Sebastian Skeet, Journalist

If only the weak songs had been edited out this would be one top shelf album

The strange thing about Amelita is that the production – while incredibly professional – doesn’t allow the great songs to breathe and stand out. There is a sameness that keeps the sisters a little too subdued, and it’s really only on Phoebe and Rock All Night that the girls get to rock out

The Who’s songs are by nature hard to cover, and it’s tough to find a new approach to reinterpreting such iconic anthems.

Ben Folds sounds happy to be back with his band mates and by the sounds of things they still have the energy to keep up with him.

The homage to his parents who were masters on the folk scene at the end of the album is a wonderful way to end a tasteful outing. Weeping Mary was also recorded by them and no doubt this version would make them proud.

The energy of his live performances is still not fully captured, but the power of his playing ability overcomes his at times average lyrics.

Fanning is no stranger to success and failure and this album sees him back on track with an album he obviously has enjoyed recording. Whether the songwriter finally makes a mark overseas is another question.

Patty Griffin’s Silver Bell is a rocking number where everything comes together. The two Jayhawks numbers hopefully remind people of what a great band they were.

What makes this an album worth listening to is the care and love poured into it by the players themselves as they pay tribute to their lost singer.

There are some quality songs here and he comes a lot closer to really impressing an audience that is hard to please with so many choices.

There's Pink Floyd’s The Wall/Is There Anybody Out There. The other cover, Paint It Black, is restrained and would have made Brian Jones proud.