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In three-plus years, beginning with her 2005 EP Vertically Challenged, sporty U.K. grime-pop shortie Lady Sovereign has released three collections totaling 24 discrete titles. In this age of overproduction, that hardly makes her the most prolific MC around, and a few of the ten—just ten—cuts on her new Jigsaw barely feel like songs at all.

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Unveiled to classic-rock-starved Americans on last fall's AC/DC tour, these randy young Irishmen subtract all traces of art from Led Zeppelin's template. So while not averse to Free blooze or Thin Lizzy beauty, their groove more often recalls secondtier Zepalikes: the Cult, Whitesnake, Soundgarden when slogging and moaning, Fastway when speeding and stomping.

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A quarter-century-plus after their stint in the great lost British glam-metal quintet Girl, Simon Laffy and Phil Collen reunite, hook up with Sex Pistols drummer Paul Cook, and go places that Collen's more famous employer Def Leppard only hinted at. The shimmering studio-as-stadium whooshes and souped-up shouted choruses are very Hysteria.

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Four albums in, Bocephus’ boy continues to pretend that the Williams family tradition can make up for his inability to carry a tune. Damn Right Rebel Proud, typically, raises less convincing hell than plenty of current mainstream Nashville product. Muffled train chugs and minor-key gloom make him tolerable in psychobilly mode, and his class-consciousness means well.

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Supporting the Top 10 breakthrough of Combat Rock, but dividing a reggae-and-hits-heavy set list more or less evenly among their first five albums, a garage band graduates from garageland in front of 50,000 Who partisans on October 13, 1982.

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From a plainspoken quartet, one of the year's best guitar records: Brendan Suppression obsessively repeats monosyllabic observations about TV and weekends and romantic blunders in a drinking-man's cadence unheard since the Screaming Blue Messiahs; and Eddy Current's crazed chords soar Byrds-like or surf Ventures- like out of melodic stomps that seem basic, but aren't.