There's something reassuring about simple country music. I'm talking the rural stuff, not the hyped-up over-produced glitter that blares out of Nashville. Real Americana music, in the vein of Jimmie Rodgers or Hank Snow. It maintains an effortless simplicity. To some ears, the sound may seem like unrefined hillbilly wailing, but to others with more patience, there is nothing sweeter. And lo and behold, Mark Brine is a purveyor of this style of music (like you couldn't tell from the buildup). And, thankfully, his latest disc is sitting in my player, with its 14 cuts that reach way back. Oh sure, there's a bit of electric guitar here and there, and at times his voice has a lilt similar to Bob Dylan's, but overall the listener is impacted by the beauty and simplicity of his songs. He threw in a wringer, with the standard blues progression of "Mae West Momma," a song that sounds a bit out of place. But for the most part, you're rewarded with a collection of songs that transports one to a tranquil place. www.markbrine.com

With a voice that's a shade deeper than your average female vocalist, Bazzarelli might be best off in the jazz lounges, but the songs on this disc veer toward rock territory nonetheless. Lyrically speaking, you get more than your money's worth, which isn't surprising when you learn she received a BA in Literature from Columbia. Yet there is something missing from this disc that I can't quite put my finger on. The players are fine, with bassist Danny Zanker, guitarist Ed Littman, and drummer John Bollinger backing up Bazzarelli. Maybe it's the clash of her voice with the band that bothers me, but my guess is more the absence of emotion as she sings. For me, it's not coming across, and the result is just plain singing, no anger, no pain, no delight. On "Another Friend," for example, a song with lines like, "I don't want to be another friend to somebody I don't want to be friends with..." you might expect some Alanis-like wailing. But it ain't there. See for yourself at www.sandrabazzarelli.com.

For a trip in the way-back machine, nothing could be more fun that the re-release of Cowboys International's The Original Sin. Listening to this disc is akin to finding some nostalgic artifact in your attic, and falling into that glazed, timeless feeling where you get all misty eyed and reflective about some point in your youth. The disc was ranked in Melody Maker's Top 20 for 1979 (gasp!), and it holds up rather well. For those that were around the music scene in those days, your nostalgic lights will be firing like crazy as the tunes whiz by. For those not familiar with the late-'70s/early-'80s sounds, this serves as a good example of what was coming out of bars, studios, and the like (though it can't explain the bad hair and fashion that was ubiquitous). And while I am familiar with most of MM's Top 20 (http://www.rocklist.net/mmpage.html#1979) for some reason this album must have flown under the radar or stayed across the pond. No matter, fun is fun, so get your pogo shoes on and hop away. www.cowboysinternational.com

From Beantown comes an emotional little quartet writing pop ditties that are similar to the current crop of indie rock traversing the airwaves of late. One checkmark in the plus column for these guys is the absence of that overproduced sound, no wall of guitars over two-and-a-half-minute punk-pop rippers. Instead, songs take time to build, bits and pieces come together slowly, as on "Caught You Kissing," which adds elements like a jangly acoustic guitar, backing vocals, and a wailing guitar solo, as it progresses and then slowly deconstructs. In what seems to be a trend, a live cut of the song is featured at the end, so you can hear the real deal, though the sound is somewhat shoddy, and the track probably should have been left on the studio floor. A nice angry song would have been a good change of pace, as the tracks have a tendency to really mope you down. Seriously, Luke, cheer up a bit, dude. Here's their site, but it never seems to work for me: www.luketheband.com.

Though the press labels their music as punk rock, they sound more to me like Motorhead at a slightly slower pace, and minus the big production. But, hey, what do I know? The band is Toni Hendrix on vocals, Black Widow on bass, and Geno on guitars (did I mention that's pronounced "gain-oh"?). And you might remember Black Widow as the bassist from Candy Ass, who put out a ripping good CD a while back. The six tracks on this offering showcase the band's music, which again, sound closer to Lemmy and crew than punk (whether it's the real deal like the Sex Pistols, or what passes for punk today). If there is any detraction to your listening pleasure here, it would be the vagary in the production. Three tracks are by Scott Sisco (Linkin Park), the other three by Hendrix. And you know what they say about too many cooks, right? In any event, the music is relatively straight-ahead rock and roll (despite what the PR people think), and though the production is a bit uneven, you just might take a liking to them. www.serge.org/webslinger

Aside from the fact that shards of the CD jewel case fell on the floor and I subsequently stepped on said pieces, yelping like a wiener dog, I have nothing but good things to say about Beth Thornley. There's something impish about her, reminiscent of Jane Wiedlin – she's cute, her voice is adorable, but she's more than just good looks and good pipes. Her songs are pop gems, with nice little moves here and there, like the insertion of a seventh chord in the right spot, or a shift from a major chord to minor for effect, and it all works. A track like "Sunshine and Celluloid" has an Elastica feel to it, yet Thornley's voice gives a happier and brighter slant, without the punkish attitude. Sure, there are times when she's a bit too wordy, and stumbles to get the words out, or perhaps the pace or meter is off a tick, but that's a minor quibble when considering the disc as a whole. A refreshing collection of songs for a debut disc. www.beththornley.com