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BETH HART and JOE BONAMASSA

“Seesaw” (J&R Adventures)

Singer Beth Hart and guitarist Joe Bonamassa have a soulful and sultry new album out with “Seesaw.” With her voice and his guitar, the album has all the pieces in place to deliver bluesy fireworks built around some decades-old standards.

But purists will be put off by the cacophony of strings and a frequently overbearing horn section. Moreover, you don’t have to be a purist to want to hear Bonamassa — who plays Roanoke Performing Arts Theatre on Nov. 8 — race over the frets of his vintage Gibsons, yet he is occasionally reduced to the undeserving role of a backup ax on several tracks that fail to showcase his skills.

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THE PISTOL ANNIES | “Annie Up” (RCA Nashville)

“Annie Up” is a good title for the Pistol Annies’ second album. Like the gambling term it playfully puns, the title underscores that this brash trio is raising the stakes, investing more time, effort and artistic nerve into its new 12-song collection.

The gamble pays off: “Annie Up” builds on the trio’s successful debut “Hell on Heels” by taking even more risks with bold material and inventive arrangements. Mixing bawdy humor with sensitive insight, the Annies entertainingly take on real-life issues, including how Southern families quell their secrets (“Hush Hush”), how alcoholics curse themselves while pouring another drink (“Dear Sobriety”) and how women struggle with what it takes to prepare for an evening (“Being Pretty Ain’t Pretty”).

The Pistol Annies began as a side lark for country music star Miranda Lambert. Formed with songwriting buddies Ashley Monroe and Angaleena Presley, the trio’s debut initially was available only through the Internet and without the full promotional effort given Lambert’s other albums. But fan support and significant sales lifted these fully armed artists into a significant, ground-breaking act. Rather than play it safe, they roll the dice with another daring collection that should lift their profiles even higher.

— Michael McCall, Associated Press

PATTY GRIFFIN | “American Kid” (New West)

Patty Griffin bookends her seventh album “American Kid” with two songs about the death of her father, opening with the wistful, spiritually open-hearted “Go Wherever You Wanna Go.” The song features a series of poetic images conveying to a loved one that it’s OK to let go and pass to the other side. She closes with the sweetly mournful “Gonna Miss You When You’re Gone,” which blends old jazz chords set against a background of haunting, sustained keyboards.

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JAKE BUGG

“Jake Bugg” (Mercury)

With two platinum-selling records and a Grammy Award for album of the year, the fast-rising folk-rock blokes in Mumford & Sons have already entered their inevitable object-of-scorn phase, at least among mouthy young successors such as Jake Bugg. He’s the 19-year-old English singer-songwriter who recently told the Guardian that Marcus Mumford and his mates “look like posh farmers with banjos.”

Bugg’s implicit criticism — that Mumford & Sons come by their rootsy vibe dishonestly — is of course balderdash, to use a term the artisanal folk-rock crowd might appreciate. But that doesn’t make his vinegary attitude any less bracing (or welcome) on this self-titled debut, which did fairly Mumford-like business upon its release in the U.K. last year.

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GERALD CLAYTON
“Life Forum” (Concord Jazz)

Pianist Gerald Clayton is an emerging jazz star — the son of renowned Los Angeles-based bassist John Clayton and nephew of saxophonist Jeff Clayton — who believes that “tradition and innovation can peacefully co-exist.”

Clayton’s first two albums as a leader — trio sessions with drummer Justin Brown and bassist Joe Sanders playing a mix of standards and originals — both received Grammy nominations. On “Life Forum,” the classically trained pianist emphasizes his own compositions, expanding his musical horizons by augmenting his trio with three horn players and two vocalists.

The result is a stylistically diverse collection conveying a range of moods. Gretchen Parlato’s ethereal, wordless vocals help carry the melody on “Deep Dry Ocean,” while Sachal Vasandani’s airy vocals are featured on “Dusk Baby,” with Dayna Stephens adding a smooth tenor sax solo. Ambrose Akinmusire’s angular trumpet solo adds punch to “Some Always” with its shifting dynamics.

The closer “When an Angel Sheds a Feather” — which begins as a relaxed ballad with Clayton sensitively accompanying the vocalists before concluding with a swinging drumless instrumental — reflects the musician’s maturity as an innovative composer rooted in the jazz tradition.

— Charles J. Gans, Associated Press

MOLLY RINGWALD
“Except Sometimes” (Concord Music Group)

In her signature roles, she was the ingenue. And while it may not be fair to compare Molly Ringwald the actress with Molly Ringwald the singer, it is hard to ignore the genuineness seen in her characters that also flavors this collection of jazz standards called “Except Sometimes.”

Ringwald’s voice is unaffected, clear and, at moments, vulnerable. She challenges her range, and coaxes complexity from her honeyed mezzo-soprano. The strongest songs are those with minor inflections that balance her sunny nature, such as “Sooner or Later” and “I Get Along Without You Very Well (Except Sometimes).”

Her debut album is less even elsewhere. On “I Believe in You,” her earnestness belies lines referencing “gin and vermouth.” On “Ballad of the Sad Young Men,” there is scant expression of sorrow.

Ringwald is backed by a skilled quartet that is beautifully arranged and gives full focus to her voice.

A surprise for the 45-year-old’s fans comes at the album’s close: a fresh interpretation of “Don’t You (Forget About Me),” the melancholic theme for her 1985 film, “The Breakfast Club.” It is impossible to not hear Ringwald as Claire, perhaps a more mature Claire, but an ingenue still.

— Michelle Morgante, AP

KURT VILE
“Wakin on a Pretty Daze” (Matador)

The latest release from Philadelphia guitarist- songwriter Kurt Vile is a 69-minute double LP of lengthy, languid meditations on the everyday and beyond. The songs unwind slowly, their charms leaving imprints on the way back around.

The glorious, understated opener, “Waking on a Pretty Day,” sets the tone: a nearly 10-minute soundtrack for that moment when you wake up and realize it’s going to be beautiful outside. Lost in a morning haze, Vile lets on: “To be frank, I’m fried, but I don’t mind.” “Too Hard” is another thing of beauty, as he ponders fatherhood, promises not to smoke too much and sings about taking “hold of the hand that ain’t his, but it is.”

Rooted in a sort of 1970s rock sprawl, Vile stretches out where his forebears might have flexed, opting instead for the rustic flair of a Neil Young or John Fahey. At times his guitar lines seem to levitate, or move in slow motion, and he sings like he’s having a personal conversation.

But for all the deliberation, there’s an edge. Pointing to his arrival, he reminds the detractors “there was a time in my life when they said I was all talk.” “Shame Chamber” is about “feeling bad in the best way a man can.” And on “KV Crimes,” he gets downright anthemic, punching out the line, “I think I’m ready to claim what’s mine.”

Still the main takeaway is to take it all in. On the closer, Vile sings about hibernating in the now and being simultaneously adrift and alert. An anomaly in the what-next rush of this era, Vile masters the lost art of taking your time.

— Jake O’Connell, AP

HOUSE OF LOVE
“She Paints Words in Red” (Cherry Red Records)

House of Love first emerged on the British music scene in the late 1980s and had some moderate success with singles like “Shine On” and “I Don’t Know Why I Love You.” Their early sound was somewhere between the Smiths and the Stone Roses, and in many ways the band’s attempts at breaking through to wider audiences were thwarted by those powerhouses of the British rock scene.

But House of Love always had talent. They struggled with drugs, bad producers and feuding among themselves. By 1993, the band had called it quits. They reunited in 2003, recorded an album in 2005 and now in 2013, have delivered “She Paints Words in Red.”

Unfortunately, their new album is lackluster and saccharine. Some of the melodies are sweet enough and not entirely unlistenable, like the opening track, “A Baby Got Back on its Feet,” which shows promise and cues the listener that maybe some more interesting material will follow.

But the remaining 11 songs are riddled with cliches, especially “Hemingway” and “Money Man.” The tracks will valiantly vie for your attention for the three minutes or so of their recorded existence with competent musicianship and decent production, but ultimately will fail.

— James H. Collins, AP

ONEREPUBLIC

“Native” (Mosley Music Group/Interscope Records)

OneRepublic continues to show that the group’s musical rapport is as strong as ever on their third album, “Native.”

Frontman Ryan Tedder’s falsetto is superb throughout the new offering, which bleeds with emotion and substance. He and his four bandmates are completely in sync.

Tedder, who has written and produced singles for music’s biggest acts, from Adele to Beyonce, shines with star appeal alongside a variety of instruments that are smoothly intertwined, ranging from the acoustic guitar to drums. The 12-track album is filled with refreshing and catchy songs: That’s certainly evident when the album kicks off with the well-crafted opening track, “Counting Stars,” and first single, “If I Lose Myself,” co-produced by hit-maker Benny Blanco.

“Preacher” has Tedder reflecting on the days of his childhood, recalling how his life was infused with wisdom by his grandfather, who was a pastor. Tedder’s voice also touches the soul on midtempo tracks like “Burning Bridges,” the Jeff Bhasker-assisted “Can’t Stop” and “Don’t Look Down.”

— Jonathan Landrum Jr., Associated Press

THE WATERBOYS

“An Appointment With Mr. Yeats” (Proper American)

This album sounds much better than the concept. The Waterboys’ Mike Scott has written 14 songs using the poetry of W.B. Yeats, and the collaboration shouldn’t work — not with such lyrics as “Man-stealer Niamh leant and sighed by Oisin on the grass.”

But Scott pulls it off. His rootsy, melodic Gaelic pop, with nods to Coldplay, Sting and Mark Knopfler, magnifies the beauty of Yeats’ words and makes them new again.

Scott, the son of a university lecturer in English literature, has been working on these songs for a couple of decades. His devotion to the project shows with an impressive variety of musical approaches.

“Mad as the Mist and Snow” becomes an arena-ready bluesy jig, while “The Faery’s Last Song” serves as a lilting benediction. And then there’s “News for the Delphic Oracle,” which ends with nymphs and satyrs in the throes of passion in the foamy sea. Very rock ‘n’ roll.

— Steven Wine, Associated Press

DIDO

“Girl Who Got Away” (RCA Records)

Some artists are compelled to stay with a style they’re comfortable with. Others? They’re not shy about ranging into new territory now and then.

Dido? She’s exploring new frontiers, soaking up the sights and sounds, coalescing her experiences, desires and treks into songs on “Girl Who Got Away” that jump from tart electronica-inspired landscapes to earnest, almost low-key folk-oriented confessions that can be likened to an afternoon coffee klatch for two.

“No one could have told me how much I’d miss you, and how soon the world moves on,” she sings in “Loveless Hearts,” her voice an emotional sheen atop a gently rising crescendo of crisp keyboard tones climbing swiftly in time.

Such is the ranging, diverse offerings from “Girl Who Got Away,” Dido’s fourth album and first since 2008’s “Safe Trip Home.” It features styles that encompass lush orchestral layouts, darkly hypnotic dance grooves and the clarity of life and all its foibles. It’s an intensely personal album, reflecting Dido’s creative spark while retaining an accessibility that remains fresh, if not vital.

— Matt Moore, Associated Press

ALICE SMITH

“She” (RainWater Recordings/Thirty Tigers)

Six years is a long time to build up anticipation.

That’s how long it’s been since Alice Smith released her sultry, soulful 2007 debut, “For Lovers, Dreamers & Me.” With that album, the singer-songwriter was tagged with that coveted “next big thing” title. And then … silence.

She went through the label maze, had a child, performed here and there, but “She” is her first collection of music since that promising first album.

With her sophomore album, Smith shows the promise is still there. Vocally, Smith is still a powerhouse who vacillates between smoldering and soaring; lyrically, she can still craft ear-catching couplets, like on “The One.” Still, the magic that made “For Lovers” so strong, and enduring, is largely missing from “She.”

Technically, she gets points, but few songs on the album stir the soul quite like its predecessor: Much of the spark of that album was due to an irreverent sass that’s missing here. Maybe she just grew up, but “She” sounds a bit staid at times. The most vital performance on the album is her cover of “Fool for You” by CeeLo Green — who could teach her a thing or two about vibrance.

— Nekesa Mumbi Moody, AP Entertainment Writer

TOMASZ STANKO NEW YORK QUARTET

Tomasz Stanko New York Quartet, “Wislawa” (ECM)

Polish trumpeter Tomasz Stanko has long been one of Europe’s leading jazz improvisers, known for his original ballads influenced by Miles Davis’ 1960s acoustic quintet but with a touch of brooding Slavic melancholy. The 70-year-old trumpeter has recently been spending time in New York playing with a top-flight rhythm section — Cuban-born pianist David Virelles, bassist Thomas Morgan and drummer Gerald Cleaver — who add a vibrant new dimension both as soloists and ensemble players to his music.

This double album was inspired by the poetry of the late Polish Nobel laureate Wislawa Szymborska with whom he performed at a 2009 recital in Krakow. Most of the original compositions reflect Stanko’s penchant for slowly unfolding, meditative ballads such as the dirge-like opening and closing title track, with Cleaver contributing delicate brushwork, and “Metafizyka” on which Stanko and Morgan play pathos-filled solos.

But it’s the driving up-tempo tunes, “Assassins” and “Faces,” where the New York rhythm section really makes its presence felt, pushing Stanko to be more daring as he plays smoldering trumpet lines in a style that is post-bop bordering on free.

— Charles J. Gans, Associated Press

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DROPKICK MURPHYS

“Signed and Sealed in Blood” (Born & Bred)

An early contender for 2013’s finest Christmas song arrives halfway through the new Dropkick Murphys album in “The Season’s Upon Us.” It’s a rowdy Celtic-punk number in which singer Ken Casey runs down the charms of his extended family, member by miserable member: “My nephew’s a horrible, wise little twit,” he barks, “He once gave me a nice gift-wrapped box full of” — well, you can imagine the rest.

As in its obvious predecessor, “Fairytale of New York” by the Pogues, affection accompanies spite in “The Season’s Upon Us”; but warmth is all you hear by the time the song’s brandy-soaked chorus hits. And so it goes throughout “Signed and Sealed in Blood,” which demonstrates that for this long-running Boston band, loving and fighting aren’t opposites but rather complementary manifestations of the only thing that matters: passion.

In “The Boys Are Back” they exit Interstate 93 “looking for trouble,” yet pause to buy roses from “a bum at the light”; in “Burn” they resolve to “kiss the finest girl” before going down in a blaze tonight. With cranked guitars and breakneck tempos, the music gallops forcefully but shimmers with beauty too, as in the bagpipes-enriched “Out of Our Heads” and “Rose Tattoo,” which features banjo from Winston Marshall of Mumford & Sons. “We’re gonna cause a riot / We’re gonna rip it up,” they joyfully threaten in “Out of Our Heads,” and it’s wiser to join them than to resist.

— Mikael Wood, Los Angeles Times

VARIOUS ARTISTS

“Girls Soundtrack Volume 1: Music From the HBO Original Series” (Fueled by Ramen)

Lena Dunham’s “Girls” is a cult TV phenomenon, so it’s only right that the soundtrack matches the quirkiness of the on-screen action.

The soundtrack is littered with indie anthems, opening with the dance floor smash “Dancing on My Own” by Robyn, which accompanies a standout moment in the HBO sitcom where Dunham’s character gets caught dancing on her own. Other highlights include The Vaccines’ bellowing “Wreckin’ Bar” and “I Don’t Love Anyone,” a twinkling, whimsical ditty from Belle & Sebastian.

A weaker moment surprisingly comes from pop-rock trio fun., whose lyrics on “Sight of the Sun” seem disjointed and inconsequential. However, the soundtrack stands alone as a great collection of tunes, and as we wait for Sunday’s premiere of season two, we can enjoy the soundtrack to season one.

— Sian Watson, Associated Press

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VARIOUS ARTISTS

“The Music Of Nashville: Original Soundtrack” (Big Machine)

Among the characteristics the network TV drama “Nashville” gets right about its namesake city is the music. Guided by musical director T Bone Burnett, the new series presents a passable and often entertaining facsimile of country radio hits as well as samples of the less commercial side of the city’s music scene.

The hourlong evening soap features vocals by several of its main characters. The most convincing work comes from an upstart acoustic duo played by Clare Bowen and Sam Palladio, best represented on the album by “If I Didn’t Know Better,” and a rising starlet portrayed with convincing fierceness by Hayden Panettiere, who has received radio airplay for her pop-country dance tune, “Telescope.”

Actors Connie Britton and Charles Esten, as a veteran country star and her longtime guitarist, don’t have the vocal chops of the top singers in Music City. But they perform well enough onstage (especially on the ballad “No One Will Ever Love You”) while displaying their dramatic talents when the microphones are off.

The quietly conveyed “When the Right One Comes Along,” performed by Bowen and Palladio, features the kind of subtly emotional songwriting heard nightly by patrons of Nashville’s fabled Bluebird Cafe (recreated in exacting detail in the TV drama).

The biggest musical disappointment is the shaggy rocker Jonathan Jackson, who lacks the charisma of the others. On the soundtrack, he fails to sharpen the edge of “Twist of Barbwire,” an Elvis Costello composition.

Still, most of the recordings on the “Nashville” soundtrack rate with what Music City regularly produces — thereby achieving the show’s goal.

— Michael McCall, AP

VARIOUS ARTISTS

“This Is 40 Original Motion Picture Soundtrack” (Capitol Records)

It doesn’t matter if you’re 40 or a fan of Judd Apatow, the soundtrack for the writer-director’s latest film, “This Is 40,” is worth checking out.

Among its 16 tracks are new and original songs from Fiona Apple, Norah Jones, Graham Parker and Lindsey Buckingham, plus new takes on old songs by Wilco and Ryan Adams.

It’s a folksy blend of indie tunes, and as the film deals with the challenges of marriage and midlife, there are some heart-wrenching ones in the mix.

Jones’ track is a standout, with a happy, dancing piano that contradicts its stark refrain: “Always judging, never loving.” Another highlight is among three new songs Buckingham contributes: “Sick of You” is a showcase for his signature guitar melodies.

Apple is dramatic and demanding on the string-tinged “Dull Tool.”

There’s bright love on the album, too, most cheerfully on Wilco’s “I Got You,” a new version of the band’s 1996 song with Jones on backing vocals, and Yoko Ono’s fairytale love song, “Yes, I’m Your Angel.”

Songs by composer-producer Jon Brion, Paul McCartney, Loudon Wainwright III, the Avett Brothers and Paul Simon round out the album.

— Sandy Cohen, AP Entertainment Writer

VARIOUS ARTISTS

“The Man With the Iron Fists” soundtrack (Soul Temple Records/STAX/RED Distribution)

One can’t blame RZA for assembling an A-list roster for the soundtrack of his directorial debut, “The Man With the Iron Fists.” Kanye West, The Black Keys, Pusha T, Corinne Bailey Rae and his Wu-Tang Clan bandmates Ghostface Killah and Method Man guest star on this 15-track gem, with some of the songs re-orchestrated picks from Wu-Tang’s back catalog. With more than a decade of producing soundtracks under his (black) belt, RZA uses a deft hand to create a homogenous yet distinctive sound for a cross-cultural martial arts period film that sees him acting opposite Russell Crowe and Lucy Liu. Read more »

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MARTHA WAINWRIGHT

“Come Home to Mama” (Cooperative Music)

2012 is the year of the Wainwrights.

Rufus Wainwright gave us a smooth, poppy record with the Mark Ronson-produced “Out of the Game,” and now his little sister delivers a top-notch album with her third CD.

On “Come Home to Mama,” Martha Wainwright acknowledges there were two main sources of inspiration for the album: becoming a mother and becoming motherless.

The album gets its title from the song “Proserpina,” a track written by her mother, folk singer Kate McGarrigle. It was the last song McGarrigle wrote before she died in 2010. Her daughter’s version uses simple piano chords and strings, and its simplicity keeps the focus on the song’s touching lyrics and Wainwright’s soft vocal range.

Another highlight is “All Your Clothes,” a beautiful open letter from Wainwright to her mother with lyrics like: “The baby is doing fine, my marriage is failing, but I keep trying” (Wainwright gave birth to her son in 2009).

Wainwright’s voice works nicely on songs that take on an electronic direction, like “Four Black Sheep” and “Some People.” The latter is littered with emotional conflicts as she sings “I don’t love the way I used to” and “If only I believed in God, then I would ask God to help me find my way.” Honesty like that makes “Come Home to Mama” a must-listen.

— Sian Watson, Associated Press

RICKY SKAGGS & KENTUCKY THUNDER

“Music To My Ears” (Skaggs Family Records)

Ricky Skaggs — who played FloydFest in July — made Bill Monroe a promise, not long before the “father of bluegrass music” died in 1996, that he and others would keep the music alive. Read more »

TWO DOOR CINEMA CLUB

“Beacon” (Glassnote)

Two Door Cinema Club blasted onto the airwaves in 2010 with its debut “Tourist History.” The group’s wistful and perfectly constructed ditties about youth and love lodged them firmly in the indie set and spread optimism through the hearts of losers and geeks with a positive love song, “Something Good Can Work.”

With its second album “Beacon,” the Northern Ireland trio keeps that flame alive. The band continues its shoe-gazing style but with added twists. There’s an electro spin on some of the tracks, showing the boys are capable of concocting more than guitar riffs, and they’ve gained more swagger since the release of their debut.

Precision is key with Two Door Cinema Club songs and they never miss a beat throughout “Beacon.”

First single “Sleep Alone” pulsates with a steady drumbeat and is melancholic and full of yearning as Alex Trimble sings, “Hold me close/I’ve never been this far from home.” And “Handshake” is interestingly punctuated with an electronic pulse throughout. “Next Year” is cleverly constructed, giving vocals, electronics and guitar space to breathe, and is lyrically optimistic. “I’ll be home for next year darling,” they promise.

The record doesn’t have as many standout songs as “Tourist History,” but still sees the band heading in an interesting indie disco direction and shows they did not slip into the second-album doldrums.

— Sian Watson, Associated Press

LECRAE

“Gravity” (Reach Records)

Christian rapper Lecrae doesn’t fit the typical mold of a gospel artist. His arms are covered with tattoos, he normally sports his hats tilted to the side and often wears slightly sagging pants.

Don’t let that be a distraction. The Houston native is a true talent with a unique ability to deliver thought-provoking messages on life without sounding like a Bible-thumping preacher. His rap approach has earned him praise by many in hip-hop, from veteran rapper Bun B to Lupe Fiasco.

On his sixth album “Gravity,” Lecrae delivers a strong piece of work. He’s not afraid to rap about his past mistakes, supplying inspirational rhymes filled with Christian values backed by well-produced secular hip-hop beats.

One of the best songs on the 15-track album is the DJ Khalil-produced “Mayday,” featuring rapper Big K.R.I.T. and 2011 American Idol contestant Ashthon Jones. Big K.R.I.T. is impressive on the soulful song, and Lecrae insightfully raps with substance: “Now I found true religion and it’s not inside no denim/and the overpriced shades will never give you vision.”

Lecrae attempts to educate about the pitfalls of street life on the high-energy “Violence.” On “Confe$$ions,” he raps that having an abundant amount of money doesn’t always equal happiness.

Other standout tracks are “Free From It All,” featuring Mathai, “Walk With Me,” with Novel, and “Tell the World,” including Mali Music. “Lucky Ones,” featuring Rudy Currence, is a piano-driven song where Lecrae raps about being fortunate to receive a second chance in life through faith.

— Jonathan Landrum Jr., Associated Press