That’s How Rumors Get Started continually reinforces Price’s skill as a lyricist and vocalist.

The “friends” may bring more eyeballs, but Dion matches and even surpasses them on these fiery blues originals which, considering the stars involved, is an impressive achievement.

If this sounds musically dour, it’s not. My Morning Jacket is just too solid of a unit to get dragged under musically by James’ brooding musings. He never loses his strong melodic sense and is always ready to bring a retro-styled 70s soul vibe to the table.

A heartfelt album that reflects Anderson’s optimism, gratitude, honesty and outlook in the aftermath of an experience that almost stole his gift of music out from under him.

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.

Each track lists a dozen or more players. And while that creates complex, occasionally ornate instrumentation, the songs never feel cluttered or overly busy. Rather Weller carefully crafts this music, shifting moods and using the players to enhance songs that are as well, soulful and heavy, as anything he has created.

While The Lemonade Stand offers mostly familiar fare, it also makes for a genuinely tasty treat as well.

Ultimately, Heavy Nights isn’t the sort of album designed to create an immediate impression. It demands repeated listens and an opportunity to dig deep well below the surface.

There’s soothing, but never clichéd warmth in this retro-style. Both LaMontagne’s craftsmanship in the composition of these songs and his easygoing, unaccompanied playing will come as comfort food to established followers who should welcome this most organic return to his roots.

[Scott] Bomar provided similar assistance for Bryant’s 2017’s comeback but really finds his groove on these 10 superb tracks. He expertly yet effortlessly balances strings, horns and a taut rhythm section while keeping the focus on Bryant’s pleading vocals. Matt-Ross Spang handles mixing at Sam Phillips Recording Service studio in Memphis bringing extra organic zest to this flavorful concoction.

In retrospect, Young’s decision may have been for the best, but like everything he’s done, Homegrown still has much to offer. In retrospect, and with all things considered, it’s not a bad blend.

Reteaming with co-producers Ethan Gruska and Tony Berg, Bridgers pulls the listener into a weary world only she could master. It’s exhaustive but redemptive, and she casts her songwriting into fire and brimstone, only to later yank it free in the knick of time.

There’s fascination found in ever single setting, and his new album, Patience, is no exception.

World On The Ground is many things at once: Emotionally vast, welcomingly homey, highly individualized in its memories, broadly appealing through its attentive storytelling, symbolically hyperbolic, and unintentionally self-aware in its realism. Through many layers of experimentation with lyrical intimacy, Sarah Jarosz has invigorated a songwriting path previously less tended to over her compositional history.

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.

Those who haven’t absorbed this music yet will find it to be as edgy and intense as anything in Pop’s catalog, and deserving of the lavish treatment it receives here. Bowie fans, especially of his darker, experimental Berlin recordings, will also find this a welcome and even essential addition to his own classic albums of these storied years.

Built to Spill Plays the Songs of Daniel Johnston manages to do what most tribute albums aspire to, but few achieve — it stands as a testament to the songs and to the band reimagining them. Martsch spotlights Johnston’s lyrics and arrangements in a fresh, innovative way that makes us reconsider these songs while reminding us why we fell in love with them in the first place.

For those who, like Thomson, also yearn for the charmingly constructed sounds of classic singles which remain timeless slices of memorable music, and others wanting a taste of those songs in a contemporary setting, Heartbreaker Please finds Teddy Thompson nailing that elusive style with deceptive, impressive ease.

This flawlessly conceived follow-up draws from many of the same influences yet broadens her boundaries. It’s every bit as potent and expertly arranged, putting it in play as an early contender for one of 2020’s finest albums.

It’s a taut and intense collection of songs that connect just as well without the visuals of the play they were predominantly written to accompany. GOWV displays once again that Steve Earle is one of America’s most captivating, unvarnished, provocative and talented singer/songwriters.

For longtime fans, A Steady Drip, Drip, Drip is just another impressive notch in Sparks’ ever expanding career belt. But newcomers can come aboard here, then work themselves back through nearly five decades of similarly ecstatic, challenging and generally delightful Sparks music, most of it well worth hearing.

Seven albums on, Isbell’s achieved a rarified status, one that indulges a need for creativity as well as contemplation. Reunions reminds us that it’s the rare artist that succeeds at both.

It’s not just an impressive, even unprecedented comeback, but one that resonates with the vitality and dizzying power of X’s finest music.

Magical, mystifying and flush with finesse, it’s easily Jurado’s most enticing effort yet.

It’s not for the squeamish or those looking for concise, structured songs. But established followers will likely get on board and stay there. Others may want to dip their toes to test the temperature before they jump into Lanegan’s choppy, occasionally dissonant but revelatory waters.

Benson writes about life’s ups and downs. But musically this short (just over 30 minutes) yet taut collection delivers all the power pop goods you’ll need.

Everything about this set feels more confident, self-assured and assertive than even her impressive earlier releases. The combination of Rose’s alternately sweet and tangy vocals with her best collection of tunes yet makes this her finest overall album.

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.

One of the most searing, potent and passionate albums you’ll hear this year.

Consistency doesn’t count for much, but that may indeed be the point. Juice is a refreshing reminder that it’s better to sound a bit unhinged than to always be so common and consistent. For their part, Born Ruffians serve up all of spontaneity their spirited style allows.

Clearly this one-off side trip is not for everyone, perhaps including The Dream Syndicate fans. But those willing to take a leap into more mysterious, experimental, unfamiliar, occasionally avant-garde waters will find enough spine-tingling moments to make this one of the more mind-expanding hours you’ll experience on any recent CD.

Tastefully arranged, fully cohesive and concise.

Hopefully this plush, beautifully arranged and produced album will get more exposure than her previous release; it would be frustrating to have to wait another eight years for its sequel.

Ellis’ first full length release taps into a discreet sense of introspection rare for any recording artist, let alone a relatively new one. It’s headphone music for lonesome, solitary Sunday mornings when the self-reflection temperature is high and the vibe is low boil.

Never Will (pre-order here) proves the tough gal persona she established on that stunning debut was no fluke or act. It shows she’s got plenty of raw talent to keep her career growing as another capable, no BS rootsy country infused woman who has charged into the charts and is likely to stay there.

Hunt is at his most exciting when he fuses the past and the present (“Let It Down” truly shines bright) into ambitious creations that hint at even greater promise ─ but his second offering is largely a mixed bag.

An album that floats and hovers with challenging lyrics and a timeless sound that’s often hypnotic in its lovely, sometimes surreal, often delightful qualities.

While the mysterious yet sumptuous vibe wears thin with tunes that start to sound similar about halfway though, Monophonics have staked out predominantly dreamy territory on the moody It’s Only Us and are intent on keeping the retro psychedelic soul flames burning.

Consistency is still key, and it’s good to know that Pearl Jam still maintains the edged angst that’s served them well from the start. Indeed, Gigaton provides a most pervasive perspective.

Fallon speaks humbly of his work, but Local Honey, containing various other themes of home and love, is his highest achievement to-date.

This more elusive, rootsy style suits Crutchfield well. It allows space to capture a clearer eyed vision of a life she’s still trying to balance, sort out and work through …just like the rest of us.

Whether or not this will be Bulat’s breakthrough record remains to be seen. The sound sustains the suspense, but rarely does it leap out at the listener. It hardly matters though. Are You In Love? answers its own question with every repeated encounter.

Beat Poetry Survivalists is a bold first step, and if some of the songs don’t quite hit the mark, it’s only because the two are intent on taking their partnership to certain extremes. And because risk sometimes leads to recklessness, a few missteps are not only inevitable but also forgivable.

He makes each of these tracks reverberate with the best aspects of the Americana genre that has clearly influenced him, while carving out his own space in it.

All in all, this album works.

Early James is a young artist infused with the ghosts of another time. His shape-shifting music is impossible to pigeonhole but after spending 35 minutes with it, you’ll understand that Auerbach has once again found a new, distinctive, impressively mature and strikingly focused talent with a bright future.

Good stuff all around from a band that makes it look easy by keeping true to what got it here in the first place.

2017’s Flicker fermented a folkier, more organic sensibility, and despite Heartbreak Weather’s soaring ambition, he roots himself to lyrics that sprout from similar emotional earth.

It’s a decisive step forward in their sound.

Like the tumultuous atmosphere that was the backdrop of some of those ’60s albums, No Time for Love Songs reflects the current times with a sober and measured approach.

Even as her world expands, and her style shifts along with it, Brandy Clark keeps her feet grounded in the here and now. Her songwriting is only getting better.

His obvious joy and dedication to this classic approach is contagious and the secret sauce that makes Hunter’s seventh release arguably his finest.

Even at their most carefree and explorative, these tracks are tight, well crafted, and time conscious.

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

Once you get past the at times overwhelming sweetening added to make Cooke more palatable to a larger audience, you’ll be hypnotized by the singer’s creative phrasing, timing and sure sense of dynamics. Previously unheard selections, along with stereo and mono mixes, make this an essential item for the Cooke collector. And because these songs are from the once lost original tapes, this music has never sounded fresher or more alive.

While some may complain about the ballad vibe that envelopes most of these ten tunes, there’s no doubt that The Secret Sisters, and their famed production and musical support team, have tapped into a well, secret sauce that makes this beautifully conceived, often introspective but never insular rootsy folk and pop so unique and immediately likeable.

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.

Existing fans will take this in stride since it’s cut from a dense cloth that Dulli has been stitching for the majority of his nearly 30 year career. They will find plenty here to pore over and try to untangle. Newcomers may scratch their collective heads yet still appreciate Dulli’s unconventional, minor key songwriting, distinctive vocals and playing that, even with guests on every track, comes primarily from his mind and hands.

To say the results probably exceeded anyone’s expectations is an understatement.

Arguably her finest, most explosive release.

With Say Nothing the band takes enough steps to both developing their lyrical content and staying musically contemporary to please hard rock fans who weren’t born when their debut was released and may have no idea who Ted Bundy, or even Nickelback, is.

The Lone Bellow stands as one of the most consistent bands of the last 20 years. Across Half Moon Light, the trio ventures outside their usual musical box, alongside producer Dessner (the man behind 2015’s Then Came the Morning), to provide richer, poppier, and bolder textures. Yet it is never at the expense of their lyrical bite.

For Zappa obsessives, and you know who you are, it’s impossible to imagine a more thorough and exhaustive (maybe exhausting is a better word) examination of the artist and how his music was created—before the advent of digital technology– than this. Sit back, dig in and enjoy.

Nothing is rushed. Listeners should prepare to hunker down for 45 minutes to absorb the hypnotic and often mesmerizing U Kin B the Sun in a single, uninterrupted sitting where it hits the hardest.

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.

High Road is fun, frilly, and fanciful – and Kesha has more than earned this moment. It suits her.

The Unraveling is a perfect storm of anger, resentment, frustration and even glimmers of hope, wrapped in the sharp, terse musical invention we have come to expect from these veterans. In other words, it’s another classic Drive-By Truckers release.

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.

El Dorado is an inspiring and impressive work displaying another side of King’s talents, albeit one that he has shown glimpses of in the past. It’s certainly his most expressive and arguably finest recorded moment.

Ultimately, although ‘Like The River That Loves The Sea’ flows slowly towards its ultimate destination, it makes the journey worthwhile. The grace and beauty Shelley shows throughout gives reason for a celestial celebration.

A free yet fanciful spirit, Nilsson would likely be proud that his legacy lingers even now. A treasure waiting to be discovered, Losst and Founnd offers renewed reason for celebration.

After half a century, it’s clear that he still retains an eternal energy and enthusiasm. It’s little wonder then that this 50 Year Trip proves such an exhilarating journey at every stop along the way.

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.

The rawness of Holmes’ approach and the sheer down-home intensity of everything here may be too stark and unfiltered for most listeners. But thank Auerbach for capturing this most primal of blues music played with the loose, seemingly unrehearsed power and hypnotic force of what most will never experience unless they enter Holmes’ club on a sweaty Saturday night.

Duster have finally found their audience in 2019, and their self-titled album shows that the band still has a lot left up their sleeve.

These songs—either live or in the studio– maintain the power and magnetic, manic dynamism that turned heads nearly four decades ago and they have never sounded better.

It’s a lovingly assembled package and the last word on a once misunderstood but now acknowledged masterpiece.

Even if this is a stopgap release to buy time for writing new material, it’s a cool, fun and even informative set that’s as entertaining as the rest of the band’s work.

There is really not much to separate this from the late-period, post-millennial albums that Cohen started churning out to ease financial issues, and those records maintained an imposingly high standard.

All were matched with arguably the most potent material they would ever sing. For its golden anniversary, veteran Bob Clearmountain’s new mix maintains the disc’s homespun quality while revealing previously hidden subtleties in the original recording.

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.

Her 11th studio set, Blood (produced by Kenny Greenberg) is as inescapably devastating as it is cathartic, liberating and beautiful. ... Blood is an irrefutable masterpiece.

This is a fun listen but also feels like a way for Hatfield to amuse herself, romping through a dozen interesting, far from essential interpretations of the Police’s music in 45 minutes as she works on new material.

It is tough to immediately decide where this record fits into Oldham’s dense, diverse and frankly daunting discography, but it’s reaffirming to see him still swinging for the fences.

There is certainly craftsmanship behind the songwriting here, but it lacks the sweep that the strings would bring to the classic hits.

Not all of it is easy listening, but all of it is worth hearing.

His unique pop prosody and production skills, more sophisticated than ever in Pony, foretell that his sound will continue progressing to new creative heights, with the heft of catchy pop music and the inventiveness of its growing indie subgenre.

The live 25-song audio concert is a solid performance, but the just above bootleg sound is compressed and tinny. The band plays only a few songs from their IRS days while reprising all but three Monster tunes. The hours worth of mostly instrumental demos, where a Stipe-less trio tests riffs and grooves without actual songs behind them, are pleasant but forgettable. ... Fans will be intrigued by the crisper sound of the [remix] where Stipe’s vocals and Peter Buck’s guitar – cranked up for the majority of the disc – are better defined.

With the balance of upbeat rockers, twangy Americana, sassy humor and even some delicate moments, this is everything longtime Lambert fans would want, all wrapped up in a 51 minute gift to her fervent, largely female audience.

With Beneath The Eyrie, Pixies have finally found a new stride, releasing a solid effort that can breathe easily on its own.

Like his recently unpredictable behavior, it departs from what we’ve come to expect of him: gut-born artistry which connects on a human level. With this LP, he comes off concerned with fitting into an ideological mold, leaving no room for honest feelings and guided prose.

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.

There are at least a handful of tracks that should be included in the next Morrison greatest hits package. ... Based on the vibrant, often vivacious Three Chords and the Truth, he still has plenty of artistic gas left in his tank.

This isn’t as immediately powerful or riveting as Love & Hate. But the multifaceted material, along with the pioneering, organic and often offbeat production, grows on you. Listening closely with headphones heightens and intensifies the experience.

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.

Hopefully the Prine connection will provide the necessary visibility to move Waldon to the next level. With the impressive White Noise/White Lines, she proves her talent is worthy of his, and our, admiration.

It’s an album that both looks backward and forward, reprising the dusky feel of the music that first inspired the Dickinson brothers to start their band while pushing it into electric boogie and even psychedelic directions its founders might not have imagined.

Where Del Rey’s music feels icier to the touch and more pop-oriented, Olsen sings from the heart, reflected in the melancholic, often soaring, even experimental backing that hits home more than it misses. It may take some time and uninterrupted concentration, but the expansive All Mirrors grows on you with repeated plays.