These days, every band seems eager to honor the anniversary of one of its landmark albums, usually in the form of a concert tour or an expanded reissue, and even have gotten into the act -- a quarter century after they released their endlessly charming 1990 LP , in which they covered a handful of their favorite songs and reworked a few of their own numbers in semi-acoustic fashion, have recorded what amounts to a sequel, 2015's . Just like a sequel to a 1980s horror movie, follows the template of the original as closely as possible -- there are two new songs, three remakes from the back catalog, and nine covers, which range from the instantly recognizable ( ' "I'm So Lonesome I Could Cry," inspired by 's version) to the thoroughly obscure (unless you're a Hoboken pop obsessive or a completist, "Automatic Doom" by is probably not on your hit parade). Just as importantly, original guitarist , who appeared on , returned for the sessions, and while his style would have been a poor fit beside 's clouds of six-string skronk that became a highlight of 's work from onward, for stuff like this, 's graceful sound, full of echo and clean single-note leads, meshes gloriously with 's implacable strum and the steady shuffle of bassist and drummer and vocalist . As "quiet" goes, like this is top shelf, beautiful, and subtly joyous, and while the songs are well chosen and the performances are warm and passionate despite the low decibel level, the real secret weapon here is 's vocals. Like singing "After Hours," what lacks in range she more than makes up for in her ability to infuse a song with feeling, and from the heartache of "My Heart's Not in It" and the lover's kiss-off of "Butchie's Tune" to the sweetly fractured romanticism of "Friday I'm in Love," 's work beautifully demonstrates how much more less can be. If isn't as revelatory as , it's a splendid, beguiling album that's perfectly suited for late nights and rainy afternoons, and a welcome reminder of one of the many, many things do so well. ~ Mark Deming