Various Artists, "Warby Parker Presents Beck Song Reader"

Eric Clapton & Friends

“THE BREEZE: AN APPRECIATION OF JJ CALE”

Surfdog Records

Eric Clapton calls his new album of J.J. Cale songs an appreciation rather than a tribute, and that word choice gets at the appealingly modest vibe of this record.

In spite of cameos by heavy-hitting guitar guys like Tom Petty, Mark Knopfler and John Mayer, “The Breeze: An Appreciation of JJ Cale” — which honors the roots-music cult hero who died a year ago this month — dispenses with the grandstanding that bogs down most tribute albums; it sounds more like the product of an impromptu jam session.

Clapton opens this disc with “Call Me the Breeze,” which Lynyrd Skynyrd turned into a hit. But he otherwise sidesteps Cale’s best-known songs, focusing instead on gems such as the taut, funky “Rock and Roll Records” and the delicate “Magnolia,” with a beautifully understated vocal by Mayer.

Willie Nelson turns up for a pair of acoustic country tunes, “Songbird” and “Starbound,” while Knopfler’s singing in “Someday” demonstrates how much he was pulling from Cale in Dire Straits. And Clapton and Mayer keep their soloing to a tasteful minimum in “Don’t Wait,” which fades out after a quick two and a half minutes.

Does it sound like I’m congratulating a bunch of rock stars simply for restraining themselves? I suppose I am. But like Cale’s unique charm, that’s a rare occurrence worth celebrating.

— Mikael Wood,

Los Angeles Times

La Roux

“TROUBLE IN PARADISE”

Interscope Records

Everything about Elly Jackson is severe. Looking like a cross between Tilda Swinton and “Man Who Fell to Earth”-era David Bowie, the singing/playing/composing half of La Roux played it ice-cold on the act’s 2009 eponymous debut, then sultry-steamy on “Trouble in Paradise,” its just-released follow-up.

On the first album, La Roux’s unthawed electro-pop was laced with the type of lyrical personal insecurities any first-timer might share. But “Trouble in Paradise” is worldlier and sexier, embracing concepts and characters and laughs outside the isolationist self. What’s the difference? Well, for one thing, La Roux, once two, is now one: During the creation of “Trouble,” Jackson rid herself of producing/writing partner Ben Langmaid (he co-wrote some but not all of “Trouble”) to become the sole surviving Roux.

With warmth comes diversity. Jackson borrows a Grace Jones verbal clip throughout the album. “Paradise is You” shimmers like the best ’60s girl groups. Jackson swoons through the disco of “Tropical Chancer” and the angularity of “Let Me Down Gently” while sticking to La Roux’s characteristic robot-pop.

ON TOUR: Sept. 20 — Wonder Ballroom, Portland; www.ticketfly.com or 877-435-9849.

— A.D. Amorosi,

The Philadelphia Inquirer

Amanda X

“Amnesia”

Siltbreeze Records

On “Amnesia,” their debut album, Amanda X create noisy, lo-fi songs that revel in contrast. Distorted guitars vie with clear, emphatic vocals; chaos wriggles against control. The trio of guitarist Cat Park, bassist Kat Bean, and drummer Tiff Yoon play with grungy intensity on “Guatemala” and “Tunnels” — think ’90s bands like the Breeders or Scrawl. But the unison singing and traded lead vocals sweeten songs such as “Nothing Wild” and “Things Fall Apart,” which hint at the Raincoats (the British punk band Kurt Cobain loved).

“I know, baby, you’re trouble,” begins the chorus of “Trouble.” There’s a pause before it continues with “But for now I want you to stay,” and the tone is more resigned and knowingly conflicted than desperate and naively pleading. The reference points for Amnesia may come from a few decades ago, but Amanda X doesn’t sound nostalgic.

— Steve Klinge,

The Philadelphia Inquirer

Various Artists

“WARBY PARKER PRESENTS BECK SONG READER”

Capitol Records

“Song Reader” was originally released in 2013 without a sound. Rather, until this new selection of cover versions, the music arrived only in notated form, a beautifully packaged stack of 20 individual songbooks. The goal, Beck said at the time, was for musicians to learn and share the songs themselves.

It was a cool idea, one that merged antiquated technology with a modern twist: Other than a few Beck-sanctioned concerts, most of the “Song Reader” interpretations live on YouTube, brought to life by eager amateurs.

Now comes Phase 2: renditions of “Song Reader” by prominent artists combined with an expertly produced collection of under-appreciated voices, including Moses Sumney, Eleanor Friedberger, Laura Marling, Sparks and Jason Isbell.

As with any such collection of disparate voices, some of these renditions disappoint, others are inspired. Opening with a highlight — the mesmerizing young upstart Sumney and his version of “Title of This Song” — “Song Reader” is best when artists avoid conservatism. Marling’s lovely, upbeat rendition of “Sorry” is heavy on the strum but light on the delivery, and Loudon Wainwright III’s take on “Do We? We Do” makes it sound like a hillbilly classic. Los Angeles avant-rock institution Sparks is as glistening and inventive as ever on “Why Did You Make Me Care?”

Less exciting are David Johansen’s lumpy “Rough on Rats,” fun.’s adult contemporary take on “Please Leave a Light on When You Go” and Lord Huron’s “Last Night You Were a Dream.” Beck’s own take is fascinating. His lament, “Heaven’s Ladder,” sounds like “Band on the Run”-era Paul McCartney & Wings.

— Randall Roberts,

Los Angeles Times