Ken Tucker

Ken Tucker reviews rock, country, hip-hop and pop music for Fresh Air. He is a cultural critic who has been the editor-at-large at Entertainment Weekly, and a film critic for New York Magazine. His work has won two National Magazine Awards and two ASCAP-Deems Taylor Awards. He has written book reviews for The New York Times Book Review and other publications.

Tucker is the author of Scarface Nation: The Ultimate Gangster Movie and Kissing Bill O'Reilly, Roasting Miss Piggy: 100 Things to Love and Hate About Television.

If the title of her new album is a tad portentous, Shelby Lynne is determined to make precisely detailed mood music, not a succession of revelatory moments, throughout Revelation Road. That's ultimately what gives the album its strength. It's underpinned with sturdy melodies, the occasional bright image and, above all else, Lynne's exceptional voice, which cuts across every song with a sharp, slicing motion.

It's hard not to feel ambivalent about The Lost Notebooks of Hank Williams. Yes, it does give us an opportunity to hear previously unreleased lyrics by one of the greatest songwriters country music has produced. But Williams didn't write the music that accompanies his words, and as sincere as these performers are, none of the words are framed the way Williams would have, had he completed the songwriting process.

When they started out at the beginning of the 1980s, The Bangles' members were never part of the Los Angeles punk scene that slightly predated them, with bands such as X, the Germs and the other significant all-girl bands of that era, The Runaways and The Go-Gos. The Bangles were always more interested in jangling guitar sounds, plaintive harmonies, catchy choruses and wistful melancholy.

It becomes clear early on that Low Cut Connie are a bunch of talented musicians who pride themselves on their low-down, low-rent, low-minded methods and instincts. They like to sing about intercourse, inebriation, and an inability to have a good time. Recorded for what sounds like a suitably low budget, Low Cut Connie benefits mightily from the buzzsaw yowl of Adam Weiner.

In the liner notes to his new album, Ghost on the Canvas, Glen Campbell writes that this is "the last studio record of new songs I ever plan to make." Campbell has been diagnosed with Alzheimer's Disease, and intends to perform a farewell tour before retiring from the music industry.

For a guy who started his career yelling over loud guitars in the great Los Angeles punk band X, John Doe has steadily become one of the warmest, most welcome voices in pop music. There's a beseeching quality to his singing that draws you in with curiosity: What's this guy's story? What's he thinking about? On Keeper, he is, generally speaking, in a contemplative mood, and his crooning is frequently lovely.

In the movie Crazy Heart, Bad Blake was an alcoholic former star who'd slid to the bottom of the country-music industry. For his musical performances, Jeff Bridges affected a shrewd mixture of Waylon Jennings, Billy Joe Shaver and a breezy boozer. This approach was good enough to win an Oscar, but upon receiving a collection of songs called Jeff Bridges, I thought, would it be good enough to result in a decent album? The good news is that Jeff Bridges is not Bad Blake, in more ways than one.

Sam Phillips possesses a distinctive voice, with a chalky plaintiveness and a slight nasality that only increases her intimate, confiding tone. The thing is, she's not much of a confessional songwriter. I was reminded of this as I listened to Solid State and heard her direct her thoughts outward, crafting music that advises people to be honest with each other, to locate the magic in everyday life, to generally look around you instead of navel-gazing.

There's a dreamy summer breeze wafting through much of Sky Full of Holes, as though Fountains of Wayne wanted to make its new album synch up with the season. And, just as this summer has been hotter than many recent ones, there's also a warm intensity to many of the songs, such as the album's first single, "Someone's Gonna Break Your Heart."