Neil Young and Crazy Horse “Greendale” (Reprise)

Compare to: Eddie Vedder, Bob Dylan, Wilco

Welcome to the quiet country town of Greendale; a place geographically removed from reality, but easily imagined through the seasoned ramblings of Neil Young.

Old Neil brought his favorite backing band, Crazy Horse, back for another go on his newest release since “Are You Passionate?” in 2002. Though not an astoundingly talented band, Crazy Horse rides steady and solid, its members more than making up for what they lack in natural ability with heart, spirit and enough soul to make a gospel choir get up and dance.

Years of live and studio collaborations have brought Crazy Horse and Young to a new level. Enough experience, as Young notes in the liner booklet, that he was able to write the majority of “Greendale” in the morning on the way to the studio.

“It was kind of like watching a soap opera or something,” Young writes. “Every day I’d come in with a new song. Usually, wrote it on the way over there. I’d stop my car and write a little bit.

“Then when it stopped coming, I’d move my car about 500 yards and stop again.”

In true soap opera fashion, Young’s character sketches intertwine into a complex plot, slowly coalescing to paint the picture of the quirky country colony. Neil’s narratives build on each other: crimes lead to a media frenzy, then to a funeral and the jail, all the while extolling Young’s prized virtues of simplicity and a little love and affection.

“Greendale” is quite simply a concept album, fittingly in a world of its own. Young accompanies the music with a hand-drawn map and illustrations, all of which are explained in his liner notes, which also stay true to the album’s ambling, easygoing pace. A bonus DVD of Young’s solo performance of the material rounds out the “Greendale” package.

Economical in emotion and execution, Young slowly chronicles the town’s goings-on, leading up to “Be the Rain,” an anthem of epic proportions.

Classic Neil Young in every way — true to tradition, true to form.

— James McKenzie

The Woods “The Woods” (Piller Records)

Compare to: The Eels, Semisonic, Coldplay

This band knows how to please a crowd. On this self-titled debut album, singer/songwriter Brad Cohen of The Woods has proven himself as an incredibly competent and versatile artist. From soft guitar tunes to alternative rock and even some bluesy numbers, this Los Angeles-native band displays a great deal of talent throughout the entire album.

The listener’s musical escapade kicks off with a song titled “Too Late.” This is a tune leaning toward the rock edge of Cohen’s wide spectrum of inspired music and is undeniably compelling in style. This song is quite exceptional, but it’s just a taste of what the rest of the album has to offer.

The second track, “I’ll Remember,” is one of the best on the album. Reminiscent of Beck’s singing abilities, Cohen shows off his robust, yet beautiful and soft voice. An aura of pleasantness encompasses this song. It has the capacity to be light and perky while also being deep and meaningful.

Cohen displays his bluesy side in “Crazy.” This tune has an exceedingly refined and calming sound, giving it a particularly serene quality. The style of guitar is genuinely impressive and fairly similar to that of Dave Matthews. “Crazy” is a great addition to this diverse record, giving it a completely new sound.

Another tune that deserves some recognition is “Wasted.” It’s a catchy and soothing little number, making it extremely likable. This is yet another example of a nearly flawless musical experience The Woods seem to have no trouble creating.

The only blemish this album has is the use of Cohen’s prerecorded background vocals appearing on “I’ll Remember” and “Wait Awhile.”

While by no means ruining these songs, these background vocals become slightly clich‚ and would have been better sung by another band member, as in “C’est La Vie.”

Aside from only a few small imperfections, the thoroughly enjoyable music The Woods have created on this debut album is extraordinary.

— Annie Krumhardt

Wakefield “American Made” (Artista)

Compare to: Something Corporate, Letters to Cleo, The All-American Rejects

If you wake up to the sound of Wakefield blaring from the speakers of your CD alarm clock, you might be confused or even ticked off. You might even say to yourself, “OK, who stole my Wakefield CD and replaced it with Good Charlotte?”

The obnoxiously whiny vocals of the opening track, “Sold Out,” will either frustrate you or cause you to love them for what they represent — another raucous attempt at pop-punk music.

The album gets less annoying, though. At some point between “Say You Will” and the melodic “Heaven’s Coming,” singer Ryan Escolopio sounds like he’s struggling to maintain his floundering self-worth.

While the music is decent, the lyrics overflow with mouthfuls of junior high attitude.

The lyrics from “Infamous,” the album’s closer, are a dead perfect reflection of the band itself.

“We suck, yeah/ We’re never gonna make it/ We’re too dumb to be rich and famous/ Record companies don’t even wanna claim us/ We suck, yeah, but who can blame us,” Escopolio howls.

If you love Good Charlotte and Damone, you’ll embrace Wakefield with a smile in recognition of your self-proclaimed “good taste” in music. But if you have just converted to punkism, listen over a shoulder or through a friend’s door so you don’t make a rash decision.

— Dan Hopper

Sarai “The Original” (Sweat/Epic)

Compare to: Foxy Brown, Missy Elliott, Lil’ Kim

Don’t be fooled by Sarai’s diva album cover. Turn the CD case over and see the skull-patterned top and mesh punk tank covering her pierced navel.

Confused? Don’t be. This is Sarai, the new female face in rap. Originally from New York, Sarai went to Atlanta to pursue a rap career.

Reminiscent of such rappers as Salt-N-Pepa, Eve and Princess Superstar, MTV reports her being dubbed “Feminem” for her quick style.

The 20-year-old’s hit, “Ladies,” is all over the radio and TV. Maybe you’ve heard it, maybe you’re sick of it, but you have to admit, this girl can flow.

“Ladies” is easily the best party track on the album. With lyrics like “Ladies, hands up/ Let me see ya shake ya stuff/ A, B, C and D cup/ Little bitty to big ol’ butts,” she can’t help but get the attention of all the females on the dance floor.

Sarai might have a sweet-looking Jessica Simpson face, but she has rightfully taken over Princess Superstar’s place as the female version of Eminem.

Her willingness to vary between the extremes is refreshing. Just when you think you have her style figured out, the next track changes your perspective.

“The Original” is an album to throw into your car stereo and turn up loud. Though not the original, if the sophomore album is as good as the debut, she’ll be around for quite a while.

— Shannon Varner