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.