CD reviews: Beady Eye; Sara Evans

Beady Eye, "Different Gear, Still Speeding" (Beady Eye)

Not since Cain and Abel have fraternal squabbles produced so many headlines. Now that Noel Gallagher has officially bowed out of Oasis with typical grace ("I simply could not go on working with Liam a day longer"), it's up to the boys he left behind (including brother Liam) to carry on the family name. Or rather, to rename themselves Beady Eye and produce "Different Gear, Still Speeding," a satisfying if forgettable pop collection.

Musically, Beady Eye takes its primary cues from the Gallagher brothers themselves, showcasing the classic riffs and massive vocals of "Definitely Maybe"-era Oasis. As such, Beady Eye delivers an intensity missing from the boys' more recent efforts. But that might say more about the sad decline of Oasis than the triumphant ascendancy of Beady Eye, about which there's not too much to say.

Sure, there's the catchy single "The Roller" and the Elton John-style attitudes of "Bring the Light." But there's also the drudgery of "Millionaire" and the monotonous ballad "Kill for a Dream." It's up to Liam's genuine sincerity, and predictably perfect vocals, to make "Different Gear, Still Speeding," a propulsive if unmemorable post-Oasis exercise.

Your move, Noel.

EMILY TARTANELLA, PHILADELPHIA INQUIRER

Sara Evans, "Stronger" (RCA Nashville)

"Stronger," her sixth studio album, is her first since 2005. In the intervening time, she had a brief flash of mainstream celebrity on "Dancing With the Stars," a public divorce and a new marriage.

There's some joy, but not a lot, on this modest but sharp album, which continues the argument for Evans as an unjustly underappreciated country singer who's becoming more assured as she gets older. Mostly, she's concerned with melancholy here. "What That Drink Cost Me" is morbid and resentful. The beautiful single "A Little Bit Stronger" is about the slow crawl out of a taxing relationship.

Again, she doesn't sound exhausted or woebegone, giving her words a force of purpose and skipping melodrama altogether. Same goes for her gentle, regretful cover of Rod Stewart's antic "My Heart Can't Tell You No," and "Alone," on which she initially appears to be welcoming a lover's affections, but is really just letting him down gently.

Less successful are the chipper "Anywhere" and "Ticket to Ride." These songs (along with "What That Drink Cost Me") are produced by Nathan Chapman, who has been critical to the success of Taylor Swift, but who may be out of step with Evans' more mature realities. As she gets older, optimism is a cloud worth dodging.