It’s a diverse offering with Weller’s deep soulful voice splitting the difference between Bowie in his Thin White Duke phase on the funky, twisty title track (check out the tasty, offbeat clarinet), jazzy R&B on the flute enhanced “Testify” and the crunchy power pop not far from later period Jam of “True.”

Jerry Jeff serves the purpose well by turning the spotlight on an artist that deserves greater attention within the Americana arena. Earle’s effort to share his songs will hopefully contribute to that added appreciation.

A mongrel that rewards repeated spins with an understanding of Branan's many influences and an appreciation for his largely impressionistic, thought- provoking words.

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.

This Is The Kit are content to dwell in more solitary spaces, but given the ethereal arrangements and Rhy’s carefully considered input, Careful Of Your Keepers emerges as an affecting effort, with layer after layer of melody and mystique. Not surprisingly, This Is The Kit ensures all the pieces fit together fine.

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.

Raw, rough yet beautifully crafted, Taylor’s music is pure, honest and riveting in its unadorned simplicity.

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

Between the album’s imaginative, original art work and music that follows suit, this is one CD you’ll want to hold in your hands and stare at as you strap in and let the inspired music unspool.

In Reverie, Joe Henry and his group have created a raw, raucous and messy masterpiece.

I’m With Her close out their impressive debut.

Like his dad, Nelson has a way of combining emotion, humor, and happenstance in equal proportions. That said, no comparisons are necessary. At this point in his career, this Nelson rests on a reputation all his own.

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.

He's no less daring than before. Marked by a series of ominous atmospheric soundscapes, the album finds Cale seemingly beckoning whatever spirits surround him with a dire yet distinctive vocal that casts a spell on the effort overall.

The five-piece band's new album, Easy Wonderful, is full of those same universal ponderings and investigations of love.

As with the best concept sets, you don’t need to follow the story, or even know there is one, to enjoy these songs, since most stand on their own. They may not be the best or catchiest ones Escovedo has written, but this is one of the most passionate, relevant, politically charged and personal projects he has released in a career pushing 40 years.

The Age of Adz builds on his previous dabblings in electronica by integrating the ideas he has clearly been stewing with the aspects of his work so dear to fans.

While this is still a typical Alan Jackson album in many ways, it’s a fine bluegrass album, and a good primer for those who aren’t all that familiar with what bluegrass is supposed to be.

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.

The album’s title implies a wider expansion of the SteelDrivers’ already elastic sound that doesn’t appear, yet the group has rarely sounded more focused or passionate. That makes The Muscle Shoals Recordings another notable entry into the group’s already distinctive catalog.

If Gill maintained the rawness displayed on a few tracks and added more upbeat tunes, this would have been an edgier return to form.

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

Willie provides each with a rendition that stays true to the iconic originals, and while there’s a certain sense of deja vu underlining it all, he remains undeterred by any hint that he’s merely mimicking the master. With sweeping orchestral accompaniment intact, he captures the feel and finesse of the original renditions and succeeds in making them his own.

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.

You may wish the songs were a little tougher (the Wilco frontman might have spread himself too thin writing the entire album), but Tweedy’s words preach without sounding overly preachy. The backing musicians effortlessly find a funky/soulful groove and even at low boil, Mavis Staples remains a force of nature.

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.

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

The Ascension, Stevens’ eighth studio album over all, and the follow-up to his highly lauded outing Carrie & Lowell, diminishes the accessibility factor in favor of a more amorphous imprint, one that finds all manner of effects and an ever-constant shift in sounds that drift through practically every selection.

Kelly is a tenured veteran songsmith who creates melodies, if perhaps not hooky ones here, that grow on you like kudzu, intentionally creating an album that is greater than the sum of its parts.

While almost all of the music is five-star material, it’s hard to recommend this collection wholeheartedly when anyone paying attention long enough could have easily picked up every item in the set individually.

A closing cover of Sam Phillips’ plaintive and rarely heard ballad “Where is Love Now” shows the group knows how to dig for a great song, even if the originals that dominate this disc aren’t immediately as accessible. This isn’t the band’s finest (half) hour, yet it’s great to have them back.

[A] terrific, moving and occasionally emotionally intense examination of the black experience in America.

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

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.

The new Jicks album benefits from Beck's imaginative treatment, which foregrounds headphone moments while not stinting on pure, spontaneous rock goodness, and Malkmus's songwriting, which sounds inspired and confident.

An extra disc of 19 newly remixed demos is more than window dressing. Stripped from the production flourishes, these early raw versions of every OOT track show the songs taking shape with hummed sections where words hadn’t been written, different lyrics and sometimes no lyrics at all. Not just for fans, these bring us closer to the creation of the tunes, generating a terrific alternative version of one of R.E.M.’s finest collections.

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.

Combined with The Unraveling, The New OK is a powerful one-two punch to the gut from a band unafraid to lay their political stance out for the world to see. It’s a brave move.

There’s little about American Head that deviates from the Lips’ usual surreal sound. The overarched arrangements, replete with shimmering rhythms, soaring instrumentation, hushed harmonies and all sorts of cosmic noodling remain intact. If anything, they borrow from early Pink Floyd, hitching a ride to gain interstellar overdrive.

A similarity to the material and an overall honeyed style dominate on initial listen, but the pieces become more distinctive after a few spins.

What matters is that this is a really good record, and while it would have been nice to hear some instrumental breakdowns--especially from banjo player Richard Bailey, who is way understated--it's nice to know that Nashville is capable of putting out something besides more bad pop.

Rather than an uninspiring photo copy of the previous collaborations, the fourth go-round of this feisty association shows that it’s getting better and tougher, whetting our appetite for the next iteration.

There aren’t many surprises on Hardware, but with Gibbons now pushing into his mid-70s, should we expect any? He sells everything with his committed performance and sounds like he’s having a blast. At this late stage in his career, we shouldn’t ask for, or expect, more.

It’s a decidedly evocative album, one that ought to give hope and comfort to all those that may feel adrift in uncertainty and sadness while confirming the fact that they’re not alone. In that regard, it provides a shared service to us all.

Price’s ability to mesh elements from rock, soul, country, and beyond to craft her own modernized yet classic sound shines on tracks like “Where Did We Go Wrong.” Although the project is a departure from the traditional country sound of her early albums, every song feels authentic and distinctly her own.

While her singing remains strong and she is emoting about issues close to her, these tracks would benefit from more musical muscle. Regardless, even if Total Freedom isn’t her finest work, it’s encouraging that Edwards has returned to releasing new material and doing what she does best.

If this sounds like something of a scattered mess, it is, but it’s a charming one and well worth a go-round for the more adventurous listener willing to let themselves take a wild and wooly trek back in history.

When it’s all over, you listen again, with equal amazement. No, albums like this one don’t come along very often.

Country rock done right, ie: without anyone taking themselves too seriously.

There’s not a weak track in the dozen making this another candidate for blues release of the year from brothers who almost never got to play another note together. Making up for lost time never sounded so good.

There are no enduring classics here like the songs on 2007's Live At Massey Hall, or anything to rival the material that helped define late '70s AOR from, say, American Stars 'n Bars or Rust Never Sleeps. But this is a record well worth having, and it's a blessing that we still have enduring artists like Neil Young creating such vital music.

Its title seems clichéd but there is nothing predictable about the exuberance or the obvious attention to detail McPherson applied to his rolling good times.

Outside Society is necessarily uneven, but it's persuasive nevertheless, if only because it tells a clear story of an artist who fought to define and redefine herself constantly.

A Treasure is full of little disclosures like that, deeply personal without being confessional, engaging without trying to be, and revelatory because of his small observations and his uncommon insight into ordinary detail.

What truly makes the album memorable--and what makes it arguably Bondy's best--is the atmosphere that pervades every song.

With the release of a beautiful new record Follow Me Down, it's time to proceed past the astonishment of Jarosz's remarkable age and acknowledge her place among the prestigious group of musicians currently pursuing acoustic music to exciting and progressive new heights.

Even though most are not familiar with Pinkunoizu or many others that populate this thoughtful and often downbeat set, they recreate Hardin’s timeless melodies with deep respect, passion and an artistic vision all too rare for these types of tribute discs.

The eight songs, culled from a crop of 30 that came in the wake of a difficult breakup, become dirge-like if you put them on in the background. Shut out the distractions and bring them in close, and they become razor-sharp reflections of the long road out of purgatory.

Existing fans will be thrilled with both the material and performances that show nearly 30 years down the line, the twosome finds innovative ways to keep their music fresh while maintaining the unique qualities that made it so distinctive to begin with.

With Still, Richard Thompson fans can rejoice in knowing all the aspects of his exemplary talents remain intact.

There aren’t any revelations on Prayer For Peace, but the energy, excitement and intensity poured into every performance makes this a standout in an impressive Dickinson brothers catalog that doesn’t have any weak entries.

She effortlessly combines her vocal, lyrical and melodic gifts into a perfect storm on the shimmering and often spellbinding Putting on Airs.

C’est La Vie is a welcome return for Madness, an outfit most wouldn’t have expected to deliver a project so musically or lyrically complex, and enjoyable, this late in their career.

[Landing on a Hundred Years is] a much leaner, concise collection of rich and soulful tunes that takes in the last 50 years of funk, soul and R&B, and catalyzes that history into something warm and vibrant, yet altogether fresh.

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

Whether this is the beginning of an extended musical partnership or just a one-off, it’s a powerful and rewarding album. That’s especially the case for those who have been through the more challenging parts of the broken relationship mill.

There’s a lot to chew on, but Americana is an overstuffed, first class offering from one of the UK’s most feted songwriters and a worthy entry into Ray Davies’ rightfully esteemed catalog.

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.

With guest artists like '60s organmeister Booker T. and Americana legends Gillian Welch and Dave Rawlings, Jones and Johns have made a real statement in the same way that Rubin, and of course T Bone Burnett, do almost every time they produce an album. That statement is that the same people who set the bar decades ago for so many of today's acts to measure up to are still making a lot of today's best music. Praise and Blame raises that bar just a little higher.

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.

His keen insights into human nature and today’s America are revealed in melodic, deeply-felt tunes on Still Fighting The War, which ranks as one of the year’s best singer-songwriter albums.

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.

For all its timid trepidation, Stay Gold is an ambitious sounding record, full of massive hooks, and expansive arrangements.

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

None of these cropped and re-imagined takes are drastic enough to add huge insights into Bush's output as they do her finicky outlook on her own work. Work that is, generally, great in any context.

She still knocks it out live, but Kill or Be Kind finds Fish wrapping her talents around quality, well-crafted material that should help attract elusive radio play and more importantly a crossover audience outside of her established blues base.

Those willing to take the plunge will be rewarded with one of the more challenging major label efforts released this year.

The production is raw enough for the guitar chords to slash and burn, yet clean enough for the words that are so integral to this band’s attack, to be understood and felt. Like the music of the Replacements, the melodies creep up on you and by the second time through, each one has a chorus that’s tough and memorable.

Everything about Beast Epic feels true to Iron & Wine. Beam neither abandons his greater ambitions nor overindulges. He’s making a return trip to his roots, offering a gentle reminder of his early records’ simple beauty while allowing himself the freedom to build.

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.

These particular sessions were graced by local legend, songwriter and Hammond organ ace Spooner Oldham and guitarist Will McFarlane, each of whom add to the atmospheric embellishment on the album.

While it doesn’t come close to their best work, there is enough spunk and pluck on Mystery Glue to provide the Parker faithful with confidence that better work remains in him.

Everything about the intriguingly titled Sea of Noise--from the classy but never predictable production, to sharp playing, clever lyrics, memorable melodies and especially the dialed down arrangements--is an enormous step forward.

You’ll just go with the flow and appreciate the sheer songcraft of a journeyman who could probably release an album as solid as this every year without breaking a sweat.

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.

It may have taken a while for The Bones Of What You Believe to arrive, but it more than meets the standards of all the tantalizing sneak previews.

There aren’t many that can keep the musical flame burning for this long and maintain the quality found here.

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

Even as Vernon and his cast of thousands get further and further from the relatively simple, backwoods folkie sound that originally brought him to the forefront, he is making music that, far from being strange, is actually as inviting as anything he has ever done.

All A Man Should Do keeps their solid streak going while tweaking the formula just enough to both earn new converts and surprise the faithful.

It adds up to a challenging, taut, and inspirational 39 minutes of music you won’t be humming after the first spin. But, because of its confidence, integrity and diversity, you’ll be back for repeated visits.

They register only a fleeting impact, but display cleverness and craftsmanship that far surpasses that of your run-of-the-mill tropical-themed country tune.

When the Rumour, so polite in their accompaniment, step forward on the break to provide spare but involving keyboard and guitar, you know this reunion was worth waiting for.

This is a great example of what a “tribute” album should be when compared to the countless other such recordings that are out there that are made primarily for the sake of money. This is real country music, albeit from the arid oil country of California and not the hills of Tennessee, with two of the finest living practitioners of the genre paying tribute to the masters of the craft and their genre-shaping material.

The mostly original songs capture the gospel spirit in ballads (“The Highest”), funk (“Speaking in Tongues”), New Orleans second line (“Soul Food ll”) and driving blues rock (“Play All Day”) that will satisfy existing fans of any of the participants and win over some new ones too.

Give credit to the band’s founders and co-producers bassist Robert Mercurio and saxist Ben Ellman who molded this album and show that Galactic doesn’t need a stable front person, or even a singular approach, to make their dynamic music connect with playful passion and vibrant integrity.

The album exudes the salty air of the conditions it was recorded in, which makes it a success on that level. How much your tastes lean towards undiluted, traditional Brit folk will gauge your enjoyment for this batch of unadulterated music in that genre, played and conceived with the purest of intentions.