There are those Beatles purists who’d argue that any attempt to imitate the original would be a desecration upon works of art. Those purists, however, would be wrong to accuse the “I Am Sam” soundtrack of being bastardized rip-offs.

The album boasts an impressive collection of artists who have already proven themselves in the field – among them Sheryl Crow, Ben Folds, Ben Harper and Sarah McLachlan.

Brand-name appeal aside, the album doesstand on its own as something worth listening to. It achieves continuity not only through its concept, but through the greatness each voice adds to it. None disappoint, which says something for a CD loaded with nearly an hour of music.

Though the lyrics tread familiar ground, these are not simply replicas of the original. It’s an homage to the artistry of all involved that they can cover classic work without stepping over the lines in a very ain’t-broken-don’t-fix-it way.

Although many of the artists conjure up beauty in their own work, they do not try to reinvent the Beatles here.

The only track that strays far from the original sound is Grandaddy’s “Revolution,” though even this can be forgiven. Instead, focus on the wonders of Rufus Wainwright’s “Across the Universe,” or the Wallflowers’ “I’m Looking Through You.”

The wife and husband duet from Aimee Mann and Michael Penn are nice as all hell. Their “Two Of Us” sets the sweet tone of the album well, inviting listeners in before the tracks dive into more upbeat tunes like “Lucy in the Sky With Diamonds” or Heather Nova’s “We Can Work It Out.”

Impressive and worth noting is that the album was recorded within three weeks, lending proof to the “music from and inspired by” tagline.

Perhaps cookie cutters had to be used to bake these cookies. But the artists certainly brought a helluva lot of their own icing and sprinkles to create new tastes for old treats.

– Cavan Reagan

Unwritten Law’s self-titled 1998 release was a clever mix of alt rock and SoCal punk, rife with the near perfect combination of girl-inspired hooks and teen angst fuzz.

But where Unwritten Law melded styles masterfully on that album, they flounder on “Elva,” their latest release.

Admittedly, there are girl songs aplenty on “Elva,” but there are almost as many about drugs. And the character has changed as the band almost entirely ditched its punk roots.

The false rock bravado of “Rescue Me” smacks of Dexter Holland and Papa Roach, though it would have easily been a throwaway track for either of those bands.

“Hellborn,” another cock rock song, would be completely ludicrous – its opening semi-rapped lyrics: “High as a kite on a flight soarin’ through the night/ Droppin’ new shit from the fuckin’ mothership” – except for the gorgeous “Na na nas” during the chorus.

“Seein’ Red” and “Rest of My Life” find singer Scott Russo tapping his emotional side, but the clich‚d lyrics – “You’re feeling blue/ now I think you bit off more than you could chew” – feel forced, much like the rest of the album.

– Jon Dahlager

The indie music scene appears to be a huge interwoven web of bands: side projects and side projects of side projects.

“Para Toda Vida” is the second full-length release from this Get Up Kids side project. Matt Pryor unplugs to explore his alt-country experiment-toting lyrics as simple as the acoustic melodies he employs.

The New Amsterdams’ music is a perfect pensive embrace of loves lost and found, anger, depression and life in general.

Roughly translated, “Para Toda Vida” means “for all life.” If Pryor’s intent was to make an album that could translate into the lives of anyone who gave it a chance, he succeeded.

There are no blaring guitar riffs or overwhelming bass lines. But “Para Toda Vida” does have the honest, organic feel of a wounded Pryor wistfully exploring the facets of life everyone deals with.

“Son of a Prophet” is refreshing with a critical attitude posing questions over a melodic, acoustic undertone. “Can you explain away everything/ I know to be true?”

While some songs are straightforward acoustic tracks, others sound like they were written in Texas, rather than Kansas. “Four More Years” puts a modern spin on an old country sound. The next track, “Forever Leaving,” returns to a melancholy mix of looping vocals and guitars that sits you back down.

Every song bears the nakedness of Pryor’s raspy voice crooning for the catharsis that his musical release will bring for him and hopefully for his listeners. “Para Toda Vida” certainly is an album for all kinds of life.

– Erin Randolph