Though he has many glorious accomplishments, with this album, Ian Hunter proves he is still incredibly active. As well as a man capable of taking his own advice.

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.

Slipstream is Bonnie Raitt's best album in years and one of the best of her 40-year career.

Tweedy might be missing his band members, but the restless, resonant spirit that drives Wilco’s best records seeps winningly into WARM just the same.

What might be surprising is that, in spite of the sober lyrical themes and the laid-back music, this all sounds so vibrant.

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

American Love Song expertly and movingly shows how the overarching U.S.A. theme can encompass triumph and tragedy from one moment to the next.

At only 36 minutes, it’ll leave you wanting more, convinced that Parker’s previous set was no fluke and that his career as an electrifying singer-songwriter has just begun.

Jubilee is everything one might expect from an Old Crow album, that same combination of depth and delight that’s made them a bastion of bluegrass and Americana icons.

It has a silky-smooth sheen about it, but there’s an earthy, analog vibe that keeps its songs grounded, and more importantly, makes them sound absolutely sublime, no matter how ornate or ethereal.

Every Loser is commanding, powerful, and above all fun, proving that Pop has plenty of gas left in his aging tank.

Stills’ vocal limitations, brought on through age and hearing loss, are well known by now. But in this looser environment they are almost an asset as he spits out lyrics with joyful abandon.

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.

Like the most powerful of drugs, it will initially make you feel queasy. But once that passes, there’s a tangible bliss to be had... it’s the stuff addictions are made of.

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.

It’s a cohesive and complete statement, one of Calexico’s best yet.

It’s a decisive step forward in their sound.

Her most diverse work yet, careening from the stark acoustic with sparse drums and bass opening “Grace” to the crashing, grinding grunge guitars of “Wheelbarrow,” the latter an electrifying performance closer to Nirvana than anything in the Americana genre Chambers calls home.

In these tough times, Thile's words, and the album as a whole, are more effective than the titular tonic at staving off inclement weather, at least of the emotional variety. A strong dose of Antifogmatic goes a long way.

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.

The “friends” may bring more eyeballs, but Dion matches and even surpasses them on these fiery blues originals which, considering the stars involved, is an impressive achievement.

Ultimately then, See You in the Stars is as footloose and fanciful as its handle suggests. When Broudie indulges his instincts, the possibilities can become sky-high.

Mostly though, Celebrants comes across as a bold new venture, one that’s unrestrained in terms of melody, motif, and obvious enthusiasm.

The set was recorded in four days with no overdubs and only a few takes for each track. That provides a fresh, revealing quality that weaves through the songs. Although each can stand alone, there is a tangible groove to the playlist capped by the concluding “Gloryland,” a traditional hymnal that closes this terrific effort on an appropriately sanctified note.

Bob Dylan may have gone to drastic lengths with his music to achieve the simple pleasures he sought. Those willing to accept simple pleasures in return will find plenty to like on Another Self Portrait. It’s a collection that shows that Dylan may not have been painting masterpieces in 1970, but he was still delivering colorful miniatures.

Do To The Beast is nowhere near as tortured as the band’s masterpiece, 1993’s Gentlemen. But it’s still comfortable in the shadows, and for that matter, kicking up a good bit of noise.

These versions show a seldom seen side of Chris Cornell’s talents. They deserve to be heard by both existing fans and especially those unfamiliar with his stunning vocal talents.

Good Together concludes after a concise 37 minutes, proving that skillfully written pop, played by a collective with serious chops honed over decades, can be both contemporary and timeless.