This analog affair sounds cinematic even without the visuals.

Having long since cracked the code for the perfect country song, Haggard expertly crafts a fresh batch of tunes that make you want to write one yourself.

Underneath slicker production and diminished guitar usage, are the same melodies and introspective, angsty songwriting, only this time the band may come off as occasionally happy.

Based on its variety and power, Strand Of Oaks’ Heal seems like that special kind of album that can serve as a temporary buffer for others just as the aforementioned artists did for Showalter.

Production by longtime collaborator Thomas Bartlett and ex-Frames member David Odlum is inviting, alluring and engaging. It pushes Hansard into his finest performances yet on originals that are haunting, poignant and beautifully conceived.

Another rollicking, rolling set of the 69-year-old Finley’s Louisiana-based soul, blues, and gospel-laced intensity.

The result is her finest, most poignant and accomplished album in an already impressive seven year solo career.

This rollicking outing confirms that his output and talents are just hitting their peak, with hopefully more to come.

Asher’s deft work provides breathing room between the instruments, Martin’s subtle playing leaves the showboating behind and the trio delivers a modest gem.

All in all, The Nihilist allows Finn to stretch out and explore his ambitions on a scale that dwarfs anything he has released to this point.

Longtime fans who have patiently waited for this resurgence will be thrilled with results that gently tug at the boundaries of their established sound. But even listeners new to the Freakwater experience can start here and work backwards through a rich catalog dedicated to the darker roots of Americana.

It’s Bragg’s voice that’s most prominent of course: warm and resonant, but also mournful at times, tinged with regret, that of an old soul looking at the world and shaking his head at its follies.

Hang on for a wild, careening drive as the Dead Weather take you on a searing ride through gutsy, fiery rock and roll that’s powerful and relentless, not to mention well played and tautly produced.

There are no weak tracks, proving that this collaboration with Buck & McCaughey provided the energy and creativity to help Escovedo’s 12th studio release be one of his finest, which is no small feat in his already exceptionally productive, creative and influential career.

All told, Women and Country is Dylan's most accomplished work to date, and will set the bar for all future endeavors.

This is another impressive notch in the group’s expansive catalog belt and a further illustration that their classy, classic talents show no signs of dissipating as they settle into middle age.

Together, the 12 songs reveal the distinct sound of The Magpie Salute, which successfully blends various genres without necessarily committing to any of them. Sonically, it sets a high water mark for a Part Three, should one be downriver.

As a project, The Incredible Machine succeeds big time, and may make these guys even less welcome to certain factions of Music Row as they continue to change the face of what is considered country.

Bon Iver is a marvel.

If you're at a different stage of life than she is, it can be exhausting trying to keep up with the succession of emotions to which she deftly gives voice, but also downright exhilarating.

Given the informal setting, those expecting some sort of regal revelation would best focus on the Traveling Wilburys recordings that arrived nearly two decades later. On the other hand, given the near mythical stature that these legendary Dylan-Harrison sessions have attained over the past five decades, compulsive collectors will find any inclusion welcome regardless.

The production (also by Linden), audio mix, playing, and songwriting capture the shared spirit of the trio who have seldom sounded better.

Bang Zoom... is everything anyone would want from the Rock and Roll Hall of Famers at this late stage, and likely far more than even their staunchest fans expected.

For all the angst it musters, Electro Melodier is still a reasonably emphatic effort, one with a drive and determination that never finds cause to falter.

Blue Smoke easily hits its mark of making us look within ourselves while laughing through our tears.

The sparse solo acoustic “Be Easy” closes out the stunning Desert Dove, a splendid album that nimbly navigates footing on the tricky balancing act between Michaela Anne’s stellar performance, her striking material and superb production.

Shame, Shame is both a more focused and lyrically mature effort without forgoing any of the band's rambling pop charm.

Goodnight Tender may not be a radical sonic departure but by recording an entire country album, Amy Ray can check another box on her career genre list, and do it with pride in a job beautifully done.

It’s adventurous and elastic, played and sung with honesty and a sure sense of the mutual lyrical, compositional, and especially vocal abilities of its three talented musicians.

Smith's candor in this collection of hard-won songs is admirable.

The record's songs maintain Oldham's characteristic simplicity and sparseness that hearken back to the now ancient songs of American music's past. All the while, this familiarly fresh set of arrangements gives Oldham's restless phrasings the virgin textures upon which to project cryptic and fearless lyrics.

They’ve recorded another stunning album that’s going to be a bear to follow up.

While the dizzying array of sounds The Limiñanas fuse into their splendidly unique final product might make it seem like the mess you get throwing these against the wall, it works unusually well. And at a relatively compact 40 minutes, you’ll find yourself wanting more of wherever this came from.

The now mature musical relationship pays dividends as the baritone crooning of Lanegan and Campbell's breathy, Nico-inflected singing continue to deliver an atmospheric payoff.

The confidence and direction A.A. Williams projects makes it feel more like her fifth album rather than her first. It’s a stunning, haunting work that sets the stage for what should be an enthralling and even more provocative career.

Paint This Town could be considered the group’s most emphatic effort yet, given its music and messaging. Simply put, it’s also their best to boot.

The agitated, anxious emotions that explode over Big Mess create a difficult, even grating 73 minutes, which is clearly what Elfman was aiming for. It’s a bumpy, challenging, often exhilarating, sometimes scary experience. Strap in and hang on.

It’s a release you’ll want to live with for a while, and not just on Sunday mornings.

This set's downbeat musings about life's foibles is ominously compelling.

There may not be many moments here that couldn’t have been included on his other two albums, but when an artist finds his pocket and groove as perfectly as Bradley has, that’s an insignificant detail.

What could be a convoluted jumble is instead a beautifully fashioned collection of sounds that flow and shift from the ornate qualities of “When It Grows Darkest” to the stark piano and voice of “The Meadow”; one that drifts with the pensive, thought provoking vibe of a foreign film or the undulating of the ocean tide.

He beefs things and takes a full-band approach on Big Bad Luv, which contains almost as many hooks as it does Moreland’s hard-earned kernels of truth.

As an album, Valtari might not be the band's masterwork, but it very well could be their re-birth.

Short but potent and powerful set.

Arguably his reach sometimes exceeds his grasp. But with the captivating For Their Love he’s using all the musical and production tools in his artistic arsenal to expand his band’s approach into an album as compelling and transformational as any you’ll experience in contemporary music.

Taken as a whole, the Let It Be box is an essential addition to any collector’s library, a collection that documents a critical time in the final stages of the Beatles’ existence. Few albums were accompanied by such sad circumstances, but now, visited anew, the joy and jubilation are evident after all.

Another in a series of endearingly quirky albums from one of Americana’s most intriguing and unconventional artists.

LaVette is clearly in her element throughout, delivering Bramblett’s words with as much emotion as anyone could squeeze out of them. Producer Jordan supports her with a band of pros that never upstages the star. Call it a win-win for the writer and singer, spotlighting the talents of both, with this thrilling, often electrifying work.

While there is an aural sameness that occasionally feels repetitious, the material is so exquisitely composed, effortlessly recorded and emotionally sung, this isn’t a major shortcoming for an album that gets more impressive each time you hear it.

Ultimately, Local Valley becomes a place where melody and mystique are woven well in tandem and relentless reflection gives way to a sense of clarity and comfort. Be assured the depth of devotion is never in doubt.

It's mood music with a melody, orchestral pop without the pomp, midwest Americana with Euro-classical training. And despite the title, it's far from broken.

Sure sounds a bit like a certain New Jersey rocker who was born to run and also tackled the topic of the workingman's plight, both before and after he made it big. Take that example to heart, Sam Roberts Band. Tycoon and rebel? If you do it right, you can be both.

It’s another remarkably strong and mature entry in a sturdy body of work that hasn’t shown any missteps yet.

A full band backs the twosome and while this might seem like an unusual pairing on paper, the result is an alternatively sweet, touching, rousing and undeniably heartfelt set that plays to both artist’s strengths while pushing each slightly outside their comfort zone.

Those who believe the singer’s best work is behind him will rethink that after one spin of the impressive Apache, an album--significantly the first on his own label--that ranks with the finest in Neville’s storied career.

A handful of high profile ringers (Beck, Beth Orton, the Cure's Robert Smith, Phil Collins, Snow Patrol) join less recognizable names interpreting Martyn songs in versions that will hopefully encourage listeners unfamiliar with his work to seek out his bulging catalog of inspired originals.

With newly remastered sound and a second disc of worthwhile rarities including live tracks, remixes, B-sides and the like, even fans would do well to take the plunge on this refurbished, expanded reissue of an album that Frame, despite multiple later attempts both under the Aztec Camera moniker and later his own name, never could build a career on.

Songs to Play may not be as incandescent and life affirming as the best of the wonderful Go-Betweens but at times it gets close, which is high praise indeed.

Storm Damage is generally a difficult scenario to weather, in more ways than one. Happily then, Ben Watt proves he’s got the desire and determination to see the situation through.

An illuminating effort in absolutely every regard, Nothing Lasts Forever is easily one of the most memorable musical encounters you’ll hear this year.

Clapton never sounds clichéd, artificial or forced as he delivers this material with low key charisma and a laid back exuberance that’s charming and inspired.

Stories Don’t End is still a step forward, if only for the moments of off-the-cuff brilliance that result from all the ambitious effort.

Somehow simultaneously edgy yet soothing, these songs may not display the type of unbridled, jagged joy that these members’ main bands provide, but there is depth and complexity here, inviting immersive exploration.

The entire set is as classy, often self-indulgent and challenging as the man himself.

Credit Taylor and his colleagues —Alex Bingham (bass, vocals, mellotron), Chris Boerner (guitars, synth), Nick Flak (drums, percussion), and Sam Fributh (keys, vocals)—for executing an effort that can easily be considered another major achievement for this ever-consistent combo.

Perhaps a better balance of rockers and reflective selections might have made this stronger and more diverse. But those who shied away from Wynonna’s slicker commercial heyday will find this direct, collective style a refreshing transformation for the better. For the rest of us, it’s yet additional proof of her tough/tender, sassy/sensitive vocal prowess and arguably the finest release of her extensive career.

Existing fans will rightfully be thrilled that Hitchcock not only hasn’t lost his edge, but has sharpened his knives on this superb set.

Between the quality of the songs (five written or co-penned by Raitt, an unusually high number), the relaxed yet taut performances and Bonnie’s characteristic smooth whisky drawl, the appropriately titled Dig In Deep is another distinguished and near perfect entry into a classy, bulging catalog that has seen few missteps.

Those previously not exposed to Browne’s music, or fans of these performers he influenced, can start here for a terrific taste of one of America’s most stunning and keen lyricists.

While this may appear preachy, Mule’s tough, riff-driven attack along with Haynes’ raw, flinty vocals and the synergistic nature of the quartet, which functions as a well-lubed outfit honed through years of live work, keep you focused on the music.

The brass-orchestral ups and downs make Transcendental Youth an easier trajectory of peaks and valleys than the flatter, subtler All Eternals Deck.

There’s a maturity and self-assurance on the appropriately titled Expectations that’s remarkable, especially for an artist’s initial release.

He hasn’t run from success as much as escaped its grip to release music that’s honest, raw and comes straight from the heart.

Taken as a whole, American Band is the group’s most thematically coherent work since their pinnacle of Jason Isbell-assisted records in the early 2000s.

Desperation and fear meet talent and ingenuity in a fascinating way on How Do You Sleep At Night? making for one of the most thrilling full-length listens of the year thus far.

With increasingly assured songwriting, Natalie Prass demonstrates that she is on top of her game in the here and now.

The 11 songs on Rockpango show the brothers are not only masters of their art but have a comfort level in their maturing sound that allows them to expand it without losing its essence.

Calling Renewal a remarkable work doesn’t even begin to describe its full extent of prowess and sheer ability. In a word, Strings simply soars.

Marriage, fatherhood, L.A., and devotion to Sri Sakthi Narayani Amma may have mellowed the former Noise Addict leader, but Lee continues to release engaging, if slightly more introspective, work.

Put aside the historical perspective and just listen to Love From London. From the opening, minor-key piano strikes and repetitive swirls of opening track “Harry’s Song,” Hitchcock catches you--leaves you breathless--with his ability to compel.

Nothing takes the place of Muddy’s performances with their emotional intensity and mind blowing musicality. But this heartfelt project makes a terrific reminder of just how great these songs are, unearths interesting, seldom heard Muddy sides even fans might not know and works as both a tribute to the legendary blues man and an impetus to go back and experience the originals.

Marling has always sounded like an adult, even when she wasn't one. Now that she's got the actual years to back up her world-weary tone, she's all the more thrilling. Maybe it's the beast within.

In the end, the LP is something you can put on at a party to get the feet flying and the shirt-tails waving. It’s also perfect for a Saturday drive down the highway, sunshine on your sunglassed face. Or it’s an album to put on with your morning coffee to equally parse and appreciate openly.

An excellent example of a sound served up on a vibrant and expressive musical palette. It bears an air of familiarity that could easily lead one to believe these songs have been lingering in the ether forever.

The remastered audio captures each instrument with surprisingly sharp and clean separation which makes this sound better than what an exhausted, rain-soaked, mud covered audience experienced hearing it live.

It remains a great, perhaps the greatest, example of The Replacements’ studio output. Whether you need all the extras, most of which are solid and worth hearing, depends on how attached you are to the contents and band.

Honest emotion comes through in every note and nuance. So too, that personal perspective brings honesty and immediacy that makes for an unmistakable impression. Clearly, this Crooked Tree is extremely well rooted.

The ten taut songs sashay by in just over a half hour ensuring nothing overstays its welcome and everyone leaves with a smile as goofy and frisky as Austin Powers looking for a shag.

The Civil Wars is a testament to the power of their undeniable musical chemistry. It’s even better than their Grammy-winning debut, Barton Hollow.

Arguably her finest, most explosive release.

In a word, Abigail Washburn's City of Refuge shines. It is a folk-pastiche that draws on all of Washburn's past successes and crafts them together into a lovely and sometimes mysterious work of art.

Like Peggy Lee, Francoise Hardy, Jane Birkin and others, Molly Burch is a chanteuse, exploring the edges of noir songs with beauty, sadness, and an honest vulnerability that’s powerful yet strikingly understated.

This is classic folk that shimmers with a vitality and determination so hypnotic and cohesive, it seems like they wrote these selections themselves. And except for occasional passé references like “magpie’s nest,” “one evening fair,” and “by the roving of her eye,” there isn’t much dated about the gorgeous approach.

It has taken 50 years of performing on the fringes of the music business, but with the sumptuous It Rains Love, Lee Fields is seizing his moment by showering us with the sizzling sounds of pure, undiluted soul.

There is always room in the world for another well written, classy pop-rock gem, and with Chasing Yesterdays Noel Gallagher proudly delivers 10 of them.

Lady Lamb and producer Erin Tonkon keep the sonic landscape busy and surprising, even on the quieter numbers. They also aren’t afraid to go for heartwarming, which is something you might not associate with the indie-rock genre.

Consequences offers no shortage of rhythm-ready offerings, which ensure the enthusiasm remains at a constant peak.