Neil Young’s “Prairie Wind” is a gentle-sounding, acoustic-based album that packs an emotional wallop. It rightfully is being cast as the third in a trilogy of albums that started with “Harvest” in 1972 and continued with 1992’s “Harvest Moon.”

The specter of death hangs over “Prairie Wind,” influenced no doubt by the diagnosis Young received around the time of its recording that he had a potentially deadly brain aneurysm.

Luckily for music fans, Young survived and now the album takes on more of a tale of survival than loss.

Really, Young does just about everything right on “Prairie Dream.”

The lyrics are simple and heartfelt. The music is melodic and emotional. Together, they are classic Young and are likely to make “Prairie Wind” one of his most loved albums.

Just as the title suggests, “Prairie Wind” has an open, airy feel about it. The other musicians – Spooner Oldham on organ, Ben Keith on pedal steel guitar and Chad Cromwell on drums – provide a strong, familiar backbone.

Many of the songs seem like farewell notes – to loved ones, his father and even his guitar.

It wouldn’t be much of a stretch to interpret “Here For You” as being sung from the perspective of someone who’s already passed on. “Just close your eyes and I’ll be there,” Young sings.

On “Far From Home,” Young makes a rollicking request to be buried on the prairie, not far from home, where the buffalo used to roam.

The final tune, “When God Me,” is more a hymn than a rock song. With the Fisk University Jubilee Singers in the background, and Young at the piano, the song tackles some of the eternal questions that face many even when death is not imminent.

It may be one of the most beautiful things Young’s ever written.

– Scott Bauer, AP Writer

Point to ponder while contemplating Sheryl Crow’s new “Wildflower” CD: will a bad review earn a set of tread marks on my back?

Time to run. Don’t be deceived into thinking that big rock on Crow’s finger courtesy of fiancee Lance Armstrong will result in a giddy album of love songs. Instead, this disc is downbeat and downright boring.

Crow is 43 now, beyond the point where all you wanna do is have some fun. She’s brooding over the big issues of life, love, loyalty and mortality, and that’s more than understandable. It’s just harder to make that into engaging pop-rock tunes, and that’s Crow’s strength, where she beat the odds to become very successful in a style that’s no longer fashionable.

Here, you slog through seven earnest, mid-tempo songs until there’s a sign of life: “Live it Up” has Crow urging someone to not let life pass them by, and it has the disc’s strongest hook and quickest pace. “Always on Your Side” is the best of the rest, a stately ballad that benefits from stripping the music down. Otherwise, the production is simultaneously busy and rather anonymous, unwisely emphasizing Crow’s thin vocals.

Perhaps “Wildflower” has a few seeds that will take time to grow. Pass the fertilizer, though.

– David Bauder, AP Writer

For his second of three releases this year, the super-prolific Ryan Adams offers what has become his specialty – honky-tonk songs and alcohol-soaked lyrics. Written as an homage to his North Carolina hometown, “Jacksonville City Nights” is mellow straight country.

Playing with his band The Cardinals, Adams opens with a great drinking song, “A Kiss Before I Go” and doesn’t let up. Adams’ signature rockabilly pace and his twangy croon continue on “The Hardest Part” and “Trains.”

But the album is mostly filled with quiet acoustic songs like “September” and “Peaceful Valley.” Having previously worked with actress Parker Posey and Emmylou Harris, Adams duets with Norah Jones this time around on a soulful “Dear John.”

Known for his witty but achingly beautiful lyrics, Adams retains his reputation. This isn’t the masterpiece that was Adams’ solo debut “Heartbreaker,” but few albums by any artist could be. “Jacksonville City Nights” is in the same vein and just as valuable.

– Caryn Rousseau, AP Writer

“Made of Mud” is made of melodies – the instantly engaging kind difficult to find on the charts today. Singer-songwriter Dana Cooper’s subjects range from love and death to religion and politics, with a topical undercurrent throughout, and he makes everything hummable.

Part of Cooper’s secret is his relaxed, soft-focus voice. Reminiscent of Jules Shear, it coaxes fresh melodic charms from even Woody Guthrie’s venerable “Pretty Boy Floyd.” Other highlights include three beautiful ballads and the Byrdsian rocker “Sit This One Out,” a plea for peace and quiet. The understated, guitar-based arrangements are nicely embellished with the occasional lap steel, harmonica or flugelhorn.

Cooper began making records more than 30 years ago, and he has clearly mastered the craft.

– Steven Wine, AP Writer