The Vivian Line is unlikely to land on anyone’s hip/hot list. Rather Sexsmith, now pushing 60, is content to churn out radiant, sublime, transcendent music that unobtrusively exists in its own delicate bubble, inviting us in to join him on his unique musical path.

Unlike other singer/songwriters, she consistently pushes her and her audience’s boundaries with music that’s as catchy as it is intriguing and idiosyncratic.

All in all, Greenfields is an admirable effort, and hearing these songs again, even in an altered context, serves their memory well. Any gift from the Gibbs, past or present, is still well worth cherishing.

The end product feels natural, unforced and even at times humble, making this appropriately titled sixth Stringdusters album yet another successful effort that moves the act beyond its string roots while keeping their collective feet planted in them.

Sometimes the rhythms skitter and stutter; sometimes they throb, or soothe. More often than anything, they surprise and intrigue.

Early Takes Volume 1 might just be the ultimate George Harrison compilation because it pays such respect to that voice in terms of how it sounded and what it had to say, reminding us just how much we miss hearing it today.

While O’Connor never really went anywhere, this self-assured and confident release feels like a comeback. It has elements of what made her so strong and startling back on her still dynamic 1987 debut but tempered and matured with the wisdom of a quarter century of experience.

This project is far more adventurous in its presentation of a unique and provocative sonic palette.

They’re still unabashedly clicked into late ’60s-early ‘70s bygone rock, and Starcatcher is, indeed, classic Greta Van Fleet.

The songs are terrific, East sells them with his gritty, committed vocals and Encore is poised to push the talented singer-songwriter over the top and into the mainstream.

At just over 35 minutes (a “deluxe” version adds three live tunes) a few extra songs would be welcome. But this is a worthy successor to 2013’s terrific debut from these veterans and hopefully won’t be the last.

With Leave No Bridge Unburned, they successfully magnify an already impressively established sound and create one of the best and most exciting Americana albums of the year.

Crowell mostly uses the theme in a light-hearted manner, recounting both the charms and foibles of the state’s citizens. ... Even when the connection to the location seems tangential at best, there is a sense of ease and fun that makes Texas pretty irresistible.

Ultimately, The New Pornographers specialize in creating a most satisfying sound—the effusive rush of “Bottle Episodes” and “Angelcover,” being two of the more obvious examples—while also making music that begs repeat listens in order to fully grasp the magnitude of their overarched intents.

Fulks pens seven of the 13 tracks and helped curate the rest, plus assembled a band of veterans like Telecaster master Redd Volkaert to give the talented Lewis full room to shine. Which she does masterfully.

While it’s not necessarily the kind of record that’s going to grab immediate attention, it does retain an amiable accessibility all its own. In that regard, listeners might just find that The Tallest Man On Earth makes music that’s all within an easy reach.

It's not perfect, but it's perfectly Mumford & Sons.

There’s so much to absorb here, with creative lyrical and often jagged production twists, let alone melodies that veer all over the map, that you’ll quickly return for another cycle on Gallo’s musical merry-go-round to hear what you missed the first time.

Maybe they’re mostly polished pop songs where the ’67 cuts embodied the raw, haphazard spirit of a songwriting era long gone--one that intuitively anticipated the impeccably executed Americana and folk heard on these new recordings--but the idea behind their origin will help them remain as timeless as the originals.

He can do a tender, dreamy pop song, or he can plug in and just get straight to rocking. And anything in between is fair game.

Justin Townes Earle pulls off the feat quite nicely on Kids In The Street, demonstrating impressive versatility without getting tripped up by any single stylistic detour.

There is snap and crackle in Low Cut Connie's pop and a gutsy edge that'll have you turning up the volume regardless of where you're at.

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.

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.

It's meat-and-potatoes blues-rock topped with something sweeter, and it's the most consistent thing these guys have ever cooked up.

He has released one of the early contenders for finest debut of 2021. The appropriately titled Introducing... justifies the spotlight status he clearly deserves.

There are no wasted moments, let alone throwaways on this superbly sequenced 40 minute disc. Every track glistens with Lanegan’s emotional and expressive words, perfectly sung with just the right balance of ennui and intensity.

The details in Childers’ intricate character descriptions make this one of the finest releases of the year and an impressive introduction to a talented newcomer with striking lyrical and musical talent.

Albums like this one continue to burnish a musical legacy that is every bit as imposing as the ones to which Earle pays homage in these songs.

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.

A handful of rocked-up covers such as “Auld Lang Syne” and “Angels We Have Heard on High” corral these standards into the Old 97s’ careening, energized mindset, and even the cloying “God Rest Ye Merry Gentlemen” gets a cool surfy makeover thanks to Bethea’s spaghetti western guitar solo.

All in all, this album works.

These songs have the crackling energy and throbbing passion of the finest Pretenders music.

Taken in tandem, The Million Things That Never Happened ranks as one of Bragg’s most thoughtful efforts, no small accomplishments considering the remarkable records that came before.

This expansion into different musical genres and styles helps make On the Road Wherever a varied, uncommon yet inviting wander off Mark Knopfler’s usual path. He’s probing fresh sounds with the class and sophistication we’ve come to expect from this gifted veteran, whose MTV days seem like blurry images in a rear view mirror.

As much as Ty Segall is an album of potential singles material, it’s one of the most cohesive sets of music that Segall has released to date.

For them [super fans], the voluminous and informative liner notes alone, which track Blondie’s history from those who lived it, seldom seen photos, and track specific comments will be worth lightening their bank accounts for. Others less dedicated may want to tread more carefully.

The total effect of Thrashing Thru The Passion is that of The Hold Steady at their most casual and confident, tossing off these songs that would be tour de forces for anyone else as if they have a bushelful of them just hanging around the studio.

Despite its dark, cautionary subject matter, The Future Bites is Steven Wilson’s most powerful and commercially appealing set to date. Beautifully produced—it’s one of the first studio albums of new material mixed in Dolby Atmos surround—this is the bristling sound of Wilson taking a bite into the future of prog-rock.

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.

He sounds completely rejuvenated here. It makes Modern Blues one of his most compelling releases and a potent example of how a change of scenery can unexpectedly yet effectively revitalize a career.

No need digging out those Setzer albums this Christmas for your hep-cat and kitty party needs. There’s a new rockabilly rebel mixing it up, and if McPherson’s first wildly successful foray into swinging holiday cheer is any indication, this might be the start of something big.

This album delivers pop at its most intelligent and affecting, stuff that, in a cooler world, would be beaming out of radios everywhere.

Despite her solo catalog, Hogan has hidden in the shadows too long; this stunning set shows she's ready for the spotlight.

It’s an interesting mix of music, and, as might be expected, a dynamic and diverse concert that stands among the most dynamic of the live music extracts culled from the Hendrix archives thus far.

From the opening pensive, repetitive reverbed guitar washes of “Doris” where Bridges works wonders with his Marvin Gaye inflected falsetto, to the closing easy groove of “Mariella,” this is a near-perfect meeting of minds.

Those memorable, sweeping, soaring melodies the older Gallagher is known for prevail. Horns adorn some selections but it’s the strings, recorded at Abbey Road, which push these songs from very good to the next level.

She's created an album that plumbs the kind of emotional depths that used to be expected from major rock artists.

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.

John has always had that deep gruff rasp, but backed by raw swamp boogie with lots of baritone sax, creepy female backing vocals and treated keyboards, he's sounding as dangerous and spooky as when laying down the gris-gris on "I Walk on Gilded Splinters" back in 1968.

This is challenging Americana that never takes its audience, or its influences, for granted.

She hasn't sounded quite so free and engaged as she does on these songs, where her vocal and lyrical mannerisms come through more forcefully and confidently.

Isbell revisits favorite themes with powerful results.

This may be a side project or a one-off, except in many ways the sum exceeds the (very distinguished) parts in terms of emotional effect.

This record is way cool. It may not seem like it upon first listen, but after a couple spins it's hard to forget.

When Critical Equation isn’t trying too hard to solve those mysteries lyrically or complicate matters musically, it’s prime Dr. Dog. And that’s more than enough.

Producer Flood (PJ Harvey, Sigur Rós) maintains the band’s raw appeal but lightly varnishes the sound to make the music’s intricacies truly glow amidst the atmospherics.

It may be a stop-gap disc to welcome them to their new label (New West), but Native Sons is a delightful, heartfelt introduction to the music that most moved Los Lobos as they were getting started and remains a touchstone for their own compositions.

Rare Birds is a strikingly original, complex and inspired work, one that requires your attention and rewards repeated spins.

I’m With Her close out their impressive debut.

With their beaming outpouring of positivity and joyous approach to life and love, this rousing music encourages togetherness in these troubled times.

The Visitor, his collaboration with Promise Of The Real, is broad and all-encompassing. If there is one unifying factor, it’s that the subject matter can be roughly described as Young’s unflinching look at the state of the world, in all its abject beauty and squandered promise. Don’t call it a comeback, but damn if it doesn’t feel like one.

Expressed from a first person point of view, the music comes across with a sense of unease, urgency and uncertainty, which, in turn, boosts both interest and intrigue. Clearly, The Hold Steady are intent on burrowing below the surface in their pursuit of principle and propriety.

From an Old Guitar may be a stop-gap release during the pandemic, but it’s also a consistently enlightening and even inspirational listening experience.

Whether you absorb it in bite-size pieces or jump into the 51-minute deep end of the pool while reading the lyrics, this superb and challenging album can be appreciated and enjoyed on a variety of levels.

In listening to this remarkable audio document, the thing that stands out most assuredly is the remarkable chemistry these two artists shared, as evidenced through a set of songs culled from the pair’s shared love of gospel, R&B, folk, and other archival sources.

It’s the personal narratives that are the most poignant.

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

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.

Robertson recruited heavyweights such as Steve Winwood, bassist Pino Palladino and co-producer Marius de Vries to record twelve tracks that wade in soulful atmospheric moods and personal lyrical introspection on this generally inspired comeback.

All are already available on one of the many existing Hendrix live discs although as usual, the performances are substantially different since Hendrix seldom played anything the same way twice. ... One of the last recordings with the original threesome. Despite reported tensions within the group, they tear it up.

Every Feeling On a Loop finds Johnson offering up a series of confessional songs, all enhanced with the tones, textures and sumptuous arrangements that had been a touchstone of The Head and the Heart’s articulate tableau since the very beginning.

Cray has been criticized--rightfully at times--for repeating his distinctive if somewhat staid style for many of his almost 20 studio albums. But this one pushes outside those boundaries. It plays to Cray’s established vocal and guitar strengths while injecting just enough grit and grease to spur him to new heights.

By adding little touches like a gospel call and response ("Bones") and a haunting, echoing choir ("Always Waiting"), the listening becomes a more rewarding experience.

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.

While it may be a while until the current pandemic eases its grip on hard touring musicians like the Delvon Lamarr Organ Trio, there’s nothing stopping you from pushing play on the exhilarating I Told You So and diving into the surging soulful sounds of one of most talented, driving and funkiest acts around.

It’s a set of songs somehow manages to come across as both subtle and assertive in equal measure. That’s not an easy task of course, but it’s a credit to the band’s particular prowess that they not only tow that tricky divide, but do it so efficiently.

Together, they make gorgeously sensual music, with essential contributions from Calexico trumpeter Jacob Valenzuela, pedal steel player Paul Niehaus, keyboardist Rob Burger and bassist Sebastian Steinberg.

Yeah, it's the new OCMS album and, not surprisingly, it's simple and great (and simply great).

With For Free, David Crosby soars on his own satisfaction.

The Low Anthem are desperately trying to say something, even if that message is not always crystal clear.

Middle Brother is a prediction of great things to come. It's a promise that a new generation of songwriters is rising up to carry and brilliantly build on the tradition.

Despite, or maybe because of, the disparate approaches, the consistently entrancing Eternally Even is a stimulating and often spellbinding listening.

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

Krall never seems out of place even as she takes chances in a space that could have left her sounding overwhelmed.

This is another in a seemingly endless streak of quality albums from Richard Thompson, a journeyman artist in the homestretch of his long career, whose best years never seem to be behind him.

Sonically, these remasters are full of life and a youthful, vibrant crispness that make you wonder why it took 50 years for the bulk of them to make an appearance.

The National prove with I Am Easy To Find that they don’t need the old bang and clatter to achieve their signature melancholic glory.

Kudos to Cameron for shoring up his strength and providing us with such a bold venture.

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

While previous efforts seemed a bit unfocused and disseminated, Blown Away is more thematic and unified, resulting in Underwood's strongest effort to date, which easily leaves her previous releases twisting in the wind.

Like John Henry, Strange Negotiations is workman-like. It's a grind from start to finish, but an enjoyable one at that.

Even without his electric axe (and accompanying pedal board and crater of Marshall stacks) Mascis is still a virtuso.

The singer’s grainy, everyman voice works beautifully with this often sorrowful material, making it believable and potent.

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.

These songs evoke images and conjure emotions that are as descriptive and riveting as any printed word.