough twang to keep it country and enough soulful passion to keep things interesting.

The charm of these tracks, though, is in their now-less-common unselfconsciousness (with its close kin, indulgence, lurking nearby) and the largely likable blemishes reminding us that music, above all, should sound human. For better and occasionally worse, this music unquestionably does.

It’d be nice to see Luke, the reigning ACM Entertainer of the Year, grow out of the fields he’s so clearly comfortable in. But for now, if the soil is still bearing fruit, you can’t blame him for continuing to plow ahead.

Ultimately, Life on a Rock’s most exciting moments come when Kenny pushes his limits on something unusual

Despite the presence of utterly infectious single “Downtown” and the jangly “Better Off Now That You’re Gone,” the first half of Golden is a little too polished, as if the trio couldn’t escape the pull of Own the Night’s gravitas.

As he moves beyond his rap boundaries into more country-rock fare, this album is a step forward for the Kid.

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.