All in all, it’s a record that’s flush with reassurance and decidedly sedate circumstance.

He’s clearly infatuated with this raw sound and, like the Stones, at this late stage in his career, isn’t concerned with moving units or getting radio play. All of which speaks to the honesty and love of blues exuding from every track on this heartfelt tribute to the music that has always inspired Billy Gibbons’ best work.

As the track [Untitled] fades out and Eminem thanks the listener for coming out to the show, it's clear that if this effort is just the recovery, then the countdown to full rehabilitation begins now.

While it remains to be seen if any of these eleven tracks yields another legendary moment on the order of the ones Crowell has already penned, the organic Tarpaper Sky is a welcome reminder that at 63 he remains capable of releasing beautifully crafted music that can stand toe to toe with his best.

he talk-sings his way through the material, getting by on gusto more than singing talent. ... All that said, it’s an awful lot of fun. Wood and band are clearly enjoying themselves, pianist Waters — featured in two large photos in the booklet — shines throughout and the party vibe is contagious enough to make this a success not just as a tribute to Berry, but as a showcase for Wood, one of his most celebrated fans.

From The Black Dirt Sessions we get the sense that being painfully serious is more important than making stylistic progress.

Once you accept that Lana knows exactly what she's doing--that she, not Interscope Records or any of her co-producers, is the architect behind this R-rated retro-pop fantasy--then maybe you'll start loving her, too.

Marcus King isn’t pushing any boundaries on the leathery Young Blood, he doesn’t need to. His talents as songwriter, singer, and guitarist are skillfully displayed in these dozen roots rockers that any musician in this genre would be proud to have crafted with the energy, enthusiasm, and sheer professionalism he displays.

It may be startling news to fans who expected something more raw, more twangy or more of the same, but in this case, the startling news is that the new Tristen is startling good.

With its passionate embrace of multiple genres and sheer musicianship, Inheritance places the The Last Bison on the cusp of much bigger things.

Shaver’s deep, dusky, rugged voice is perfectly suited for this material.

Change in the Show is Kane’s fourth solo album to date, and, by and large, his most satisfying as well.

What Steve Earle and the Dukes make clear with Guy is that these songs are old friends as well, somehow truer and purer today than when they were written by one of the masters.

Neither has anything left to prove but the utter joy and comradery on display makes you hope this isn’t their final collaboration.

The songs are rich with relentless, complex instrumentation, the smooth, ethereal voice of Yannis Philippakas, and dubious lyrics about life.

The affecting, rugged, yet at times surprisingly sensitive Private Lives, the act’s most accomplished and immediate release yet.

Even if there is a sense that we’ve heard a lot of this before, People, Hell, And Angels is still a well-chosen and finely-presented collection that should not be blamed for that familiarity.

Grace sings with macho guts and Shape Shift With Me, with its provocative title and explicit, non PC cover art no major label would approve, continues the band’s string of powerfully uncompromising but surprisingly tuneful albums that make you think, but only if you’re not busy thrashing in the mosh pit.

Even though Deer Tick's punky, yowling take on hillbilly country-rock is a close relative to Diamond Rugs' own sound, it's more of a first cousin than an identical twin, and the few songs that deviate from the Deer Tick template are some of the album's most enjoyable.

This album, produced by Steve Lillywhite whose credits include U2, Dave Matthews Band and The Smiths, shows this band is ready to ready to compete for world-class status. Rock on.

Obviously this isn’t for everyone. But Trost and Barnes push boundaries on the often inspirational, always interesting, occasionally off-putting Petrichor. Those with open minds prepared to take the leap into this artsy sea will come away richer for the experience.

With the powerful That’s What I Heard, he and Jordan still find ways to broaden, expand and magnify that template without breaking it. Established fans will rejoice in the sheer exuberance, professionalism and variety displayed here. But even those who may have dismissed Cray over the past decade should jump back in and enjoy the ride.

Regardless of Mixtape Vol. 1’s origins, it’s a fun, dynamic set. Let’s hope this is just the beginning of a series of likeminded follow-ups.

So view Everything Now as a glass half empty due to its inconsistency or as a glass half full of standout singles. You won’t be able to ignore it though, which, in today’s crowded musical landscape, is triumph in itself.

Unlike Bruce Springsteen’s similarly rootsy and far peppier tribute to Pete Seeger, this fine ballad heavy collection probably won’t attract the attention its compilers are hoping for and garner the posthumous stateside appreciation MacColl deserves.

Voyageur improves on its predecessor by feeling both more intimate and more boomingly spacious--it helps move her away from the middle.

The disc is only 42 minutes long, but he’s pushing the envelope in so many directions, you’ll likely get dizzy playing this through for the first time. Regardless, there’s enough of a method to his madness for those open minded enough who enter this occasionally dark, always circuitous musical tunnel to enjoy, or at least appreciate, the ride.

The Athens-based multi-instrumentalist is joined by an assortment of similarly rootsy musicians who help flesh out some of these generally atmospheric yet always moving pieces, many of which only reveal their subtle allures after repeated playings.

Ray is, above all else, bursting with heart, soul and rock 'n' roll, and that heady flush of humanity is what makes Lung of Love so near-perfectly imperfect.

It’s Holland at her most beautiful; that’s something worth savoring.

Even though On Air-Live At The BBC Volume 2 might not be the most revelatory release, it’s still a couple of hours’ worth of The Beatles in their prime, and that makes it essential listening.

[A] stirring, often spellbinding mix of gospel, R&B, folk and rock.

Not everything on Final Farewell hits the mark – notably the partly spoken word We Are Here, a commentary on the impact of social media, which feels both glib and uncharacteristically unsubtle – and at just 31 minutes, it certainly doesn’t overstay its welcome. Overall though, this is a rich, warm, sometimes quite moving record which proves Peggy Seeger’s (and Dylan Thomas’s) point that old age does not have to mean going gently into that good night.

They ditch most of the quirks for grimy blues on Wonderful, Glorious, making it one of their best albums in years.

The songs on Storytone glide between those highs and lows with very few false moves, making this one stylistic detour that takes Neil Young very close to his artistic home.

In Another World displays the Tricksters cranking out another 45 minutes of crackling rock and roll that belies the members’ age, extensive backstory along with a work ethic doesn’t show any signs of slowing down now. Cheap Trick is a group too smart to quit.

One Man Mutiny does a great job of balancing Stinson's pop-punk sheen with a bittersweet dose of aching ballads.

This remains yet another diverse, refined and intermittently provocative release from an experienced singer-songwriter who consistently provides the Americana goods with cleverness, class and style.

X presents Ed Sheeran in somewhat of an identity crisis. Still, it’s fascinating to hear him work out whether he’s a hopeless romantic or just a guy who thinks romance is hopeless.

With These 13, Mathus and Bird effectively put their own imprint on music of a vintage variety, reimagining an old-time sound from their own personal perspective. Consider it an elegiac effort, one that reflects both shared sentiment and deep devotion.

The concepts may be well worn and bordering on cliché, but the execution is generally fresh and inspired, proving that writing what you know never goes out of style.

Ultimately, however, once you've gotten past the nagging feeling that you're not really listening to the Iron And Wine you thought you knew, you realize that you are, and that many of the songs are wonderful.

In other words, it’s McClinton as we’ve come to know and love him, cranking out another solid disc of Americana, Delbert-style. It sounds inspired and freewheeling, like he’s just getting started. And considering his age and extensive resume, that’s quite a compliment.

Some of the slick production, that drowned the last album for many, remains. Yet Daylight goes a long way to reassuring the roots/jam based audience Potter initially cultivated, that her time trying to be the next Taylor Swift is over.

All of this makes for a satisfying comeback for a cult artist who has several cults anxiously waiting his return. Those fans will no doubt love Dear Mark J Mulcahy, I Love You. Newcomers used to straight-line songs might want to try it out as well, because they might be surprised at how refreshing it is when a songwriter reaches his destination zig-zagging all the way.

With 17 tracks stretching over 57 minutes, perhaps some judicious editing could have trimmed the excess, but this remains a major step forward for Segall and a logical extension of a direction he was already headed in.

Teeming with melodic hooks and reflective lyrics, Too Weird to Live, Too Rare to Die! is both hypnotic (the lingering closer “The End of All Things”) and beguiling (Far Too Young to Die” and second single “This Is Gospel”).

While the album may leave some longtime fans pining for their beloved band of yesteryear, those who are willing to listen with open minds (and ears) will soon realize that Say Anything hasn't lost any of its true musical identity, but simply expanded upon it.

What makes Nothing's Gonna Change The Way You Feel About Me Now such a harrowing, albeit minor, addition to his catalog is how matter-of-factly Earle presents himself.

Given Surfer Blood’s appreciation for the qualities of surf rock and pop, a conventional approach toward melody and harmony recurring in many of Carefree Theatre’s tracks is understandable. Nonetheless, it isn’t a detriment to the album’s collective listening appeal.

In the hands of a wannabe, the aforementioned songs might sound somewhat cloying, but given Young’s rugged vocals and apparent reservoir of conviction, the emotions ring true.

Even though its origins are a bit unique, And I’ll Scratch Yours is still your garden-variety tribute album, subject to all of the perks and limitations that such projects tend to contain.

How Barn will shape up in terms of Young’s catalog of classics remains to be seen of course. The fact that he’s willing to revisit his older material in both style and substance ensures that the continued reverence for his work will remain unabated. In that regard, he remains forever Young.

Adorable, confident, and self-assured define beabadoobee on her most mature album yet.

I Speak Because I Can is composed of mature, sophisticated but relatable songs, performed as only Marling can perform them, showcasing not only a broader vocal range and more intricate guitar parts than on her previous album, but a new breadth of experience, resulting in a balanced album that can sound as enshrouded in shadow as it does enlightened.

This is as authentic as anything out of Nashville or Texas, elevated with terrific backing musicians who have supported such US loving Brits as Nick Lowe, Elvis Costello and Graham Parker.

This is an impressive first effort. ... Her authority, poise and sense of self resonates as a new yet seasoned artist, just getting started and with a promising career ahead.

Like most double albums, this one could do with some judicious editing. It’s a logical reason to bring in an outside ear which, with multi-instrumentalist singer-songwriter Sweet credited as producer, engineer and mixer, hasn’t happened here. Regardless, Sweet fans who are a bit of a cult at this stage, will rejoice with this reflective new music.

The sheer quality of the songwriting and performances were sharpened and refined over many months yielding a set that’s impressively catchy and immediately satisfying.

The 10 tunes fly by in the fastest 40 minutes of your life. No need to pick and choose favorites either, because there’s little filler on a debut that knows the approach it wants and nails it with graceful professionalism and buckets of passion.

Despite his decidedly downcast demeanor — imagine John Cale, Nick Cave and Lou Reed crashing one another’s therapy sessions and turning them into one colossal vent — several songs find a spark that manages to illuminate even the darkest designs.

Seven Psalms is certainly an intriguing album, but not necessarily one that will reflect the faith of his followers.

All of this impeccable accompaniment wouldn’t amount to much without terrific songs sung with emotion and drive, which is where Mae excels.

The dichotomy of Jones’ softer touch with material subtly flowing into darker, more ominous territory and instrumentation that expands her palette into moodier areas provides Pick Me Off the Floor with its tensest moments. Perhaps she hasn’t gone far enough since the tone of the ballad-heavy album could use a little more juice to mix things up. But the eclectic, always classy Jones tweaks even the most unruffled tracks here with enough of an edge to keep things interesting.

The record is, in many ways, the very project longtime fans of the Alabama singer-songwriter might have been hoping for for years: a direct collection of sharply-written originals that place White’s vulnerable vocals front and center.

Bauer has been sitting on these feelings for over a decade, but he chose a great way to share them.

While it might not be breaking any new ground, Buddy & Jim is hard to top when it comes to supremely enjoyable Americana music.

Between the lyrics questioning relationships and music that swirls and soars, Sucker’s Lunch isn’t easy listening. But those who dig deeper into Madeline Kenney’s uncertainties about love and affection will relate to the difficulties this process of starting a new serious relationship can be, and how wonderfully these complex and beautifully crafted songs tackle, even obliquely, that thorny subject.

Cobb’s touch could use a little more grit overall, but Lund delivers an enjoyable romp that gets points on diversity. The album displays his impressive lyrical skills and enough sparks that could catch fire in tougher live versions propelled by rowdy crowds and concert electricity.

Darlingside is an act that has latched onto a unique sound and rides it for 40 glorious minutes on the gorgeous and confident Extralife.

Another dozen perfectly crafted ringing nuggets that pick up where 1982's "Repercussion," the last album that featured the original lineup, left off.

Yet, as familiar as some of his phrases sound, lines like "the watertower has more names" are still striking in their simple evocation of what revisiting the past can be like.

In the moving disc closer "Mimi Song," she asks her listener to "tell them about me when I'm gone" and to "remember me." With an alluring album such as this one, that request shouldn't be hard to do.

These guys clearly know their roots, and English Oceans is all about getting back to where they came from.

Nothing approaches rock, or even rock oriented. Rather Melua keeps her expressive, mellifluous voice focused on mood and atmosphere, letting the songs and orchestrations do the heavy lifting.

The sound is quintessentially opiate--almost sleep-inducing--and upon writing that, it should be clarified as a compliment, kind of like falling asleep to NPR: It gives good information, but the undertones and lush notes can lull you to dreams.

Dawes's second album succeeds on its own terms, and will appeal to fans of solid roots-rock songwriting.

Typical of many timeless albums, the whole of The Exodus Suite is greater than its impressive parts. Carve 50 minutes out of your life and spend time reveling in its thought provoking, often mesmerizing and riveting pleasures.

While it’s not the place to start for newbies, this is a refreshing, consistently well-crafted comeback that shows there is plenty of gas left in the band’s tank.

The end result is an album that demands a concerted listen in order to fully appreciate all the tones and textures it has to offer. With Spectral Lines, Josh Ritter continues to blur the boundary between melody and mystique.

This cohesiveness is the very thing that was lacking from previous efforts, and ultimately dulled their impact. Kudos to the Casadys for finally accenting their highly inventive songwriting in a unified manner.

Nick Lowe continues to age gracefully and for those still yearning for the Basher of yesteryear, there's always the Labour of Lust reissue that came out earlier this year.

The pair deserve credit for an adventurous attitude and for not allowing their reverence to deter their intents. These are, after all, interpretations, and in any such circumstance, creativity counts. Granted, it’s an unorthodox tack for a tribute, but it’s one that still resonates well.

A dozen effusive offerings that show off both their talent and tenacity. The tones and tempos vary from song to song, but nearly all provide an upbeat delivery that grabs the listener straight out of the gate with nothing less than an instant impression.

The combination of the macabre subject matter and the celebratory music feels akin to last spring’s Pile, an album by Houston, Texas’ A Giant Dog. But where that band explodes with party-friendly garage rock, Shovels & Rope let things sizzle a little bit longer.

They just make music that pleases them and in doing that also created one of the most adventurous, least predictable albums of the year.

Happy Ending sounds like a bunch of top notch, jittery Squeeze songs dialed down just a notch.

Nile delivers one of his finest and most passionate projects with American Ride.

Feat stomp and strum their way through a pretty good batch of new tunes that capture the band's distinctive musical gumbo but aren't exactly classics.

Those who wanted a well-rounded musical summation of Russell’s oeuvre instead of this highly stylized set of romantic musings might be disappointed, but this is the album he wanted to leave as his legacy. As such, it’s a significant, often impressive work from one of rock and roll’s true icons who has chosen a unique and, to many, surprisingly starry-eyed way to say goodbye.

Filthy Friends invites you to their party that pounds out a rugged, lived-in and honest rocking sound, delivered by a bunch of rock and roll lifers with nothing to prove who are clearly in this for the camaraderie and the music.

Established fans will appreciate the trip back in time and perhaps acquire new respect for the more obscure tracks such as “Persuasion.” But those new to Richard Thompson are just as likely to relish these terrific songs played and sung by a master still at the top of his game and wise enough to realize he actually can improve on the originals.

As much as Broken Social Scene's identity is wrapped up in it's concept as a collective, their most transcendent moments are not their speedy grandiose party anthems but are instead the small soft details like the band setting into a slow almost improvisational groove in "Sweetest Kill" or the hushed vocals of Emily Haines, Leslie Feist and Amy Millan singing in poignant unison on "Sentimental X's."

For anyone expecting a stark left-turn from the songwriter, What It Is will be a let-down. But the record’s greatest strength is also what makes it predictable: as Carll settles into the warm consistency and careful craft of middle-career, he’s less interested in proving who he is than in refining what he does best.

Datura4 should pump up the volume at any party whose participants are either over 60 or just love the music of the era known for black lights, skin tight trousers, beards and waist long hair.

Citizen Kane Jr. Blues finds Young back in a solo setting, and while some of the performances initially seem rather tentative, he comes through with unfailing effort and determination.

These performances could have come from an old Folkways album. Colter Wall captures a long-forgotten time and place, keeping the cowboy folklore alive by reminding us that poignant songs sung by a superb singer will never sound outdated.

The duo has a knack for affecting turns of phrases such as that, which helps offset the lack of finite details to ground the songs on Monterey.