Though Never Enough certainly succeeds in providing classic infectious rock that sidesteps the often formulaic glaze of contemporary pop, above all else, it's just great fun.

Become Zero is a stunning album that takes Helen Money's already otherworldly, highly accomplished sound to fascinating new levels.

What began as an extension of post-Phil Lynott-era Thin Lizzy has become something far more nuanced, and with three solid studio albums now in their rear-view mirror, it would seem that Black Star Riders have successfully managed to embrace the past without losing themselves in it.

Uyai is a fine, boundary-pushing follow-up to an arresting debut.

While it's stylistically no great departure from his earlier output, it feels like the logical next destination on his journey.

The Silver Globe was Weaver's coming-out party; Modern Kosmology serves notice that she's here to stay.

Hawkline's work up until now was strong, but this album is strong-plus. He's upped his already impressive game across the board, which makes I Romanticize his best album yet and some of the best guitar pop anyone is likely to hear in 2017.

Their call to arms isn't preachy; instead, righteous anger is refracted through the lens of empathy. It is also a fresh reboot of the band's sound, offering excellent songwriting and arrangements; it sounds more like a group effort than anything they've released.

Supported by the Hi Rhythm Section he sounds livelier and grittier than he has in years, and that passion serves as a nice counterpoint to the smooth grooves on Robert Cray & Hi Rhythm.

There is a wealth of brilliant pop on C88 ripe for the picking, enough to keep anyone smart enough to check it out satisfied for a long time, or at least until C89 arrives.

Ultimately, this is a soundtrack for an era of discovery that reflects the powerful desire of a generation striving to claim an identity of its own.

Dark Eyed Messenger is easily the songwriter's most intimate and sparsely decorated album thanks to assistance from Doveman. Their pairing amounts to a nearly alchemical wonder that gives us one of the songwriter's best offerings.

These are complex songs worthy of a band as rich as the Turnpike Troubadours, and both Felker and his group are at a peak on A Long Way from Your Heart.

While that's brief by 21st century standards, it's plenty and proper on a collection of songs framed in kinetic, inspired performances by one of the greatest soul bands to emerge in decades.

Trinity Lane is honest, well-crafted, and hits an emotional bulls-eye: it's Lilly Hiatt's strongest and most moving work to date.

Chris and Oliver Wood, along with jack-of-all-trades Jano Rix, have settled into the kind of easy groove that can only stem from spending the last decade or so enduring the myriad inside jokes and stale air of life on the road.

Daphne & Celeste may not save the world, but a listen to this album is sure to make the world a better place for about 45 minutes or so, and sometimes that's enough.

The artists take risks, and they--and the songbook--come out sounding the better for it.

The Siren's Song is perhaps a bit too gentle in its attack to make Kacy & Clayton stars, but anyone with an interest in modern-day folk music will be happily mesmerized by it.

If the decision to make Tunnel of Love, Human Touch, and In Concert into double LPs means they're slightly cumbersome listens, they nevertheless sound wonderful, and that's the ultimate reason for acquiring this box: these records have never sounded--or have been presented--better than they are here.

With What Heaven Is Like, Wussy have made it clear they're not giving up their status as one of America's greatest indie bands just yet, and this is another dark but compelling album that deserves your attention.

Powell tends to overwhelm on the suite of Ziggy Stardust numbers, painting everything with swathes of synths--but the performance is invigorating even with its flaws.

It may not have the classic status of Live at Leeds, but the group never sounded as explosive as it does here.

Maintaining a healthy balance of sunshine and rain, Don't Look Away is the best example yet of Tucker's singular approach to music.

KEN mode are masters of their craft, and this is easily the equal of anything from the heyday of the genre on labels like AmRep and Hydra Head. While the more casual listener will find this heavy going, fans of the band, and of noise rock in general, are going to be stoked.

Carefully considered and uniquely transportive, The Giant Who Ate Himself is yet another sterling example of Jones' guitar mastery.

Deaths is a seriously fiery album that pushes the temperature right to the point of flammability and further cements the band's place as one of the best noise bands of their era.

America's Child doesn't simply address the tumult in 2018 America, it stands as a vital statement of purpose from a modern blues singer who is beginning to hit her stride.

Pink is the work of a band in love with music, doing it for kicks alone and not worried at all about being cool or cute. It's refreshing and fun and some of the best pop music anyone is likely to hear in the late 2010s.

There's both a sadness and warmth to Streisand's performances on Walls that befits the album's subject matter and speaks to her own ability to communicate to, and often for, her audience.

The music on Smells Funny explores both margins and interiors; this band keeps reaching for an as-yet-unknown sonic terrain where the genres they engage no longer matter as separate entities.

Like their debut, Ideal Woman is challenging and sometimes difficult, but fearsome in the way that quality rock music often is.

It might not quite measure up to the very tall order of being another Dare or Different Class, but the record comes close and that is something the band should be very proud of.

Easily as satisfying as The Tower, The Crucible builds on its predecessor's achievement with brilliant composition, inspired performance, and consummate musicianship. It is an excellent example of how to mine rock's past in order to discover its future.

For fans this is the holy grail, but it's also an excellent introduction for the uninitiated. Not to be greedy, but let's hope this is not a one-off. We can never have too much J.J. Cale.

Fear in a Handful of Dust seems like a departure for Tobin, but even while he's abandoning conventional rhythms or genre signifiers, his music remains unmistakably human, and as challenging as the album might seem, it's easier to listen to than one might expect.

Both this record and How the West was Won would have been notable just because Perrett was still alive and making music again; the high level of the music he's actually making mean that they are both vital transmissions from one of the great lost talents of the punk era.

The sheer breadth of the ensemble's expression on We Are on the Edge is staggering, a strident declaration that Mitchell and Moye will carry the AEC's powerful, boundary-less creative ethos full force into its sixth decade.

"Love Will Find a Way" closely echoes the levitating version on Pharoah Sanders' like-titled album, all the while seeming to inch toward "Love's Holiday." It ends this invigorating album just as effectively as the blueprint began its parent release.

Up and Rolling clears away decades of cobwebs, dust, and wisteria vines from the doorway to the past: It's a family reunion offering that looks to the Hill Country's history and mystery for both its inspiration from the past and guidance to its present.

It's a modernization of his sound but not a bowdlerization; if anything, it's perhaps the finest realization of Holmes' blues. At the very least, it's certainly the liveliest and boldest album he's made.

It takes skills to make a record this smooth and soft without it ever being boring or sounding trite. Noir has those skills and AM Jazz is another example of his abilities as a songwriter, performer, and above all, maker of fine recordings.

The instrumental pieces are a bit harder to suss out with, both "The North Carr" (laughter) and "Darbari" (peace/tranquility) coming across as more mournful than their subjects might suggest. As a whole, though, Navarasa: Nine Emotions is another strong effort from this agile and unexpectedly prolific trio.

Dark Matter cements him as one of the most exciting jazz musicians of his generation.

Alvin's roots in the blues certainly play a big role in The Third Mind, but so does hard rock, psychedelia, jazz, and improvisational music, and this context -- essentially a jam band without audibly hippie-like tendencies -- shows that his willingness to take a risk pays off handsomely.

We Are Sent Here by History is final proof that Hutchings is a modern jazz prophet; he sees the past as merely a jumping-off point for exploration, not only in music but in philosophical concepts, cultural theories, and spiritual precepts as an aesthetic. With the Ancestors he goes further toward creating a holistic new jazz than with any of his other ensembles.

While Trivium have always been stubborn about following their own way, What the Dead Men Say sounds like an intentional gift to longtime fans. Its consistency, diversity, energy, and songwriting prowess put the set on par with the band's very best work.

It isn't a major departure than his previous few records, but it is a bit punchier, delivering more of a jolt of electricity and replicating the energy of his live shows a bit more. The rhythms here are a bit tighter and more complex.

The trio -- singer/keyboardist/guitarist Joel Robinow, bassist/guitarist Eli Eckert, and drummer/technician Raj Ojha -- who had played together in various incarnations in the Bay Area before forming Once & Future Band, not only sound like a veteran arena combo here but offer the material to make them shine.

Years is a bit more ornate than most Anderson records, yet the layers of guitars and keyboards give the vocalist a rich, sympathetic bed to sing with nuance and grace. His performance, combined with the elegant sweep of Auerbach's production and the emotive songs, turn Years into a minor latter-day masterpiece from the country singer.

Like the figurative road of its title, Transfiguration Highway follows a winding path with an emphasis on the journey rather than a destination.

Burnished by a production that cannily recalls the echo-drenched LPs of the 1950s and early 1960s without ever succumbing to nostalgic fetishism. To Crockett, this sound is as timeless and telling as old folklore, which is why the retro vibes of Welcome To Hard Times feels so vital: it's not a revival, it's part of the continuum of great American music.

Even more audacious than No Trail and Other Unholy Paths, Prisyn proves Jaye Jayle's music can thrive as Patterson lets tradition go by the wayside.

Respectfully done, Project Regeneration, Vol. 1 is a fun and technically proficient reminder that Static-X were ahead of their time and perhaps a little underrated. Through this cathartic process, the album serves as a love letter to Static and their loyal fan base, a respectful tribute that both honors his legacy and adds an unexpected new chapter to their discography.

Long in the Tooth is easily the most complex album in the Budos Band's catalog. It succeeds because they refuse to graft on too many extras into their sonic and stylistic approach. The music here retains the band's core strength -- they incessantly rely on deep, hard-swinging, intensely delivered grooves, no matter the material.

Nightcap at Wits' End is the most complete articulation of their wide-reaching creative range, and stands as the their most focused and engaging work to date.

This is a compelling, satisfying, richly musical statement from a gifted player developing a uniquely individual style.

While Bramblett manifests a degree of poignancy on all his records amid rowdy roadhouse rock and R&B, it is a guiding spirit on Pine Needle Fire, shot through with an aching yet grateful heart, abiding empathy, and self-effacing humor. It is exactly the kind of record the 2020s call for.

Dimensional Stardust illuminates the murky depths of Mazurek's visionary sound world even as it evokes strong, benevolent emotions in the listener.

Rollins in Holland is handsomely packaged with rare photos and some lengthy historical essays. The importance of this release cannot be overstated; Rollins' playing here is at a peak of unfettered creativity, communicative openness, and technical acumen.

Universal Beings E&F Sides is, therefore, not only a fine follow-up, but a visionary outing of its own that also stands as required listening for post-millennial jazz fans.

Cut live to disc without the possibility for edits or overdubs, mistakes get made, but none get in the way. Make no assumptions, though: Night Dreamer is not a free-for-all jam; the music and charts here may be uncomplicated but are also tightly arranged and sophisticated -- everything is in its proper place, including the grit and grease -- placed in service to the almighty groove, with no room for overplaying or peacocking.

It's a thrill to hear Martin stimulate hip and neck movement again. His juddering drums and cone-toasting bass frequencies are dispensed with more clarity and crispness than ever, while the swarming ambient FX are in full effect, never quite overpowering Dis Fig. Only on the closing "End in Blue" does the voice of Martin's partner dissipate, and once it does, it's already missed, prompting an impulsive rewind.

From the sweeping "Surrender" and "River Song" to the gospel-tinged epic hymnal of the title track, Birdy outdoes herself with Young Heart, a pensive journey that offers some solace and a shoulder to cry on.

It's a solid and rewarding set of songs that sounds a bit different than his usual work but finds him working with some excellent and sympatico musicians who understand his craft and give him what he needs and more.

Outlaw R&B suggests Danny Lee Blackwell hasn't completely turned his back on the Myth of a Man experiment, but he knows the right amount of dirt can give music some valuable texture, and this music is all the more enjoyable for its increase in grit.

Any Young completist will need Carnegie Hall 1970, but it's a special performance that can be appreciated by more casual listeners as well. Alone at the microphone, the purity, simplicity, and one-of-a-kind magic of some of Neil Young's best songs come into view in a way that's undeniable.

The band injects their own perspectives -- both lyrical and compositional -- into Modern Fiction, giving the songs personal angles and emotional color that place them very much in the now.

It's never sappy but offers a message of spiritual succor to those who need it, and it's a great, rewarding listening.

You Get It All does practically everything a Hayes Carll album should do just right, and its unpretentious excellence makes it one of the best and most satisfying albums he's released to date.

Heavy Load Blues is raw, heavy, and immediate, the sound of a band unfettered while pursuing a deep blue groove that never quits.

The BBC Sessions emphasizes both the connective threads and creative evolution of Green Day during the first act of their career, which makes it a worthy historical document in addition to a first-rate live album.

Delta Estácio Blues is easily the most experimental outing Marçal has yet released. The rhythmic genre fusions across rock and afoxé, glitch, samba, and pop experimentalism combine with seams and scars showing as one of the most ambitious musical projects released this year.

It all comes together as a beautiful and honest reflection on self-acceptance and the passing of time. Bell invites us into the deeper reaches of his perpetual but ever-evolving dream state, and in the process creates some career-best highlights.

Track for track, Crown is flawless, the most consistent, musically ambitious, and satisfying album Gales has delivered in a long time, if not ever.

This could've been a cloying direction if it weren't for Night's sharp skills as a songwriter, the palpable chemistry of the Regrettes, and the sleek shine of the production, each contributing to the exuberance of Further Joy.

Making a joyous noise helps ease the pain of troubled times and that's precisely what happens here: the good and the bad intermingle like the past and the present, resulting in a lively, heartfelt record.

Nelson's guitar and voice have intertwined and complemented each other throughout his career yet it's still a marvel to hear him find sustenance and surprises within his music, and that's what makes A Beautiful Time so rewarding: it's no small achievement that Willie Nelson is still deepening his artistry at the age of 89.

Here she fronts a septet with dreamy acoustic guitars, shimmering layers of percussion, and a sweeping flügelhorn, putting the tune to rest as if it were her own. If You Will is a revelatory exercise.

Like Neptune offers a glimpse into one man's heart and soul while reminding us how he got where he is today, and it's an impressive LP from an artist who has some stuff to get off his chest and can still powerfully entertain as he does so.

Ocean offers a document of spontaneously created music-making of a very high order. A snapshot of a moment in time, the energy, creativity, and surprise offered here are a delight.

The Bordeaux Concert is not for the Jarrett beginner, but for seasoned fans of his many solo recordings, that are, after all, responsible for a sizeable portion of his legendary reputation. The dialogue he engages in with the piano here challenges its own assertions with an unassuming, even reverential authority. This is not only masterful, it soulful, interrogatory, and virtuosic.

By the end, the album both feels like an inevitable destination from prior albums and represents an excellent entry point for the uninitiated.

Phoenix's most immediate work since Wolfgang Amadeus Phoenix and their most varied since United, Alpha Zulu does indeed range from A to Z, but the band are always in control and the results are frequently brilliant.

While Where I'm Meant to Be is a logical follow-up to Ezra Collective's debut, it's a soulful, musically advanced, rhythmically infectious one, too.

Even though The Metallic Index feels sparser and less developed than the first Fenella release, which was longer and a bit more dynamic, it's still a captivating effort, and well worth exploring.

Live at the L.A. Forum, April 26, 1969 is a superb reminder that most of that music is still vital, rewarding, and well worth hearing.

Sharp, incisive songwriting remains at the heart of her music, allowing Price to weave different sounds and rhythms into her probing, emotionally open songs.

Pure techno at its most exciting.

While the Nude Party come awfully close to quoting well-known riffs, grooves, and vocal affectations here, the fun they have doing so is contagious, and they nearly always bring enough of their own wry, irreverent, working-class moxie to the table that contemporary concerns as well as sheer charisma overpower any potential pastiche.

Lightning Dreamers is among the more interior statements Mazurek has crafted with ESO. The alternating of beat-conscious, vamp-driven electric jazz, experimental electronic abstraction, and improvisation is focused, subtle, and creatively resonant. This band's creativity is inexhaustible.

The arrangements and musicianship are consistently top-notch throughout, and the mood maintains a balance between reflection and optimism, making for one of Alfa Mist's most accomplished and enjoyable works to date.

Happily, Nelson sounds sprier here than he has on other records of contemporaneous vintage, which gives a light, lively quality that's quite welcome.

Legacy, Vol. 2 rounds up key tracks that weren't included on Boo's previous albums, along with plenty of gleeful surprises.

With Villagers he's [Tim Rutili's] shown he's not out of interesting ideas and intriguing places to take them, even when he's letting the surfaces seem more engaging.

Who knows where they might go next, but right here and right now in the year 2023, one would be hard-pressed to find a better rock & roll album on the shelves.

There might not be an album big enough to contain all the facets of Shears' talent, but Last Man Dancing's abundance of style and imagination should keep fans guessing -- and of course, dancing.

At once more serious and more playful than Mr. Dynamite, Yawning Abyss homes in on what Creep Show do best, and the ways they skewer corruption and indifference are a treat for fans of any of the artists involved and for anyone else who enjoys eloquent, darkly humorous electronic pop.