Wright's voice has a sheen similar to Natalie Merchant, Tori Amos, and Kate Bush, a sound that is solid and piercing, yet vulnerable and emotional. It comes as no surprise that she was classically trained, as her pipes aren't the whiskey-coated variety. Strangely enough though, I kept wishing for her to belt out just one gravel-throated note, a real Joplin (Janis, not Scott) moment of angst. Sigh. The good news is that my desires aside, the album doesn't suffer at all. Wright's piano work is just fine, again, with a classical tinge to it, and the rest of the musicians are splendid. The music is what you'd expect from a Bush or an Amos, a mix of ballads and up-tempo work, with the former getting the edge. Wright also does a solo version of Bowie's "Ashes to Ashes," and though it's quite good, I'm still on the fence about the inclusion of it. Overall, a nice slice of aural beauty for this listener. www.stephaniewright.com

Open a disc with a cover? A Willie Nelson song to boot? Go figure. These crazy kids out of Brooklyn have done just that, and put a nice heavy twist on the song. Sounding somewhere in the Social Distortion spectrum, with a country rock taste akin to Jason and the Scorchers, their sound is Americana cow-punk, and that's all right with me. The boys also bring it down, as on "Wisconsin," which features some nice repetitive guitar lines. Singer Patrick Smith has that southern drawl to his vocals, without sounding too hokey, at times straying into a Jagger-like drawl, but either way it works. The guitar work of Ed Smallman is simple and cutting, with all the right notes, and no wasted flash. Bassist George Burke and drummer Jimmy Sturges round out the band, and are as electric and dynamic as their band mates. And while these ears detected a little unevenness in the production, this disc is a diamond in the rough – a hoot to listen to, just needing that big-label dollar plunge in the studio to make it to the big time. www.thedryheaves.com.

This may sound strange, but I was hooked and loving this band by the first eight bars. "If I Didn't Know" begins as a kind of amalgam of early Stones and Velvet Underground, with loose guitar chording, as Eric Deneen's Brit snarl takes the helm. By the chorus, you get a feel for the old glam-rock days, which isn't too much of a surprise, as the band's name can be found in a T. Rex number. With the second cut, "Why Didn't You Fall," you get a sense that U2 may be an influence of sorts, as the guitar work chimes, the bass pounds, and the vocals stack up. By the third song, "Hotel Motel," the band draws on the Stooges as mentors, with a raucous, out-of-control sound. But do I still like them? You know, even with the identity crisis, I'll put money on these guys, sure, because odds are, should they find their own sound, they can take it to the bank. www.babystrange.com

Now, here is a disc that is probably best described as the coolest little thing to come this way in a while. There is a definite, low-key vibe going on, in the sense of laid-back, restrained but tasteful songs, tunes that don't race but rather walk, noticing the details that runners often blow by. The first cut, "Event Horizon (Pulls a Body)," mixes an acoustic guitar with synth drums to start, bringing in the synth strings later. And it's a mix that works, the artificial with the natural, giving a strange but lovely edge to the acoustic guitar. Schneider's vocals are laid back as well, somewhat emotional and pained, but aptly befitting the material. Though some numbers may be quicker, there is still underfoot a quality that speaks of patience and understanding, and it's probably why the disc is so successful. Songs may hint at being introspective, but never get bogged down. Add to that a balanced mix of styles with a strong pop sensibility, and you have a beautiful disc that doesn't miss a note. www.paulschneidermusic.com

This is hard rock in its classic form, the power trio with the front vocalist. And drawing a comparison to the Rollins band wouldn't be a stretch, since there is a marked similarity. Shane Tierney handles the mic duties here, and while he doesn't seem to rage as much as Rollins does on occasion, when he ventures into Jim Morrison territory, as on "Love Eternal," the sound is spooky. And while this isn't hook-laden rock, but more lyric driven, the repetitive cycling through the chords and riffs of the band does get hypnotic, and when the vocals fall back, the lead guitar that explodes is that much more prominent. The disc closer, "Swallow," is to my ears, at least, the most successful cut, with Tierney sounding somewhat maniacal, and the band in top form as well. On the plus side, a percentage of the money taken in on this disc goes to the support of the West Memphis 3. www.judascradle.com.

Decidedly mixed reviews on this one, the downside owing in part to a lo-fi production, which features less than ideal sound quality, clipping in spots, and an occasional vocal gaff that would make the panel on American Idol shiver. The upside, however, is what shows promise: stellar bass playing, solid groove-funk songwriting, and an overall positive vibe coming from the music. There are elements of funk, soul, blues, and R&B present, and I really, really want to hear more from Geralds and crew, I just don't want to mess with my EQ on every song. According to his press, Geralds has played with a slew of big names and at various festivals. His talent is there, poor recording aside. What he needs is some production dollars; I hear grooves like this and I want to crank it, and not blow up my speakers. I'm pissed, because this stuff is that good, and deserves to be heard, and heard well. www.slygeralds.com.

For those who have tired of the mainstream folk stuff, of the coffeehouse players, of big-time acoustic players such as Dave Matthews, you might want to give this disc a listen. Holford is energetic to say the least; his fretboard work is busy and intricate, yet doesn't create aural slush. His vocals range from pleasant to edgy to the infrequent falsetto, and never sound pretentious. Yet, there's also something larger at work here, a feeling, in the ears of this listener, that makes me think his sound is not unlike that of a recently released inmate of a mental institution. And I mean that in a good way. There's an edgy instability here, an unpredictable sensation that at any minute, Holsford might just step out of the speakers and bash you roundly about the head with his guitar. And that, I really like. I should have been tipped off by the disc title (I'm a bit slow today), but in the end, this disc comes across as a fresh offering showing a good amount of promise. www.caseyholford.com

In the vein of the old New York City stuff – like Patti Smith, Velvet Underground, Television – comes Alpha Cat, with an approach to music that shows more depth of thought than many of the teenage hucksters out there right now. At the forefront are the vocals of Elizabeth McCullough, lazy and cutting like Patti Smith's, at times ethereal along the lines of Joni Mitchell or a quiet Chrissy Hynde, but always attracting your attention. Like a poetry reading, she weaves her voice, alternating between a matter-of-fact speaking tone and low-key approach to singing, and one could easily imagine her sitting at a table, smoking a cigarette, and delivering the goods. The goods, of course, being 13 songs that reel and roll, featuring quite a few guests on various instruments, and the sonic variety is just another in a series of good reasons to grab this disc and give it a listen. Lyrically, the songs are rich, as the various stories unfold and play out. My only question is, what's with the title? www.thealphacat.com

This disc has a real live sound to it, which, according to a note in the disc, was what the band members were looking for when they recorded. It sounds fresh, and right there, and it's hard not to miss the powerful vocals of Nicola, cutting through with clarity, conviction, and a palette of emotions. The instrumentation is reserved, almost too minimal at times, yet paints a perfect backdrop for showcasing Nicola's pipes. Backing her are bassist Jules Rosaly and drummer Michael Carrasquillo, who are tighter together than the spandex on Oprah. And while initially, I might have been, well, kind of nonplussed over the disc, as it kept playing over and again, it really started to grow on me. The music may not be hook filled, rather more jazz-influenced folk rock. But it did take the edge off a nasty morning, and on a more clear-headed day, I found myself getting into it all. The final cut is a live one, showing that what you get in the studio is pretty much what you get live, though the song is considerably louder, and thus detracts a bit. Check them out at www.nicolanicola.com.

I get a sense of Renaissance when I listen to Linda Draper – maybe it's the subtle way her voice enunciates, maybe it's the bounce of the music, or the sparseness of the production, but it does remind me of a band long ago in a galaxy far away. There is, however, no doubting the attraction of her voice, which sounds innocent and naïve, young and optimistic, and seemingly unaware of what a big bad world it really is out there. Of course, that's my impression. There's also a comparison to be made to Judy Collins, as on Draper's cover of Phil Och's "Flower Lady." And I wouldn't be at all surprised to hear Draper singing "Both Sides Now," though some in the anti-folk crowd might. Draper's songs also possess a sadness, an emotion that lays just beneath the surface, as if the optimistic shell she projects is a covering to protect the inner self. But hey, I ain't Freud, so I'll just step back here and listen. You can find some info at www.antifolk.net.