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

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.

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.

Fortunately, there is some respite with “June 21” and “The Aphorist,” both of which allow the raucous proceedings to take a brief pause. Yet even there the turgid trappings aren’t entirely abandoned. There’s a clear sense of foreboding imbued in each of these offerings and the darkness and doom continue to linger throughout.

From His Head to His Heart to His Hands shows that what Bloomfield did accomplish in his short life was not just sizeable but downright seismic.

Live From Atlanta is a more effective career retrospective for the alt-country stalwarts than any formal greatest hits compilation could ever be.

Gritty yet determined, assertive but still steady, Joseph offers a stealth-eyed glimpse of a world seemingly on the verge of collapse. Salvation may be elusive, but clearly Joseph won’t give way to the inevitable just yet.

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.

Fatal Mistakes reflects a dueling perspective, one that recognizes the difficulty of maintaining a certain standard but that is determined to reach new goals. The fact that Del Amitri succeed as well as they do is a testament to both their confidence and their talent.

One Day is easy listening at its finest, instilled with the fresh finesse and supple sensitivity that only a genetic bond can bring.

Melodies take longer to reveal themselves and choruses don’t have the natural hooks Loveless has crafted before. Which just means you’ll need to spend additional time exploring the songs, mulling them over, absorbing the lyrics and letting their more elusive charms sink in.

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.

Boy in a Well remains a missed opportunity for The Yawpers to raise their lyrical game, one that could easily have been rectified with more attention to packaging and explanatory details that are mysteriously and frustratingly MIA.

By compiling these often difficult to find sides, we get an intimate glimpse into talents of Joe Strummer many haven’t heard before. If anything it makes his untimely 2002 death at just age 50 even more tragic. But at least we have his music, and the stunning 001 is a near perfect summation of it.

A fierce backing band, Okkervil River lends them drama, tension and a cinematic pomp that underscores the miraculous nature of Erickson's recovery.

The album is so beautifully performed and meticulously crafted that its heartfelt, smooch-ready nature will likely result in at least a few babies born nine months after release.

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.

It’s as strong an album as Cantrell has ever released--even if it took nine years to get here.

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 swapping of leads with both voices joining on choruses is wonderfully executed, the songs float and swoop with the nervous anticipation that comes with looking forward to better days and the backing musicians add just enough weight to keep it all grounded.

It's a pleasant, moody, laconic bordering on snoozy, stripped down affair that never breaks a sweat or escalates into a gallop.

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.

[A] superb if somewhat restrained There’s a Blue Bird in My Heart.

Weller’s in sturdy, soulful voice throughout. There is virtually no interaction with the audience, yet he’s clearly invested in this performance. Even if you’re familiar with the older material, you’ll want to explore it again after hearing it revived with full orchestration. The audio mix is stunning, the strings and horns are beautifully conceived and the entire concert is a succinct and often challenging overview of one of the UK’s most consistently impressive and creative singer-songwriters.

From the throbbing Led Zeppelin-styled hard rock of “Don’t Bother Me” (complete with short drum solo), to the following Elton John/10cc influenced piano ballad “Shine The Light On Me” and the riff-rawk driven “What’s Yours is Mine,” these four guys play together like a well-oiled machine, not one that has been idle for a decade.

It’s a perfect juxtaposition of earthy lyrics and frank storytelling with honest, unaffected roots music organically adding an exclamation point.

It’s a non-stop party highlighting not just Taylor’s music but GA-20’s powerful approach. Don’t believe the disc’s tentative title though; they should have gone with the more decisive Try It, You Will Like It.

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

It shows Nikki Lane at her best, stepping towards a darker direction while keeping one foot planted in the country and roots music of her past.

The bottom line is that The Next Day proves that Bowie, whoever he might be, is back, invigorating his listeners even as he stupefies them.

In the end, these four alt-folkies honor their idol's legacy, providing a gateway for a younger generation of fans to further experience and explore the importance of Woody Guthrie.

Patti Smith builds upon her already impressive career for one of her finest, least commercial but most enticing and entrancing albums.

They [vault songs] offer something completely new, which is what many people expect from an album release, but they aren’t the most interesting thing about Speak Now (Taylor’s Version), in my opinion. .... That matured, time-honed voice coming out of Swift in her latest re-recording is a mirror image of a fan base who has weathered the storm and come out the other end with her.

The singer is in fine voice and seems inspired by this outlaw move to revive the time-honored music he loved when he first hit Nashville as an impressionistic kid in 1972.

Based on recording location alone the varied musical approach to these 10 cuts veers from straight country, to rockabilly, R&B, rootsy rock and even some pop, all connected by Ortega’s trilling, bittersweet, instantly recognizable vocals.

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.

Both knowing and nuanced, its 13 songs share Kelly’s determination to maintain his sobriety following his earlier struggles with alcoholism and drug dependency. It is, in the truest sense, both a vindication that his vulnerability was sorely needed, and that he’s wholly committed to his craft. It is, in fact, one of the best albums released so far this year.

At just over a half hour, the short but compelling set finds a generally chipper—if somewhat guarded—Andrews expanding her musical boundaries and peering cautiously to a brighter, more fulfilling, and looser future ahead.

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.

There isn’t a huge sonic difference between Onion and the past few Clams releases, but the songs and instrumentation are tighter and better crafted with defined hooks and choruses.

This set confirms she’s a rugged, uncompromising young talent with a distinctive voice and take-no-crap attitude primed and ready to take Americana into the next few decades.

Overall, this is another quality entry into Thompson’s bulging yet impressive discography. It’s one that lets us explore the darkest recesses of his diary while composing tense, emotionally spellbinding music reflecting those feelings. At the same time he displays a talent for snaking, occasionally wordy songwriting and gripping lead guitar, both instantly identifiable as his.

This rampant musical eclecticism is fun and keeps things from getting boring but it’s also occasionally too scattershot, even though most of the players remain the same throughout.

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.

These are some of the most musical and enjoyable tunes of his more than 20-year career; one that has found him shifting styles without abandoning a dedication to compelling words matched by intriguing songs that never take his audience for granted.

At just over a half hour of music, we’re not getting anything fresh here--no outtakes, studio chatter, demos, remixes, nothing--which, in this day of easily being able to build your own playlist, seems at best like a waste of time and at worst a greedy cash grab aimed at those who can’t figure out how to create this themselves.

The more sophisticated Chains are Broken reflects a willingness to push beyond the somewhat cult audience The Devil Makes Three has accumulated, into a wider framework without abandoning their reputable roots. While it may be a bit jarring on initial spin, the risk has paid off.

The diversity works to Los Coast’s advantage, keeping a vibrant, generally exuberant approach coalescing around Pivott’s voice as it ignores stylistic boundaries more established outfits might be hemmed in by.

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

Listening in one sitting can get tedious since few tempos rise above a muted whisper. Individually the songs play like scenes from that indie movie. Curious, stimulating, and worthy of pondering … if you’re in the mood.

Given that Morning Phase reveals similarly raw honesty and engrossing emotion [as Sea Change]--plus bears the mark of superior penmanship gained by a decade’s more patience and wisdom, the album is poised to be revered as one of Beck’s most potent collections.

It’s tough and grimy but you have to wonder how many others are out there bashing out similarly trashy rock who haven’t gotten Booker’s breaks

For the first time, a new Spoon LP feels like business as usual, a creative step sideways.

It is a monumental album in everything from the scope of its subject matter to its grand instrumentation and production.

Unless you are a White fanatic, the few hard to find selections generally aren’t compelling enough to purchase lots of songs easy to obtain. That makes this an interesting but hardly essential stop-gap release until White’s next official project.

Hag’s lyrics always feel natural and lived in and Bogguss succeeds with his material because she doesn’t try to oversell it.

While others in the Americana field get stuck in a groove, that will never be a problem with the Sadies and Northern Passages is a worthy entry in the notable catalog of a now-veteran act who refuse to be pigeonholed.

Starting Over finds Stapleton not only maintaining his momentum, but also opting for diversity as well. While his influences are as obvious as always, he breaks out of the Southern rock mold he established early on.

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

The absurdity and terror that Nick Cave and the Bad Seeds have so often courted aren’t absent on Push The Sky Away. They’re just muted, and rendered all the more seductive via lush arrangements and Cave’s crooning baritone.

Gloryland certainly stands as a glorious example of Americana songwriting.

An impressive effort that proves these relatives with impeccable musical synergy have more than just bloodlines in common.

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.

A few more rockers on the order of the Armstrong co-write “Strangers & Thieves” would have raised the overall temperature, but each of these 14 tracks is an exquisitely constructed gem.

Only eight songs long, Encore builds momentum and then leaves the listener wanting for more. One can only hope that there’s a further encore for this Encore.

An album of warm colors and earthy textures, Lateness is an album for warm sweaters and hard ciders, backyard firepits and late-autumn barbecues.

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.

The concept of “country rock” seems clichéd at this late date, but Shook and band exemplify how that amalgamation remains effective when the writing, singing, and lyrical concepts are as sharply conceived as on the illuminating Revelations.

McBride is still singing--and now occasionally even writing--songs that employ specific, substantial storytelling to speak to modern women's experiences.

Perhaps more Dr. John participation would have been a logical and welcomed addition to the show (Rolling Stones pianist Chuck Leavell and ex-Papa Grows Funk man John Gros effectively cover most of his piano parts) but this remains a terrific few hours of music that honors not only one of New Orleans’ most influential musicians, but the city that formed and defined his vision.

The disc is like the best jukebox you ever heard in a sleazy, punky country bar, perhaps like the broken down Seeburg pictured on the back sleeve. Plunk down your quarter and wherever the needle falls, you’ll end up on the dance floor.

Sonically, everything is slightly cleaner than before, with Lennon’s vocals made more prominent in the mix. But the difference will be most noticeable on expensive audio systems. The surround mixes bring a more expansive sound-field making it a reasonable upgrade for those interested. But for the rest of the earbuds-are-good-enough wearing public, this is a perfectly acceptable trawl through the solo Lennon catalog.

Though it’s by no means essential, McCartney 3 will likely still win over legions of compulsive Macca collectors.

While continuing to deliver the intimate songs of hopeless love and regret for his longtime fans, he stills finds ways to surprise as he works with his magician-like collaborator.

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

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

Wyoming definitely has the feel of a second album, in that the band is now confident enough in their footing to try a little bit of everything. As a result, it’s hard to pin down this duo to a single musical approach, and that’s just fine because the diversity is refreshing.

While the result can’t be dismissed as a gimmick, the best tracks of both would have made a great single album. Spread out over two shorter ones, the effect is diluted.

If these results reflecting about two years of work in Rhodes’ home studio with producer Chris Price don’t quite capture the vibrancy of his earlier work, they are close enough not to disappoint those who stuck around waiting for them.

Occasional horns spice up the approach adding tasty seasoning to an album that shows Boz Scaggs at 74 is bookending a remarkable career by reviving a love of the refined soul/blues that began over 50 years ago.

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

Bob Dylan may have gone to drastic lengths with his music to achieve the simple pleasures he sought. Those willing to accept simple pleasures in return will find plenty to like on Another Self Portrait. It’s a collection that shows that Dylan may not have been painting masterpieces in 1970, but he was still delivering colorful miniatures.

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

Old Flowers conclusively proves that Courtney Marie Andrews has reached a difficult to attain level, showing once again that the timeworn trope of “breaking up is hard to do” can be dreadfully unsettling personally but also creatively rewarding.

This is shrewd, layered music that demands the songs be mulled over and scrutinized; even if that may not provide answers to questions McCombs poses.

Simpson lets his band, and his songs, do the talking on Metamodern Sounds, which is surely one of the very best straight up country records of 2014.

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.

Competence and creativity are never in question, even though every one of these numbers requires the listener to allow added indulgence.

Faithfull simply shares her dry recitations with poise and proficiency.

This stunning entry into his already impressive catalog shows he refuses to rest on his laurels.

Sing The Delta is as well-executed as it is welcome.

Her voice flutters, bounces, and hiccups through the twelve songs on Metal, and her singing is dynamic and never boring.

Simone’s vocal, arranging and composing talents are so consistently strong that you’ll be swept away and lifted by the sheer quality of these lyrically dense yet musically fleet footed stories.

It’s quietly hypnotizing music, unconcerned with commercial trends and miles away from the more hoedown revival of Old Crow.

It’s not just quantity that makes this such a successful pairing. Haynes and Railroad Earth work beautifully together to create primarily unplugged music that is as driven, passionate and meticulously crafted as anything either has done on their own.

For fans that have stuck with him for the decades-long ride, Rain Crow is yet another stunning example that Tony Joe White’s uncompromising, often ominous vision, shows no signs of diminishing.

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.

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.