“Where It All Begins” (Epic) — The Allman Brothers Band

For its 19th album, the Allman Brothers Band went back to its roots. Following an approach which worked on their classic first two albums, “The Allman Brothers Band” and “Idlewood South,” the group fine-tuned new songs on the road, then came into the studio.

Well, not the studio exactly. The album was recorded on a sound stage where the band set up as it would for a live concert — with monitors and without headphones — and played the new songs straight through, without overdubs.

The result is the best of two worlds, with the energy of a live record and the control of a studio album.

This setup allowed the Allman Brothers to show why they’re the first name in Southern rock on such tunes as “All Night Train,” “Back Where It All Begins” and “Mean Woman Blues.”

With the raspy but comfortable vocals of Gregg Allman and Dickey Betts and the guitar virtuosity of Betts and Warren Haynes, the band has added a new luster to its already glowing reputation with “Where It All Begins.”

“Well …” (Virgin) — Katey Sagal

This album may surprise those who know Sagal as an actor, famous for her role as Peg Bundy on the long-running Fox TV show “Married … With Children.”

But before she detoured into acting, Sagal was building a singing career, including a five-year stint with the Harlettes, Bette Midler’s backup group.

Sagal shows what a versatile instrument her soprano voice is on “Well …,” performing a mix of soul, R&B, folk and pop.

But the bland blend of philosophical and romantic songs she has picked out let her down. The listener is left admiring Sagal’s voice but not remembering any of the tunes for long.

In today’s music scene, more than a great voice is needed. Without catchy material, an opportunity is lost. Maybe next time out, Sagal can unearth better tunes, ones that will grab any who hear them.

“Ten Feet Tall And Bulletproof” (Warner Bros.) — Travis Tritt

On his new album, Travis Tritt proves he’s nothing if not predictable.

There’s his latest humorous riff on the effects of alcohol (the title cut). There’s some Southern storytelling (“Southern Justice”). There are a couple love-gone-wrong ballads (“Foolish Pride,” “Tell Me I Was Dreaming”).

But predictability need not be a bad thing. Unlike many country performers today, Tritt is more likely to rock than to cry into his beer.

He shows off his dual musical heritage on the album. He praises hard country, with guests Waylon Jennings and Hank Williams Jr., on “Outlaws Like Us.” He exhibits his love for Southern rock, teaming up with Gary Rossington of Lynyrd Skynyrd on “No Vacation From the Blues.”

Listeners may know what to expect from Tritt, but he doesn’t disappoint in the execution on “Ten Feet Tall and Bulletproof.”

“The Very Crystal Speed Machine” (American) — Thee Hypnotics

The British rockers have made a seething comeback on their first album in three years. Overcoming a car accident which left drummer Phil Smith with two broken legs, and a heroin overdose by temporary bassist Craig Pike, the group has returned with a album packed with blues, psychedelia, funk and rock.

Produced by Chris Robinson of the Black Crowes, “The Very Crystal Speed Machine” offers tunes that bounce around in your head, including “Goodbye,” “If The Good Lord Loves Ya,” “Down in the Hole” and “Look What You’ve Done.” James Jones’ vocals aren’t pretty, but they are memorable.

One quibble: The album has four instrumental snippets meandering nowhere, which would have been better replaced with a full song instead.

Still, Thee Hypnotics are back to stay with this smorgasbord, and should rapidly regain any reputation they may have lost during their hiatus.