The Invisible Way is Low’s essence distilled--potent, powerful and pure.

Like many a great singer-songwriter, Snider possesses neither an exceptional voice or above average guitar skills. What he does bring to the party, though, is his own inimitable point of view: a wry, self-deprecating, seemingly slightly stoned, hilarious, and authentic persona.

With age and maturity, she’s found her fit with an audience that’s happy to gave grown along with her. Few artists are so capable of making music that allows intimacy to emote so expressively.

The Deslondes provide a thrilling, original blend of American music that can’t be found anywhere else.

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.

It’s another home run for Lamarr’s trio who hasn’t made a misstep yet. Get on board and bring a friend as these guys generate the fiery funk/soul/jazz heat.

Although Jack's Mannequin hasn't been able to match the balls to the wall gusto of Everything in Transit, its 2005 critically acclaimed debut, People and Things is easily the most musically cohesive album in the band's catalog thus far.

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.

New proves that inspiration is not a problem for Paul McCartney, who shows both his contemporaries and the youngsters alike how to make rich music while swinging for the cheap seats.

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.

All told this a classy and worthy addition to your “Elvis, the later years” collection.

It’s a bold, eclectic and audacious approach to the bulging catalog of breakup ruminations; one that emerges from the crowded field and shows Marlon Williams’ talents are just beginning to blossom.

Since the selections were cherry picked from various shows, the playing and performances are likely the finest from the tour. The audio is tough and punchy with clean separation that leaps out of the speakers. Only Ozzy Osbourne’s insistence on introducing every song slows the momentum. A short, seven minute CD single of just two songs pushes the platter total to four.

A superb set that ranks as one of his finest.

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.

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.

They decided not to overthink it — a great move, as it turns out. In just five days, tracking totally live — which, unbelievably, they’d done only twice previously (on “Darkness on the Edge of Town” and “Born in the U.S.A.”) — the band recorded nine new tunes and three unearthed from before Springsteen had recorded Greetings from Asbury Park, his debut. And yes, some of these songs will take their place alongside his greatest hits.

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.

Just as good, and arguably better, than their first collaboration, this sympathetic partnership will thrill established fans as well as new listeners and will hopefully continue for many future editions.

Chesney has an uncanny knack for finding top-shelf material which sounds autobiographical and mixing it with his own to craft a uniquely distinguishable musical statement.

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 Hold Steady need not ever deviate from such a potent product.

Clark has an outstanding cast of supporting players helping to underscore her intents, among them, Derek Trucks, Lucius, guitarist Judd Hughes, drummer Matt Chamberlain, bassist Sebastian Steinberg, and of course Carlile herself. Nevertheless, Clark can claim credit for this remarkably revealing record and for having the courage to convey these tattered truths so well.

[An] impressive debut that at only 10 tracks and barely a half hour leaves you wanting more.

Even though it was recorded during dark times for both Dobson and the country, Impossible Weight is the strongest and most powerful statement yet from a talent on the verge of breaking out.

Rev’s somewhat radical interpretation will alert Americana fans to Gentry’s unfairly neglected gem, now ready for a belated rediscovery.

All but one are previously unreleased and show not only how prolific he was but how much work he put into these demo recordings, which sound as good as the finished product. Better yet, it’s an example of the quality of material still lurking in the Prince archives. This hour-long collection will more than satiate fans of the artist until the next batch inevitably appears.

Earthling suggests Vedder can remain earthbound after all. Figure it’s his best yet.