GOOD OLD rock 'n' roll is pretty much obsolete, not so much supplanted as fragmented. The closest relatives these days are roots rock and the less extremist examples of post-punk. In some cases, in fact, the two are beginning to sound like the same thing.

The Del-Lords "Lovers Who Wander" (Enigma). Del-Lords singer/songwriter Scott Kempner started out with the proto-punk Dictators, but this band has been moving toward a traditional early-'60s New York rock sound: Springsteen territory, though the Lords aren't quite so overweening as the Boss. This almost-concept album about love good and bad is the quartet's most traditional outing yet, and it's fairly convincing, if a little icky ("Shine on/Shine on bright/Baby I just want to stand in your light" goes one refrain). The downplaying of the band's never-quite-convincing working-class consciousness is probably for the best, though a few faster tempos wouldn't hurt.

The Gear Daddies "Billy's Live Bait" (Polydor). The Daddies have a punkish sense of humor -- their latest package includes a periodic table of the elements and a recipe for "easy crust Spam quiche" -- but a traditional sound. In fact, the Minneapolis quartet, which appears Tuesday at the 9:30 club, is more than a little bit country on its latest, which includes twangy laments such as "No One's Home." The album's standout is a tuneful slice of roots rock, "Time Heals," but the only other track that rivals it shows that the Daddies' traditionalism is downright patriarchal: "Color of Her Eyes" (as in can't-remember-her-name) is tired (and tiresome) faux-fatalistic misogyny.

The Goo-Goo Dolls "Hold Me Up" (Metal Blade/Warner Bros). If the Dolls, an upstate New York threesome, were more distinctive songwriters, they might be the '90s equivalent of their downstate '70s namesakes: speedy, sassy and contemporary, but solidly rooted in pre-Beatles rock arcana. They're not defensive about the lack, though; they even challenge their own, frequently Replacements-like material by covering Prince's "Never Take the Place of Your Man" and the Plimsouls' "Million Miles Away," both of which take well to the band's good-humored pop-punk approach. Those are among the best things here, but the band's "Laughing," "Out of the Red" and "Hey" are grabbers too.

The Neighborhoods "Hoodwinked" (Emergo). The original lineup of the 'Hoods was central to Boston's late-'70s punk scene, but David Minehan and company were never revolutionaries; they just liked melodic hard rock with attitude. That's still true of the band, which appears Monday at the 9:30 club, but it has picked up some heavy-metal tics over the years, even enlisting Aerosmith's Brad Whitford to produce its latest. That wouldn't be so bad, except that Minehan has allowed his songcraft to atrophy while he was practicing his scorching licks. He used to have a way with a tune, but this competent but underwhelming album actually has to borrow its catchiest track, "Southern Girls," from Cheap Trick.

Naked Raygun "Raygun . . . Naked Raygun" (Caroline). This is fast and hard enough that the band's hardcore past is never in doubt, but the emphasis is on infectious shout-along rockers in the Brit-punk football-cheer tradition. All four members (including guitarist Bill Stephens, formerly of Washington's Dead Eddie) are songwriters, and have produced a solid set of hard-edged wallopers. They also, alas, provide the typical hardcore death-rant (typical song titles: "Prepare to Die," "Terminal"). Not counting Stephens's guitar, the refrains of "whea-hey-ho-ho" ("The Grind") "oh-whey-oh" ("In My Head") are the most articulate remarks here.