It’s not just a rousing bookend to a remarkable, late-starting career, but a terrific and moving soul explosion that stands as one of the finest in her limited yet extraordinary catalog.

Not many albums still stop you in your tracks after 25 years of listening. This one does. It’s a pure masterpiece, from beginning to end.

Olsen locates every last ounce of heartache within the song’s tale of someone who’s trapped between wanderlust and homesickness. If these are the leftovers, it’s fun to imagine how tasty Angel Olsen’s next main course will be.

Womack is in terrific voice throughout, the songs--including her co-writes--are top notch and with Lidell’s sympathetic backing and production, it’s hard to imagine how anything could be improved. It’s a late-breaking short list nominee for 2017’s album of the year.

The album is far more interesting when Clark is more introspective, pleading “please don’t hang up yet” on the gorgeous “Hang On Me,” or simply showcasing her noisiest guitar riffs on “Young Lover.”

Those who wanted a well-rounded musical summation of Russell’s oeuvre instead of this highly stylized set of romantic musings might be disappointed, but this is the album he wanted to leave as his legacy. As such, it’s a significant, often impressive work from one of rock and roll’s true icons who has chosen a unique and, to many, surprisingly starry-eyed way to say goodbye.

The beauty of Vile and Barnett being on such similar wavelengths is that each song would work just fine for either artist individually, but combined, their talents--particularly their vocal harmonies--often amount to a whole greater than the sum of its parts.

Plant continues down his remarkably innovative path on the combustible Carry Fire, further expanding an already eclectic, forward-thinking solo career and creating an artistic, often edgy persona largely removed from past glories many younger fans may not even be familiar with.

At times this slick party vibe sounds like Hall & Oates at their least soulful, which is to say the music has an inevitability to it that initially feels fresh, but starts to wear thin when it’s clear the entire album is cut from the same glitzy cloth.

The 74-year-old King looks and sounds great. ... This is a lively celebratory concert, enhanced with historic photos flashed on a backing screen, by a legendary artist who takes, and clearly deserves, her victory lap.

The performance careens from tight, frantic and professional to shambling, erratic and wobbly... basically your typical Replacements show. In that respect, this is historically important since it finds the group at arguably their most incisive and edgy.

Rose found a musical soulmate in Malo to help realize that sound in the studio. But even though he has helmed and guided her, this is her singular vision. And with two terrific worldwide releases to her name, she’s just getting started.

The revised sound and songwriting on Undivided Heart & Soul isn’t an extreme enough alteration to alienate existing McPherson fans, but it results in his finest set yet and signals that he’s pushing boundaries and staying fresh in a business that doesn’t embrace change.

The backstory leading to Sorry is Gone may not be the type you’d wish on anyone, but in the hands of Jessica Lea Mayfield, it has resulted in compelling art.

This is a master class on how to create a re-issue that covers and expands upon essential and ultimately timeless music made by one of rock’s true icons. It’s the final word on arguably Bowie’s most experimental years and an important historical document presented with boldness, integrity and dignity, all elements reflected in the artist’s work and ever evolving art.

These songs, masterfully written and delivered with obvious passion from one of America’s most veteran and idiosyncratic composers, show that Crosby is perhaps getting better with age and seems confident in his abilities as a singer and songwriter still willing to take chances.

Even though their vocals aren’t always suited to each other, this set of mostly covers (some previously recorded by the participants), works relatively well, as long as you’re not expecting too much.

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.

Ultimately, Lukas is carrying on Willie’s tradition, pushing the outlaw boundaries his famous father established in the ’70s and proving that the musical apple truly does not fall far from the tree.

For most veteran bands, the beast is complacency. The National slays it here and stays on top of the rock world in the process.

Even without the obvious gravitas hovering over the project, this is an exceptional work and arguably Allman’s finest non-Brothers release.

While eight have appeared in different versions spooned out on releases ranging from 1976’s American Stars And Bars, Rust Never Sleeps from 1979 (three tracks), Decade (the Nixon diatribe “Campaigner”) and one even as late as 2010’s Le Noise, there is an intimacy and rawness to these performances that is riveting and subtly powerful.

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.

New liner notes from Barry Hansen provide essential background. But all you need is the music to understand that Arthur Alexander is one of the greatest “unknown” artists of the soul era, and one whose legacy is enhanced by this classy re-issue of one of his finest works.

Filthy Friends invites you to their party that pounds out a rugged, lived-in and honest rocking sound, delivered by a bunch of rock and roll lifers with nothing to prove who are clearly in this for the camaraderie and the music.

The combination of the sister’s voices on this material is stunning in its natural beauty. Stripped-down arrangements and producer Teddy Thompson’s light hand help accentuate the words, emotions and the interwoven singing.

It’s certainly one you’ll replay multiple times to appreciate the intricate sonic structure and imbibe Whitehorse’s often oblique wordplay with a sure sense of a hyphenated musical mixture that is elusively familiar and wildly idiosyncratic.

What’s so profoundly American about these songs are the way they often deploy humorous metaphor and simple, child-like storytelling devices to convey deeper, darker truths. Other times, the songs are simply funny stories without a larger lesson.

So view Everything Now as a glass half empty due to its inconsistency or as a glass half full of standout singles. You won’t be able to ignore it though, which, in today’s crowded musical landscape, is triumph in itself.

The optimism of Lust For Life is a pleasant surprise, though the album is still painted in the same shades as Del Rey’s previous releases. At times it’s some of her best material, but it seems like a record best experienced in pieces than as a proper whole.

With Goodnight Rhonda Lee, Nicole Atkins gets all the pieces to fit. The singer may not have been made for these times, but she creates a defining portrait of an artist whose grasp of the past creates ageless, enduring music for any year.

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.

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.

With a two-pack-a-day voice that combines the hard boiled/craggy rectitude of Tony Joe White, Johnny Cash, Kris Kristofferson and especially Waylon Jennings, anything Walls touches feels authentic and lived-in.

The twosome generates real sparks throughout and the natural camaraderie bursts through the speakers. You can almost see, and surely feel, their beaming faces on many selections. But even at its best, it’s hard not to wish this was a bigger showcase for Mahal than Mo’, with the latter’s notoriously slicker approach dialed down to allow the former’s gutsy soul to take the spotlight.

It’s the textured restraint on rockers like the closing “DDT,” which unexpectedly changing tempos mid-track, that shows the group’s maturation in their performance and songwriting chops. It indicates a leap forward in the Banditos’ artistic evolution and the potential to expand their sound even further in the future.

All of this impeccable accompaniment wouldn’t amount to much without terrific songs sung with emotion and drive, which is where Mae excels.

While City Music certainly doesn’t surpass Singing Saw, it’s a hell of a lot of fun to hear Morby take a walk on the wild side.

Song choice is everything with a project like this, and Tweedy is wise to generally stray from obvious selections.

DiFranco stretches musical muscles to stay inspired on Binary. She continues to speak her mind with the pride, ferocity and integrity that has shaped an impressively rebellious career.

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.

Few acts inducted into the Rock and Roll Hall of Fame, as Cheap Trick deservedly was in 2016, are cranking out music as fresh, honest, energized and explosive as these guys have released in the past two years.

Like most double albums, this one could do with some judicious editing. It’s a logical reason to bring in an outside ear which, with multi-instrumentalist singer-songwriter Sweet credited as producer, engineer and mixer, hasn’t happened here. Regardless, Sweet fans who are a bit of a cult at this stage, will rejoice with this reflective new music.

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.

The Nashville Sound is another triumph in his incredible hot streak.

Even though this is unlikely to appeal to hard core Black Keys or Arcs fans, the songwriting effort (the sweet, sensitive “Never In My Wildest Dreams” could have come from Burt Bacharach’s pen) and detailed creativity of the arrangements is impressive.

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.

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

This is just one more related side trip in the band’s tenure and, as usual, they rip into it with typical vibrancy, rearranging Lowe’s material so creatively, these sound like Los Straitjackets originals.

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.

A tough, tight and clearly inspired project as well as a most welcome return from the musical shadows for Steven Van Zandt.

This is a unique and poignant album that was clearly a labor of love for all involved.

It’s far from prime Rundgren and there’s little doubt that most of this would sound better with a full band instead of Rundgren’s “I’ll do it alone and save some money” keyboard dominated music.

With A Kind Revolution Paul Weller adds another exciting notch to his belt of terrific, under the radar (at least in the States) projects that have made him a singer/songwriter with impeccable credentials who never rests on his already impressive laurels.

On Death Song, their greatest strength is harnessing the aesthetic they’ve worked for more than a decade to refine, and it’s as rich and powerful as they’ve ever sounded.

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.

With a release as consistently robust as Pollinator, the remaining trio has tapped into past glories without sounding stiff, or worse, desperate. At this late stage, we can confidently call that a comeback and hope they still have a few more albums as strong as this in their tank.

It may not be her finest set, but it captures the light/dark spirit that informed Crow’s best music and is a worthy addition to an already impressive catalog.

Presley’s latest album is a masterclass in songwriting that shows the singer’s limitless potential.

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

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 hard to follow any Ry Cooder assisted act, but Outlaw coalesces around his own, more intimate sound. We can always use an honest, unpretentious Sunday morning album to enhance the usually easygoing mood, and for those moments Sam Outlaw’s unassumingly enjoyable Tenderheart hits the mark.

While you may wish this newlywed was a little happier, this is a superb, emotionally poignant album that displays and expands Andrew Combs’ impressive songwriting, musical and vocal talents.

There is no rock here, although the prog nature of the music incorporates those influences, yet the album never feels bloated or one-note.

There’s nothing “brand new” about the Mavericks’ music; yet in this era of by-the-numbers, narrowly pigeon-holed playing, the group’s inclusive, adventurous vision is refreshingly unconventional and truly alternative.

Crowell’s brutally honest musings on his life and loves is a case-study that makes the reflective Close Ties a poignant and emotionally affecting portrait of one of American music’s most captivating, talented and honest artists.

There’s plenty of soul, sass and self-reflection as Hames works through these short, snappy tunes, where it’s impossible not to hear echoes of the Dusty Springfield and Bobbie Gentry influences that Hames mentions in the press notes.

The album’s eclectic nature never feels random. Rather, it highlight’s Foster’s natural inclusive qualities and showcases an artist who, nearly two decades into her recording career, has refined and elaborated her vision of empowered redemption, both of which are in full flight on the superb Joy Comes Back.

Smiles may be hard to come by on We All Want The Same Things, but flat-out songwriting excellence is in plentiful supply.

In Postcards Pieta Brown has created a trip through her most personal and revealing moments with an honesty and confidence most wouldn’t even attempt.

A major leap forward for an artist whose previous work now seems like a warm-up for the dizzying heights The Navigator strives for, and often achieves.

It’s an impressive start to what seems to be a promising career for Jay Som, an artist ready for the next step to build atop this remarkable and often striking self-constructed first release.

Semper Femina is a concise, dynamic statement from the English singer-songwriter, mixing breezy 70’s country-rock melodies with claustrophobic, fingerpicking folk, often on the same song.

Apart from several live recordings of older classics, which feel unnecessary on an album that highlights Clark’s late-career work, this collection is a testament to the spectacular consistency of quality and depth in Clark’s songwriting genius even as he struggled through declining health in his final decade.

More ornate and richly produced than any of her previous recordings, The Order Of Time fully establishes June as a proper auteur who has long transcended any limitations as a quaint revivalist.

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

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.

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

Graveyard Whistling proves that even in the young man’s game of country rocking, growing older is no impediment to creating exciting, even exhilarating music that feels vital, fresh and dangerous.

Son Volt doesn’t try anything fancy on Notes In Blue, nor does it need to. It simply puts the spotlight on the frontman and lets him knock every one of these songs high into the stormy skies and right out of the park.

There’s plenty going on and most is worth hearing even if Milia’s artiness occasionally gets in his way.

Adams does his job just well enough on this album that we’re willing to join him on that downward spiral and maybe, as listeners, locate the catharsis that eludes the lonely “I” living the songs.

The retro countrypolitan and rawer, roots elements that informed Lane’s previous Dan Auerbach-produced All or Nothin’ have been sanded down slightly on this follow-up.

It’s a swaggering, easy-to-digest introduction to an artist whose combination of committed vocals, sharp song construction and offbeat, often dark-edged concepts is as creative and snarky as the inspired tongue-in-cheek title of this impressive debut.

There isn’t much new here, and if you’ve heard earlier Lewis releases, you’ve pretty much heard this one already. But there aren’t many acts out there throwing down with this kind of high-energy trashy intensity.

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.

Bobby Fuller Died For Your Sins is yet another example of not just his love of rock and roll, but an ability to create it with the spirit and intensity of the best of those that influenced him.

It’s unfortunate that a platter which runs less than 25 minutes includes filler, but there is little else to call the closing 1:40 studio instrumental jam “How ‘Bout a Hand for the Band.” It’s clearly fun for the musicians involved but not interesting enough to pad an already too-brief release.

Stitch Of The World contains a few songs that detail how those cracks were made and a few more that show them in the process of healing. The unifying factor is Tift Merritt, and that’s enough to make this one a keeper.

The lyrics are maybe a bit more intricate this time around, but they still rely on open-hearted platitudes about life lived hard and love without restraint, the eternal human struggle between the righteous path and inclinations to darkness, and, of course, well-timed “whoa-oh” shouts than can sometimes say it all.

While Stinson isn’t a great singer or songwriter, he exudes a scrappy persona that, like Keith Richards’, encompasses a heartfelt rock and roll strut.

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.

Dylan goes through an eight-song set of staggering quality (“Desolation Row,” “Just Like A Woman,” Visions Of Johanna,” and so on) with his interpretive skills at their peak and his hold over his audiences nothing short of mesmeric. Maybe only Dylan completists will shell out for a series of discs with repetitive set lists. Those completists will be getting a bargain.

Silver Tears is an achievement that would make any singer-songwriter proud.

For the most part, Run the Jewels 3 is not intent on breaking new ground but rather on cementing the fruitful dynamic between El-P and Killer Mike. It’s another victory lap from a pair of rappers who are mastering the form, one glorious album at a time.

With his latest, Jonny Fritz cements his standing as a first-rate satirist whose off-kilter sensibility expands and challenges the very boundaries of what constitutes fair game in pop songwriting.

The mix of upbeat folk-rockers with moodier fare makes this such an impressive and convincing album.

Support by sparse but not stark backing, make these ballads glow and shine with a low key luster.