On the Line in Bloomington, MN

Consider
On the Line
as the companion to its predecessor
The Voyager
. It's not simply that the cover art invites such comparisons.
Jenny Lewis
once again works with producer
Ryan Adams
for a good chunk of the album, reuniting with a number of familiar players on the SoCal circuit, such as keyboardist
Benmont Tench
and
Beck
, while finding room for cameos from
Ringo Starr
,
Don Was
, and
Jim Keltner
. It's a high-end set of professional players, a supporting cast that lends
the feeling of a low-key Hollywood jam session: everybody is in place, doing their best to make the star shine.
had a similar aesthetic but a different vibe. On that 2014 album,
Adams
created a stylized retro-fantasia that evoked the forgotten corners of early-'80s AOR -- a sound that suited a suite of songs that suggested
Lewis
pulled herself together.
doesn't sound nearly as coherent. Produced in part by
Shawn Everett
feels as if it's slowly falling apart, a collection that marches slowly but not particularly steadily. Credit its coherence to all the old pros, including
herself, whose singing is strong and nuanced throughout the record, her exacting phrasing underscoring how her songs dodge autobiography; this isn't confession, it's performance. All the sonic elements are in place, so it's slightly disappointing that the songs aren't as vivid as the album's deliberately hazy vibe. At times,
' lyrics are a little too precise, while her melodies ramble -- a pair of excesses that make the sharper tunes pop, whether they're soft ("Taffy") or bright ("Red Bull & Hennessey," the neo-girl group title track). When these moments arrive, they're powerful enough to give the rest of the record momentum, yet it's an album where the particulars dissipate after its conclusion, leaving behind pleasant thoughts but no distinct memories. ~ Stephen Thomas Erlewine