RECORD REVIEWS

Eli Young Band

Album: “10,000 Towns” (Republic)

Grade: A-

The Eli Young Band continues to provide a smart, relevant antidote to all the male country acts focusing on cliches about the attractions of backwoods America. On “10,000 Towns,” the four-piece band from Denton, Texas, shines by focusing on insightful songs about how young men and women relate with each other.

The album’s first hit, “Drunk Last Night,” continues the band’s string of potent songs that don’t rely on the usual Nashville formulas. While most other country bands celebrate drinking and partying in superficial ways, singer Mike Eli instead elucidates, with restrained drama, how a night of over-indulgence can lead to actions that might be regrettable the following day.

Similarly, the band’s new hit, “Dust,” depicts the complex emotions involved even when driving away from a relationship that’s taken a bad turn.

Not everything on “10,000 Towns” hits such high notes. A few clunkers — including “Just Add Moonlight” and the title cut — rely on standard country tropes. But those potholes only briefly slow down an otherwise solid effort by the band, which includes guitarist James Young, bassist Jon Jones and drummer Chris Thompson.

—Michael McCall, Associated Press

NENEH CHERRY

Album: “Blank Project” (Smalltown Supersound)

Grade: B

Neneh Cherry is back with her first proper solo album in 16 years after coming in from the cold with “The Cherry Thing,” a 2012 collaboration with Swedish free jazz band the Thing. This one is an understated affair that flows with easy confidence and a mellower take on the art-pop/ hip-hop inclinations that Cherry burst upon the scene with on her ahead- of-its-time 1998 hit “Buffalo Stance.” “Out of the Black,” a duet with her fellow Swedish pop star Robyn, is not quite the epic meeting of voices one might have hoped for, but “Blank Project” is mostly a deeply personal, subtly enticing, long-overdue return to form.

—Dan DeLuca, Philadelphia Inquirer

Pharrell

Album: “G I R L” (Columbia Records/Back Lot Music)

Grade: B

On the heels of two monster hits where he was the co-star — the Daft Punk jaunty funk jam “Get Lucky” and the much vilified yet utterly catchy “Blurred Lines” with Robin Thicke, Pharrell is taking the lead with the relentless “Happy,” which appears on the “Despicable Me 2” soundtrack and on his second studio album, “G I R L.”

The 10-track set is an ode to the female form and spirit, peppered with sexy vibes and brash come-ons. A definite change from his raspier, more alternative first album, which wasn’t particularly successful, “G I R L” proves Pharrell — a member of N.E.R.D. and the hit-making Neptunes — is a true, and exceptional, frontman.

The record’s tempo matches the upbeat “Happy,” and it deploys killer hooks. The sound is eclectic, ranging from dramatic violins in the Daft Punk-assisted “Gust of Wind” to Motown disco beats in “Hunter” and tribal drums in “Lost Queen.” Persistent echoes of Michael Jackson-style sound lurk on the album, from the sultry “Gush” to the deliciously head-bopping “Marilyn Monroe” to the Justin Timberlake-featured “Brand New.”

—Cristina Jaleru, Associated Press

Lea Michele

Album: “Louder” (Columbia Records)

Grade: C

On some of the songs from her debut album, Lea Michele is convincing. On others, it’s like she is acting.

The “Glee” star, known for her big voice, provides the pipes on “Louder,” but some songs sound empty and don’t show much emotion or personality from the 27-year-old talent.

The dance-flavored title track is typical and forgettable, as is “Don’t Let Go.” “Empty Handed,” co-written by singer Christina Perri, comes off like an unimpressive Coldplay cover, while other songs echo Kelly Clarkson, but lack the energy that Clarkson’s learned to build on her songs.

Michele, who has appeared on Broadway in “Spring Awakening” and other shows, gets it right on the piercing “Burn With You.” She also shines on the slow piano tune “Battlefield,” one of four tracks co-written by the exceptional Sia Furler (Rihanna’s “Diamonds,” Beyonce’s “Pretty Hurts”).

But, all in all, “Louder” is jagged. The songs don’t play well together, and the collection sounds more like a demo, instead of a Golden Globe- and Emmy-nominated singer-actress’ debut album.

—Mesfin Fekadu, Associated Press

Drive-By Truckers

Album: “English Oceans” (ATO)

Grade: A

The often-prolific roots rockers Drive-By Truckers took a four-year break from the studio before recording “English Oceans,” and the stockpile of songs pays off throughout the band’s 12th album.

Stripping away the R&B influences and musical explorations of their last few albums, DBT focuses on guitars and a garage-band stomp on the new album — which also adds to the collection’s consistency.

The band has always shared songwriting chores between singer-guitarists Patterson Hood and Dave Cooley, usually augmented by contributions by other band members (most notably onetime band mate Jason Isbell in the early 2000s).

This time out, Cooley is an equal partner, and he and Hood are the only songwriters — another beneficial change.

The album’s opening guitar chords recall an old Replacements riff and would’ve fit nicely on the Rolling Stones’ “Exile On Main Street.” It’s a strong kick off to the rawest rocking Truckers album since their early days.

But it’s the storytelling that gives the band a special dimension. The colorful twists of “Till He’s Dead Or Rises” and “Primer Coat,” the desperation of “Hanging On” and the poignant “Grand Canyon” show that this veteran band can still equal the highpoints of its past.

—Michael McCall, Associated Press